18 18 DIGITAL CAMERA DIGITAL CAMERA^ FEBRUARY 2018 http://www.digitalcameraworld.comwww.digitalcameraworld.com
Nigel’s expert
tips and advice
for shooting
live musicMy grandfather’s camera
started me off on my
photography journey, and
lockdown gave me the
opportunity to practise.
Initially putting pictures
on Instagram was fun and
I received some positive
feedback, which led me to
shoot a few events as an
assistant. I always wanted
to do portraiture and
products, as that’s what
I found most appealing.
Once live music events
returned a bit, I went to a few
shows, took my camera and
snapped a few pictures that
were used by the venue and
record label. I decided that I
might be able to combine my
two worlds and contacted a
few musician mates, asking if I could shoot
their shows. I then spent some time
adapting the studio and night skills I had
learned, and applied them to live music.
Discovering how the Old Masters’
chiaroscuro approach applies to my style
of photography was a turning point: mostof my imagery has a dark and moody vibe to
it, with just pockets of light, and it certainly
works in a music setting. I’ve been lucky
enough to shoot some great shows with
fantastic lighting designers. Having seen
thousands of shows over the years helps
me to anticipate the artists’ movements.Capturing the moment
I don’t have the newest, fanciest cameras but some of
the most iconic photographs were shot on film, so I try
to shoot in the same vein. I try to anticipate the shot
I want to take before I press the shutter, and read the
stage to see where and when it might occur. I will fire
off three or four shots just in case my focus slips.1
Shooting in low light
Get to know your camera. Know
how high you are prepared to
take your ISO settings before
it starts to affect the images.
Live music lighting can change
rapidly, so consider stopping
down a few stops with exposure
compensation – but leave yourself
with a stop on the aperture so
that you can close it down if you
need more depth in a shot.2
Using telephoto lenses
I don’t believe that gear makes the
picture, but having the right kit can
assist in getting the best picture
possible. I now use two Pentax K-1s for
a gig, with a 15-30mm lens on one and
a 70-200mm on the other. That, plus
moving my feet, gives me a good range
of focal lengths. Depending on the size
of the space and the length of time
I have, I may also grab my 24-70mm
as well as, or instead of, the 15-30mm.3
Getting crisp shots
In order to get the sharpest image
possible at the long end, you
want to keep your shutter speed
as close to your focal length
as possible. Select your focus
point, lock onto your subject’s
eye and learn to anticipate the
artist’s movements. Pay attention
to the edges of the frame, too,
trying not to crop out guitar
heads and human elbows.