Concert photography pass application

[Reflection]

I have just set up my own website (www.blankroll.com) and would now to like to apply for some photo passes for concerts.

I fully understand that it won't be easy, and especially not for the 'bigger' name bands, but all the same, I'd like to try.

Now, my kit is nothing special - Canon Powershot A80 and a Minolta DiMAGE 5 (might be 3, can't remember). The photos I get are not of top quality due to these restrictions.

Now, how would I go about writing the letter - the actual content? Do I ask for it 'for experience' or 'to build up my portfolio'? Do I offer watermarked (discreetly) copies for their website?

Any tips or hints are most appreciated.

[RockSlut]

I'm not sure how it works in the UK (I'm Australian) but if it is a concert that you need a press pass for then your own website is unlikely to cut it. You'll need the a pass applied for on your behalf by a media outlet that is known to the promoter/management.

If you're wanting to establish yourself start with little events like bands playing in your local pub, the events where anyone can take a camera. You'll need lots of practice in these events and its a great way to establish your ability. Any one can get great photos in the media pit @ a stadium concert - but it is a real art to get good pub band photos with difficult lighting and (generally) less experienced performers. The truth of the matter is that few, if any, go straight to shooting stadium concerts.

It much lower pressure for you and you won't have to deal with the dreaded "3 song rule" at smaller shows.

As for offering your photos to them for their website - if you feel this is a fair exchange for not paying a cover charge, then go ahead, but bear in mind that this will become expected and you will be contributing to the difficulties that concert photographers already face, in that there are so many people who are giving their work away for free just to see their name/photos on their favourite band's website that there is becoming increasingly less money in the the market.

My experience is that often when a band/performer sees my photos they will contact me asking for permission to use them and when I suggest that it is fine, however I charge for the right to use my photos I am often treated like some kind of charlatan with responses like "well person x is just giving us a CD of their photos for free, so I guess we'll just deal with them" or "but the photos are of us!". I know that in most cases the photos offered for free are no where near the standard that I produce and that they would not have contacted me if the images being given to them were better than mine, but this is the way the business is going. The reason for this is because of the number of people who think that being let into a gig without paying covercharge is a fair exchange for their photos and the time involved.

When I am at a gig, it is work, just like for the sound engineer or the lighting guy and they don't pay to get into the gig. Remember when you shoot a concert you have spent time:
- taking the photos
- editting/processing the photos
- time arranging for their publication.
- finally my expertise has value. (why does it cost so much money to see a lawyer? You are paying for, among other things, their knowledge, expertise and experience)

I hope this gives you some food for thought, and I certainly mean everything in a constructive fashion.

[earplugsrequired]

I agree with the above. In order to shoot the bigger shows, and when I say bigger shows I mean signed bands, you need to have a legit publication or be shooting for a club as their house photographer or know someone in the band. I started by bringing my camera to shows that allowed cameras. Bands saw what I could do and I started shooting some bands whenever they were in town. One of those bands I still shoot whenever they are in town and because of what they did to help me in the beginning I didn't charge them for a shot used in their cd booklet. Not only do I shoot any of their shows, my friends and I always get into their shows. Not only do I love shooting bands, I love music.


I did go from shooting bands I knew, to shooting some big band like Korn due to being able at the time to shoot other bands that had the same management as a band that used some of my photos. Of course the companies that used the photos paid me for my photos! This all happened because I shot a band at an outdoor event and they loved my photos so I said give me a pass. They did to another outdoor festival and I shot their entire set. They needed a shot of a certain guitar for that guitar company's catalog and that guitar was only used on their last song; due to the 3 song rule nobody else had a photo of that guitar.

Check around and see if there are any music websites that are looking for photographers or local music papers. Build your porfolio by shooting in smaller venues that allow cameras and outdoor events that allow cameras. I know here we have some free shows during the summer months that are outside and cameras are allowed. Granted you won't be in the barricade and you will have to deal with the crowd but you will be able to get some really good shots. I used to go up front for our local festivals and got some great shots of bands.

[Steve Parr]

Excellent points.

I contacted some bands locally, and one response said something to the effect of "We have people who give us pictures for free, so go elsewhere."

I politely responded: "I understand. When you decide you'd like more professional photographs for your website, please contact me."

I'll never hear from them, I'm sure, but I'm also pretty sure that the photos on their website will always suck.

In addition to my own shooting, I also shoot for my employer (Taylor Guitars). When I do this, I'll provide a free CD to the artist, but only if they specifically request it...

Steve

[Screamer]

There is some good advice here...

Absolutely, you will need to work your way up the ranks. That's what I did. Being in a local band, I knew what bands and promoters wanted, had plenty of club connections, and I started shooting shows for a club in "trade". The perk of this particular club is that it reguarly has national bands play...Breaking Benjamin, Bowling for Soup, Prong, etc...look for a similar venue in your area.

The other advantage in this scenario is since you are shooting for the club, you can generally slip your business card to the bands after their set and follow up with them. Almost every band has a MySpace account here in the states, in which you can contact them. I don't know what you have in the UK of equivelant.

If your shots are good (or great is better), and the band sees the quality, they will pay for it. Like Rockslut mentioned, there are a lot of "free shooters" out there. But, here, in Seattle the bands are very competitive and if they can look just a little more professional and polished than the next/other band trying to get signed...they will pay for that value and service. One sidenote, lock your images down via Flash or heavily watermark them when "showing the goods".

Shooting in a small club will make you work for the shots much more, as the lighting is generally much more modest than touring shows. It's a pain, but very rewarding when you nail 'em. I hate to say it, but you are most likely going to have a heck of a time shooting these smaller clubs with your P&S. If you are serious about this you will need to invest in a D-SLR, and some fast lenses. It would be very difficult to try and go head to head with a D-SLR in these clubs with your camera. I just want you to go into this understanding that.

Anyways...It took about 1 month (4 shows/15 bands) for my work to get noticed after heavy promotion via my website...MySpace...Craigslist..flyers in the clubs and rehearsal spaces with contact info tear offs, etc. Once it took off, it became a steady stream and I was able to secure some real gigs through, referral, networking and consistent follow up.

As of a couple of weeks ago, I shoot formally for one of the largest guitar manufacturer's (and musical instruments) artist relations department. I've been published before, but now, I've been told to expect to see my work in Rolling Stone, Billboard, and the guitar industry magazines, such as GuitarWorld, Guitar One, etc...I'm shooting Disturbed tomorrow night through a different pipeline...and I have a full schedule for album covers, press kits etc.

It will come, it takes time and you have to prove yourself. It's not as bad as the chicken and the egg situation...pretty close, but not that bad ;)

Also, make sure you check this "how to" article...this one is pretty much the defacto standard, "How to shoot concerts", and is very good.

http://www.photo.net/learn/concerts/mirarchi/concer_1.htm

[Zepher]

We get our passes through the radio station or through a TV show that is representing or hosting the gig we shot.
I still have one of my old passes from a rap gig,
http://www.transamws6.com/pics/pass1.jpg
http://www.transamws6.com/pics/pass2.jpg

[earplugsrequired]

We get our passes through the radio station or through a TV show that is representing or hosting the gig we shot.
I still have one of my old passes from a rap gig,



If it's a radio station sponsored event then they are the ones that you have to go through for passes. I have many passes for these type of events. I've also had bands cover me for these events but many times if it's a single band covering a person then you can only cover that band. Some events I've been covered for all when going through one band but usually that's for smaller radio stations/events.

[Reflection]

I have already taken many of your points into consideration.

I know that I cannot get far with my current kit, but it is all I have. I have no funds to buy anything bigger or better. This is it.

I currently do photography for youth club band night that is run regularly. The bands and the youth club receive (digital) copies of the photos, and both appreciate them. The bands are nothing special, just kids. Most of them are my friends, or friends of friends.

I understand that if I do apply for a pass, it won't be for Rolling Stones or Justin Timberlake, I wasn't planning on doing that. I was going to apply for smaller bands playing in smaller venues, probably signed, but not 'big name' ones.

I was more asking for advice on what I write in the letter of application for one than anything else.

[brivett]

Sorry to be such a neg-head but it's true - You will only get passes to interesting gigs when mainstream media applies on your behalf....and they will only apply for you if they are giving you work... and I'm sorry but you are not going to get any work with the equipment you have and the skills you can have developed using it.... This is deep stuff and it takes time and pain to learn. Also any "signed band" will be under PR control of whoever signed them... and very few will allow photographs once they are signed... they have too much to loose by portraying the un-approved image by mistake.

But don't give up..

There are bands that will let you shoot them. Two example - Aging rockers Marillion and Blues man Jools Holland. Marillion just finnished a tour... Jools Holland will be around in the summer... there must be others.

It's probably better to cut your teeth on Jazz in pubs or unsigned local groups.

Baz

http://www.hotshots.me.uk/gallery/greenday/large-02.jpg

Greenday at the MK Bowl 2005 - 130,000 fans - 10 photographers

[earplugsrequired]

I'm trying to think of what to post here now. People such as Barry below and others that live in the UK could probably give you a better feeling for how things are in the UK. Trying to go after Green Day or Funeral for a Friend (have to sign a stupid release for this one)without a publication won't work but remember that all these bands started out somewhere. Find that place. There are different level clubs and some of these smaller clubs and the bands that come through these clubs allow cameras. Granted you will having to deal with horrible lighting conditions and not have the luxury of having a barricade in which to shoot but this will help you develop your skills and your style. Do you have another camera? Like a film SLR?

Sorry to be such a neg-head but it's true - You will only get passes to interesting gigs when mainstream media applies on your behalf....and they will only apply for you if they are giving you work... and I'm sorry but you are not going to get any work with the equipment you have and the skills you can have developed using it.... This is deep stuff and it takes time and pain to learn. Also any "signed band" will be under PR control of whoever signed them... and very few will allow photographs once they are signed... they have too much to loose by portraying the un-approved image by mistake.

But don't give up..

There are bands that will let you shoot them. Two example - Aging rockers Marillion and Blues man Jools Holland. Marillion just finnished a tour... Jools Holland will be around in the summer... there must be others.

It's probably better to cut your teeth on Jazz in pubs or unsigned local groups.

Baz



Greenday at the MK Bowl 2005 - 130,000 fans - 10 photographers

[RockSlut]

I understand that if I do apply for a pass, it won't be for Rolling Stones or Justin Timberlake, I wasn't planning on doing that. I was going to apply for smaller bands playing in smaller venues, probably signed, but not 'big name' ones.

I was more asking for advice on what I write in the letter of application for one than anything else.

I think the point is that any gig that you will need a pass for the letter writing will not do you any good. If a pass is required then your press pass will need to be applied for by the editor (or some other representative) of a legitimate media outlet.

There is no need to write a letter if there is no press pass required (ier like small up and coming bands at local venues). You will probably even find that nationally recognised bands who are still playing smaller venues will not require a media pass either. The best thing to do is to check with the venue or the ticket outlet in advance as to the requirements.

While some legitimate criticism of your equipment has been raised, there is another side to the story also - us photographers with dSLRs or any other SLRs can rarely take them into bigger shows without raising the attention of security and staff.

For example last night I covered the Dandy Warhols show @ the Metro Theatre in Sydney. I was representing media and had to abide by the 3 song rule and also no flash. I was continuously asked by security to see my media pass (a sticker on my shirt sleeve).

I saw numerous cameras being used by punters throughout the performance (both DV cams and consumer still cameras) without any problems even firing flash. I can guarantee that none of these people had applied for a pass because otherwise they would have been in the press pit with me and also that they would have been pulled up for breaking the rules. These were just punters with cameras.

Perhaps that approach would work best for you.

[piku]

"3 song rule"--I have an idea but dont know if its correct. Care to briefly explain? TIA

[brivett]

You get in for 3 songs, then get slung out on the street. It stops photographers bothering the paying audience for too long and ensures fans don't use it as method to get in.... because 15mins later you are out...

[piku]

Wowsers... you can't even stay and enjoy the concert after the 3 songs, even at nosebleeds? That sucks =|

[Screamer]

Wowsers... you can't even stay and enjoy the concert after the 3 songs, even at nosebleeds? That sucks =|

It depends, there have been times where due to the assignment or management team you can either hang out front of house and shoot the crowd etc, or hang backstage. There are always exceptions and knowing that is just part of the territory..

To answer the other part of your question, if you bought a ticket you can stay! My passes always have a clause on them that say "this pass does not guarantee admitance and must be surrendured upon request".

[SQUAREROOT]

Here's my share. I was able to get a pass through my brother, who was the supplier of some stage effects during the event. Mostly, you can get you pass through connections.

This was the celebration party in the Philippines for our Boxing hero of the recently Pacquiao and Morales match that was held in Las Vegas. It was a big event for us. Most of the streets were empty during that match. Of course Pacquiao won. =)


Cheers!
Square

[PhotosGuy]

Good thread. You'll get more respect if you ask for "Credentials" than for "photo passes".

Some other links:
CONCERTS & EVENTS:
How I Became a "Professional": Will All that Free Work Ever Pay Off?
http://photography-on-the.net/forum/showthread.php?t=63580
Concert Photography, Part I
http://www.photo.net/learn/concerts/mirarchi/concer_1.htm
Live Entertainment: Pricing for "Flying in for a Concert"
http://photography-on-the.net/forum/showthread.php?p=918092#post918092
Shots indoors:
Another "help me what do I do thread" (Good stuff from Gavin)
http://photography-on-the.net/forum/showthread.php?t=113074
Catwalk Photography
http://photography-on-the.net/forum/showthread.php?t=116753

[earplugsrequired]

[quote=PhotosGuy]Good thread. You'll get more respect if you ask for "Credentials" than for "photo passes".

Actually the wording in my emails to the publicists are requesting tickets and photo pass. That's the wording I get back too from the publicist with confirmation. I get a confirmation stating either that tickets will arrive in the mail and my photo pass will be at will call or that 2 tickets and a photo pass will be at will call. Same wording no matter how small or large the band.

Also, in response back to the posts regarding the 3 song rule and getting kicked out of the venue afterwards, very rarely do I not get tickets for the show as well. Sometimes one of my photographers will already have tickets for a concert and I will only request the photo pass but generally speaking we get at least one ticket and most of the time two tickets to a concert along with the photo pass. Sometimes I have even gotten two photo passes. Sinead O' Connor was that way. Some of the bands have also left VIP passes or meet-and-greet passes. Differs with each band.

[piku]

We get our passes through the radio station or through a TV show that is representing or hosting the gig we shot.
I still have one of my old passes from a rap gig,
http://www.transamws6.com/pics/pass1.jpg
http://www.transamws6.com/pics/pass2.jpg

That's some great lineup =)

[piku]

Here's my share. I was able to get a pass through my brother, who was the supplier of some stage effects during the event. Mostly, you can get you pass through connections.

This was the celebration party in the Philippines for our Boxing hero of the recently Pacquiao and Morales match that was held in Las Vegas. It was a big event for us. Most of the streets were empty during that match. Of course Pacquiao won. =)


Cheers!
Square

DAMN! That was a great fight?!?!

[Screamer]

[quote=PhotosGuy]Good thread. You'll get more respect if you ask for "Credentials" than for "photo passes".

Actually the wording in my emails to the publicists are requesting tickets and photo pass. That's the wording I get back too from the publicist with confirmation. I get a confirmation stating either that tickets will arrive in the mail and my photo pass will be at will call or that 2 tickets and a photo pass will be at will call. Same wording no matter how small or large the band.

Also, in response back to the posts regarding the 3 song rule and getting kicked out of the venue afterwards, very rarely do I not get tickets for the show as well. Sometimes one of my photographers will already have tickets for a concert and I will only request the photo pass but generally speaking we get at least one ticket and most of the time two tickets to a concert along with the photo pass. Sometimes I have even gotten two photo passes. Sinead O' Connor was that way. Some of the bands have also left VIP passes or meet-and-greet passes. Differs with each band.

My experiences are the same both regarding the term "pass" and the hospitality of the artist/artists' management. In addition to sticking around for the length of the concert, I'm usually granted a "working pass", which allows me access to the green room, catering etc...very nice, as sometimes the wait can be pretty long.

http://www.macinophotography.com/potn/passes.jpg

[PhotosGuy]

Sometimes I have even gotten two photo passes. Sinead O' Connor was that way. Well, she needs all the help she can get, right? :D

[Steve Parr]

I shot a concert last night; not a big name, but a very professional venue.

I wasn't issued a credential or pass, but was cleared by security for backstage access, and to shoot from only certain places in the house.

I had contacted the artist initially, who went ahead and contacted the venue. The venue, in turn, contacted me...

Steve

[piku]

Nice Steve. Will write that down for future reference.

[Lefty Ray]

First off get a bigger camera so that you look serious about what you are doing. Tejano Music is no too anal about people with cameras shooting the bands. Most places welcome cameras. From this simple access I was able to get good enough shots, post them on my website, and build a rep as someone who could get that killer shot. Now I am welcomed by the bands (no mo cover charge) and several CD covers are in the near future.

Last Friday night the band bus arrived late and "the list" was nowhere to be seen. Plus the big bouncer said "no entry" to my camera bag. (Although point & shoots and camera-phones were everywhere). I waited until one of the band members arrived and he got me in and told them to let me in with my camera bag because I was the "official" band photographer (which was phooey). The only reason I pulled this off was because I had already established a relationship with the band and they came through for me knowing I make them look good on film.

[Zepher]

That's some great lineup =)

It was an ok show. I am not all that into rap and hip hop.
For that event, we were doing the videotaping and running the big screens.
I was in charge of handling the graphics and video that would be shown on the screens, switching between the 3 cameras and a tape machine..
I did get to talk with Jay-Z for bit since I had to play a tape for him before his entrance. the guy has very very big lips.
I still have some of the raw footage sitting in my drawer here that I watch from time to time.

[inkdipt]

Most of what I have read here is right on track. I have been shooting shows for going on 3 years now and have had the chance to work with some large name acts. I started as a photographer in the Navy many years back and have progressed to concert photography, which I consider one of the hardest and most rewarding photography assignments.

Here is my stand point on this. It never hurts to ask. Be it your local radio station that is hosting the event or the A&R and Marketing executives for the band. I would, as stated before on here, build a good portfolio of local bands if you are just starting out. Find your style before moving on to the larger signed bands. Have some credentials. Do not expect to walk into a large venue big name act show on your first time out. Send an email to a person on the label, anyone. You might be surprised if your work is good. It never hurts to have a good blog and a few readers. Last but not least offer to shoot for a local zine that has an established readership. This is the surest and fastest way to gt assignments, and get your work published.

I am not going over the ethics and rules here. I think there is enough documentation on such things. Just be respectful of such things.

In relation to the work you do. It is totally up to you if you want to give the work away or not. I sometimes do this for smaller local bands and if asked I am generally okay with a few images being used for promotion. I never give consent to ownership unless purchased and I always post the images on my or other websites with credits. Most of the time this is understood. Credits at times can be worth their weight in gold.

Most of all have fun. This is one of the best things in life in my opinion. That attitude will get you a long way.

Here is a link to my current work if interested.

http://aaron-dement.com

[ChrisRabior]

The website I shoot for usually takes care of all the details. You need to start from the bottom and work your way up. My first passes actually came as a result of connections made with bands shot locally that wanted a photographer to cover their big day when they got to open up for a national act, and that in turn got me access to the national act (by virtue of simply asking). Establish a name for yourself, and it gets a lot easier.

A point on your website: there's not much that says "I'm a concert photographer" let alone even a few examples of your concert work. If you and someone that has hundreds of bands' photos are competing for a pass, you're going to probably lose out.