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Concert Photography Tips • Landscape Photography
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BY JOE DEL TUFO | 33 COMMENTS
LAST UPDATED ON JUNE 8, 2015 • Portraiture
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I was recently asked how many concerts I’ve photographed, and realized that it is
coming up on thousand in the last 15 years. Any given week you can find me

VISUALIZE
shooting anything from a 20 person house concert to The Who in a 30,000 seat
arena, and anywhere in between. Tonight, it will be an up-and-coming band
called The Spring Standards, who I’ve shot 7 times in the past. They are a
dynamic, high-energy band with a lot of emotion, character and flying hair to
capture.

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NIKON D700 @ 200mm, ISO 1600, 1/125, f/2.8

Typically, my concert kit is pretty straightforward. I shoot Nikon and have moved
from D70 > D200 > D700 > D3s > D810. All of these have served me well for
PHOTOGRAPHY LANDSCAPE
concert photography, but ideally you want something that gives you a relatively
BASICS PHOTOGRAPHY
clean ISO 1600, at the very least. My standard lens choices are the 24-70 f/2.8,
the 70-200 f/2.8 and I generally toss a 16mm fisheye in the mix if I know I’ll be in
the pit or close to the stage. Tonight, I am planning to mix it up a little, maybe
ditch the 24-70 for a wide prime, and see how this new D750 likes being pushed.
WILDLIFE MACRO
I am interested to see if it is clean at 6400 and what a little more shutter speed
PHOTOGRAPHY PHOTOGRAPHY
can do for this lively band. The D810 has been wonderful, but 36mp makes for a
long edit the next morning, and there’s really not a lot of cropping I do for concert
photography.

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Roger Waters
NIKON D3S + 70-200mm f/2.8 @ 100mm, ISO 3200, 1/200, f/4.0 UNIQUE GIFT IDEAS

Like a lot of photographers, I am a control freak. I don’t like the idea of letting the
camera think for me, so I shoot all concerts (and almost everything else) in
manual exposure. The downside of this is that in some arena shows, when the
light is shifting as much as 8-9 stops very quickly, it can be impossible to adjust
as quickly as the light does. I accept this limitation and usually find myself timing
shots in those cases. And sometimes blowing an exposure can reveal a lucky
surprise. It has taken me a long time to be able to look at light and mentally
calculate the exposure I want, but that’s how I do it these days. I am generally at
f/2.8 ISO 3200 and whatever shutter speed completes that exposure. I also set
my white balance manually depending on the venue. This helps with both mixed
lighting and shifting colors, which confuse some AWB algorithms. The venue I
am shooting at tonight is always 3750K. Knowing this saves me a lot of time in
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Flea, Red Hot Chili Peppers

NIKON D600 + 24-70mm f/2.8 @ 70mm, ISO 1600, 1/400, f/4.0

As a lover of music, it was a challenge at first to enjoy a show while shooting it,
as I was constantly focusing on settings and composition, and effectively
blocking out the music. It was at the Clifford Brown Jazz Festival years ago that
something clicked. Something about seeing the communication that was
happening between band members that made me realize I was missing
something. Any more it’s difficult for me to enjoy a concert without shooting it, I
am still looking for those little communications, the expressions that help
illustrate something that cannot be heard, and mentally calculating exposures as
they shift. For me, shooting a show creates a much deeper listening. These days,
I can sense a lot of things before they come, the leaps and hair flips, the launch
into the crowd, the moment when a performer sees the camera and is, for just a
second, performing only for it. Learning to anticipate a high-energy shot is much
like tracking a bird in flight. You start to get a sense of what is going to happen,
and react accordingly.

Keith Emerson
NIKON D200 @ 98mm, ISO 500, 1/200, f/2.8

I like to shoot single point AF-C for speed. I focus using the rear AF-ON button
(see section 3.3 in the focus and recompose technique article on how to
configure this), keeping it decoupled from the shutter button. It’s fast, accurate
and at this point second nature. I like to get as much right in the camera as
possible, and have less to edit later. Processing-wise, I typically try to edit to
what I saw, adding only a gentle s-curve, slight push in the shadows (depending
on the camera body), and whatever exposure adjustment is needed. I edit in
Lightroom and a typical show will take 60-90 minutes to complete. A 3-day
music festival is another matter entirely, and a big part of why I am hoping this
D750 can unseat the D810.

Nick Cave
NIKON D800 + 70-200mm f/2.8 @ 200mm, ISO 3200, 1/200, f/2.8

It is important to be strategic. If you’ve gone to the trouble to get access to shoot

a show (or just get an SLR into a venue), go to the trouble to see what other
photographers have gotten on that tour. There are almost always current photos
out there. What is the background, the lighting, the visual highlights from those
shots? This information can help you plan what lenses to bring, where to stand
and what to expect. Some things only happen for a second, but they often
happen at every show, and knowing that can prepare you to capture it. Talk to
other photographers in the pit – some of them may have shot the previous night
or the entire tour. Most of us are happy to share that information, as it has been
shared with us in the past. Embarrassingly, I once shot an entire Kenny Wayne
Shepherd show, before realizing Kenny was not the lead singer of the group. My
best shots were of the wrong guy. So yeah…planning and strategy are critical.

There is always something interesting to reveal. You might not like the music, the
artist may have zero stage presence, the lighting might be terrible or nonexistent.
Those are often the times you discover your best work. Frankly, those are the
things that have kept me interested after 1000 shows. John Curley of the The
Afghan Whigs once said to me that “they just wanted to keep it challenging for
me” after I complained that their entire set was completely backlit. I got one of
my favorite shots at that show, a double exposure from the balcony. So keeping it
interesting makes for more interesting shots. When I get bored I move to the
fisheye, or a double exposure, or shoot an entire show with only a 105mm macro
lens to see what happens. I also shoot from the crowd if the energy is there, or
behind or above the band when that is an option.

The Afghan Whigs

NIKON D810 + 70-200mm f/2.8 @ 120mm, ISO 3200, 1/160, f/2.8

A shot that a band or a label ends up wanting to use is gold, creates

opportunities for things like promo shoots and album covers, and can open doors
to more difficult to access artists. Like any business, it is as much about making
connections and putting yourself in the situation as it is the quality of the shot. Of
course that matters too, but not as much as we would like to think.

Trombone Shorty
NIKON D3S @ 85mm, ISO 6400, 1/80, f/1.8

I’ve been lucky enough to have labels and artists send me to a number of
countries to shoot big shows, and gotten to spend time with and photograph
artists who I admire. Getting to play a small part in a larger creative process is
something that drives me to keep my work interesting.

Big Boi, OutKast

NIKON D800 + 70-200mm f/2.8 @ 70mm, ISO 3200, 1/400, f/2.8

There are a number of portfolio shots in the Live Concert section of my website
as well as a deeper archive on the concert page.

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About Joe del Tufo

Joe del Tufo is a Wilmington, Delaware/ Philadelphia, PA-based
artist specializing in Portraiture, Fine Art, and Live Concert
photography. His most successful work has been a self-designed color
infrared technique that takes the traditional infrared photo and maintains sky
color. This work has been published on book covers, CD / DVD covers and
magazines, and has been the focus of several successful exhibits. Joe has
been working on a book of this work, to be entitled Spirit of Eden, since
2010. You can see more of his work on his website.

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33 COMMENTS Newest

Gary Hough
May 23, 2018 12:41 pm

Hi Joe
I came across your tips page when looking for D750 and Concert photography via Google.
I’m an amateur in the UK and have just moved from crop D5300 Nikon to a D750. Your
photos are amazing. Love the Neil Peart (Rush) one on your website WOW. I have a 70mm –
200mm G2 Tamron Lens and finding it ok but getting the lighting correct has been a struggle
on some photos. Some of my photos are here:www.flickr.com/photo…arymhough/ but I’m a
bit unsure of what ISO to set with what shutter speed. Any advice would be welcome if
possible please.

Thank You, Gary

0 Reply

Glyn
December 14, 2015 2:39 pm

Hello,

I have been getting more and more great photo gigs. From an industry perspective, what are
the norms that bands will pay for a tour photographer?

What is standard pricing for images used for promotion?

Some of my work to date:

Thanks!

0 Reply

Danielle
September 15, 2015 7:48 am

Ha, interestingly, when I shot Kenny Wayne Shepherd band, I didn’t know he wasn’t the
singer either – I don’t think I knew til just now when I read it! oops!

Great article

0 Reply

Keith
January 11, 2015 7:39 am

Question to those of you who take photo gear to concerts… I saw a comment, on the “pain of
taking gear…” It’s been a long time since I went to a live show (at the Garden coming up for
Fleetwood Mac)… I was thinking of taking a D610 and monopod (70-300mm too) … Question
is… Given today’s venue security is it crazy to try to take the gear? I assume I’ll have to get it
inspected in some way… Decent seats on 1st tier above the floor, so it may be worth it…
Thanks for input

0 Reply

Joe del Tufo

Reply to Keith January 13, 2015 11:27 am

Keith- depends on the venue, but I’d leave the monopod at home either way.

0 Reply

Sebastian
January 9, 2015 9:20 am

Stunning photos! I really admire your work. Also, you described your aproach to photography
very candidly, which is worth a great deal to me. Your photos speak for themselves, even
without additional info but its nice to catch a few pointers how it can be done. Well done. I
will wait for more your articles.

0 Reply

Joe del Tufo

Reply to Sebastian January 13, 2015 11:28 am

Thanks, Sebastian! I’m thinking about another article that will hopefully also be useful.

0 Reply

norrik
January 6, 2015 12:00 pm

Thank you for this review, very precious. And great shots!

I ask you some other information about concerts shots:

1) The difference of resolution and IQ between the D750 and D810 is appreciable in the real
world?

2) Based on your experience, is really high the difference of the shutter noise?

3) The d750 at high iso looks impressive, what do you think of d810 in low light conditions?

4) You’ve also noticed differences in the performance of AF in low light?

Thanks again!

All my best

0 Reply

Joe del Tufo

Reply to norrik January 13, 2015 11:31 am

1. Only if you find the need to crop. I am going D750 unless I know they are making me
shoot from the sound booth. 2. Yes, the D810 is very soft, the D750 much less so. I’d use
the D810 in classical or other situations where I might be a distraction. 3. Not a big
difference in RAW, as far as I can tell. They are both impressive. 4. Again, they are both
exceptional in low light. It’s hard for me to know whether I am impressed by the D750
because I am expecting to be, or whether they are just both excellent.

0 Reply

Stephen
January 1, 2015 6:28 am

Thanks for the wonderful article as well as the entire site. I just stumbled upon it. I shot some
big bands on film in the ’80s, but haven’t in quite a while as I’ve been overseas and haven’t
been to any show in ages. I am now trying to decide on which dslr to get, the Nikon DF or the
D750. Tough choice. Any ideas? Thank you, Stephen. Sbazell@yahoo.com

0 Reply

Joe del Tufo

Reply to Stephen January 2, 2015 6:08 am

I think they would be outstanding concert cameras and likely way more than anyone
needs to shoot a show. But the D750 in my opinion is such a flexible camera and its
advantages (resolution, speed, price, handling) far outweigh the slight improvement you
get in sensitivity from the DF. And for what it’s worth, I’ve seen none of the flare issues in
concert lighting with my D750.

0 Reply

Mike Banks
December 30, 2014 8:00 am

Joe, very nice work but then you have been at this genre for quite a time. What I find most
interesting is the utilization of some equipment often called by many as enthusiast cameras.
The new D750 is one of these. I think your article is not only informative including some great
photographs for us but a lesson that it is never the equipment but the photographer who
makes the shot. I think everyone reading this article should take note that this photographer
has used most of the better Nikon bodies available. Having just acquired the D750 I’m
learning what am amazing camera this “enthusiast” camera is. For my professional work I
don’t feel I need to upgrade my D800e to the D810 as I only use the 800e sparingly.

Thank you for sharing with us.

0 Reply

Joe del Tufo

Reply to Mike Banks January 13, 2015 11:32 am

My pleasure, Mike!

0 Reply

heilung
December 29, 2014 5:19 pm

Limited to Smart(not)phone.Fleetwood Mac at Denver, this December, was totally perfect,

but when I tried to get advance permission for my D800 rig, it was NO WAY Jose. Any tips on
what it takes to get permission? OR how to avoid Smart Phone Burnout from bright lights?
Got a few good ones though.
Hei Lung

0 Reply

Joshua Chang
December 29, 2014 9:01 am

Hey Joe. Great work. I find this to be very difficult, especially what you are saying about
changing lighting conditions. I have shot a couple of shows as well, and while my clients say
they enjoy my work, I feel there is a lot I can do to improve. especially when it comes to
unflattering color casts. I try to time my shots as well to snap when the colors are better, but
sometime the entire ambient color cast of the entire show is one that it either too high in
contrast or is simply unflattering. do you have any in camera/shooting tips as well as post
tips that you utilize?

0 Reply

Joe del Tufo

Reply to Joshua Chang December 30, 2014 10:04 am

Joshua- make sure you are using a lens hood in strong concert lighting. Make sure your
white balance is set properly to start. When processing I typically do very little- but the
most important element is an effective tone curve can make all the difference. A gentle
S-curve (slight push up in the highlights and down in the shadows) is a good place to
start. And there is always room to improve, I certainly hope!

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