In short, keep showing up.

But if you want to get into the nitty gritty of it all, keep reading.

SHOOT SHOWS

It seems obvious right? Shoot shows... though the reason I that I really want to dig into this more is that you need to shoot a crap-tonne of shows in as many venues as possible, in as many lighting situations as possible, and for as many genres as possible. Here's why,

DIVERSE VENUES

The more venues you can shoot at, and master, the better you are able to adapt at shows no matter what is thrown at you. Shooting at as many venue types as you can get access to, from small dive bars to large theatres, will allow you to:

• Learn the best vantage points around each space,
• Network with venue staff and security,
• Quickly and easily navigate the venue, knowing where you and cannot shoot from when it's dark, crowded, and you're on a time crunch to get the shots before the show ends,
• Have a full portfolio showcasing various environments which will demonstrate your versatility and experience to potential clients

DIVERSE LIGHTING

Even if you shoot at a venue often, you never know what quality and style of lighting you will get. Venues use different lighting techs, and bands will bring their own lighting techs. The more lighting conditions you are exposed to will help you improve your ability to adjust your camera settings and adapt your shooting style to accomodate any lighting conditions you come across.

TIP: If you can master the small, dark venues with no pit, the larger, well lit venues with a pit will feel like a breeze.

Diverse GENRES

Different genres will use different lighting, will require a different shooting style and will have you prepared no matter who the client is that is hiring you. Different genres also attract a different crowd, and learning to work in a hardcore crowd is very different than shooting a doom metal show or a DJ set.

how to get access?

We all start somewhere, and the best thing you can get as a music photographer just starting out is a door spot.

COLD CALLING

When you are starting out you're going to have to ask for it. That means cold calling artists, venues and managers.

I'm not going to lie, it's uncomfortable, awkward, and you'll get no replies most of the time.

HOW DO I FIND THESE CONTACTS?

Google the band, check out their website and socials; are they signed to a label? Do they have a manager? Look for emails or use contact forms before ever using social media as a way to connect.

WHAT DO I SAY?

Have templates at the ready, but make sure you personalise them before sending. Keep it short and to the point, though be personal it shouldn't feel like a copy/paste message, if it does you're not going to look professional or passionate.

FREEBIE: Cold Calling Email Template

Media Pass

The easiest way to get access to the larger artists and venues is by getting a media pass through an outlet/publication.

How do I find a publication?

Start by searching for recent show reviews and galleries in your area to see what publications are actively putting out content. They will generally have a contact form or an application form for contributors on their website. You can also look at photographers you are connected with, who are they shooting for? Look for the tags on their posts.

NOTE: that they might not be looking for contributors at that time, and don't be discouraged if you don't hear back or get a reply saying no.

HOW DO I ASK TO BE A CONTRIBUTOR?

When reaching out to a publication to enquire about being a contributor make sure you're including all the information they need. Think of it as job application and you're giving them your resume. Don't forget these key items:

• A short overview of who you are, and your experience
• Your location
• Social media links
• A link to, or copy of your portfolio (not your social media)

There are pros and cons of working for a publication. Depending on your long term goals it might be a good fit, or a poor move, only you can decide:

PROS

• Access to artists you would not normally be able to shoot
• Ability to shoot a tonne of shows aka. lots of content and portfolio building
• The publication is sharing your work to their audience, that audience is full of potential clients and contacts
• Flexibility to pick and choose shows that excite you and work with your availability
• Being part of a group of creatives who support each other, you'll make some great friends with others working with the publication

CONS

• You'll rarely be paid for media work
• You can get shoe-boxed into only doing shows for a publication
• It's more difficult to build relationships with artist management or artist directly when you're a third party to the contact
• it's more work, for less (or no) pay, you are likely expected to both review and shoot the show, as well as deliver on a strict timeline.

WHAT DO I DO AT A SHOW?

I recall when I was starting out that I had a lot of anxiety around what I was allowed to do, and what was expected of me when at a show. I was asking other photographers to try and put my mind at ease so that I wouldn't make a dick of myself when I was in the zone shooting.

SHOOTING RESTRICTIONS & ETIQUETTE

This varies, and generally you will get guidance from the manager or promoter when you get your pass confirmation.

When working as media, it will be the bigger shows that will have shooting restictions in place, the standard rule is 3 songs, no flash. Unless otherwise specified generally you can shoot from the crowd after the three songs after over. Sometimes the rules can be very strict, you may get limited to 1 song, or be told to shoot only from the sound desk. You may even be asked to cloak your gear when finished (at your expense).

Even if you have other photographers around you breaking the rules stick to the instructions you were given. It's easy to follow suit when everyone else is doing it though doing the wrong thing can get you blacklisted, and is disrespectful to the artist and their team who gave you permission to shoot. I was given media access to shoot a large show as the only media approved phototographer and given strict instruction to shoot 3 songs, no flash. Punters were given access at the door with DSLR cameras and shot the entire night using flash. I still stuck to the rules given to me, even though it was impossibly dark and a flash would have made a world of difference to the quality of my photos I was there to represent a media outlet and to respect the rules set out by the promoter.

It's the smaller venues and shows that give you the most flexibility to shoot for as long as you like, and if discussed with the band prior you can use flash. I know many photographers use flash without prior discussion with the artist though this can be genre specific, you won't be looked at twice at a hardcore or punk show if you're blasting flash every few moments, but if you did this during an indie rock set or a singer songwriters acoustic show you will likely get some huge pushback from the venue, some glares from the crowd, and worst case getting called out by the artist themselves.

TIP: Consider the environment you are in and how much of an impact you are being on the crowd and their experience of the show. They paid money to be there, don't detract from their experience by blasting flash or being in their eyeline for longer than neccesary.

When working direct for artists you can shoot their entire set unless otherwise specified by the band, their management or the promoter. I have a questionnaire that I send when booking as this will clarify expectations for both the artist and myself. There is then no confusion on the night about what is expected and permitted.

WHAT DO I WEAR?

Photographers generally wear all black, the reason for this is so you can be on stage and side stage without distracting from the show. Wear comfortable shoes and do not forget your ear plugs, in fact pack a spare pair. I'm a huge fan of the Loop Experience Pro Earplugs and have been using them since I started. For 15% off your Loop Earplugs order use this link. I'm not sponsored, I just think they are sexy and functional.

NETWORKING

The more you shoot, the more people you'll meet both online and offline. This will be other photographers, musicians, venue managers, and tour managers, all are potential connections for future work opportunities.

OTHER pHOTOGRAPHERS

When you're in the pit, if you're feeling up to it, make the effort to introduce yourself to the other photographers. You're going to be meeting seasoned shooters full of great advice, and newbies like yourself that you can confide in about your nerves. These relationships are important because you're going to work with these people often, you want to be able to have a chat, and also be comfortable working in a tight space where you will need to move past them and be able to comfortably work alongside them. Another positive bonus of making these connections is that if they like you and your work, you may also get recommended for the shows they can't shoot.

Venue Staff

Be friendly and respectful to security and venue staff, you're likely going to be frequenting the venue so it's best to be a positive memory for these people you will be in contact with while you're working.

Fans

If you're comfortable to do so, say hi to the fans at the barrier - this way they will be more likely to pose for a photo when you point your camera at them!

Online Networking

• Engage with your communities content; like, share, and comment.
• Be genuine when you connect with people online, being yourself will attract people into your circle.
• When posting your work make sure you're tagging the band, band members, the venue, and anyone else involved in alowing you to get access to the show (e.g. media outlet, the promoter, or the tour manager). It's respectful to credit them for their work and they will return the favor.
• Connect with online communities specifically for music photographers.

TIP: Share your goals and dreams with others, you never know who is listening and can help you get where you want to be.

BE EFFICIENT

TURNAROUND TIME

Turnaround times are fast in the live music genre. When working directly with the artist, clearly outline your deliverables and timeframes beforehand so they know exactly what to expect and when. Every photographer works differently, and that is okay; as long as your client understands how you operate, you won't encounter awkward situations where they assumed their gallery would be finished within 48 hours - like their last photographer - when you deliver in 7 working days.

I personally guarantee 15 images within 12 hours and the remainder of the gallery within a week, though depending on my workload and calendar, I may adjust this to 30 images in 12 hours and the remainder within 2 weeks. This approach allows them to receive the bulk of the work upfront while giving me the flexibility to deliver within a reasonable schedule for my workload. My clients are always aware of this before the booking is confirmed. A lot of the time I end up delivering far more than I promised within the first 12 hours, and exceed the expectations I set with the client.

This will be different when working for a media outlet, they will give you their expectations around deliverables and timeframes which can be as short as 12 hours or less for a full gallery and review. Make sure you are clear on the expectations before accepting a show.

RESPONSE TIME

Responding quick could be the difference between you getting the show, or another photographer. Artist management often send emails out to multiple photographers and lock in the first to respond. To make this easier have templates at the ready; email templates as well as keyboard shortcuts make life so much easier.

WORKFLOW

Have clear processes in place, working in a systematic way will ensure consistency and efficiency for both you and your client/s.

Some examples of some areas you can set rules around:

• Pre-show checklist - When do you contact the client? When do you collect payment? Do you have a contract or questionnaire that the client needs to complete before the session? Do you set up your folders beforehand to make importing easier?

• Bag checklist - you do not want to forget batteries, memory cards, or your ID!

FREEBIE: Bag Checklist

• Post show workflow - After exporting the images do you add any metadata? How do you export, name, and deliver your photos? Do you email your client with a thank you email requesting a review?

KEEP SHOWING UP

The more you shoot and say yes to opportunites, the more opportunites will come your way. You will also have a better idea if you can keep up with doing this consistently. It is physically and mentally challenging, it takes up a lot of time and requires a lot of skills, you're not just spending time shooting and editing, you're also posting to social media, responding to enquiries accross platforms, connecting with people and maintaining those connections, keeping your portfolio/website up to date, and spending time learning gear and digital tools to level up your skills.

TIP: Consistently shooting will also help you develop your style and your portfolio will reflect this.

Passion confirmation: Will your love fade as photography becomes work?