A Guest Post by Guy Prives.
A fotografia em shows é um dos campos mais desafiadores no mundo da fotografia, ao contrário de fotos programadas, neste tipo de fotografia não temos controle de praticamente qualquer parâmetro na imagem. Nós não podemos dirigir o objeto a ser fotografado, não temos controle sobre a iluminação, que está em constante mudança, e não temos acesso a qualquer ângulo.
Assim não podemos esquecer que existem pessoas que nos rodeiamque pagaram um bom dinheiro para desfrutar do show e eles não se importam se estão em nosso frame.Muitas vezes também estamos limitados a um certo tempo ou quantidade de músicas em que nos é permitido tirar fotos. Parece missão impossível? Apesar de fotografar um show ao vivo não é fácil e intuitiva, também é menos difícil do que a maioria das pessoaspoderia pensar, e eu acredito que no final deste artigo, você vai se surpreender que é mais fácil do que parece.
Então, como vamos começar? Para começar, queremos minimizar muitas das variáveis que nos interrompem, é por isso que eu recomendo ir a shows relativamente íntimos em lugares onde você pode obter quase qualquer lugar e levar o frame a partir de qualquer ângulo que você desejar. Se você tem uma banda que você conhece pessoalmente, será um bom lugar para começar. Por exemplo, meu primeiro show foi no final de 2007 - com a Canon 350D e lente 18-55 mm . Eu fui a uma apresentação da banda de um amigo, "O Carsitters", que me convidou para fotografar o show, e eu devo muito da minha experiência para eles.
Equipamentos - Não é a câmera que é importante, mas a pessoa por trás dele.
Se você é convencido por este ditado ou não há ainda vários campos da fotografia, onde o nosso equipamento é muito importante e um desses campos é a fotografia de shows
Devido à pouca iluminação em performances, vamos preferir usar lentes com grande abertura (f/2.8, f1.8, f/1.4) e câmeras com que nos permite tirar fotos em ISO alto sem ruído.
Em shows dinâmicos com bandas de rock, teremos que usar uma velocidade do obturador relativamente alta para congelar o movimento do baterista selvagem ou a cantora pulando. Estes são os momentos que você será grato por você ter um bom equipamento nas mãos. Mas não fique desapontado, mesmo se seu equipamento não é perfeito. Um monte de fotos do show foram tiradas com a Canon 350D que em termos de fotografia em ISO elevado é muito barulhenta e não permite escolher o valor de mais de 1600, e também sem qualquer lente de zoom rápido.
Aumentar a sua ISO, mesmo que a imagem estará ruidosa
Melhor para tirar uma foto um pouco barulhento na minha opinião, e reduzir o ruído mais tarde com alguns softwares de edição (Lightroom 3 fornece uma boa opção para reduzirruídos) ou até mesmo ficar com o barulho, do que obter uma imagem sem ruído, mas todos os borrada porque você tinha que compensar o ISO menor com longo tempo de exposição.Preto e branco pode ser uma boa opção para fotos barulhentos assim.
Exposição Correta
Uma das primeiras dificuldades que encontramos na fotografia é a medição da luz e selecionando a exposição correta. Em shows ao vivo, vamos medir a luz de um ponto que queremos expor, usando a medição de ponto (alguns preferem usar a avaliação).
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Use flash?
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I am sure that you all know the following situation: You are in a concert, a few hundred feet from the stage, around of you hundreds of flashes of cameras from people who try to take pictures of the show.
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I’m sorry to break the myth but your flash has no effect on lighting the singer. At best, the flash will do nothing, and at worst it will lit the cigarette’s smoke around you or the bald spot of those in front of you.
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Another problem is that some use a camera on automatic or semi-automatic mode. The camera does not know that what interests us is the stage far away, and is not affected by the flash light, so it lets less light into the sensor – and we will get a dark stage.
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So if you are far from the stage – turn off the flash.
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If you are close to the stage and using the flash, the artist will be bright indeed – but any background will be dark and you’ll lose the whole atmosphere. What’s the solution? Measure the light by the environment until you get proper exposure in terms of atmosphere you want and just then add the flash, this way you get the ambient lighting showing the atmosphere, and the flash will lit the singer and freeze his movement. Thus, despite the slow shutter speed your object won’t become blurred. Of course you can bounce the flash and avoid harsh direct light which flatten the subject’s face, and can cause red eye, just like in any other situation that you take the photo with directed flash. If the ceiling is not low enough or is not white, like at most concerts, you can bounce the flash using a white card or just soften it by the use of any other diffusers. Another option using the flash that will have special results, but is less convenient, if you have access to the stage – put in advance flashes on the stage which will be activated remotely by triggers and will give you photos less ordinary.
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The smoke can be our best friend or our worst enemy – when we take photos with flash, if the smoke is before the artist, then the flash will light the smoke and not the artist. In such situations we should avoid shooting with flash. However smoke behind the artist can improve the picture.
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Waiting for the spot light
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When it’s too dark and we are far from the stage and we cannot use the flash, we will wait until the spot light, the narrow, focused and strong light, will light the artist. You might be surprised to discover that those dark images that are lit just by the spot light on the singer will be much better than the frame where everything is lit. You have to remember: photographing a concert is not like documentary photography where it is important to see everything, but more of a photo that shows a certain atmosphere and lighting is our main method to pass it to the viewers. In concert, you will rarely have fixed light on the stage. Fixed light may make it easier for you to photograph, but also produces images that are more boring and banal.
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Silhouettes as a solution for constraints
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Do not ignore the constraints. Compact cameras, old cameras or lenses with over 2.8 Aperture can cause problems when trying to capture the subject lit properly. This is because of the changing lights that are usually dark, which characterizes the majority of small performances. One of the recommended solutions is to shoot silhouettes. We prefer choosing a silhouette that is very clear so that the viewer can see and understand what the subject in the frame is even if it’s without light. This kind of photo we’ll shoot when there is no light on the subject and the only lights are behind the band / singer / dancer.
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That way with a simple camera we can get special pictures. Please note that if we’ll not define in the camera that this is what we want, it will choose for us a long exposure or using the flash in order to light the stage. What we need is to set the camera manually to allow underexpose. Whether negative exposure compensation (EV) is defined for those of you using automatic or semi-automatic, or for those of you using the manual mode just increase the shutter speed or close the aperture until the image is completely dark when there is no backlight. In order to produce the silhouette we will measure the right exposure from the stage and then shoot with the parameters that were obtained. The back light will show as it should – and the figure will be completely dark. In these situations it will be hard to focus the camera, so focus on the character when there is light, or shoot with manual focus.
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Color
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In most shows the dominant color is red. Lighting technicians like this colored lights that photographers usually hate. You should be careful that the red color will not “burn” and you will lose the data in those areas. Better take the photo a bit underexpose in raw and then add some brightness so no details will be lost in those areas. Another way to handle this is to make friends with the lighting technician and ask to use specific lights – you’ll be surprised, it works. If you didn’t had any success with these two methods and found yourself in front of the computer with picture that was exposed inaccurate, converting to black & white can save this image.
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Composition
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Until now we have talked only about the technical issues to photograph a concert, but we must not forget to address the composition as well. Also in concert it is not enough that the photo technically is perfect, you should also need a story and a good and interesting composition. Sometimes a close up image where you can only see the guitar for example will be enough and sometimes you will want to catch the whole band together. It all depends on your artistic taste and equipment’s constraints.
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In concert photography there are no rules, you’ll have to see in each show the lighting effects in order to decide how you will photograph and display the same band. In conclusion, the concert photography is not an easy task, but with a little practice – you can get beautiful results.
Guy Prives is a concert & people photographer. Photography for Guy is another way to look and see the world from unique and different angles.
He discovered his love of photography during a long trip to South America and this passion to capture the moment with a click of the camera has been with him ever since. Ordinary things (sights) can become extraordinary when captured through the camera’s lens.
You can see his photo at his web site and in his facebook page.
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