Earlier this year, Vogue published an interview with Lloyd Wakefield, tour photographer for Harry Styles Love On Tour. This has been one of the most massive arena tours in recent memory, with Harry Styles at the pinnacle of his career and stardom. Wakefield's images for this tour are among the most viewed and shared in the history of music photography.

_{An important note: This article is not a critique of any specific photographer or artist. We love Harry in this House. Furthermore, Harry Styles’s previous tour photographers include acclaimed photographers Helene Pambrum and Anthony Pham. Harry has a record of supporting diverse talent, not only for his choice of photographer but more largely in his touring crew. The aforementioned interview was a catalyst discussion within the music photography community and I feel we must acknowledge it as a touchpoint.}

In the interview, Wakefield mentions, “I’d never actually shot a live show before Harry. He was the first concert that I’ve ever shot.”

This article sparked tremendous discussion in the music photography community at the time of its publication, and this single quote was at the heart of it.

Acknowledging Gender Inequity*

For many music photographers, it highlighted the reality that circumstance, character and opportunity matter more than experience or honing one's skills with years in the game. 

For many women in music photography, it spoke to so much more. Specifically, the fact the institutional bias and sexism of our industry that continually challenge their experience and opportunities.

A man having an opportunity doesn’t take away from his story or his talent. But it does mean that he didn’t have to fight the sexism, misogyny and double standards women experience to get it.

Acknowledging the challenges of women is not an admission that men in this industry are not talented, hard working or deserving of success. Just as the success of others doesn't take away from our own accomplishments.

As a man, it feels important to understand that regardless of my own personal challenges, hard work and opportunities, there are subtle, persistent factors that work against women in this industry that I have had the privilege of never experiencing.

The Insidiousness of Institutional Sexism

Music photography is hard. The simple truth is that there are not the opportunities available to match the talent, the dreams and the passions of us who pour our lives into this pursuit. We don't question this reality.

But neither should we shy away from the specific and very real challenges faced by women that plainly men never fear or experience.

I've heard first hand stories from women music photographers about being rejected from opportunities specifically because of their gender, appearance or how band members or their significant others would feel “uncomfortable” with a woman as part of the crew.

I've been asked for a referral for a touring photographer when the client is specifically requesting a man to fill the role, due to “tour dynamics.” Even at the very least offensive, these insidious requests come under the guise of simplifying logistics, such as tight budgets for crew accommodations and the assumption that crew will share rooms or even beds.

While decisions like these may not be rooted in sexism or specific prejudice, what it represents is a systematic bias in the music industry where men are all too often considered as the default of convenience. The result of a patriarchy dictating the status quo is that women are denied space or forced to justify their qualifications based on their gender alone. 

To refute these gender specific biases — unconscious or not, malicious or not — feels like refuting fundamental facts of reality, like a round earth or the force of gravity.

Micro Aggressions, Harassment and Assault

Beyond barriers for equal opportunity, women working in music photography are met with further negative experiences that few men share to the same widespread degree. These range from gender-based micro aggressions and verbal harassment to physical violence and sexual assault.

My friends and colleagues tell me about being introduced to venue security by the tour manager as the tour photographer with full and unrestricted access, only to be immediately questioned or hassled once the TM leaves.

From press photographers, I hear of women having their credentials scrutinized, while male colleagues walk past them to enter photo pits without questioning. From others working on productions or on set, hearing of women photographers being paid half the rate of a man for doing the the same job.

All too often, we hear about women photographers being accused of being a girlfriend, a fangirl or a groupie by staff, fans or even fellow photographers — accusations men rarely face in the photo pit while simply trying to do their job. All while other men in the same space stand by in silence.

Colleagues have been physically assaulted, being violently shoved against the stage by security as they pass for no reason, while the same security personnel leaves men working without harassment.

Most harrowingly, women are at dramatically higher levels of risk for sexual harassment and sexual assault in the music industry when compared to men. From crowded live events and working in close quarters of touring to navigating power dynamics often controlled by men, music photography is not free from sexual violence perpetrated by men.

These are events no one should go through in any context, let alone our peers in music photography, but their instances are far too familiar among so many women in our space. What we see is that even when women succeed in the world of touring and live music, with access, opportunities and work, the same spaces that are safest for men have no such guarantee for women.

Tour Photography and Gender Bias

In the world of music photography, touring is held up as the pinnacle of the profession in many ways. Working closely with an artist or band, with unfettered access and a romanticized life on the road have their clear appeal. Because of this coveted position and the rarity of it — there’s so often only one tour photographer or even a single creator doing both photo and video on a tour — it’s all that more elusive for so many.

While women represent a huge proportion of music photographers, what do we see in touring? Particularly at the highest levels?

Consider the iHeartRadio Music Awards, which is one of the few if not the only honors for tour photography. For the 2023 category of “Favorite Tour Photographer,” out of eleven total spots, three women were nominated: Yasi, Ashley Osborn and Elizabeth Miranda.

To be clear, this evidence is not a slight against any photographer nominated. But it does raise a simple question: Is this what our music photography community looks like? Is this what our talent looks like?

Since the addition of the tour photographer category in 2019, we have seen similar or worse levels of representation, with white men dominating the nominations. In 2020, we saw no women nominated in this category. 

Acknowledging Our Challenges to Overcome Them

Why does this matter? The iHeartRadio nominations show us how the biggest artists hire. These are tours that have the budget for touring women-only crew rooms. Without the need to share beds or the entire crew to sleep in a van together.

These are the most successful artists who should be in the best position to skip past the inequity of this industry to hire diversely and to seek out the best talent. And yet even here, we see a sampling of photographers that doesn’t match the breakdown of talent in the music photography community. 

Why is that?

The reality is that the upper levels of tour photography skew heavily towards men because they are a reflection of a system that positions men as a default. Of what is easy, what is convenience. Of who has time and time been referred to as a “good hang.” This fact is why we must acknowledge our challenges as a whole. 

In numerous aspects of photography, we see women dramatically under represented, despite reporting that globally women make up 75% of photography students. Shifting our industry and community must start at the lowest levels, so that we can see this change at the highest, most visible levels.

The Fallacy of the Good Hang

In touring, there's the common understanding that being a “good hang” or someone who can “vibe” with the band or artist is essential to joining a tour. When it comes to tour photography, we implicitly understand that this aspect is as important if not more important than the quality of one’s work.

This vague signaling of personality fit is essentially one of comfort and trust. An understandable and reasonable expectation for artists and crews, where the boundaries of personal space and intimacy can be nearly non-existent. But when the norms of what is comfortable and who is trusted are shaped predominantly by men, the connotation of what constitutes a “good hang” cannot be taken at face value.

What this simple truth belies is the systemic gender bias, sexism and misogyny present in our society, where men cannot universally welcome women without qualification or as equals. That at worst, in a patriarchy, a woman must choose between being “one of the guys” or being their true authentic selves.

When we point out inequality, no one is asking for women to be considered based solely on their gender. This is not equity. We are striving for the day when gender is simply not a limiting factor to the opportunities women have. 

Smashing the Patriarchy in Music Photography

So, you're a man reading this. Ask yourself: Who are you referring for jobs when you have the position and opportunity? Who do you choose to associate with, lift up and champion? What do they stand for, and who are they supporting?

If you've witnessed sexism and misogyny in the photo pit, or backstage or on a tour bus, are you speaking up? Are you advocating for pay transparency with your peers?

We must do better. This change starts with our community. And it starts with you.

* A few notes: 

First, women are not the only group that faces inequity in music photography, but they are the largest single group facing discrimination. Women of color, trans women, queer and non-binary or gender non-conforming people face even more inequality. While this article focuses on the experience of women and the inequality they experience, we are fighting for all groups that face forms of underrepresentation, discrimination and unequal access to opportunities despite the ability, talent and drive to succeed.

Second, this post is directed primarily at men. Simply put, men are in positions of power at every level of the music industry and as a result, the burden is on men to change a horribly flawed system.

The post Institutional Gender Bias, Sexism and Misogyny in Music Photography appeared first on ishootshows.com.

If you're new to live music photography, you may be new to photographing using high ISO settings. A common question for newer music photographers is, “what ISO setting should I use for concert photography?”

While there's no single setting that will work for all situations, overall what I'd say this:

Use the ISO you need to make the images you want.

Why avoid high ISO?

The biggest avoidance with using high ISO is due a decrease in image quality. Generally, with digital sensors, image quality declines in a few notable ways above (and below) the base or native ISO of the sensor. The base ISO is the sensitivity at which no digital gain is applied to the image capture. When photographing above the base ISO, the signal is amplified, and too with it digital nose.

Digital noise is the prime symptom that most people associate with photographing at high ISO. In addition, dynamic range, color fidelity and more also suffer.

High ISO is a compromise

In photography, there are three variables that dictate exposure:

• Shutter speed
• Aperture
• ISO

With concert photography, one is working in low light and the production. Using primes or even f/2.8 lenses, we're very often photographing at max aperture to let in as much light as possible. So here, aperture is fixed as well.

That leaves aperture and ISO as the main variables we may change in the dimmest venues for live music. So we are often left with the choice — motion blur or grain.

All things being equal, most photographers would prefer a pristine image, without significant blur or grain. That said, within the constraints of exposure, we must choose our compromises.

It's natural for many photographers to want to avoid excessive grain or digital noise, particularly if you're not used to seeing it in your images.

Why high ISO doesn't matter in music photography

So, back to the question — what's the “best” ISO for music photography? My answer is always this:

Use the ISO you need to make the images you want.

Now here's why:

If the “worst” thing someone says about your images are that they're a little grainy, that means you did everything else right. You nailed the composition, the angle, the moment, the emotion.

Consider every classic rock photo that's ever etched itself in your memory. I'm not looking at the iconc photos of Lynn Goldsmith or Jim Marshall or Mick Rock or Pennie Smith and thinking, “Incredible, but a little too grainy.”

Don't sweat the technique. This includes motion blur, focus, or any other technical bit of execution or image quality. So long as they're not distracting, these aspects can be often less important than the moment, lighting and emotional impact of the image.

My personal suggestions for ISO

I'm a hugely technical photographer and pride myself on my execution. Still, I will never hesitate to choose an image that captures a decisive moment imbued with emotion and passion over a technically precise image that lacks these qualities.

These days, most full frame cameras perform wonderfully at high ISO. Even with APS-C sensors, you should be able to comfortably use ISO 3200-6400 with proper exposure.

On my Nikon Z 9, I will use up to ISO 12800 without much hesitation. Most of my concert photography lives between ISO 3200 and 6400. It's a rare day when I photograph at ISO 1600 or below as a professional music photographer.

The post The Best ISO for Concert Photography appeared first on ishootshows.com.

So whether you're photographing for an editorial publication, an artist/band, or just want to know the standard images to create for live music, here's a list of common images to make as a music photographer.

First off, I'm not saying that you must create the images in this concert photography shotlist for every single client or every assignment. Everyone's vision is different, and concert photography is no different.

I'm presenting this list of common live music photography images as a reference for inspiration if you're a new music photographer or are looking for inspiration to increase the variety of your work.

Setlist

Fans always love seeing a setlist for a tour or show. The diehard fans will always try and score a setlist after the show. The next best thing you can give them as a concert photographer is a photo of the setlist.

Fans on the Barricade

Fans make live music, full stop. Showing fans seeing their favorite artists, rocking out, and enjoying the set is a great concert photography image to make. As I like to say, sometimes the best image isn't on stage, but right behind you.

Full Stage

Similar to images of fans, setting the context for a concert is essential for concert coverage. Tight images of a band member or artist could be made anywhere. What places it at your specific venue?

Venue/Production

Related to full stage shots, production photos focus on the production itself — lighting, effects, pyro, etc. These are images that capture the lighting design and full treatment, as well as the experience the tour creates.

Full Group/Band Photo

If you're photographing a band, it's essential to make an image that shows every member as clearly as possible. This can be a challenge for larger stages or bands with more than 4 members, but this image can be critical to concert photography storytelling.

Individuals of every band member

Beyond the full band photo, make images of every band member. This is often the easiest kind of image to make and one that you will likely gravitate towards naturally. But don't just focus on the lead singer or guitarist — make sure to create one great image of each band member.

The Drummer!

Drummers are special and sacred. Drummer photos are often the most difficult and challenging, but the exact reason why I'm calling them out now even after the above advice. As I always say, “Don't forget the drummer!”

Multiple Combinations of Band Members

We've covered individuals and we've covered full band images. What's left? Different combinations of members. Drummer and bass player. Guitarist and bass player. Singer and guitarist. You get the idea.

Multiple Angles

In essence this list is all about covering different perspectives, but what I mean here specifically is to make sure you get as much coverage as possible from different vantage points. For example, getting a variety of images from the stage left, center and stage right. This is in addition to images from the photo pit, on stage (if you have the access), front of house, etc.

Multiple Focal lengths

In addition to covering your angles, try to vary the perspectives you make in terms of using different focal lengths. If all your images are made with the same or similar focal lengths, you're going to get a very similar look to your images.

The standards of photojournalism apply to music photography in creating a wide, mid and tight shots as part of the storytelling.

The Reverse from Stage

If you're blessed with all access and the ability to photograph from stage, there's nothing like a reverse shot to make the most of that access. A reverse shot is made from stage, looking out to the audience. Literally the reverse of what the audience sees.

Artist Closeups

I sometimes like to refer to music photography as “low light action portraiture.” Artist closeups are essentially tight portraits of a performer. Instead of studio lighting, these are simply portraits using the existing stage lighting, but which otherwise may fall into a portrait study that creates isolation and insight.

Details

Similar to images of the setlist, it's always nice to have detail shots from a concert to fill out a set. Perhaps it's a closeup of a guitar, or the shoes a performer is wearing. Maybe it's an aspect of the show or venue that gives greater context or place setting. Whatever the detail, these images add variety and depth to the storytelling of your concert photography.

Artist/Fan Interaction

This one is situational and something that's pretty obvious in the moment, but artist-fan interaction photos are one that I live for. Particularly when you have photo pit access, this one is always great to create and gives you that feeling of being right there in the best seat in the house.

Special Effects (Pyro, Cryo, Confetti, etc)

If a concert has any special effects, these are a great element to capture that that help ground your images in a particular tour. Similar to capturing the particular lighting effects in the aforementioned production images, special effects at a concert are often one of the most memorable aspects of a tour or performance.

And more

There are countless ways to approach concert photography and images to make. These are just a few and by no means how you must approach photographing live music. These are just some of the images on my mental checklist when I do concert photography.

In addition this list doesn't even start to get into the more artistic kinds of images you can make in live music photography. From abstracts to silhouettes to motion blur or more stylistic images.

More importantly, don't limit yourself to how others approach concert photography. Photograph live music the way you want to. Take the ideas and inspiration that align with the images you want to make. It's really that simple.

Summary

If you're new to music photography or just looking for ideas on how to approach concert photography, I hope this article gives you some ideas. This is no by no means a complete or definitive concert photography shotlist, but just some standard images you can make as a music photographer.

Your style and how you approach music photography can be as different as you make it. But if you're looking for conventional images to make, I hope this list gives you some ideas. Have fun in the pit.

The post Concert Photography Shotlist appeared first on ishootshows.com.

The DSLR vs mirrorless consideration has never been a more seriously one for many photographers. Until recently, DSLRs have been the first choice for professionals due to their reliability and performance, but recent offerings have upended that convention.

As a lifelong Nikon shooter, I was insanely excited about the introduction of the Nikon Z mirrorless system. The compact form factor, autofocus capabilities and the promise of a next-generation platform for the most advanced optical performance combined with the quality and performance that Nikon is know for were all tantalizing.

But was mirrorless up to the rigors of concert photography? After all, shooting live music is intensely demanding on a camera system. As I like to say, concert photography is all about low light, fast action and high ISO. It demands exceptional performance from your gear — speed, responsiveness, and performance at every level.

After using the Nikon Z system extensively as a professional music photographer, I can definitively say that this mirrorless system is more than up to the challenges of live music photography. Here's my report on shooting mirrorless for concert photography.

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Ergonomics and Handling

The Nikon Z 7 may be mirrorless, but as soon as you pick it up, it feels like a Nikon. This may sound trivial, but Nikon users will know what I'm talking about. The button placement, the grip, the way you can access controls intuitively with a sweep of your fingers or thumb — these are the kind of ergonomic advantages that Nikon is known for among serious shooters.

The Z 7 (and Z 6, which features an identical body) will feel immediately familiar to users of the Nikon D850 or D750 and D780. Many features, from the ISO, movie recording, and +/- exposure compensation buttons and the dual front and back dials are present. Same too with the D-pad and mini joystick for faster AF point selection.

For me, the Nikon D750 is the perfect size for a DSLR. The D850 is the most perfect DSLR I've ever used in terms of performance and features, but it's handles slightly large for me. I love that the Z 7 is more in line with the size of the D750. Coming from the D850, the Z 7 still has a full grip, but in a slimmer and more compact form factor. For me, this is win-win.

In my opinion, one can always add a plate or a grip extension, but you simply can't strip down a larger camera to be smaller if and when you want it. I wouldn't be surprised if we see a D5 or D6-like mirrorless flagship with an integrated grip, but for now I am loving the smaller size of the Z 7 platform.

The customization of the Z 7 is the best I've seen. The D850 offered a ton of customization in various function buttons, but the Z 7 increases that level of customization to an even higher degree.

The main customizations I have for my Z 7 include setting the two function buttons to image playback and to review zoom at 1:1. This lets me very quickly review and zoom to check focus on images, which is valuable info for me as I shoot and check images off my list during an event.

In stills shooting mode, I have the movie record button set to toggle AF mode. Here, I also have my command dials reversed, so the back dial controls the AF point selector, while the front controls the focusing mode (AF-S / AF-C / MF).

In the studio using Nikon Speedlights, I'll set one of the function buttons to the top item of the My Menu setting, which in my setup is for remote flash control, allowing me to quickly set flash power and change active groupings with using the Nikon WR-R10 radio transmitter. Thanks to the EVF, I can change flash power to exactly my needs, toggle a flash on or off, and so forth, all with the camera still up to my eye and while still engaging my subjects. I LOVE this feature and it makes studio shooting extremely fluid.

Between these customizations, the Info button (which allows for quick access of almost all common functions) and the layout of the default controls, I have a huge level of control over every setting I need on an active basis. Overall, I absolutely love the control and handling of the Z 7.

Nikon Z Lenses For Concert Photography

The native Z mount glass that I've used for the Nikon Z 7 has been overwhelmingly the Nikon 24-70mm f/2.8 S line lens. This is Nikon's new midrange zoom and cut right to it, this is the best midrange zoom I've ever used.

The sharpness and contrast wide open is tremendous. The edge to edge sharpness — all with a level of clarity and lack of distortion — is something that I've never seen before in a zoom lens. It's even better than the Nikon 24-70mm f/4, which is actually a considerable statement because that lens, too, is really excellent.

The 24-70mm range is a staple of concert photography, and here the new S line f/2.8 version is my favorite yet. AF speed is extremely fast and confident — zero hunting, this lens just locks on even with fast moving subjects in low light.

Other lenses in my Z series kit include the 35mm f/1.8 S line and the 50mm f/1.8 S line primes. Both are equally impressive shot wide open. I find myself doing silly things with these lenses, like putting the focus point in the very corner of the frame and checking sharpness, just because the results are so uncommon to me. The images are always wickedly sharp, the kind of results that I'd expect stopped well down on a normal DSLR lens.

For me, the lenses of the Nikon Z system are the real “killer app” and a very loud reason to switch to Nikon's mirrorless system. The next gen optics and the very real benefits of a very short flange back distance (allowing the optics of the lens to be at a minimum distance from the sensor) create a level of optical performance that feels incredibly special to see first hand.

If you look at the MTF charts for all of Nikon's new glass, the differences are stark. In almost every instance, the contrast and resolving power are not only higher in the middle of the frame, they are also higher across the frame to the corners.

The Nikon 70-200mm f/2.8 S line is my most recent Z mount kit addition and it's honestly the best 70-200mm lens I've ever used. It improves on even the 70-200mm f/2.8E VR which had previously been the best iteration of that range, with the Z mount version bringing enhanced sharpness across the frame wide open.

After that, it's only the 14-24mm f/2.8 that I truly need to complete my trifecta of lenses for concert photography. I can easily shoot most regular concert shoots with these three lenses and create a dramatic range of imagery. Down the road, I'd love to see a 15 or 16mm fisheye and a compact 300mm f/4 like the current 300mm f/4E VR PF.

Performance of Using Adapted Lenses on the Nikon Z 7

The Nikon Z series has the ability to mount practically any F-mount lens via the FTZ adapter. This adapter provides the appropriate flange-to-mount distance between the lens and the sensor. With the F-mount, this distance is 46.5mm, while with the Z mount it's an extremely short 16mm — the FTZ adapter makes up for the 30.5mm difference (and of course the difference in the mounts themselves).

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In my experience, the performance of native F-mount lenses on the Nikon Z 7 has been flawless with the FTZ adapter. Currently, I'm using the following F-mount lenses on my Z 7, all with flawless performance:

• Nikon 8-15mm f/3.5-4.5
• Nikon 14-24mm f/2.8
• Nikon 70-200mm f/2.8E VR
• Nikon 300mm f/4E VR PF

AF speed, AF accuracy and optical performance are all exactly identical to me moving between the Nikon D850 and the Nikon Z 7. These two cameras both use a 45.7 megapixel sensor that is extremely similar, so this is a very good basis for comparison.

The FTZ adapter does add a little length to any combination, but it's generally so small that it doesn't dramatically affect the balance or handling of any of the lenses. For what small differences there are in the balance is still small factor compared to the ability to use all my favorite F-mount lenses.

AF Performance

The AF performance of the Z 7 for live music photography has been tremendous. I absolutely love the 90% coverage. The extremely wide coverage has literally changed the way I shoot — this is not an exaggeration.

The Z 7 features 493 individual AF points that cover the frame right to the very corners and edges. If you're use to shooting a DSLR, the coverage that the Z 7 offers is a dramatic expansion that can't be understated if you compose in a way that pushes your subjects to the edges of the frame.

My most-used AF modes for concert photography are the Dynamic AF and Auto Area AF modes. Currently, I have the AF set to only use half of the available points, which speeds up point selection.

I've found that AF speed and precision has been nearly identical to the Nikon D850. I would have given the edge to the D850 at the Z 7's launch, but the v2.0 firmware update in May of 2019 made any difference practically nonexistent in my experience. Just recently, Nikon has released the v3.0 firmware which by some reports improves the AF performance even further.

Back to why I'm in love with the Z 7's AF.

When using DSLRs, I always utilized back-button AF — using the dedicated AF-ON button with my thumb as the only way to activate AF, rather than having AF tied to the shutter release. The reason is that even with the best autofocus point spreads on cameras like the D850, the area was still relatively small relative to the frame. The way I like to compose, even and especially for action, I'm often putting my focus point toward the top edges of the frame. To achieve the AF I wanted for my compositions, I would activate AF with the back-button using the closest AF point to my target and then recompose quickly for my final framing.

With the Nikon Z 7, I can compose exactly how I want in the frame with zero need to recompose. For me, this experience of achieving focus and composition was a real revelation.

For general shooting, I have really liked the Dynamic AF mode of the Z 7. This mode allows me to pick a single AF point and utilize the surrounding points for improved tracking and precision. What I like about this mode is that it gives me the precision of a single AF point with the security of a larger “hit” area of my target briefly moves off that AF point where continuous AF can still keep focus.

For individual performers, I've taken to using the Auto Area AF mode more recently. I have found that the camera excels at this mode when shooting with tighter framing on an individual, such as half-length shots of a musician with the Nikon 70-200mm f/2.8. The eye AF and face detection features of the Auto Area AF mode perform extremely well here. The level of freedom that the Auto Area AF mode enables is really game changing and lets me focus on the action and the composition in a way that has never been possible before.

With the new firmware v3.0 update that has just been released, Nikon has tweaked the tracking mode of the Auto Area AF mode, making it's UI much closer to that of the 3D AF mode of the D850 and D750. 3D AF was my most favorite AF mode and I'm so excited to put it to use in its implementation in the Z 7 for events. For me, it's the best of both worlds — the precision of a single point with the range of tracking across 90% of the frame. In the update, the tracking mode now snaps back to the original starting point when I release the shutter fully. Previously, the point snapped back to the center of the frame when tracking was actively cancel.

As an aside, it's extremely cool to see Nikon making major updates like this with every large firmware jump.

Speed and Responsiveness

The Nikon Z 7 offers an high frame rate of 5.5 FPS in the standard mode, and a maximum of 9 FPS with AE locked. For action involving live music photography, I find this level of continuous speed a great option to have. I am always one to have my cameras in Continuous High shutter release mode because the speed is there when I want it, while I can also shoot a single frame just as easily.

One big contributing factor to the speed of the Z 7 is the use of XQD and CFExpress cards. I used XQD cards with the Nikon D850 and for me these were revolutionary. Not only are the read and write speeds in-camera much faster than even the best SD cards, the download time to computer is about half that with SD, making the ingest and editing process that much faster when it's time to get to work. As an event photographer, the faster download speed isn't just a benefit to me, it's a benefit if I have a dedicated photo editor pulling down files. They're able to download the cards faster, start on the edit, and return my cards faster because of the speed of XQD.

The overall responsiveness of the camera is excellent — the same level of reflexiveness as my DSLRs like the D850 in the feel of the shutter release and the EVF. More on the viewfinder next.

EVF — So Good You Forget About it

Going into using mirrorless, the quality of the viewfinder was a question for me. I'd always used optical viewfinders, but using the electronic viewfinder was a game changer for me. There are differences to be sure, but after a short time using the EVF I have come to prefer it for my photography.

There are a couple key reasons for the quality of the EVF. One is the display itself — the 3.6 million dot display of the viewfinder is so high in resolution, it's easy to forget you're looking at a display and not an optical display. The second is the optical component of the viewfinder — the assembly of lenses that allow for a crystal clear, distortion free and 100% coverage display. The quality of the EVF's optics shouldn't be discounted. Both of these elements combine with a real-time display to allow me to be immersed in the action of live music and capture those “rockstar” moments without compromise.

Moreover, the EVF offers benefits for low light, in being able to essentially give me enhanced reality and amplify dark scenes. Instead of being limited by the brightness of my glass, the EVF of the Z 7 allows me to literally see in the dark, almost giving me “night vision” in its ability to show me my exposure of the scene, not the scene's own relative brightness. For concerts and lower lighting, this is a huge benefit.

In addition, I love the real-time view of my exposure. I can immediately see the overall exposure of the scene as well as having a real-time histogram display. All of these things add up to creating a more fluid and responsive shooting experience with mirrorless and the Nikon Z 7.

The EVF lets me stay in the moment, reviewing image playback or go into the menu without taking my eye from the viewfinder. It might not sound like a dramatic change, but these little efficiencies are a huge benefit during something as fast moving as concert photography where one's constraints are constantly pushing you to the limits. If I'm photographing a concert as a press photographer and only have three songs to work, every moment counts in capturing those rockstar moments.

Low Light and High ISO Performance

The high ISO performance of the Nikon Z 7 is excellent, especially considering the very high resolution and the ability to downsample for a cleaner image. I find the Nikon Z 7 on par with the Nikon D850 in this regard. I am personally happy to use up to ISO 12800 for my client work and regularly use between ISO 1600 and 6400 with zero hesitation.

The color fidelity of Nikon's cameras even at high ISO is exceptional. Chroma noise is low and luminance noise is very fine at high ISO. All of these qualities give me confidence and the freedom to use the high resolution cameras I prefer like the Nikon Z 7 and D850, even when I work almost exclusively at high ISO.

What's more, in shooting RAW (my default 100% of the time), the file latitude for exposure adjustments is excellent. Many of Nikon's recent cameras like the Nikon D750 and D850 have been essentially ISO invariant, meaning that you'll get the same quality shooting at ISO 1600 natively as you would shooting at ISO 400 and adding +2 EV to the file in post. This detail is irrelevant if you nail your exposure 100% of the time, but if you're a mere mortal, this is a huge benefit. Even with the EVF, I will fine tune the exposure in post processing, adding up to +1 EV or sometimes even more. Because of the nature of the sensors and the way they respond to post processing, I never have to worry about ugly banding or unexpectedly nasty shadow noise if I do minor exposure compensation in post.

Image Quality

The image quality of the Nikon Z 7 is exceptional. I've touched on the high ISO performance, which for me is excellent and an easy move from the equally nice Nikon D850.

At low ISO, the resolution of the Z 7 really shines, and particularly in the studio. There, the 45.7 megapixel resolution of this camera gives gorgeous detail and plenty of it. The lack of an anti-aliasing filter on the Z 7 means no unwanted blurring at the sensor level, so the files from this camera are rich and as good as you want them.

This file quality is particularly evident with the latest glass like the Nikon 35mm f/1.8 S line, Nikon 50mm f/1.8 S line, Nikon 24-70mm f/2.8 S line and the superlative Nikon 70-200mm f/2.8E VR. The release of the 70-200mm f/2.8 S line for Z mount is imminent as I write this and I have no doubt that lens will also push this sensor to its limits.

Why The Nikon Z 7 for Concert Photography?

I know what you're thinking. The Nikon Z 6 is the low light king, so why is this guy using the high resolution Z 7? As a professional music photographer, my concert photography work focuses on larger concerts with great production quality. I'm most often shooting in arenas and amphitheaters where I can shoot between ISO 1600 and ISO 3200 with my f/2.8 glass and still come away with shutter speeds of 1/500 to 1/1000. In addition, my clients and especially my tour photography clients use my work in a commercial capacity, where an image might be blow up as a truck wrap for the next year's semi trucks or on a billboard.

Mirrorless Benefits for Concert Photography

For me, there are some very clear benefits of choosing mirrorless for concert photography, and these are the very reasons I've chosen two Nikon Z 7 as my main it for my live music work. Here are some summary points of why I've made the switch from DSLRs to mirrorless for my music photography.

Fluid Shooting Experience

The fluidity of shooting with the Nikon Z series is a huge selling point for me. It frankly feels strange to go back to using a DSLR after using the Nikon Z 7 almost exclusively since this camera's introduction in 2018. This fluid experience is a combination of the level of customization of the camera combined with the ability to use the EVF almost exclusively while I'm shooting — the need to use the rear display is non-existent. Image review and menu options can all be accessed with ease with the EVF, which allows me to keep the camera up to my eye, putting me in the best position to stay in the zone and capture the moments in front of my lens.

The Best New Glass

I'll say it again — the new Z-mount glass is the killer app for Nikon's mirrorless system. This is the reason for me to upgrade to mirrorless, knowing that I can take advantage of the best and most advanced optics and deliver exceptional image quality to my clients. Every new Z-mount lens I've used is wickedly sharp wide open and has superior wide-aperture performance across the frame to their F-mount counterparts thanks to the advantages of the very short flange-back distance of the new mount.

The Best F-mount Glass

While the new Z glass is superlative, I have a ton of F-mount glass and I love that I can use all my favorite lenses with ease with the FTZ adapter. Better yet, they behave exactly as the do on my Z 7 as they do on my D850 — perfect AF, perfect optical performance. This adapter removes what for me would otherwise be the biggest concern — switching to mirrorless doesn't mean giving up any of the lenses I already have.

EVF Superpowers

The EVF makes me feel like I can see in the dark. The ability for the EVF to show me the exposure I want, just not the actual scene, is a huge bonus for anyone who works in low light. The brighter scene that the EVF gives me allows me to see details that I might otherwise miss and otherwise just see better. In addition, I love the “heads up display” of real-time info like a live histogram so I'm always aware of my exposure.

Compact and Lighter Bodies

I always shoot with two identical bodies for my concert photography. I love the fact that the Z 7 offers me a compact and light body and cuts down on the total weight of my kit. For festivals and shooting on tour where I'm shooting for an extended set, the benefits are significant even when it means shaving ounces off my kit.

Nikon Ergonomics

Nikon is known for their ergonomics and their user interface (both in button layout and the digital menu interface) as being easy to use and extremely intuitive. The Nikon Z 7 takes the DNA of a Nikon camera and showcases it in a mirrorless form factor. What's more, they have increased the customization options to the point where I feel the Z 7 can be even more tailored to my exact preferences as a concert photographer.

Summary on the Nikon Z 7 for Music Photography

Overall, as a music photographer who shoots both concert photography and celebrity portraits and musician portraits, I feel like I'm in a position of wanting a do-it-all kind of camera. Just like the D850, the Z 7 fills that kind of Goldilocks sweet spots with the fantastic resolution and speed that I want for my work.

After shooting the Nikon Z 7 for over a year, I'm all in on this camera system. I'm switching out all my F mount lenses as soon as their Z mount versions are available.

Nikon's mirrorless system takes everything I love about Nikon — from their superior ergonomics and UI to color science and phenomenal optics — and takes it to another level of customization and performance. Nikon's Z system has me feeling like I can work more fluidly and effortless as a photographer. For me, that's always the best mark of the best tools.

The post Concert Photography with the Nikon Z 7 & Mirrorless Z-Mount System appeared first on ishootshows.com.

Last year, one of the articles I was most passionate about on publishing was titled, “Women in Music Photography You Should Know.” It was a feature of many of my favorite photographers in the music industry, many of whom I consider personal friends of mine. While I reached out to a handful of inspiring photographers, the list and the shoutouts they gave only scratched the surface of the talent that so many women are bringing to the photo game.

Even as I worked on that article, I knew that this was a topic that I was going to revisit, and I'm excited to feature even more of my favorite music photographers working today. These women are producing some of the most exciting work in concert photography, artist portraits, tour photography and more. Here are 40 women defining music photography today.

Once again, I asked each photographer profiled here (highlighted in yellow) to give a shout out to some of their favorite women in music photography. I'm so excited to bring you this feature — I know that I've so thoroughly enjoyed going through this list and enjoying photography that has left me stunned and impressed.

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A post shared by baeth (@baeth) on Nov 12, 2019 at 8:16pm PST

Beth's Shouts Out

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A post shared by @ro.lexx on Jun 10, 2019 at 12:14pm PDT

Lexis Rother @ro.lexx

“She has such a thoughtful element to her images; not a single image looks like a ‘snap' but a well made photograph. We have never met, but I have been looking up to her & her images for over a year now (after I learned the backsplash image in the 3 story Nike store at The Grove was hers). Her work and moves within the industry feel very calculated and are hella inspiring.”

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A post shared by lauren dunn (@laurenelizadunn) on Jun 15, 2019 at 9:22am PDT

Lauren Dunn  @laurenelizadunn

“I have never met a more confident woman in my life. She is SO good at what she does both in and outside of photography, and follows exactly what she wants to do in the style she wants to do it. She will not settle for mediocre and I applaud this.”

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Nicolita Bradley @okaynicolita

“Nicolita is so far from your average shooter. She understand the nuances of business, and is a sponge when it comes to learning from everyone around her. Her work is wildly clean; it's the type where you can recognize it because of her colors and editing style.”

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Ashley Osborn @ashleyosborn

“Ashley uses her platform for the betterment of the community. She is constantly reaching out, ready to teach/help new/struggling creatives. Ashley’s honesty about mental health within the industry is very needed and I am so happy to call her a friend.” 

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A post shared by PHOEBE FOX ? (@shotbyphox) on Jul 11, 2019 at 12:28pm PDT

Phoebe Fox @shotbyphox

“She is a Bad. Ass. She is one of my favorite photographers – point blank. I’ve never seen someone pump out more content than her – and its CONSTANT. This is me fan girling – let her work speak for itself.” 

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A post shared by Kat (@katiatemkin) on May 9, 2019 at 10:34am PDT

Katia's Shout Outs

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Alexandra Gavillet @alexandragavillet

“I admire Ali in so many ways. I don’t even know where to begin. We both graduated from NYU & watching her work ethic & success over the years is so inspirational & empowering. Ali has an incredible gift to capture raw & genuine emotions. I like to describe being around Ali as being around a ray on sunshine. Her happiness and confidence are so contagious and it is very much reflected in her photographs. She’s my idol.” 

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A post shared by Miranda McDonald (@mirandamcdonald) on Oct 3, 2019 at 6:04am PDT

Miranda McDonald @mirandamcdonald

“I’m obsessed with Miranda. Her photographs are so clean and beautiful. She captures the most perfect details and moments.” 

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A post shared by Cina (@ilikeyourface) on Oct 23, 2019 at 4:49pm PDT

Cina Nguyen @ilikeyourface 

“HER COLORS. Her portfolio is a dream. I’m in awe with every post. It doesn’t matter what the venue or light looks like, she makes everything look so incredibly surreal & dreamy.” 

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A post shared by Ashley Osborn (@ashleyosborn) on May 27, 2019 at 10:34am PDT

Ashley Osborn @ashleyosborn

“A true legend in capturing raw emotion – it is so inspiring.” 

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A post shared by elizabeth miranda (@elizabethamiranda) on Nov 29, 2019 at 4:50pm PST

Elizabeth Miranda @elizabethamiranda 

“A film and color genius. A nostalgia queen.”

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A post shared by Pooneh Ghana (@poonehghana) on Dec 28, 2019 at 6:34pm PST

Pooneh's Shout Outs

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A post shared by Sawah ??????? (@saraheiseman) on Dec 27, 2019 at 12:33pm PST

Sarah Eisman sarahashleyeiseman.com

“Not only are Sarah’s photos mind-bogglingly stunning, but I love the stories she attaches to each photo she shares and reading her perspective of the world around her. She’s a true story teller and is able to capture whatever emotion she’s feeling through her photos so well. You can tell she’s really passionate about her art and also enjoys playing around with different film cameras, trippy photo effects, and just having fun with whatever medium she decides to play on that day. It’s always rad seeing what she creates in the music world with her shooting style.”

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A post shared by J A C K I E L E E Y O U N G (@jackieleeyoung) on Dec 9, 2019 at 12:59pm PST

Jackie Lee Young @jackieleeyoung

“Jackie is a dear friend of mine and it’s a true joy watching how she constantly reinvents herself as a photographer and videographer in the music world (but also in fashion, food, travel, she does it all so well). Her work ethic and ability to see things in a completely different way has been so inspiring to witness. She can make something as mundane as a brick wall look like art. I love her!”

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A post shared by ? CJ HARVEY ? (@cjharvey2) on Nov 26, 2019 at 6:04pm PST

CJ Harvey

“CJ’s just a badass!! Photographer, tour manager, graphic designer, and a true music lover, as you can tell when you look at her photos. She’s a road dog and is able to throw herself in any situation and really capture what it’s like to be in that moment with an artist on tour, or at a festival or wherever. She shoots a lot on film as well and her photos are all beautiful!”

Caveats

A few caveats are in order. This is by no means a comprehensive list. The people in this list skew heavily toward photographers I know personally or who are friends of friends. I know a lot of music photographers, but I don't know everyone. That is abundantly clear even as I compiled this list of shout outs, and one of the reasons I hope that others will also discover some great talents we have here in the music photography community.

Some shout outs were added so I realize the number of photographers in this article has changed and isn't accurate reflected in the URL or title.

End Notes

Between the photographers I've profiled and the photographers they've shouted out, I hope that we can take a moment to celebrate the amazing work that women are doing in music photography as the truly define this genre. This isn't a competition or a popularity contest — if anything, I hope that we can all view this list as just a very small slice of a huge community of music photographers that exists worldwide.

Please give these photographers a follow and some love on social, and I hope you've found a new music photographer.

The post 40 Women Defining Music Photography Today appeared first on ishootshows.com.