Seriously, it’s not about tools or techniques — it’s about results, and doing what you need to do to get those results. Pros get results, and get paid for them.

Everything else is just details — and they don’t mean much. I don’t think you NEED flash to get great results… hell, I’m a fan of Todd Owyoung (IShootShows.com), and he uses available light most of the time, and makes it work. GREAT! That’s part of what makes his style what it is.

Incidentally, I think your shots are great, even if you do let the stage designer set up your lights for you… ;)

moron.

Or “I’m a photo editor because I could never make it as a photographer.”

I’m in the reveres situation as Eric in some ways, in that everyone else shooting locally relies on their (one camera!?) flashes and can’t shoot in available light worth a dam. I got my self the position as house photographer at one of the best venues in the city since they have a very low-lighting set up and I can handle it. I get access to all the best bands that come through and unlimited stage and green room roaming.

And I use flash when it is needed, I just keep it off the dam camera 80% of the time. Radio triggers or built-in CLS are an edge I have ‘cus other shooters are not doing there research.

The only real differences between flash and available light is that most people suck at using flash effectively, and you wind up spending more money on flashes, or more money on lenses, respectively.

Some venues and bands have “no flash” rules. When I encounter those rules, I don’t turn tail and run, I negotiate. I work with the stage designers to mount flashes to lighting trusses so they act just with the lighting design, only I can light things up when I need to, rather than try to get lucky and hope the action I want to capture happens to coincide with some good light. I’ve made friends with the local lighting / stage design companies. They know me, so I’m not some no-name stranger superclamping to their gear. ;)

The ability to negotiate and get what you need is what separates the pros with real access from the bloggers with photo passes who have to deal with crazy photography restrictions.

I’ve never had to go without flash when I needed it, and the only time I have encountered the three song / 15 minute rule was shooting Paul Oakenfold, and even then I could keep shooting throughout the set — I just had to do it from off the stage. Want the photo restrictions lifted for you with major headliners? Get to know the performers, their publicists, the venue, the stage staff… be *the* official photographer, and get hooked up with staff status — not just a photo pass.

You can do it. Get yourself into a position of power with your great photography skills, then work on your people skills and negotiation to secure the access you need to offer value well above and beyond what the free shooters can offer. That’s how to win when everybody in the audience has a camera.

I ran into another local nightlife photography at the last big event I shot. He said to me, “still working for free, huh?” I told him, “I don’t work for free.” I don’t think he believes me. Now you know my secret. Put it to good use.

http://www.sportsshooter.com/archive.html?start=1

Their message boards probably have more threads about over-photographed, under-paid events than almost any other topic.

The attitudes of sports photographers are also interesting. They seem to be either the nicest people in the world, or complete jerks. Needless to say, the burnout rate is high.

Any time I shoot sports, which is rare these days, I really do wonder how anyone makes a living at it.

and being friendly helps a lot.

At the events I shoot, there are usually dozens of other photographers carting professional quality gear around, but I’m often the only one with stage access, and the only one whose photos get used and remembered.

I don’t get the gigs by undercutting the other photographers — they’re willing to shoot for free! I’ll wager there are even photographers in the crowd who are better than I am at photography. In a crowd of 3,500, the chances are pretty decent there are a few good shooters. I get the gigs because I’ve built a name for myself, and I’ve developed relationships with the people calling the shots.

It’s not just about photography. It’s about networking, branding, and creating mutual value. The photographers who know that are the ones who manage to get paid, even when there is a sea of glass covering the show.

There are photo buyers out there who are only shopping on price. If you’re strategy is to be the guy trying to under-bid the competition, you’re going to bid yourself out of a job. If your strategy is to be the best — the top dog that everybody turns to when they want to get serious about their photo buying, you have to have skills that extend way beyond the camera lens.

Obviously technology is closing the gap but has not bridged it IMO

I shoot an average of 300 bands/year and other than really large festivals have never had to apply to shoot a show months in advance. Maybe a week.

Re: concert photography and everyone & their dog being allowed in the pit, if they’re really not supposed to be there and are in your way, assert yourself and speak up (nicely). Most are too intimidated to talk back and will get out of the way. And if that doesn’t work, a professional will find a way to get creative and get the shots they need. Of course, this still doesn’t solve the problem of bands/labels using their shitty photos over quality because they’re free! ;)

My favourite line, “Photography is not a profession, although most photographers behave professionally.”

“I guess I’ve spent all my time sending people to events and buying stock photos but never attending to see what goes down. “

Keith

I remember one time in my youth at a Nirvana gig this kid kept getting in my way even though he wasn’t shooting any pics (and he had a nicer camera than me!). I asked him to move to the side if he wasn’t actually going to shoot. He got all miffed and said he was saving his last frame (this was pre-digital mind you) for the band trashing their instruments. I think I said something not so nice and then they never did trash their gear that night.

A lot of (young) photographers think that you wait for just the right moment. It can happen that way but best to shoot INTO and AROUND the moment as what you envision may never happen or you may not be warmed up if it does. That pic of the festival reminded me of that.

But hey, I’m glad to help you feel superior…

It’s apparent you don’t actually read the posts since you mis-read #25 as well. The point of the link to Ken Rockwell was, as was stated, “to raise your blood pressure”…

that guy could not be a bigger hack

why must every good photo blog eventually be invaded by hobbyists and youth sports photographers

For more on this topic, see Ken’s provocative essay…

http://www.kenrockwell.com/tech/go-pro.htm

I guarantee that it will raise your blood pressure.