Camera settings and tips for live music photography

Not one of the lucky ten? Don’t worry because we asked Scarlet to share her mentoring masterclass right here…

For an indoor gig, what are your go-to camera settings?

In a fairly dark indoor venue I often start around ISO 1600. The Z8 handles low light beautifully so I am comfortable going to 3200 or higher if needed. I’ll typically work in Shutter Priority and keep my shutter speed at a minimum of around 1/250 to freeze movement. If the stage is heavily backlit, I’ll dial in plus one third to plus one stop of exposure compensation. If I know there is going to be fast movement I will switch to burst mode. I use 3D Tracking autofocus, which works brilliantly for me. It may not suit everyone, but I know how to override it quickly if needed. It has been a game-changer compared to the manual focus days.

How do you adapt your technique as the light changes?

I keep an eye on the back of the camera and adjust instinctively. If it suddenly drops into very moody low light, I will increase the ISO straight away. If things are blowing out, I use exposure compensation. My lenses are f/2.8, which helps massively in low light, so that gives me flexibility.

What about daytime outdoor gigs?

At summer festivals like Glastonbury you can work comfortably at ISO 200 to 800 during the day, then increase it as evening falls. My overall approach stays the same. The only real difference is being careful in harsh daylight, especially if you are photographing against dark backdrops. In those cases, I may underexpose slightly using compensation to protect highlights.

Low light can be daunting for newcomers. What’s your advice for working in it?

I rarely use flash. I know how far I can push my cameras before noise becomes an issue. I have worked at ISO 12,000 when necessary and it was still very usable. Sometimes you just have to do what you need to do to get the photo. Larger artists usually have good lighting. Smaller venues without lighting techs can be more creative but also more challenging.

For a first gig, what should photographers prioritise?

Atmosphere and storytelling over technical perfection. Some of the most powerful live images are about mood. Think as if you are photographing an editorial feature. Capture backstage, the crowd, details, wide frames, closeups. Tell the whole story.

How important is anticipation?

It is everything. You have to feel the music. Watch for cues. A build-up in the song, a performer stepping back before a jump, a look exchanged between band members. Don’t constantly shuffle around in the pit. Let the action come to you. Cover all members of the band and look for those loose, human moments as well as the big power moves.

How can beginners gain access to the photographers’ pit?

Show genuine passion. Reach out to local publications, venues, PRs and managers. If you don’t ask, you don’t get. And be careful with contracts. Don’t give your work away. If a band wants to use your images, even a small fee establishes value. And if you can’t get in the pit, queue all day to get a great spot in the crowd. Positioning and commitment make a huge difference!

How can aspiring pros break into the industry?

Keep photographing consistently. Build relationships with emerging bands. If you can photograph them around soundcheck and create a strong portrait as well as live images, you will stand out.

What’s the one lesson you wish you knew when you were first starting out?

I wish I had properly logged every show: dates, venues, details. I started in 1994 and sometimes it drives me mad trying to remember specifics. Organisation is key. Caption properly and keyword everything. You will thank yourself later.

Scarlet’s seven quick tips for success

• Know your camera. Know it so well that changing settings becomes instinctive. If you understand how to balance ISO and shutter speed, you’ll be able to react quickly.
• Prioritise shutter speed to avoid blur. Photograph in shutter priority to guarantee sharpness and avoid camera shake, especially on a long gig when you start to feel tired.
• Use fast lenses. Ideally f/2.8 or wider for low light. I always carry a 24-70mm and a 70-200mm. Between those two you are covered for almost any scenario.
• If possible, work with two camera bodies. That way you are not constantly changing lenses.
• Look after your body. I use a hip holster, which takes the strain off my shoulders on long days.
• Use 3D tracking. In the past I would take so many photographs to make sure something was sharp. Now focus is so reliable it has completely changed the way I work.
• Always photograph RAW. It gives you full control in post. For example, I don’t worry about white balance in camera, as I prefer to adjust that afterwards.

Get more tips from Scarlet here.