If you're coming into live music photography expecting it to be like working in a studio—think again. The two couldn't be more different. In a photography studio, you have full control over the lighting: where it goes, how intense it is, and what colour temperature you're working with. You set the mood, you shape the shadows, and you dictate the scene. Live music photography, however, flips all of that on its head. You're not in control—the lighting director is. And their job is to make the band look amazing for the audience, not necessarily for your camera.
In a studio, you might spend 15 minutes fine-tuning just one light. At a live gig, the lights can change three times in one second. That means as a concert photographer, you have to adapt constantly and think on your feet. Timing becomes everything. You need to anticipate where the lights will hit, how they’ll move, and when a key moment is about to happen—like a jump, a scream, or a blast of smoke and colour.
One of the biggest adjustments when you're used to controlled environments is camera settings. In a studio, your settings may stay the same for the entire shoot. At a gig, they’re always changing. For this reason, many photographers shoot in full manual mode, so they can adjust the aperture, shutter speed, and ISO on the fly. But for me, I find shooting in aperture priority mode works best. This allows me to lock in the depth of field I want—usually around f/2.8 to let in as much light as possible—and the camera automatically adjusts the shutter speed. That way, I can focus my attention on watching the light and managing my ISO as needed.
ISO is a critical factor in low-light photography. At gigs, I often start with my ISO set around 3200. That usually gives me enough sensitivity to handle dim or moody stage lighting. But sometimes, when the lighting is too low or the shutter speed drops too much, the photos can start to look grainy or underexposed. In those moments, I’ll bump my ISO up to 6400, which usually clears things up. Some noise is inevitable at higher ISOs, but I’ve found that most modern cameras, like my Nikon Z6II, can handle it quite well, especially when you clean up the images slightly in post-production.
One important rule in live music photography: never use flash. Flash or speedlights are not only distracting to the performers, but also to the audience. Most venues and artists won’t allow it, and using one could get you kicked out—or worse, ruin a shot for everyone else. Part of the challenge (and the fun) of this type of photography is learning to work with what you’ve got, and in this case, what you’ve got is stage lighting.
Stage lights can be magical when used right. Backlighting can create incredible silhouettes. Spotlights can carve a lead singer out from the background. Coloured lights—reds, blues, purples—can flood the scene with mood and energy. But they can also be your worst enemy. Deep reds can crush detail. Rapid strobes can confuse your autofocus. Colour shifts can make skin tones look unnatural. You have to learn how to embrace the chaos, time your shots well, and know when to wait or when to fire away.
 
Composition and positioning are just as important as settings. If you see the lighting crew using certain rigs or spotlights at intervals, you can anticipate when those lights will hit the performer again. Position yourself to make the most of those moments. One of my favourite shots, called Mr Hand, was taken during a Pink Floyd tribute show. I saw the singer raise his hand just as a white spotlight cut through the haze—it was a one-in-a-million moment that only lasted a second. But I was in the right spot, with the right settings, and got the shot.
Ultimately, shooting live music is about reacting quickly and understanding how light shapes the story you're telling. You're not just taking photos of people on a stage—you're capturing a feeling, a moment, an experience. And the light is your paintbrush. You just have to learn how to use it—even when it's moving, unpredictable, or completely out of your control.
So no, it’s not like working in a studio. It’s harder, faster, more intense—and honestly, I wouldn’t have it any other way.
 

 ​Getting into live music photography as a new photographer can be exciting and challenging. Here's a step-by-step guide to help you break into the scene and start building your name:


1. Start Small: Local Gigs & Small Venues
Begin by attending local shows at small venues where access is less restricted. Many local or emerging bands are happy to have someone photograph them in exchange for a few quality images. You don’t need a media pass for these—just buy a ticket, bring your camera (check the venue’s policy), and shoot from the crowd.


2. Build a Solid Portfolio
Use those small gigs to build a body of work that shows your style. Focus on capturing emotion, energy, lighting, and unique moments. A portfolio can be as simple as a curated Instagram page or a website, like your kazmariephotography.com—where potential clients and bands can see your work.


3. Learn to Work with Stage Lighting
As your “Lighting Is Everything” piece illustrates, mastering concert lighting is critical. Practice shooting in challenging lighting conditions and learn to anticipate lighting changes. Shoot in RAW, use fast lenses, and get comfortable adjusting your settings quickly in manual mode.


4. Reach Out to Bands Directly
Contact bands directly—especially if they’re playing in your area. Offer complimentary shoots in exchange for credit and permission to use the photos in your portfolio. As you already do, send well-written emails requesting media access, showing professionalism and enthusiasm.


5. Network with Venue Staff and Promoters
Building relationships is key. Introduce yourself to venue managers, lighting technicians, sound engineers, and promoters. Let them know what you do and offer them your photos if they’d like to use them for promotion. Your reputation will grow through word-of-mouth.


6. Apply for Photo Passes
Once you have a solid portfolio, start applying for media passes. Contact publicists, band managers, or promoters. A clear, professional request—including links to your work and details of where the photos will be published—can help get you access.


7. Stay Consistent and Show Up
Live music photography takes patience and persistence. Keep showing up, keep shooting, and continue sharing your work. Consistency helps build recognition and trust within the music community.


8. Consider a Blog or Social Media Content
Document your journey (as you’ve already been doing), share behind-the-scenes stories, gear tips, and your favourite shots. This helps build your brand and encourages others to follow your work.

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