“…That’s why tastemakers and curators are more important than ever. In this landscape, there is an increasing value in selection and presentation…” We can’t combat poor photography. Everyone has a cam these days and most everyone thinks they take good pictures. So be it - enjoy. The reality is, most people rarely actually look at the images they take with any degree of frequency. Only those of us that have made image capture a priority in our lives in some way understand what it means to take a good pic - one that is lasting and emotive - and that is a skill those of us that put value on, will always have.
I’ve been ranting a similar message for quite some time, particularly noting how poor composition skills have become in the concert photo genre.
And, now there is an obsession with using gimmicky filters (IMO, to attempt to compensate for poor composition — emphasis on “attempt”, as you can put lipstick on a pig, but it’s still a pig.)
And, we also have the sprayers-and-prayers, shooting on burst mode for an entire show. I recently came across a guy who boasts about cranking off 30,000 shots in a two-hour show (equates to an average of about 4 fps, if my math is correct). Yes, you read that correctly. 30k frames in one gig.
I'm very much an amateur concert photographer but have been doing street and events for years. For the past five years I've been volunteering as a photographer for Pickathon. Early one I was all about the bands and getting up close. Then a few years into the gig I wanted my shots to feel like they were shot at the festival. Every year since I've been working to add to the complexity of my compositions -- not cluttered, just added context and richness.
While there are great shots coming out of the festival, they tend to focus on portrait like shots with very limited context. In general, a performer will prefer a portrait like shot over a poorly conceived wide shot so when the talent shares (or reshares) work, they go for the ones that make them look good.
I used to be that editors were the gatekeepers of photographs. With the erosion of print media and the rise of social media, we are flooded with crap. And your analysis of that crap is spot on. They are proof of attendance rather than beautiful documents of history.
One more thing, event photos, including performance photos, have devolved into a what-have-you-done-for-me-lately commodity. They are used to promote a feeling of FOMO within the target audience in an effort to create buzz and desire to see the performers. And there is just so much crap out there the good stuff gets lost in the ocean.
I've noticed that there's one venue here in Atlanta, The Eastern, that consistently posts great quality photos of the live performances & audiences there. The consistency of quality & style leads me to believe that's they're all taken by the same in-house photographer and I really appreciate that commitment from them. It's only a few years old but it's an excellent venue so it's not surprising but it's also incredibly smart
I think your analogy to paparazzi culture hits the nail on the head. Online media (what’s left of them) and more importantly social pages need images of every show as they happen. Or at the least the morning after.
So what’s the solution? I think the artists, promotion and venues have the high card here.
The artist if prominent enough will have their tour photographer, so they will be taking photos. The promoter should allow one photographer of their choosing. And then maybe one for the venue, we need to keep supporting them.
That should be it. Paid photographers only.
If you’re a shitty social blog or page doing it for content or traction. Then you can pay one of those three photographers for images to use. Which they won’t do, and slowly disappear.
Jay’s work is fantastic. I’ve known him and have admired his work for years now. My comment was in response to the author’s assertion that concert photography has become a lost art. But Jay’s work, much like the underlying meaning of my comment, would refute the author’s premise.
Gotcha. after reading the article, I definitely didn’t come to the conclusion that it is necessarily a lost art by definition, (and frankly forgot it was the title lol). The article makes some great points though, such as “the art of the photograph has been swallowed by the demand for content, birthing an ecosystem that inherently prioritizes disposable quantity over lasting quality.” as an amateur constantly in the weeds, that one stuck with me.
I understand it is your opinion, but maybe you stick to urban architecture and don’t write about topics you have no clue about.
There are still plenty of great music photographers out there and not only the kids that go for the fast influencer fame. Some proper research would have helped before putting something out like this…
I don't believe this author was saying that there's no great music photographers out there anymore. I was introduced to a few in the article myself.
and I wouldn't say the author has no clue what their talking about, clearly they do, hence the fantastic article. Your comment didn't give any legit criticism. What specifically did they get wrong according to you?
The fact that he admits he’s not even a concert photographer.
“My background in photography comes from capturing urban architecture…This background is why I judge concert photography primarily on composition, because I believe it is unforgivable.”
Great read. This is the reason why I stepped away from shooting live music, for rinse repeat way for media outlets, festivals and some artists.
That stillness and energy I did and still do capture has gained me more rewards through printed media and opportunity with artist than any rinse repeat media outlet has ever.
How connected or interested a photographer is to their subject always shows through their images. Algorithms Or AI can’t read that
“…That’s why tastemakers and curators are more important than ever. In this landscape, there is an increasing value in selection and presentation…” We can’t combat poor photography. Everyone has a cam these days and most everyone thinks they take good pictures. So be it - enjoy. The reality is, most people rarely actually look at the images they take with any degree of frequency. Only those of us that have made image capture a priority in our lives in some way understand what it means to take a good pic - one that is lasting and emotive - and that is a skill those of us that put value on, will always have.
I’ve been ranting a similar message for quite some time, particularly noting how poor composition skills have become in the concert photo genre.
And, now there is an obsession with using gimmicky filters (IMO, to attempt to compensate for poor composition — emphasis on “attempt”, as you can put lipstick on a pig, but it’s still a pig.)
And, we also have the sprayers-and-prayers, shooting on burst mode for an entire show. I recently came across a guy who boasts about cranking off 30,000 shots in a two-hour show (equates to an average of about 4 fps, if my math is correct). Yes, you read that correctly. 30k frames in one gig.
If anyone cares to see my work, check out
www.DavidSimchock.com
I’ve been at the music stuff professionally (yes, I get paid) for quite a few years now. You’ll likely recognize a few of the artists in my portfolio.
I'm very much an amateur concert photographer but have been doing street and events for years. For the past five years I've been volunteering as a photographer for Pickathon. Early one I was all about the bands and getting up close. Then a few years into the gig I wanted my shots to feel like they were shot at the festival. Every year since I've been working to add to the complexity of my compositions -- not cluttered, just added context and richness.
While there are great shots coming out of the festival, they tend to focus on portrait like shots with very limited context. In general, a performer will prefer a portrait like shot over a poorly conceived wide shot so when the talent shares (or reshares) work, they go for the ones that make them look good.
I used to be that editors were the gatekeepers of photographs. With the erosion of print media and the rise of social media, we are flooded with crap. And your analysis of that crap is spot on. They are proof of attendance rather than beautiful documents of history.
One more thing, event photos, including performance photos, have devolved into a what-have-you-done-for-me-lately commodity. They are used to promote a feeling of FOMO within the target audience in an effort to create buzz and desire to see the performers. And there is just so much crap out there the good stuff gets lost in the ocean.
I've noticed that there's one venue here in Atlanta, The Eastern, that consistently posts great quality photos of the live performances & audiences there. The consistency of quality & style leads me to believe that's they're all taken by the same in-house photographer and I really appreciate that commitment from them. It's only a few years old but it's an excellent venue so it's not surprising but it's also incredibly smart
The pics from the Eastern are probably from Perry Julien. He’s great! https://www.perryjulien.com/
What an awesome portfolio!
Social media’s ugly head rears itself again.
I think your analogy to paparazzi culture hits the nail on the head. Online media (what’s left of them) and more importantly social pages need images of every show as they happen. Or at the least the morning after.
So what’s the solution? I think the artists, promotion and venues have the high card here.
The artist if prominent enough will have their tour photographer, so they will be taking photos. The promoter should allow one photographer of their choosing. And then maybe one for the venue, we need to keep supporting them.
That should be it. Paid photographers only.
If you’re a shitty social blog or page doing it for content or traction. Then you can pay one of those three photographers for images to use. Which they won’t do, and slowly disappear.
Perry Julien, based out of Atlanta, is incredible. https://www.perryjulien.com/
Maybe you should have looked at some of Jay Blakesberg's work before you wrote this article.
Why is that? Jay's work is fantastic. I'm sure the author is aware already.
Jay’s work is fantastic. I’ve known him and have admired his work for years now. My comment was in response to the author’s assertion that concert photography has become a lost art. But Jay’s work, much like the underlying meaning of my comment, would refute the author’s premise.
Gotcha. after reading the article, I definitely didn’t come to the conclusion that it is necessarily a lost art by definition, (and frankly forgot it was the title lol). The article makes some great points though, such as “the art of the photograph has been swallowed by the demand for content, birthing an ecosystem that inherently prioritizes disposable quantity over lasting quality.” as an amateur constantly in the weeds, that one stuck with me.
I understand it is your opinion, but maybe you stick to urban architecture and don’t write about topics you have no clue about.
There are still plenty of great music photographers out there and not only the kids that go for the fast influencer fame. Some proper research would have helped before putting something out like this…
I don't believe this author was saying that there's no great music photographers out there anymore. I was introduced to a few in the article myself.
and I wouldn't say the author has no clue what their talking about, clearly they do, hence the fantastic article. Your comment didn't give any legit criticism. What specifically did they get wrong according to you?
The fact that he admits he’s not even a concert photographer.
“My background in photography comes from capturing urban architecture…This background is why I judge concert photography primarily on composition, because I believe it is unforgivable.”
Enough said…
yeah… i guess i disagree with the idea that you have to have the professional title to be able to form a thoughtful analysis on a given topic. lmao
面白い指摘だと思いました。
写真をほぼ無限に撮れるようになり、今度はアルゴリズムが門番になった。
アルゴリズムは反応や投稿頻度を重視するので、アーティストの顔が前面に出た写真が選ばれやすくなる。
その結果、世に出るライブ写真から、構図や会場の空気といった文脈が削ぎ落とされていく。
でも逆に、これだけ無限に写真を見られる時代だからこそ、
アルゴリズムに選ばれたものを見るだけじゃなく、自分で「何がいい写真なんだろう」と選ぶようにすれば、自分の審美眼を養いやすい時代でもあるのかもしれない。
Great read. This is the reason why I stepped away from shooting live music, for rinse repeat way for media outlets, festivals and some artists.
That stillness and energy I did and still do capture has gained me more rewards through printed media and opportunity with artist than any rinse repeat media outlet has ever.
How connected or interested a photographer is to their subject always shows through their images. Algorithms Or AI can’t read that