Photographing live album and concert film recordings

A live recording asks a room to behave. Audience noise matters, the musicians are listening hard and the engineer is watching meters. Our stills photographer works as one of the quietest people in that room.

This page forms part of our guide to concert and live-music photography.

What stills do at a recording

At a recording, the main work is audio and video. Stills sit beside it. They can document the performers, the stage design, the room, the crew and the atmosphere. They might supply album artwork, press images or content for the release campaign.

State the purpose first. A moody artwork frame needs a different approach from a record of the day's work. Our event photography brief builder helps you write it.

Shutter sound and positions

Cameras make noise, and microphones are sensitive. Ask the recording engineer:

• Which parts of the venue are close to microphones?
• Which songs or sections are too quiet for any shutter sound?
• Are there positions where sound reaches the mics less?
• Who signals when we should stop?

We follow the engineer. If equipment such as a silent shutter mode or a blimp is needed, we discuss it. We keep as quiet as the setting allows, and we may be asked to stop for whole passages.

Stay out of the film

If a concert film is being shot, cameras and crew cover much of the front. Our guide to photography alongside live streaming and stage production and photo and video crews covering the same moment explain how to share space. Agree no-go zones with the director of photography so the film shot stays clear.

This is an illustration. The recording plan decides the real zones.

Permissions and use

Rights in a recording and in photographs of it are separate. The artist, the label, the venue and the production company may all have views. Ask your own legal adviser how contracts apply, and tell us the instruction to follow. Our guide to copyright ownership and permission to use event photographs lists the questions to settle for stills.

Also decide whether images may be shared before the release campaign. Many productions embargo material. Use the image-use and approval register to track it.

Retakes and quiet moments

Recording sessions often include second takes. These can be useful for photographs because the room is calmer and the performers are focused. They can also be the quietest moments, so ask first and follow the control room's cue.

Intervals between takes are another opportunity. Musicians tuning, talking to the engineer or resetting equipment often yield documentary frames. We stay respectful and unobtrusive.

A hypothetical example

Imagine a recorded concert for a live album, with two film cameras and ambient microphones in the audience. The engineer says no shutter sound is acceptable during two ballads. The director of photography asks that stills stay behind the pit camera line.

Our photographer works at the side and rear for most of the set, pauses during the two ballads and captures the intervals between songs. The brief states the use as press and the archive, with artwork to be discussed separately.

What we confirm in writing

We confirm the date, venue, crew assigned, positions, silence rules, deliverables and quotation in writing. Ask us whether specific options, such as a rehearsal visit, can be included. We confirm what is possible for your date, and film or audio is included only when agreed.

Questions to prepare

• Which sections are too quiet for any shutter sound?
• Where are the film cameras and microphones?
• What will the stills be used for, and when can they be released?
• Who has the last word on a clash?

Send us the recording plan and the engineer's contact, and we will propose positions and a stop cue for your session.