🎟️🤘 The Riff Report Guide to Backstage Etiquette at Concerts

You’ve Got Backstage Access — Here’s How Not to Lose It

There’s something undeniably exciting about being handed backstage access at a concert.

You’ve walked through the venue doors, collected your accreditation, photographed the support act, survived the photo pit and then somebody points towards that mysterious door marked:

BACKSTAGE — AUTHORISED PERSONNEL ONLY

You show your pass.

Security waves you through.

And there it is.

The mysterious world behind the stage.

Except instead of finding Lemmy playing poker with Dave Grohl while someone wheels past a bath filled with champagne, you’re considerably more likely to encounter:

Flight cases.

Cables.

Crew members carrying equipment.

A tour manager staring intensely at a phone.

Someone desperately searching for gaffer tape.

A guitarist warming up.

And a bloke with a radio moving at approximately 900mph.

Welcome backstage at a concert. 🎸🔥

It’s exciting.

It’s fascinating.

But above everything else:

BACKSTAGE IS A WORKPLACE.

Whether you’re there as press, a photographer, interviewer or invited guest, you’ve been trusted with access to an area where artists and crews are preparing to put on a show.

So don’t become the reason someone regrets issuing your pass.

Here is The Riff Report Guide to Backstage Etiquette at Concerts.

🎟️ DO: Know What Your Pass Allows

Backstage access isn’t universal access.

Different credentials can mean completely different things.

You might have:

Photo pit access
Press access
Backstage access
Dressing-room corridor access
Interview-area access
Artist guest access
Side-stage access
All-access accreditation

Never assume one automatically includes another.

A photo pass usually means exactly that:

Photography access.

It doesn’t mean you can wander backstage afterwards looking for the band.

Likewise, backstage access doesn’t necessarily mean you’re allowed side-stage during the performance.

If you’re unsure?

Ask security.

That’s considerably better than discovering the answer while somebody escorts you back through the door.

🚫 DON’T: Wander Around Looking for the Band

You’re backstage for a reason.

Maybe you’ve arranged an interview.

Maybe you’ve been invited to photograph something.

Maybe you’re meeting a PR representative.

Go where you’ve been told to go.

Don’t wander through corridors opening doors trying to find the dressing rooms.

This isn’t Pokémon Go.

You don’t need to catch them all.

🤘 DO: Remember Everyone Is Working

A concert backstage area can be incredibly busy.

You’ve got:

Tour management.

Production crew.

Guitar technicians.

Drum technicians.

Lighting crew.

Sound engineers.

Venue staff.

Security.

Merchandise teams.

PR representatives.

Photographers.

Journalists.

Support bands.

Headline artists.

Everyone is trying to make sure the gig actually happens.

Don’t block corridors.

Don’t stand in doorways.

Don’t spread your camera bag across working areas.

And if someone comes towards you carrying an enormous flight case?

Move.

They have right of way.

Mostly because physics says so.

🚪 DON’T: Walk Into Dressing Rooms

Simple rule.

Never enter a dressing room unless you’re invited.

An open door doesn’t mean open house.

Artists may be:

Changing.

Eating.

Resting.

Warming up.

Calling home.

Preparing for the show.

Having private conversations.

If you’ve been told your interview is taking place in a dressing room, knock and wait to be invited inside.

Basic respect.

🎤 DO: Be Ready for Your Interview

Concert schedules can be ridiculously tight.

You might have been promised twenty minutes.

Then soundcheck runs late.

Meet-and-greet overruns.

Production needs the singer.

Suddenly you’ve got:

Eight minutes.

Welcome to music journalism.

Have your questions ready.

Know what you want to ask.

Know the artist.

Don’t waste precious interview time trying to remember what their latest album is called.

🎙️ DO: Check Your Recording Equipment BEFOREHAND

Before walking backstage:

Check batteries
Check storage
Test the microphone
Check recording levels
Put unnecessary notifications on silent
Carry backup recording equipment if possible
Make sure you’ve actually pressed RECORD

That final one is the killer.

Nothing quite compares with completing the best interview you’ve ever conducted, looking at the recorder and discovering:

00:00

That’s the sort of moment that makes grown journalists stare silently at walls.

🔴 DO: Make It Clear When the Interview Starts

Everyone should know when you’re officially recording.

Something simple works:

“Right, we’re recording whenever you’re ready.”

And when the interview finishes, make it clear the formal interview is over.

Don’t secretly leave the recorder running hoping somebody says something controversial afterwards.

That’s not clever journalism.

That’s a fantastic way to destroy trust.

🤐 DON’T: Publish Off-the-Record Conversation

You’ve finished the interview.

The recorder goes off.

Then the guitarist tells you something absolutely enormous.

Upcoming album.

Tour plans.

Band gossip.

Whatever.

If it’s clearly off-record?

It’s off-record.

Respect it.

The music industry is smaller than people realise.

Trust travels.

So does the reputation of someone who can’t be trusted.

📸 DO: Ask Before Taking Backstage Photographs

Your photo accreditation doesn’t automatically extend backstage.

Performance photography and backstage photography are different things.

Ask before taking photographs.

Especially around:

Dressing rooms.

Private artist areas.

Production spaces.

Family members.

Guests.

Pre-show routines.

Some bands love backstage documentary photography.

Others absolutely don’t.

Respect the difference.

🚫 DON’T: Secretly Photograph Artists

No hiding behind a flight case trying to capture a “candid exclusive”.

No photographing through dressing-room doors.

No catching someone halfway through changing.

No photographing somebody having a private or emotional conversation.

You’re not photographing wildlife from a hide.

They’re people.

Treat them accordingly.

📱 DO: CHECK THE BACKGROUND BEFORE POSTING

You’ve taken a brilliant photograph with the band.

Lovely.

Before uploading it…

LOOK BEHIND YOU.

Backstage walls and tables can contain:

Setlists.

Production notes.

Phone numbers.

Tour schedules.

Pass information.

Unannounced plans.

Personal belongings.

Information that absolutely shouldn’t be plastered across Instagram.

Zoom into the photograph before publishing.

Make sure you haven’t accidentally leaked half the band’s touring operation because you wanted a selfie.

🤳 DON’T: Turn Backstage Into Your Personal Meet-and-Greet

You’re allowed to be a fan.

We’re all fans.

That’s why we work around music.

But if you’re backstage professionally, behave professionally.

Don’t immediately start asking everyone for:

Selfies.

Autographs.

Video messages.

Signed albums.

Signed shirts.

Signed guitars.

Signed left buttock.

You’re there because somebody trusted you professionally.

Don’t turn that access into a personal autograph hunt.

👋 DO: Introduce Yourself

You don’t need a speech.

Something simple:

“Hi, I’m Michael from The Riff Report. Lovely to meet you.”

Perfect.

Friendly.

Professional.

Done.

There’s no need to explain every concert you’ve attended since 1987 while the drummer desperately looks towards the stage manager for rescue.

⏰ DO: Respect the Clock

If you’ve been given ten minutes with the artist…

You’ve got ten minutes.

Not:

Ten minutes plus another question.

Plus one quick thing.

Plus a selfie.

Plus asking whether they’ll sign your vinyl.

Tour schedules can be incredibly tight.

Wrap up on time.

Thank them.

Leave.

PR people notice journalists who respect schedules.

That’s the sort of thing that helps when you request access next time.

🍺 DON’T: GET HAMMERED

There may be alcohol backstage.

That’s not a challenge.

If you’re there working for a publication, you’re representing that publication.

A beer after you’ve finished?

Fine.

Turning up to interview the headline act after six pints and announcing:

“RIGHT BUTT, LET’S TALK ABOUT RIFFS!”

Probably not.

Remain professional while you’re working.

🍕 DON’T: RAID THE RIDER

See that fridge full of beer?

Not automatically yours.

See those snacks?

Also not automatically yours.

See that suspiciously expensive bottle of whisky?

Definitely not yours.

A dressing-room rider belongs to the artist unless you’ve specifically been invited to help yourself.

Don’t nick anything.

You’re a journalist.

Not a raccoon.

🎸 DON’T: TOUCH THE INSTRUMENTS

This deserves enormous letters.

DO NOT TOUCH THE BAND’S EQUIPMENT.

Guitars.

Basses.

Drums.

Pedals.

Amplifiers.

Microphones.

Wireless packs.

Setlists attached to pedalboards.

Anything.

That guitar might be worth £10,000.

It might also be tuned specifically for the next song.

The guitar tech has spent hours getting everything exactly right.

They absolutely do not need a journalist picking it up and saying:

“Ooooh, nice Les Paul.”

Look with your eyes.

Not your hands.

📦 DON’T: Treat Flight Cases Like Furniture

Flight cases often look like convenient seats.

They aren’t necessarily.

They may contain extremely expensive equipment.

They may need to move in thirty seconds.

They may belong to another touring party.

Unless somebody tells you it’s fine:

Don’t sit on them.

🚧 DO: Keep Stage Access Clear

The area between backstage and the stage can become absolute organised chaos immediately before showtime.

Artists moving towards stage.

Guitar techs carrying instruments.

Security.

Stage crew.

Production.

Sound technicians.

People carrying equipment.

Don’t stand there chatting.

Don’t block the route trying to photograph something.

When the band is heading towards stage, get out of the way.

🔥 DO: WATCH OUT FOR PYRO AND STAGE EFFECTS

If you’ve got side-stage or stage-access permission, this becomes extremely important.

You may be close to:

Flame jets.

Pyrotechnics.

CO₂ cannons.

Smoke effects.

Spark machines.

Confetti cannons.

Moving equipment.

If security or production tells you to stand somewhere specific, stand there.

If they tell you to move?

Move immediately.

Don’t think:

“But this angle is amazing.”

That amazing angle might be directly beside a flame cannon that’s about to turn your eyebrows into history.

The crew knows what’s coming.

Listen to them.

🎭 DO: GIVE THE BAND SPACE BEFORE SHOWTIME

The final minutes before a concert can be intense.

Different performers prepare differently.

Some are laughing and joking.

Some are warming up.

Some are completely silent.

Some are stretching.

Some are pacing.

Some are doing vocal exercises that sound like somebody attempting to summon Satan through a kettle.

Whatever their routine…

Let them do it.

Five minutes before stage time is generally not when you should suddenly ask:

“Quick question about your second album…”

😅 DO: Give Them Space After the Show

They’ve just spent 90 minutes under hot lights performing at full intensity.

Give them a minute.

They’re probably:

Sweaty.

Dehydrated.

Full of adrenaline.

Exhausted.

Changing clothes.

Trying to cool down.

Unless an immediate post-show interview has specifically been arranged, don’t ambush them as they leave the stage.

🚫 DON’T: POST SPOILERS

This matters especially on tours.

You may see:

A setlist.

Stage production.

Costumes.

A special prop.

An encore surprise.

A guest musician.

Something fans attending later dates haven’t seen yet.

Think before posting.

Being first isn’t always worth ruining the surprise.

👥 DON’T: BRING YOUR MATES BACKSTAGE

Your pass is yours.

It doesn’t include:

Your mate.

Your partner.

Your cousin.

Your work colleague.

That bloke from the pub.

Someone you met in the smoking area who claims they were once in a band with the bassist.

Don’t put security in that position.

🔐 DO: LOOK AFTER YOUR PASS

Don’t lend your credential to somebody.

Don’t leave it sitting around.

And think carefully before posting detailed close-up photographs of current passes online.

Security systems exist for a reason.

Treat your accreditation responsibly.

❤️ DO: TREAT EVERYONE WITH RESPECT

This is the easiest rule in the entire guide.

Treat the headline artist with respect.

Treat the support band with respect.

Treat security with respect.

Treat the runner with respect.

Treat the cleaner with respect.

Treat the guitar technician with respect.

Treat venue staff with respect.

The person sweeping the corridor deserves exactly the same basic courtesy as the person headlining the arena.

Don’t become somebody different because you’ve got a laminate around your neck.

🙏 DO: SAY THANK YOU

Before leaving:

Thank the artist.

Thank the PR representative.

Thank the tour manager.

Thank security where appropriate.

Thank whoever arranged your access.

People don’t have to give publications backstage opportunities.

Appreciation goes a long way.

📧 DO: FOLLOW UP AFTER THE CONCERT

This is one of the easiest ways to build good relationships.

When your interview, review or photographs are published, send them to the relevant contact.

Thank them again for arranging access.

Keep it simple.

Professional relationships in live music are built one interaction at a time.

Do a good job tonight and you may be invited back next tour.

❌ THE RIFF REPORT BACKSTAGE DON’T LIST

Keep this somewhere in your brain:

DON’T enter dressing rooms without permission.
DON’T wander around restricted areas.
DON’T secretly photograph artists.
DON’T secretly record conversations.
DON’T publish off-record comments.
DON’T block corridors or stage access.
DON’T touch instruments or equipment.
DON’T raid riders.
DON’T get hammered while working.
DON’T bring uninvited guests backstage.
DON’T leak private information.
DON’T spoil tour surprises unnecessarily.
DON’T interfere with crew.
DON’T ignore security instructions.
DON’T assume your pass gives you access everywhere.
DON’T turn professional access into a personal meet-and-greet.

And above everything else…

DON’T BE A BACKSTAGE GOBLIN. 😈

✅ THE RIFF REPORT BACKSTAGE DO LIST

Instead:

DO know what your accreditation allows.
DO follow security instructions.
DO introduce yourself professionally.
DO arrive prepared.
DO respect interview times.
DO ask before taking photographs.
DO give artists privacy.
DO keep working routes clear.
DO watch for pyro and stage effects.
DO respect instruments and equipment.
DO stay professional.
DO treat every crew member properly.
DO protect confidential information.
DO thank the people who arranged access.
DO send published coverage afterwards.
DO enjoy the privilege without taking advantage of it.

🎟️ The Golden Rule: Access Equals Trust

Ultimately, backstage etiquette comes down to one thing:

TRUST.

Someone trusted you with access.

The venue.

The promoter.

The PR representative.

The tour manager.

The artist.

Sometimes several of them.

You’re entering an area that ordinary ticket holders aren’t allowed to enter.

Respect that.

Because the live music industry is considerably smaller than it appears.

People talk.

If you’re friendly, reliable and professional, people remember.

And if you’re an absolute nightmare?

Oh, they’ll remember that too.

🎸 Final Thoughts: Be the Person They Invite Back

Backstage access should still feel exciting.

Absolutely.

If you’ve spent your life loving live music, walking backstage at a concert is always going to give you that little:

“Bloody hell, this is brilliant.”

moment.

Enjoy it.

Take it in.

Have a laugh.

Meet people.

Talk about music.

Conduct the interview.

Get the photographs.

Tell the story.

But remember that the pass around your neck doesn’t make you more important than anybody else in the building.

It simply means you’ve been trusted to be somewhere most people can’t go.

Respect the band.

Respect the crew.

Respect security.

Respect the venue.

Respect people’s privacy.

And when somebody says:

“The band’s going onstage — clear the corridor please.”

Move, butt.

Because if you do things properly, hopefully the next time that band rolls into town and accreditation requests open, somebody sees The Riff Report on the list and says:

“Yeah. Get them back.”

And in music journalism, that’s one of the best endorsements you can get.

The Riff Report

Proudly Welsh. Proudly Loud. Zero Apologies. 🏴🎸🤘

See you backstage, butt — provided we’re on the guest list. 🎟️🔥

Michael

Michael is the founder, editor, and chief riff wrangler behind The Riff Report, an independent Welsh rock and metal publication built by fans, for fans. With a lifelong passion for loud guitars, unforgettable live shows, and the incredible community that surrounds rock and metal, he created The Riff Report to celebrate everything that makes the scene special—from legendary headline acts and grassroots venues to rising bands that deserve to be heard.

A familiar face at festivals across the UK, Michael spends much of the year covering events including Download Festival, Bloodstock Open Air, Steelhouse Festival, Firevolt, Plumpton Revival, and many more. Whether he’s battling the Welsh weather on a mountainside, surviving a weekend in a muddy campsite, or squeezed against the front barrier with thousands of fellow fans, he’s always searching for the next great story to share.

As editor of The Riff Report, Michael writes festival guides, breaking news, album reviews, gig reviews, interviews, opinion pieces, nostalgia features, and behind-the-scenes stories from across the rock and metal world. His writing combines honest opinions, humour, and a genuine love for live music, bringing readers closer to the bands, festivals, venues, and people that keep the scene alive.

Michael is particularly passionate about supporting independent artists, local venues, charities, and the wider UK rock and metal community. He believes every band deserves a chance to be discovered and every festival has a story worth telling. Through The Riff Report, he aims to shine a spotlight on both the biggest names in rock and the future stars waiting to break through.

When he’s not writing or interviewing artists, you’ll probably find him exploring festival campsites, photographing live shows, chatting with fellow fans over a pint, or planning the next road trip in search of more riffs, bigger crowds, and unforgettable moments.

Above all, Michael believes rock and metal are about more than music—they’re about community, friendship, and creating memories that last a lifetime. That’s exactly what The Riff Report exists to celebrate.

Proudly Welsh. Proudly Loud. Always chasing the next great riff. 🤘

theriffreport.co.uk

🔥📸 Watch Out for Pyro and Other Stage Effects: A Concert Photographer’s Survival Guide

Because the Photo Pit Is Brilliant… Right Up Until a Flame Cannon Goes Off Next to Your Head

Concert photography from the pit can feel like one of the best seats in the house.

You’re right beneath the stage.

The crowd is roaring behind you.

The band is directly above you.

The lighting is massive.

The riffs are shaking the barrier.

And you’ve got a camera in your hands trying to capture the exact second when everything comes together.

Lovely stuff.

Then suddenly—

WHOOOOOOOSH.

A flame jet erupts from the front of the stage and your soul briefly leaves your body.

Welcome to live music photography, butt. 🔥😈

Modern gigs and festivals can involve all sorts of stage effects: pyro, flame bars, CO₂ jets, smoke cannons, confetti, streamers, spark machines, lasers, strobes and enough production wizardry to make your average rock show look like somebody tried to weaponise Christmas.

They look incredible.

They photograph brilliantly.

But when you’re standing in the photo pit, you’re also much closer to those effects than most of the audience.

That means one thing:

you need to keep your head on a swivel.

So here’s The Riff Report guide to staying safe around pyro and other stage effects while still getting those absolutely filthy live shots. 📸🔥

🚨 First Rule: Listen to Security and Production

This one matters more than any camera setting.

If security tells you to move, move.

If production staff tell photographers to stay away from a certain area, stay away from it.

If part of the pit is taped off or marked, don’t decide that it would make a cracking angle and wander into it anyway.

There may be pyro.

There may be moving stage machinery.

There may be an artist entrance.

There may be equipment hidden below stage level that you can’t see from where you’re standing.

The crew knows what’s about to happen.

You usually don’t.

So if somebody tells you to shift—

shift.

No shot is worth arguing over.

🔥 Pyro: Amazing Photos, Serious Respect Required

Let’s start with the big one.

Pyrotechnics.

Flame cannons can make concert photographs look absolutely enormous.

Singer in front of a wall of fire?

Yes please.

Guitarist silhouetted against a burst of flames?

Frame it and stick it on the wall.

But pyro is not something to mess about with.

It can be extremely hot, loud and sudden, especially when you’re only a few metres away.

And if you’re looking through a viewfinder, you may not fully realise what’s happening around you.

If you see pyro units positioned along the front of the stage, remember where they are.

Don’t put bags near them.

Don’t lean over them.

Don’t cross marked areas.

And don’t assume that because nothing happened during song one, they’re not being used.

The first blast might come in song three when you’re completely focused on the guitarist.

That’ll wake you up.

📸 Learn the Pyro Cue

Here’s where good observation turns into better photography.

A lot of stage effects are programmed to specific moments in songs.

Maybe the flame cannons fire at the start of the chorus.

Maybe there’s a massive blast at the end of the first verse.

Maybe the breakdown comes with a row of flames across the entire stage.

If you see it happen once, remember the timing.

Next time the section comes around, you can position yourself properly and be ready.

Frame slightly wider.

Set your exposure.

Wait for the cue.

Then—

BANG.

Flames.

Guitar.

Smoke.

Absolute chaos.

That’s the shot.

💨 CO₂ Jets and Smoke Cannons

CO₂ jets look brilliant.

They also arrive with absolutely no concern for your composition.

One second you’ve got a perfect view of the singer.

The next, the stage disappears behind a massive white blast.

Welcome to the job.

CO₂ effects can be loud and sudden, and in smaller pits they can dramatically reduce visibility for a moment.

If that happens, don’t start blindly stepping backwards while staring through your camera.

Lower the camera.

Look around.

Check where other photographers and security are standing.

Then move.

This sounds obvious until you’re standing in smoke, carrying two cameras and trying not to tread on someone’s 70–200mm.

✨ Spark Machines

Cold-spark effects have become massively popular at live shows.

They look like fireworks firing upwards from the stage, which naturally makes photographers think:

YES. THAT. I WANT THAT.

And rightly so.

They can create beautiful images.

But don’t assume that because an effect is designed for stage use it means you can wander right up to it.

Respect the boundaries.

If security or crew mark out a no-go area, stay out.

Photographers are there to document the show, not become part of the production.

🎊 Confetti Cannons: Beautiful Chaos

Confetti can transform a fairly ordinary live shot into something completely ridiculous.

A singer surrounded by hundreds of pieces of paper.

A full band bow beneath falling confetti.

A crowd exploding while streamers fire across the arena.

That’s money-shot territory.

But confetti creates its own problems.

Autofocus may suddenly decide that a tiny bit of silver paper six inches from your lens is now the most important thing in the universe.

Your subject disappears.

The pit floor becomes slippery.

Streamers end up wrapped around barriers, bags and camera straps.

So when you think confetti is coming, shoot slightly wider.

Let the chaos become part of the composition.

Sometimes the scale of the effect is far more impressive than a tight portrait.

💡 Strobes: Timing Is Everything

Strobe lighting can be brilliant and deeply annoying at exactly the same time.

It can freeze motion beautifully.

It can also confuse autofocus, exposure and your eyes.

If the lighting is heavily strobing, watch the rhythm.

Rather than firing endlessly, try to time your shutter for the brightest part of the sequence.

You may get cleaner exposures and stronger expressions.

And if the strobes become uncomfortable?

Lower the camera for a moment.

There will always be another photograph.

You only get one pair of eyes.

🔦 Lasers: Don’t Be Daft

Lasers can look spectacular in wide shots.

They add depth, atmosphere and that massive arena-show feel.

But they also deserve respect.

Professional laser shows are carefully designed and positioned.

Photographers should never move into areas they’ve been told to avoid, interfere with equipment or deliberately stare into powerful beams.

Again, the simple rule works:

follow the crew.

They know the production.

You’re there to photograph it.

🎈 Flying Stuff: Because Gigs Apparently Need Projectiles

Depending on the artist, you might also have:

Balloons
Giant inflatables
Beach balls
Streamers
Fake snow
Guitar picks
Drumsticks
Confetti
Props
Random objects launched into the crowd

All great fun.

Less great when you’re staring through a telephoto lens and a giant inflatable skull arrives from your blind side.

Photo pits can give photographers tunnel vision.

You’re focused on the performer.

Your eye is in the viewfinder.

Everything outside the frame disappears.

That’s when something catches you out.

Stay aware of what’s happening around you.

🏄 Don’t Forget the Crowd Behind You

At heavier shows, the biggest danger might not be onstage.

It might be flying over the barrier.

Crowd surfers.

Security staff may be catching people directly behind you while you’re photographing.

That means arms, legs and especially boots can suddenly appear with very little warning.

If security shouts or taps you, react immediately.

Don’t stand your ground because you’re mid-shot.

They may be trying to stop someone landing on your head.

And yes, that 70–200mm probably cost a fortune.

But your skull is still worth more.

🧎 Keep the Pit Floor Clear

Stage effects can make an already cramped pit even more awkward.

Confetti.

Cables.

Water.

Mud at festivals.

Dropped lens caps.

Camera bags.

Streamers.

It can become an obstacle course very quickly.

Keep your gear tight.

Don’t leave bags sprawled across walkways.

Don’t put lenses somewhere security needs to stand.

If you kneel, make sure people can see you.

The pit is a shared working space.

Treat it like one.

🌧️ Outdoor Festivals Add Another Layer of Chaos

Festival photographers get the full experience.

Pyro.

Smoke.

Crowd surfers.

Rain.

Wind.

Mud.

Sideways rain.

More mud.

And a random gust blowing stage confetti directly into your face.

Outdoor conditions can also affect stage effects.

Production teams will manage that side of the show, but photographers still need to remain aware of changing conditions.

Make sure your gear is protected.

Use lens cloths.

Keep batteries and cards dry.

Wear decent footwear.

And if the weather becomes severe, follow event safety instructions.

No photograph is worth ignoring an evacuation or weather warning.

🔥 Exposure Tips for Pyro

Pyro can absolutely wreck your exposure if you’re not expecting it.

A dark stage suddenly becomes extremely bright.

If your camera is set purely for low light, flames may blow out completely.

Try to anticipate the effect.

You may want to slightly underexpose so you retain more detail in the flames.

Shoot RAW if your workflow allows it.

That gives you more flexibility later when balancing highlights and shadows.

And if you know the pyro is coming?

Compose for it.

Don’t frame too tightly.

Give those flames some room to breathe.

📷 Wide Lenses Are Brilliant for Effects

If a band has massive production, don’t spend the entire set glued to a telephoto lens.

A wide-angle shot can capture:

The performer.

The stage.

The flames.

The lighting.

The crowd.

The scale.

Sometimes the best photograph isn’t a close-up.

Sometimes it’s the image that makes people look at it and go:

“Bloody hell, I wish I’d been there.”

That’s storytelling.

🚫 Never Chase the Shot Into a Restricted Area

This deserves repeating.

You see a brilliant angle.

There’s flames behind the drummer.

The guitarist is moving towards your side.

You think:

If I just step over there…

No.

If that area is restricted, it’s restricted.

If security has told you not to stand there, don’t stand there.

If there’s tape, barriers or markings, respect them.

The most professional thing you can do in a photo pit is prove that people can trust you.

Promoters remember photographers who behave well.

Security remembers them too.

And believe us—

they definitely remember the ones who don’t.

📸 The Best Photographers Stay Aware

A good concert photographer doesn’t only watch the performer.

They watch:

The lights.

Security.

The pit.

The crowd.

The stage edges.

The pyro units.

Other photographers.

The song structure.

The exits.

All while still composing images.

That sounds like a lot.

Because it is.

But the more experienced you become, the more instinctive it feels.

You start noticing patterns.

You know when something is about to happen.

And that awareness doesn’t just keep you safer.

It gets you better photographs.

🤘 The Riff Report Golden Rules for Stage Effects

Remember these and you’ll already be doing things properly:

Listen to security and production staff.
Know where pyro and effect units are positioned.
Stay out of restricted areas.
Never place bags near stage effects.
Watch for repeated effect cues during songs.
Lower your camera if visibility suddenly disappears.
Stay aware of crowd surfers behind you.
Keep the pit floor clear.
Shoot wider when pyro or confetti is likely.
No photograph is worth risking your safety.

Simple.

Effective.

Proper job.

🎸 Final Thoughts: Get the Shot, Keep the Eyebrows

Stage effects are one of the reasons live music photography is so addictive.

Pyro.

Smoke.

Lasers.

Confetti.

Strobes.

All of it can turn a good photograph into an absolute monster.

But the closer you are to the action, the more responsibility you have to stay aware.

The photo pit is not just a better place to stand.

It’s a working environment.

Security is working.

Production is working.

The band is working.

You’re working.

Everybody needs to be able to do that safely.

So keep one eye on the viewfinder and one eye on the chaos around you.

Learn the cues.

Respect the crew.

Don’t wander into restricted areas.

And when that wall of flames finally erupts behind the guitarist at exactly the right moment?

CLICK.

Nailed it. 🔥📸🤘

Then check you’ve still got your eyebrows.

The Riff Report

Proudly Welsh. Proudly Loud. Zero Apologies. 🏴🎸📸

See you in the pit, butt.

Michael

Proudly Welsh. Proudly Loud. Always chasing the next great riff. 🤘

theriffreport.co.uk

📸🤘 The Riff Report Ultimate Guide to Concert Photography from the Photo Pit

How to Survive the First Three Songs, Nail the Shot, Avoid Security’s Wrath and Come Home With a Memory Card Full of Absolute Filth

There’s a very particular moment in live music photography that never really gets old.

The house lights disappear.

The crowd erupts.

Security glance towards the stage.

The pit suddenly fills with photographers checking settings for the seventeenth time.

Someone is kneeling beside you with two camera bodies, three lenses and the facial expression of a person about to defuse a bomb.

Then the band walks out.

The lights explode.

The first riff hits.

And for the next few minutes, absolute organised chaos begins.

Welcome to the photo pit. 📸🔥

This is where gig photography becomes fast, physical, unpredictable and occasionally ridiculous.

You’re squeezed between a security barrier and a stage.

There are photographers either side of you.

There may be pyro.

There may be crowd surfers.

There may be security hauling people over your shoulder.

There may be a guitarist standing directly above you doing the most photographable pose of the night while your autofocus decides it would rather focus on a microphone stand.

Lovely stuff.

If you’re stepping into a photography pit for the first time, this guide is for you.

This is The Riff Report Ultimate Guide to Concert Photography from the Photo Pit.

🎟️ FIRST THINGS FIRST: YOU NEED ACCESS

You don’t simply wander into a photo pit because you’ve got a camera and a confident walk.

Photo pit access usually requires accreditation.

That could come through:

A publication
A newspaper
A website
A radio station
A photographer working directly for a band
A promoter
A festival
A PR company
A venue
An artist’s management

If your accreditation is approved, you may receive a pass, wristband or instructions telling you where to collect access.

Treat that access properly.

A photo pass is not a backstage pass.

It doesn’t mean you can wander wherever you fancy.

It doesn’t mean you can stand side-stage.

It doesn’t mean you can raid catering.

And it definitely doesn’t mean the headline band suddenly wants to hear your demo.

You are there to work.

📧 READ YOUR ACCREDITATION EMAIL

This sounds obvious.

Apparently it isn’t.

Read the bloody email.

Promoters and PR teams may include important information such as:

Pass collection location
Entry times
Pit access point
Photography restrictions
Song limits
Whether flash is prohibited
Whether particular artists have additional rules
Whether you need to sign a release
Where photographers can wait between sets

Do not arrive and immediately ask security fifteen questions that were answered in the email you ignored.

That is not how we make friends.

🎵 THE FAMOUS “FIRST THREE SONGS”

One of the most common concert photography rules is:

FIRST THREE SONGS. NO FLASH.

Not always.

But very often.

That means you may have roughly ten to fifteen minutes to get your photographs.

Sometimes less.

Some bands play short songs.

Some photographers have been in pits where the first three songs felt like approximately twelve seconds.

You need to work quickly.

But not frantically.

There’s a difference.

If you spend all three songs sprinting around like a startled spaniel, your photographs probably won’t improve.

Watch.

Anticipate.

Move with purpose.

🚫 NO FLASH MEANS NO FLASH

If the rules say no flash…

No flash.

Not “just one.”

Not “because the lighting is bad.”

Not “I forgot it was switched on.”

No.

You are photographing a stage containing thousands of pounds’ worth of professional lighting.

Use it.

If you accidentally fire a flash, switch it off immediately and make sure it doesn’t happen again.

A photographer repeatedly blasting a performer with flash is a very efficient way to become unpopular.

📷 KNOW YOUR CAMERA BEFORE YOU ENTER THE PIT

The photo pit is not where you should discover how to change ISO.

Learn your camera beforehand.

You should be able to adjust key settings without spending half the song staring at menus.

At minimum, understand how to change:

Shutter speed
Aperture
ISO
Autofocus mode
Focus area
Metering if you use it
Exposure compensation
Burst mode
White balance
Drive mode

Musicians do not wait while you scroll through settings.

They are irritatingly inconsiderate like that.

⚙️ CAMERA SETTINGS: WHERE DO YOU START?

There is no single magical concert photography setting.

Lighting changes constantly.

Different venues behave differently.

Different bands move differently.

But a useful starting point might involve:

Aperture: as wide as your lens comfortably allows.

Shutter speed: fast enough to freeze movement.

ISO: whatever is necessary to achieve that shutter speed.

That final point matters.

Do not become terrified of high ISO.

A noisy sharp photograph is usually more useful than a perfectly clean photograph where the guitarist looks like a paranormal apparition.

Modern cameras can handle high ISO remarkably well.

And editing software has become very capable at reducing noise.

🏃 SHUTTER SPEED IS YOUR FRIEND

Rock and metal performers move.

Quite a lot.

Some of them appear contractually forbidden from standing still.

If your shutter speed is too slow, you’ll get motion blur.

Sometimes intentional motion blur looks fantastic.

Usually accidental motion blur looks like you sneezed.

For energetic performers, you may want a relatively fast shutter speed.

For calmer performers, you can sometimes go slower.

Watch what’s happening and adapt.

That’s the important word:

adapt.

🔦 THE LIGHTING WILL BETRAY YOU

You’ll frame the perfect photograph.

Singer looks incredible.

Composition nailed.

Focus locked.

Then…

TOTAL DARKNESS.

Lighting director says no.

Welcome to concert photography.

Lighting can change dramatically every second.

White light.

Red light.

Blue light.

Strobe.

Darkness.

Backlight.

Laser.

Darkness again.

Don’t fight the lighting.

Learn its patterns.

Most shows are programmed alongside the music.

Pay attention during the first verse.

You may notice that every chorus produces a similar lighting cue.

Now you know what’s coming.

🔴 RED LIGHT: THE ANCIENT ENEMY

Every concert photographer knows the pain.

The stage becomes completely red.

Everything looks like it’s happening inside Satan’s kitchen.

Red lighting can destroy skin tones and reduce contrast.

Sometimes it still works brilliantly.

Other times you may decide:

Black and white is saving this one.

Don’t immediately stop shooting because the stage has gone red.

Look for silhouettes.

Look for side lighting.

Look for shapes.

Look for moments.

Great photographs can still happen.

💡 WHITE LIGHT IS GOLD

When clean white light hits the performer…

Get ready.

That may be your best opportunity of the entire three-song window.

White light can reveal facial detail, texture, instruments and expressions.

If you’ve been watching the lighting patterns, you may know exactly when it’s coming.

Position yourself.

Compose.

Wait.

CLICK CLICK CLICK.

Tidy.

🌫️ SMOKE MAKES EVERYTHING BETTER

Stage smoke is one of the greatest gifts available to concert photographers.

It catches lighting.

It creates beams.

It adds atmosphere.

It separates performers from backgrounds.

A guitarist surrounded by smoke with strong backlighting?

That’s basically cheating.

Use it.

📐 COMPOSITION IN A CROWDED PIT

You’re not photographing alone.

There may be ten photographers around you.

There may be thirty.

At major festivals, the pit can become incredibly busy.

You need to compose your photographs while also being aware of everyone around you.

Try:

Shooting low
Shooting slightly off-centre
Using lighting structures as framing
Using negative space
Photographing performers interacting
Capturing wide stage shots
Looking for symmetry
Isolating details

But above all:

move respectfully.

🚷 DO NOT STAND IN FRONT OF ANOTHER PHOTOGRAPHER

Nothing makes enemies faster.

If somebody is clearly shooting from a position, don’t walk directly in front of their lens and stay there for 45 seconds.

Sometimes you have to cross someone’s frame.

That’s inevitable.

Do it quickly.

Duck if necessary.

A tiny gesture of acknowledgement goes a long way.

The pit should be competitive only in the sense that everyone wants great photographs.

It should not become WWE: Photographer Edition.

🧎 SHOOT LOW, BUT DON’T BECOME A TRIP HAZARD

Kneeling can give you fantastic angles.

It can also turn you into an invisible obstacle carrying £4,000 worth of camera equipment.

If you kneel, be aware of movement around you.

Don’t suddenly stop in the middle of a narrow route.

Don’t leave camera bags spread everywhere.

The pit is a working space.

Keep it tidy.

Or at least as tidy as a space directly beneath a metal band firing smoke cannons can realistically become.

🎒 MINIMAL GEAR WINS

The temptation is enormous.

Camera body.

Backup camera.

16-35mm.

24-70mm.

70-200mm.

Prime lens.

Another prime lens.

Flash you’re not allowed to use.

Kitchen sink.

Tent.

Greggs loyalty card.

Stop.

Carry what you actually need.

Photo pits can be cramped.

Heavy camera bags slow you down and annoy everybody else.

A common professional setup might involve two camera bodies with different focal ranges attached.

That reduces lens changes and lets you move quickly.

Whatever you choose, keep it practical.

🔄 AVOID LENS CHANGES IN THE PIT IF POSSIBLE

Changing lenses inside a dark, crowded photo pit is not ideal.

You risk:

Missing photographs
Dropping equipment
Getting dust on your sensor
Bumping other photographers
Discovering the perfect moment happened while your camera had no lens attached

If you have two bodies available, different lenses on each can be incredibly useful.

If you only have one body, choose your lens based on the venue and stage distance.

🔭 WIDE VS TELEPHOTO

Both have their place.

Wide lenses

Brilliant for:

Full-stage compositions
Dramatic low angles
Pyro
Band interactions
Stage production
Musicians leaning over the barrier

Telephoto lenses

Brilliant for:

Facial expressions
Drummers
Isolated performers
Large stages
Detail shots

At smaller venues, a massive telephoto lens may be unnecessary.

At festivals, it can become essential.

Know your environment.

🎤 WATCH THE MICROPHONE

The microphone is one of the biggest compositional nightmares in live music photography.

You’ve got the perfect expression.

Beautiful lighting.

Then the microphone lands directly across the singer’s face.

Wait half a second.

Performers move constantly.

The clean frame may arrive immediately afterwards.

Anticipation matters.

🎸 WATCH THE GUITAR NECK

Another classic.

Beautiful guitarist photograph.

Everything perfect.

Except the headstock has been chopped off.

Now, sometimes tight cropping works brilliantly.

But accidental cropping usually looks exactly like what it is.

Be aware of instruments extending beyond your frame.

Especially when using longer lenses.

🥁 GET THE DRUMMER

This can be tricky.

Drummers live inside fortresses built entirely from cymbals.

They’re usually at the back.

Lighting may be terrible.

And there are frequently three musicians standing directly in front of them.

But when the opportunity appears…

Take it.

Look for raised sticks.

Use side angles.

Wait for lighting cues at the rear of the stage.

Use longer focal lengths if necessary.

Drummer photographs can easily become some of the strongest images in a set.

🤘 BAND INTERACTION IS GOLD

Two guitarists facing each other.

Singer leaning towards bassist.

Band members gathered around drums.

Guitarist and vocalist sharing a microphone.

These moments tell stories.

Concert photography becomes far more interesting when you capture relationships between musicians rather than endless isolated portraits.

Watch the stage.

Something usually happens.

🚀 THE JUMP SHOT

Everyone wants it.

Some performers are famous for it.

You need:

Timing.

Shutter speed.

Framing.

Space above the performer.

And occasionally pure luck.

If you think someone is about to jump, frame slightly wider.

Use burst mode if needed.

Start shooting just before take-off.

Then pray autofocus behaves itself.

🔥 PYRO: PLAN FOR IT

Photographing pyro is brilliant.

It is also significantly easier when you know it is coming.

If the first song contains flames during the chorus, remember the cue.

Next chorus?

Position yourself.

Expose carefully.

Shoot wider.

Capture performer and flames together.

And very importantly:

pay attention to pit safety instructions.

Photo pits can have designated no-go areas around effects.

Do not move beyond barriers or markings because “the angle looked better.”

No photograph is worth getting roasted like festival chicken.

🚨 SECURITY ARE YOUR MATES

Security staff are working.

You are working.

Be respectful.

If they ask you to move, move.

If they warn you about crowd surfers, listen.

If they need access, get out of the way.

At heavy shows, security may be catching crowd surfers directly behind you.

That means a human being wearing Doc Martens could suddenly arrive over your shoulder.

Stay aware.

Headphones?

Bad idea.

Your spatial awareness matters.

🏄 CROWD SURFERS ARE CAMERA-SEEKING MISSILES

You’re photographing peacefully.

Then suddenly…

BOOT.

Crowd surfers arrive quickly.

Security will often warn photographers, but always keep some awareness of what’s happening behind you.

Protect your equipment.

Protect yourself.

And don’t obstruct security while they’re pulling people over the barrier.

Their priority is crowd safety.

Not your 70-200mm.

🛑 NEVER BLOCK EMERGENCY ACCESS

Photo pits may also function as working routes for security, medics and venue staff.

Do not block them.

If somebody needs to get through, move immediately.

This is more important than your photograph.

Every time.

⏱️ WATCH THE SONG COUNT

Song one.

Song two.

Song…

Was that song two or three?

Uh-oh.

Keep track.

Security may begin clearing photographers immediately after the allowed number of songs.

Don’t argue.

If your time is up, leave.

Pack your gear away from the pit if possible.

The band isn’t going to pause while 20 photographers debate whether an intro counted as a song.

🚪 LEAVE THE PIT QUICKLY AND CALMLY

When security says out…

Out.

Don’t suddenly decide you need one final photograph.

Don’t stand at the exit reviewing images.

Move.

There may be another group of photographers waiting.

Or security may need the space.

Get clear before sorting gear.

👂 EAR PROTECTION IS NON-NEGOTIABLE

You are standing incredibly close to a very loud PA system.

Repeated exposure can damage your hearing.

Use proper hearing protection.

Musician-grade filtered earplugs are popular because they reduce dangerous levels while keeping music relatively clear.

You may feel invincible at 25.

Your ears will send an invoice later.

Protect them.

💧 LOOK AFTER YOURSELF

Festival pits can be brutally hot.

You may be carrying heavy gear.

You may have spent all day running between stages.

Drink water.

Eat.

Take breaks.

Wear suitable clothing.

Your photography will not improve because you tried to survive 14 hours on one energy drink and half a cereal bar.

Although that admittedly sounds very Riff Report.

🌧️ FESTIVAL PHOTO PITS: WELCOME TO BRITAIN

Outdoor festival pits introduce an additional enemy.

Weather.

Sunshine.

Rain.

Wind.

Mud.

All within twenty minutes.

Use weather protection for your equipment.

Pack lens cloths.

Keep batteries and memory cards dry.

Bring appropriate clothing.

A plastic carrier bag wrapped around a camera may technically be improvisation.

But you probably want something slightly better when the heavens open sideways.

💾 MEMORY CARDS: DON’T GET CAUGHT OUT

Fast burst shooting produces a lot of files.

Especially if you’re shooting RAW.

Make sure you’ve got enough storage.

Carry backup cards.

And use reliable cards.

Nothing will make your soul leave your body faster than seeing:

CARD ERROR

after photographing the headline act.

🔋 BATTERIES, BATTERIES, BATTERIES

Always carry spares.

Cold weather reduces battery performance.

Constant autofocus drains batteries.

Image stabilisation drains batteries.

Chimping photographs drains batteries.

Concert photography drains everything.

Bring more power than you think you’ll need.

🖼️ SHOULD YOU SHOOT RAW?

For serious concert photography?

Usually, yes.

RAW files preserve significantly more information and give you much greater editing flexibility.

That’s incredibly useful when dealing with brutal lighting conditions.

Highlights.

Shadows.

White balance.

Noise.

RAW gives you room to work.

JPEG can absolutely be useful depending on your workflow, especially when rapid turnaround is required.

Some photographers shoot RAW+JPEG.

Work with what suits your delivery process.

👀 STOP CHIMPING

Chimping = repeatedly checking photographs on the back of your camera.

Reviewing occasionally is sensible.

You need to know exposure and focus are roughly correct.

But if you spend half the second song staring at the screen, you’re missing the second song.

Take a few frames.

Check quickly.

Adjust.

Then keep shooting.

You can admire everything later.

🔍 CHECK FOCUS EARLY

One quick zoom-in early in the set can save disaster.

You may think your images look sharp on the camera screen.

Then you get home.

Every photograph focused beautifully on the microphone.

Wonderful.

Check focus during the first song.

After that, trust your setup and keep working.

💻 EDITING: DON’T NUKE THE PHOTOGRAPH

Concert editing can be enormous fun.

But restraint matters.

Common adjustments include:

Exposure
Highlights
Shadows
Contrast
White balance
Noise reduction
Sharpening
Cropping
Colour grading

Try to retain the atmosphere of the performance.

If the gig was dark and moody, don’t edit every photograph until it looks like lunchtime in IKEA.

⚫ BLACK AND WHITE CAN SAVE HORRIBLE LIGHTING

Sometimes the moment is brilliant.

Expression perfect.

Composition perfect.

Lighting?

Purple-red-green nightmare.

Try monochrome.

Rock photography has an enormous black-and-white tradition for a reason.

Texture, sweat, grain and expression can become the focus.

A failed colour image can become a cracking black-and-white shot.

🧹 CULL HARD

You may return from a festival with thousands of photographs.

Do not deliver thousands of photographs.

Select the strongest.

Look for:

Emotion.

Sharp focus.

Interesting lighting.

Strong composition.

Different musicians.

Variety.

Storytelling.

A gallery containing twenty brilliant photographs beats a gallery containing 187 nearly identical photographs.

📚 TELL THE STORY OF THE PERFORMANCE

A strong concert gallery shouldn’t feel like someone repeatedly pressed the shutter button.

Try to capture:

The entrance.

The singer.

The guitarist.

The bassist.

The drummer.

Band interaction.

Wide stage shots.

Production.

Crowd moments where permitted.

Pyro.

The finale.

You’re documenting a performance.

Think like a storyteller.

Not merely a camera operator.

⏰ TURNAROUND MATTERS

If you’re shooting for media, festivals, promoters or bands, deadlines matter.

Some publications expect photographs immediately.

Others might need them the following morning.

Festivals may want social media images while the event is still happening.

Understand expectations before you shoot.

A brilliant gallery delivered three weeks late may be considerably less useful than a strong gallery delivered when it was needed.

✍️ CAPTION YOUR PHOTOS PROPERLY

Where necessary, keep track of:

Artist.

Venue.

Festival.

Date.

Stage.

Photographer credit.

Nothing looks professional about sending photographs named:

IMG_8472_FINAL_FINAL_REALFINAL2.jpg

Create a sensible workflow.

Your future self will thank you.

©️ UNDERSTAND COPYRIGHT

Generally speaking, the photographer owns copyright in the photographs they create unless contractual arrangements say otherwise.

But accreditation agreements may include usage terms.

Read what you are signing.

Some artists or management teams may present photography releases containing specific restrictions.

Know what rights you’re agreeing to.

If something is unclear, ask before signing.

📜 PHOTO RELEASES: READ THEM

Do not sign a photography agreement without reading it because there’s a queue behind you.

Understand:

Where photographs can be used.

Whether commercial use is restricted.

Whether rights are being licensed.

Whether rights are being assigned.

Whether approval is required before publication.

Most situations are straightforward.

Some agreements deserve closer attention.

Know what you’re agreeing to.

🤝 CREDIT PEOPLE PROPERLY

If your images are published, your photographer credit should accompany them wherever possible.

Likewise, if you’re using someone else’s work:

Credit them.

Photography is work.

Photography is creative ownership.

Treat it accordingly.

🎤 RESPECT THE ARTIST

You’re photographing someone performing.

Avoid deliberately publishing photographs intended to embarrass performers.

Everyone makes strange expressions while singing.

Capture intensity.

Capture personality.

Capture performance.

You don’t need to upload the one frame where someone looks like they’ve just been informed Greggs has run out of sausage rolls.

🤝 RESPECT OTHER PHOTOGRAPHERS

The best pits have an unspoken sense of teamwork.

People make space.

People crouch.

People move.

People help each other.

Someone drops a lens cap?

Pick it up.

Someone needs to pass?

Let them through.

You’ve all got the same short window.

There are enough photographs for everyone.

😈 DON’T BE A PHOTO PIT GOBLIN

Every industry has etiquette.

Here are some easy ways not to become that photographer:

Don’t shove.

Don’t permanently occupy the best central position.

Don’t hold your camera above everybody’s head constantly.

Don’t step directly into people’s frames and stay there.

Don’t argue with security.

Don’t ignore restrictions.

Don’t swing giant lenses around like medieval weaponry.

Don’t leave bags everywhere.

Basically:

Have spatial awareness and don’t be a weapon.

Proper job.

🎯 BUILD YOUR OWN STYLE

Once the technical side becomes instinctive, something much more interesting begins.

Your photographs start becoming yours.

Maybe you love dark, cinematic frames.

Maybe you like high contrast.

Maybe you love huge wide-angle distortion.

Maybe you focus on emotion.

Maybe you specialise in drummers.

Maybe your festival galleries are all about atmosphere and scale.

Don’t spend forever trying to recreate somebody else’s photographs.

Learn from photographers you admire.

Then develop your own voice.

🏴 SUPPORT GRASSROOTS MUSIC

Want to become better at concert photography?

Shoot local music.

Small venues offer brilliant learning opportunities.

The lighting might be terrible.

Actually, let’s correct that.

The lighting will probably be terrible.

There may be one red light and a bulb that flickers every time somebody switches the kettle on backstage.

Perfect.

If you can learn to make compelling photographs there, larger venues become much easier.

And you’re supporting bands and venues that need coverage.

Everybody wins.

📸 THE RIFF REPORT PHOTO PIT CHECKLIST

Before leaving home:

Cameras charged
Spare batteries packed
Memory cards formatted
Backup cards packed
Lenses cleaned
Accreditation details checked
Pass collection location confirmed
Venue restrictions checked
Ear protection packed
Weather protection packed for outdoor events
Camera time and date correct
Storage available
Comfortable shoes on
Water sorted
Sense of humour activated

🤘 THE RIFF REPORT GOLDEN RULES OF PHOTO PIT PHOTOGRAPHY

Read your accreditation instructions.
Know your camera before entering the pit.
Respect the first-three-songs rule where it applies.
Never use flash unless explicitly permitted.
Respect security.
Stay aware of crowd surfers and emergency access.
Don’t block other photographers.
Carry only the gear you need.
Watch the lighting patterns.
Prioritise expressions and moments over endless shutter spam.
Photograph the whole band.
Protect your hearing.
Leave the pit immediately when instructed.
Edit carefully and deliver on time.
DON’T BE A PHOTO PIT GOBLIN. 📸😈

🎸 Final Thoughts: Three Songs, Thousands of Decisions

Concert photography from the pit looks glamorous from the outside.

You’re right beneath the band.

You’ve got incredible access.

You’re photographing some of the biggest moments of the show.

But those few minutes demand concentration.

You’re constantly balancing:

Exposure.

Focus.

Composition.

Movement.

Lighting.

Other photographers.

Security.

Crowd surfers.

Pyro.

Song count.

And somewhere in the middle of all that chaos, you’re trying to create something that captures what it actually felt like to be there.

That’s the magic.

Sometimes everything aligns.

The light hits.

The performer turns.

The expression is perfect.

The background disappears.

The shutter fires.

And before you’ve even looked at the screen…

you know you’ve got it.

That’s the photograph we chase.

Not simply a technically correct image.

A moment.

An atmosphere.

A fraction of a second where music, light and movement collide.

Then security taps you on the shoulder.

Three songs are done.

Back out you go.

Memory cards full.

Ears ringing slightly less because you remembered your plugs.

Adrenaline absolutely flying.

And somewhere amongst those hundreds of frames is hopefully one photograph that makes you grin like an idiot when it appears on your monitor later.

That’s concert photography, butt. 📸🤘🔥

Fast.

Chaotic.

Unpredictable.

Sometimes frustrating.

Frequently brilliant.

And when you nail the shot?

There aren’t many better feelings.

The Riff Report

Proudly Welsh. Proudly Loud. Zero Apologies. 🏴🎸📸

See you in the pit, mun.

Michael

Proudly Welsh. Proudly Loud. Always chasing the next great riff. 🤘

theriffreport.co.uk

📸🤘 The Riff Report Ultimate Guide to Concert Photography as a Fan

How to Get Brilliant Gig Photos Without Blocking Everyone Behind You, Annoying Security or Watching the Entire Show Through a Screen

There it is.

The house lights disappear.

The intro tape starts.

A roar rolls through the venue.

Smoke pours across the stage, the drummer emerges from the darkness, somebody straps on a guitar and suddenly several thousand people collectively lose their minds.

IT’S GIG TIME. 🤘🔥

And because we now live in an age where most of us carry an incredibly capable camera around in our pockets, there’s another instinct that kicks in almost immediately:

GET THE PHONE OUT.

There’s absolutely nothing wrong with wanting photographs from a concert.

Quite the opposite.

Gig photography can capture memories you’ll treasure for years. That guitarist standing in a wall of light. The singer leaning into the crowd. The confetti explosion. Your favourite band taking their final bow.

But there’s an art to photographing a concert as a fan.

You want the memories without spending £70 on a ticket only to watch the entire performance through your phone.

You want a decent photograph without holding your screen six feet in the air and transforming yourself into the most hated person in Row G.

And you definitely don’t want to arrive carrying a massive interchangeable-lens camera only to discover security won’t let it through the door.

So, whether you’re heading to a sweaty 200-capacity club, an arena spectacular or spending your weekend ankle-deep in festival mud, here’s The Riff Report Ultimate Guide to Concert Photography as a Fan.

Phone charged?

Lens cleaned?

Flash OFF?

Lovely. Let’s get amongst it. 📸🔥

🎟️ BEFORE THE GIG: CHECK THE PHOTOGRAPHY RULES

This is rule number one.

Before worrying about shutter speeds, exposure or getting the perfect shot of somebody windmilling their hair…

Find out whether you’re actually allowed to take photographs.

Photography policies vary enormously between artists, promoters and venues.

One venue might happily allow phones and compact cameras while another prohibits anything beyond a smartphone. Some may allow cameras but ban interchangeable lenses. Occasionally an artist may request limited or no photography.

Festivals can have their own policies too.

Don’t assume.

Check the venue or festival information before leaving home.

If the wording isn’t clear, contact the venue.

It’s considerably easier than standing outside security having the following conversation:

“But I brought this camera last time!”

Security:

“Not tonight.”

And there goes your evening.

📱 DO YOU NEED AN EXPENSIVE CAMERA?

Absolutely not.

The camera inside a modern smartphone is ridiculously capable compared with what fans were carrying even a decade or two ago.

Computational photography, optical stabilisation, multiple lenses and improved low-light processing mean phones can produce surprisingly impressive gig photographs.

Are they going to compete with a professional photographer using thousands of pounds’ worth of equipment from three metres away in the photo pit?

Probably not.

But that’s not your mission.

You’re capturing your night.

The venue.

The crowd.

The lighting.

Your favourite song.

Your view.

Your memories.

That’s what matters.

🧼 CLEAN YOUR BLOODY CAMERA LENS

Before we go any further:

Clean your lens.

Seriously.

You’d be amazed how many apparently terrible concert photographs aren’t caused by bad lighting or poor camera technology.

They’re caused by fingerprints.

Your phone spends all day being touched, thrown into pockets, placed on tables and generally treated like the most expensive pub coaster ever invented.

Then suddenly you’re expecting its camera to photograph lasers through three layers of Greggs pastry grease.

Give the lens a wipe before the gig.

Sometimes the simplest trick makes the biggest difference.

🚫 TURN OFF YOUR FLASH

This deserves enormous letters.

TURN. THE. FLASH. OFF.

Your phone’s flash is not illuminating the singer standing 30 metres away.

Physics has entered the chat.

What your flash will beautifully illuminate is:

the back of somebody’s head.

Possibly their pint.

Maybe the security barrier.

Congratulations.

You’ve captured Dave From Merthyr’s Bald Spot — Live at Wembley.

Meanwhile, you’ve potentially distracted performers and irritated everyone around you.

Concert lighting is already doing the hard work.

Use it.

💡 CONCERT LIGHTING IS YOUR BEST FRIEND

Stage lighting isn’t merely there to make the performance look spectacular.

It’s effectively an enormous photography studio designed around the band.

Watch what the lights are doing.

Look for:

Strong white spotlights
Backlighting
Silhouettes
Beams through smoke
Colour changes
Side lighting
Strobes
Lasers
Pyrotechnics
Massive chorus lighting cues

You’ll quickly notice that lighting often follows the music.

The chorus might trigger bright white lights.

The breakdown might suddenly turn everything red.

The solo could bring a huge backlight.

Once you’ve spotted that pattern, you’ve got an advantage.

When the next chorus arrives…

You’re ready.

🌑 DON’T BE AFRAID OF DARKNESS

A concert photograph doesn’t need every corner perfectly exposed.

This isn’t a passport photograph.

Darkness is part of the atmosphere.

Some of the coolest gig photographs are incredibly dark.

A silhouette surrounded by smoke.

A guitarist emerging from shadows.

A singer illuminated by one spotlight.

A drummer barely visible behind cymbals.

That’s drama.

Let black areas stay black.

Your photograph doesn’t need to look like somebody switched the house lights on halfway through Enter Sandman.

☀️ WATCH THOSE HIGHLIGHTS

Concert lighting can be brutal for automatic camera exposure.

Your phone sees a mostly dark stage and thinks:

“WE MUST MAKE EVERYTHING BRIGHTER!”

Unfortunately, the singer is standing underneath an enormous spotlight.

Result?

Their face becomes a glowing featureless blob visible from space.

Most smartphones allow you to tap the performer on screen and adjust the exposure.

Try lowering it slightly.

A slightly darker photograph often preserves far more detail in bright stage lighting.

And if you’re editing afterwards, recovering darker areas can sometimes be easier than rescuing highlights that have completely disappeared.

🔍 EASY ON THE DIGITAL ZOOM, BUTT

We understand the temptation.

You’re halfway towards the back.

Your favourite guitarist begins the solo.

You pinch the screen.

2x.

Not close enough.

5x.

Closer.

10x.

Suddenly Slash appears to have been recreated entirely from Minecraft blocks.

Digital zoom often reduces image quality dramatically.

Phones with dedicated telephoto lenses can provide genuinely useful zoom options, but once you’re heavily cropping digitally, quality can disappear quickly.

Sometimes it’s better to photograph wider and crop afterwards.

🎯 STOP SHOOTING EVERYTHING — WAIT FOR SOMETHING

One of the biggest differences between random gig snaps and strong concert photography is timing.

Don’t simply point the camera towards the stage and hammer the shutter button for 90 minutes.

Watch the musicians.

Performers often have patterns.

The guitarist walks towards the front during solos.

The singer grabs the microphone stand before a chorus.

The bassist moves towards the drummer during a particular section.

The drummer raises the sticks before a huge hit.

Once you’ve started noticing these movements, you can anticipate them.

Photography becomes less:

“OH! SOMETHING HAPPENED!”

and more:

“Something is ABOUT to happen.”

Click.

Got it.

🤘 THE CLASSIC ROCK ‘N’ ROLL SHOTS

There are certain moments every gig photographer loves.

Keep your eyes open for:

Guitarists standing on monitors
Singers leaning towards the audience
Band members playing face-to-face
Huge drumstick raises
Hair flying everywhere
Devil horns
Massive guitar solos
Crowd interaction
Pyrotechnics
Confetti explosions
Silhouettes
Jump shots
Crowd surfers
Bands gathered around the drum kit
Final bows

These photographs don’t simply show what the band looked like.

They show what the gig felt like.

And that’s the important bit.

🥁 DON’T FORGET THE DRUMMER!

Poor drummers.

They’re stuck behind approximately 700 cymbals, twelve microphones, three guitarists and enough stage smoke to hide Cardiff Castle.

Everybody photographs the singer.

Everybody photographs the guitarist.

Meanwhile the drummer is back there working like they’ve personally declared war on percussion.

Look for moments when lighting hits the back of the stage.

Wait for raised sticks.

Look for gaps between cymbals.

If you’re photographing from an angle, you may actually get a better view.

Give the drummer some love, mun. 🥁

🎸 AND DON’T ONLY PHOTOGRAPH THE FRONTMAN

The vocalist might be the natural focal point, but gigs are full of stories.

Photograph the bassist.

Photograph the guitarist.

Photograph the keyboard player.

Photograph the drummer.

Photograph musicians interacting.

Photograph the crowd.

Photograph the stage.

Photograph the venue.

A collection of images telling the story of the entire evening is far more interesting than 97 photographs of the singer standing in roughly the same position.

🌫️ STAGE SMOKE IS ABSOLUTELY LUSH

Smoke is brilliant for concert photography.

It catches beams of light and gives the stage depth.

Suddenly ordinary lighting becomes enormous columns cutting through the darkness.

Backlighting plus smoke plus musician equals:

Rock photography heaven.

Don’t fight it.

Use it.

🔥 PHOTOGRAPHING PYRO

When the flames go up, everyone reaches for their phone.

And quite right too.

Pyro looks spectacular.

But it can also completely confuse automatic exposure.

The sudden burst of brightness may cause your phone to dramatically change exposure.

If you know when pyro happens — perhaps you’ve seen it earlier in the song — anticipate it.

Compose first.

Then capture the flames as they appear.

Just remember:

you’re photographing pyro, not trying to become part of it.

Leave the fire breathing to the professionals.

🎊 CONFETTI: THE MONEY SHOT

If you’ve got a big arena finale and those cannons are sitting beside the stage…

Get ready.

Confetti can transform an ordinary photograph into absolute chaos.

Try shooting slightly wider so you capture both the performer and the scale of what’s happening around them.

The same goes for streamers, balloons and other production effects.

Sometimes the best photograph isn’t a close-up.

It’s the entire madness.

📐 COMPOSITION MATTERS

Concerts move quickly, but basic photography principles still apply.

Before pressing the shutter, look around your frame.

Have you chopped somebody’s guitar in half?

Is the microphone covering the singer’s face?

Is someone’s giant pint occupying 30% of the photograph?

Could moving the phone slightly create a cleaner background?

Try:

Portrait orientation for individual performers.

Landscape orientation for full-stage photographs.

Off-centre composition where lighting or scenery fills the other side.

Symmetry when stage production allows it.

Leading lines created by lights, barriers or stage structures.

But don’t become obsessed with rules.

Sometimes the perfect composition is:

GUITARIST. DEAD CENTRE. MASSIVE FLAMES.

Art.

📸 USE BURST MODE FOR ACTION

Trying to photograph somebody jumping?

Good luck timing one single shutter press perfectly.

Burst shooting can help.

Start slightly before the movement and capture several frames.

You’ll probably get:

Frame one: crouching.

Frame two: beginning jump.

Frame three: ABSOLUTE ROCK GOD.

Frame four: strange facial expression.

Frame five: landing like they’ve just stepped on Lego.

Delete the rubbish.

Keep frame three.

🎥 VIDEO: SHORT AND SWEET

Want a little footage?

Go for it.

Your favourite chorus.

A guitar solo.

The crowd singing.

A huge pyro moment.

Those clips can become brilliant memories.

But do you really need to record the entire concert?

You’ve paid to be there.

Experience it.

Film a little.

Photograph a little.

Then put the phone away and scream the chorus until your voice sounds like a broken lawnmower tomorrow morning.

👀 THINK ABOUT THE PEOPLE BEHIND YOU

And here we arrive at the big one.

DON’T BLOCK EVERYONE’S VIEW.

Holding your phone around eye level for a few seconds to grab a photograph?

Fine.

Holding it above your head throughout half the set?

Not fine.

Somebody behind you has paid exactly the same money to see the band.

They didn’t buy a ticket to:

THE MICHAEL’S IPHONE EXPERIENCE — LIVE IN CONCERT.

Take the photograph.

Lower the phone.

Enjoy the show.

Simple.

📱 THE TABLET OF DOOM

We’ve all seen it.

The venue goes dark.

Everyone cheers.

Then slowly…

Majestically…

A giant glowing tablet rises from the crowd.

It’s like the monolith from 2001: A Space Odyssey, except 40 people behind it are shouting:

“PUT IT DOWN!”

Please.

We’re asking nicely.

Leave the tablet at home.

🔅 LOWER YOUR SCREEN BRIGHTNESS

Your phone screen can become surprisingly bright inside a dark venue.

Reducing the brightness can make it considerably less distracting to the people around you.

It’ll also help preserve battery.

Which becomes rather important when you’re three bands into a festival day and still have eight hours of chaos remaining.

🔋 BATTERY MANAGEMENT

Concert photography absolutely eats battery life.

Constant camera use.

Video.

Screen brightness.

Poor mobile signal.

Uploading clips.

By the headline set your phone could be clinging to its final 3%.

Before heading out:

Fully charge your phone
Clean your camera lens
Clear unnecessary storage
Turn flash off
Check your camera settings
Pack an allowed power bank if needed
Download tickets beforehand where possible
Check venue photography policies

At festivals, battery planning becomes even more important.

That phone isn’t merely your camera.

It might also contain your ticket, timetable, banking apps and way of contacting your mates when Dai disappears towards the burger van and isn’t seen again for four hours.

💾 CHECK YOUR STORAGE

Nothing hurts quite like this:

Cannot Take Photo — Storage Full

And naturally this happens exactly as the guitarist launches themselves from the drum riser while six pyro cannons explode.

Before the gig, delete unnecessary videos, screenshots and the 847 memes you’ve accumulated since Tuesday.

Give yourself room.

Especially if you’re planning to shoot video.

📷 COMPACT CAMERAS

A good compact camera can be fantastic at concerts.

You may gain:

Better optical zoom.

More manual control.

Larger sensors.

Better handling.

Potentially stronger low-light performance.

But policies vary.

Some venues allow compact cameras while banning interchangeable-lens equipment.

Others may have stricter rules.

Check first.

📷 DSLR AND MIRRORLESS CAMERAS

Now we’re entering more complicated territory.

Many major venues restrict interchangeable-lens cameras for ordinary ticket holders.

That’s partly because professional photography access is normally controlled through accreditation.

Smaller independent venues can sometimes have very different policies.

If you’re considering bringing serious camera equipment, ask beforehand.

Don’t simply turn up carrying a massive telephoto lens and hope nobody notices.

They’ll notice.

It’s roughly the size of a small Welsh village.

🎟️ FAN PHOTOGRAPHY VS ACCREDITED PHOTOGRAPHY

There’s an important distinction.

A fan with a ticket taking permitted photographs from the audience isn’t the same as an accredited photographer working from a designated photo pit.

Photo accreditation may come through:

Publications.

Promoters.

PR companies.

Artists.

Venues.

Festivals.

Photographers may also receive restrictions regarding when and where they can shoot.

The famous example is the “first three songs” arrangement often used at larger gigs.

But restrictions vary.

If you’re attending as a fan, respect restricted areas.

Don’t attempt to sneak into the photo pit because you’ve got a camera.

Security staff aren’t going to suddenly think:

“Look at the confidence on him. He must work for Kerrang!”

🖤 RESPECT PROFESSIONAL PHOTOGRAPHERS

After the gig you’ll probably see professional images appearing online.

And some will be absolutely spectacular.

If you love one:

Like it.

Comment.

Share the photographer’s original post.

Follow them.

Credit them.

What you shouldn’t do is download the photograph, crop out the watermark and upload it as though it mysteriously materialised on your phone.

Photography is creative work.

Support photographers the same way you’d support musicians.

🎨 EDITING YOUR PHOTOS

Editing can dramatically improve concert photographs.

But we’re talking enhancement rather than turning the singer into an entirely different species.

Useful adjustments include:

Exposure

Brighten or darken the overall photograph.

Highlights

Reduce excessively bright stage lighting.

Shadows

Recover some darker detail.

Contrast

Give the image more punch.

White Balance

Stage lights can create unusual colour casts. Adjusting the temperature can sometimes produce a more natural result.

Cropping

Remove distractions and improve composition.

Straightening

Because apparently after three pints we all photograph stages at a 17-degree angle.

Noise Reduction

Low-light images often contain digital noise.

Some reduction can help, but don’t go mad.

Too much and everyone starts looking like they’ve been manufactured from melted Action Man figures.

⚫ WHEN IN DOUBT, TRY BLACK AND WHITE

Concert photography looks fantastic in monochrome.

Sometimes you’ve captured a brilliant moment but the lighting colour is horrible.

Try black and white.

Suddenly you’ve got:

Contrast.

Grain.

Sweat.

Smoke.

Expression.

Drama.

That questionable photograph may become one of your favourites.

🗑️ YOU DON’T HAVE TO KEEP EVERYTHING

Let’s say you took 400 photographs.

You absolutely do not need to post 400 photographs.

Pick the best.

Maybe:

Five brilliant performer shots.

A drummer image.

A full-stage photograph.

A crowd picture.

A pyro shot.

The final bow.

That’s a story.

Quality beats quantity.

Every time.

📲 SHARING YOUR FAN PHOTOGRAPHY

Bands — especially grassroots artists — often love seeing photographs taken by fans.

Tag them.

Tag the venue where appropriate.

Tell people who you photographed.

If somebody asks permission to repost one of your photographs, brilliant.

That’s how little connections within music scenes begin.

Today’s fan taking photographs from the audience could become tomorrow’s photographer working for bands, promoters or publications.

🌱 SUPPORT GRASSROOTS VENUES

If you’re interested in learning concert photography properly, grassroots venues are fantastic places to start.

Smaller venues are the beating heart of live music.

They’re where bands learn.

Where photographers learn.

Where promoters learn.

Where journalists learn.

Where some bloke called Gaz learns that six pints before the support band probably wasn’t his finest strategic decision.

Talk to people.

Be respectful.

Ask permission where necessary.

Build relationships.

Support the bands.

Support the venue.

Support the scene.

📷 WANT TO BECOME A CONCERT PHOTOGRAPHER?

Maybe this is where things get interesting.

Perhaps you’ve started taking photographs on your phone and discovered you absolutely love it.

The next steps don’t have to involve immediately buying £10,000 worth of equipment.

Learn photography first.

Understand:

Exposure.

Shutter speed.

ISO.

Aperture.

Focal length.

Composition.

Autofocus.

Low-light shooting.

Editing.

Then start practising.

Photograph local bands.

Speak to grassroots venues.

Build a small portfolio.

Develop your own style.

And don’t expect instant festival accreditation because you bought a camera last Tuesday.

Like anything in music journalism, relationships and reputation matter.

Be reliable.

Be respectful.

Deliver good work.

Credit people properly.

Don’t behave like a weapon.

You’d be amazed how far those rules will take you.

🌧️ FESTIVAL PHOTOGRAPHY AS A FAN

Festival photography presents a few extra challenges.

You’ve got changing weather.

Huge crowds.

Daylight performances.

Night performances.

Long distances from stages.

Battery issues.

Rain.

Mud.

And because we’re talking British festivals…

more rain.

Protect your phone.

Bring a permitted power bank.

Make sure you’ve got enough storage.

And don’t spend the entire weekend trying to photograph everything.

Some of the best festival photographs aren’t even of bands.

Capture:

The campsite.

Your mates.

The festival entrance.

Ridiculous fancy dress.

Sunset over the arena.

Food.

Crowds.

Stage signs.

Mud-covered boots.

Those little photographs can end up meaning just as much as the headline act.

🌧️ PROTECT YOUR EQUIPMENT

British weather doesn’t care how expensive your phone is.

One minute:

Lovely sunshine.

Ten minutes later:

WELCOME TO MONSOON 2026.

If you’re attending an outdoor show or festival, bring appropriate protection.

Even something as simple as keeping your phone somewhere secure and water-resistant can save you a very expensive headache.

And if there’s lightning?

Forget the photograph.

Follow festival safety instructions.

Metal horns are encouraged.

Becoming an actual lightning conductor isn’t.

🚨 KNOW WHEN NOT TO TAKE THE PHOTO

Not every moment needs documenting.

If there’s a medical emergency, security incident or somebody clearly in distress, don’t immediately shove a camera in their face.

Use some judgement.

Help if appropriate.

Give people space.

Follow instructions from venue staff.

Being able to take a photograph doesn’t automatically mean you should.

♿ BE CONSIDERATE OF ACCESSIBLE VIEWING AREAS

This should go without saying, but don’t obstruct accessible viewing platforms or spaces while chasing photographs.

Concert photography doesn’t override basic gig etiquette.

Respect other fans.

Always.

🧠 REMEMBER WHY YOU’RE THERE

This is perhaps the biggest lesson in the entire guide.

You are attending a concert.

Not conducting surveillance.

Photographs are brilliant.

Videos are brilliant.

Memories are brilliant.

But don’t become so obsessed with documenting the experience that you forget to experience it.

Sometimes you need to put the phone away.

Watch the guitarist.

Feel the kick drum smashing through your chest.

Look around at thousands of people singing the same chorus.

Throw the horns.

Lose your voice.

Live in the moment.

Because that’s what gigs are about.

📸 THE RIFF REPORT’S 15 GOLDEN RULES OF FAN CONCERT PHOTOGRAPHY

Check the venue and artist photography policy.
Clean your camera lens before the gig.
Turn the flash off.
Don’t spend the entire performance filming.
Keep your phone out of other people’s sightlines.
Use stage lighting rather than fighting it.
Avoid excessive digital zoom.
Anticipate moments rather than endlessly shooting.
Photograph the whole band, not only the singer.
Capture atmosphere as well as performers.
Keep enough battery and storage available.
Respect security and restricted areas.
Respect professional photographers and copyright.
Know when putting the camera away is the right thing to do.
ENJOY THE BLOODY GIG. 🤘

🎸 Final Thoughts: Capture The Memory, Not Every Second

Great concert photography isn’t necessarily about owning the most expensive camera.

It’s about recognising moments.

A burst of light.

A raised guitar.

A screaming crowd.

A singer completely lost in the song.

A drummer throwing a stick into the air.

Your mates grinning like idiots while your favourite band destroys the stage.

Sometimes the photograph will be technically perfect.

Sometimes it’ll be grainy.

Sometimes it’ll be slightly blurry.

Sometimes somebody’s hand will appear from nowhere throwing the horns directly in front of your lens.

And you know what?

That’s live music.

It’s messy.

It’s loud.

It’s sweaty.

It’s unpredictable.

It’s emotional.

And it’s absolutely bloody glorious.

So take some photographs.

Capture the memories.

Share the great ones.

Support the photographers doing it professionally.

Respect the fans standing around you.

Then stick the phone back in your pocket when your favourite song starts.

Because your camera roll can hold thousands of photographs.

But nothing quite replaces actually being there when the lights go down and that first massive riff hits.

See you down the front, butt. 📸🤘🔥

The Riff Report

Proudly Welsh. Proudly Loud. Zero Apologies. 🏴🎸

Michael

Proudly Welsh. Proudly Loud. Always chasing the next great riff. 🤘

theriffreport.co.uk

Gig & Concert Photography

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Category.

🎟️🤘 The Riff Report Guide to Backstage Etiquette at Concerts

You’ve Got Backstage Access — Here’s How Not to Lose It

BACKSTAGE IS A WORKPLACE.

🎟️ DO: Know What Your Pass Allows

🚫 DON’T: Wander Around Looking for the Band

🤘 DO: Remember Everyone Is Working

🚪 DON’T: Walk Into Dressing Rooms

🎤 DO: Be Ready for Your Interview

🎙️ DO: Check Your Recording Equipment BEFOREHAND

🔴 DO: Make It Clear When the Interview Starts

🤐 DON’T: Publish Off-the-Record Conversation

📸 DO: Ask Before Taking Backstage Photographs

🚫 DON’T: Secretly Photograph Artists

📱 DO: CHECK THE BACKGROUND BEFORE POSTING

🤳 DON’T: Turn Backstage Into Your Personal Meet-and-Greet

👋 DO: Introduce Yourself

⏰ DO: Respect the Clock

🍺 DON’T: GET HAMMERED

🍕 DON’T: RAID THE RIDER

🎸 DON’T: TOUCH THE INSTRUMENTS

DO NOT TOUCH THE BAND’S EQUIPMENT.

📦 DON’T: Treat Flight Cases Like Furniture

🚧 DO: Keep Stage Access Clear

🔥 DO: WATCH OUT FOR PYRO AND STAGE EFFECTS

🎭 DO: GIVE THE BAND SPACE BEFORE SHOWTIME

😅 DO: Give Them Space After the Show

🚫 DON’T: POST SPOILERS

👥 DON’T: BRING YOUR MATES BACKSTAGE

🔐 DO: LOOK AFTER YOUR PASS

❤️ DO: TREAT EVERYONE WITH RESPECT

🙏 DO: SAY THANK YOU

📧 DO: FOLLOW UP AFTER THE CONCERT

❌ THE RIFF REPORT BACKSTAGE DON’T LIST

DON’T BE A BACKSTAGE GOBLIN. 😈

✅ THE RIFF REPORT BACKSTAGE DO LIST

🎟️ The Golden Rule: Access Equals Trust

TRUST.

🎸 Final Thoughts: Be the Person They Invite Back

🔥📸 Watch Out for Pyro and Other Stage Effects: A Concert Photographer’s Survival Guide

Because the Photo Pit Is Brilliant… Right Up Until a Flame Cannon Goes Off Next to Your Head

🚨 First Rule: Listen to Security and Production

🔥 Pyro: Amazing Photos, Serious Respect Required

📸 Learn the Pyro Cue

💨 CO₂ Jets and Smoke Cannons

✨ Spark Machines

🎊 Confetti Cannons: Beautiful Chaos

💡 Strobes: Timing Is Everything

🔦 Lasers: Don’t Be Daft

🎈 Flying Stuff: Because Gigs Apparently Need Projectiles

🏄 Don’t Forget the Crowd Behind You

🧎 Keep the Pit Floor Clear

🌧️ Outdoor Festivals Add Another Layer of Chaos

🔥 Exposure Tips for Pyro

📷 Wide Lenses Are Brilliant for Effects

🚫 Never Chase the Shot Into a Restricted Area

📸 The Best Photographers Stay Aware

🤘 The Riff Report Golden Rules for Stage Effects

🎸 Final Thoughts: Get the Shot, Keep the Eyebrows

📸🤘 The Riff Report Ultimate Guide to Concert Photography from the Photo Pit

How to Survive the First Three Songs, Nail the Shot, Avoid Security’s Wrath and Come Home With a Memory Card Full of Absolute Filth

🎟️ FIRST THINGS FIRST: YOU NEED ACCESS

📧 READ YOUR ACCREDITATION EMAIL

🎵 THE FAMOUS “FIRST THREE SONGS”

FIRST THREE SONGS. NO FLASH.

🚫 NO FLASH MEANS NO FLASH

📷 KNOW YOUR CAMERA BEFORE YOU ENTER THE PIT

⚙️ CAMERA SETTINGS: WHERE DO YOU START?

🏃 SHUTTER SPEED IS YOUR FRIEND

🔦 THE LIGHTING WILL BETRAY YOU

🔴 RED LIGHT: THE ANCIENT ENEMY

💡 WHITE LIGHT IS GOLD

🌫️ SMOKE MAKES EVERYTHING BETTER

📐 COMPOSITION IN A CROWDED PIT

🚷 DO NOT STAND IN FRONT OF ANOTHER PHOTOGRAPHER

🧎 SHOOT LOW, BUT DON’T BECOME A TRIP HAZARD

🎒 MINIMAL GEAR WINS

🔄 AVOID LENS CHANGES IN THE PIT IF POSSIBLE

🔭 WIDE VS TELEPHOTO