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	<title>Comments on: Concert Photography Tips</title>
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	<link>http://www.dphotojournal.com/concert-photography-tips/</link>
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		<title>By: Dana</title>
		<link>http://www.dphotojournal.com/concert-photography-tips/comment-page-1/#comment-296543</link>
		<dc:creator>Dana</dc:creator>
		<pubDate>Fri, 28 Oct 2011 17:19:06 +0000</pubDate>
		<guid isPermaLink="false">http://www.dphotojournal.com/?p=16548#comment-296543</guid>
		<description>Thank you for reading the article I wrote and replying.

I&#039;ve been photographing concerts since 1979. There was no such thing as a digital camera or an automatic camera at that time. I started with a Nikon EM. Then went to a FM2. Then a N90s. The N90s was the first camera I owned that had auto and manual. I used it in manual at first. The first concert I shot in full auto was Robert Plant and Jimmy Page in 1998. I was surprised with how many more photos I got when shooting in auto. I didn&#039;t miss any shots because I had to refocus or change the apeture. 

I&#039;ve been shooting with digial cameras since 2004. I started with a D2h then went to a D3 and have added a D3s this year.

As I said in the article, it&#039;s important to get the shots. When you don&#039;t have to do anything but slightly press the shutter release butten to focus then shoot, you&#039;re going to be able to get more shots.

Most of the people in that pit work for some sort of media/press. Those people have editors who want that shot now. Not hours from now. When you have to spend your time changing from RAW to JPEG and then correcting white balance etc. It&#039;s going to take you much longer to get your photos edited, captioned and transmitted. All media wants those photos in JPEG format. In my case my editor wants my photos transmitted within an hour or two from being shot. If it&#039;s taken me several hours to get those shots to my editor, I&#039;m being asked why it&#039;s taking so long and where are the shots. 

I shoot in RAW and JPEG for my personal preference. My employer only wants JPEGS.

I just have to wonder why you would go to all that work in editing the shots when you don&#039;t need to. A person would be up until 4 in the morning working if they did what you&#039;re suggesting.

I believe in what works for a person is what a person should do. If you want do shoot that way and it works for you, that&#039;s great.</description>
		<content:encoded><![CDATA[<p>Thank you for reading the article I wrote and replying.</p>
<p>I&#8217;ve been photographing concerts since 1979. There was no such thing as a digital camera or an automatic camera at that time. I started with a Nikon EM. Then went to a FM2. Then a N90s. The N90s was the first camera I owned that had auto and manual. I used it in manual at first. The first concert I shot in full auto was Robert Plant and Jimmy Page in 1998. I was surprised with how many more photos I got when shooting in auto. I didn&#8217;t miss any shots because I had to refocus or change the apeture. </p>
<p>I&#8217;ve been shooting with digial cameras since 2004. I started with a D2h then went to a D3 and have added a D3s this year.</p>
<p>As I said in the article, it&#8217;s important to get the shots. When you don&#8217;t have to do anything but slightly press the shutter release butten to focus then shoot, you&#8217;re going to be able to get more shots.</p>
<p>Most of the people in that pit work for some sort of media/press. Those people have editors who want that shot now. Not hours from now. When you have to spend your time changing from RAW to JPEG and then correcting white balance etc. It&#8217;s going to take you much longer to get your photos edited, captioned and transmitted. All media wants those photos in JPEG format. In my case my editor wants my photos transmitted within an hour or two from being shot. If it&#8217;s taken me several hours to get those shots to my editor, I&#8217;m being asked why it&#8217;s taking so long and where are the shots. </p>
<p>I shoot in RAW and JPEG for my personal preference. My employer only wants JPEGS.</p>
<p>I just have to wonder why you would go to all that work in editing the shots when you don&#8217;t need to. A person would be up until 4 in the morning working if they did what you&#8217;re suggesting.</p>
<p>I believe in what works for a person is what a person should do. If you want do shoot that way and it works for you, that&#8217;s great.</p>
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		<title>By: Dana</title>
		<link>http://www.dphotojournal.com/concert-photography-tips/comment-page-1/#comment-296359</link>
		<dc:creator>Dana</dc:creator>
		<pubDate>Thu, 27 Oct 2011 19:50:40 +0000</pubDate>
		<guid isPermaLink="false">http://www.dphotojournal.com/?p=16548#comment-296359</guid>
		<description>Hello,

I read your reply and was surprised.

I&#039;ve been photogrpahing concerts since 1979. At a time when there was no such thing as an automatic camera. I started on a Nikon EM. Then went to an FM2 then to an N90s that for the first time I had a fully automatic along with a fully manual camera. I was hesitant to shoot a show in auto. The first show I shot in auto was Robert Plant in 1998. I found I was able to get many more photos than I had when I had been shooting in manual. I didn&#039;t miss the shot because of the change of lights or the performer moved and I had to refocus. I&#039;ve been shooting in auto ever since.

I changed to digital in 2004 with a D2h. I shot totally in RAW at the time because the company I shoot for requirs the photo to be 10 inches on it&#039;s longest side. The D2h made an image that was 8. somthing inches on it&#039;s longest side so I had to make it larger. They only accept JPEGs so I had to change them to JPEGs. When I got my D3 in 2008 I finally had a camera that created an image with it&#039;s longest side being more than 10 inches. I started shooting in both RAW and JPEG then. 

When you&#039;re limited to 3 songs and have to get the shots, it&#039;s easier and faster to shoot in auto. 

When you have a limit of 24 hours to get your photos submitted to your employer you&#039;re not going to want to spend your time converting files all the time. When your employer expects you to edit, caption and transmit the images within an hour or so from the show, you don&#039;t have time to change file formats or white balance. You&#039;re going to end up working until 4 in the morning.

 Which is why I shoot in both RAW and JPEG. I work off the JPEG for my employer and consider my RAW like a negative. In case I need to change the image without compromising the integrity of the shot.  

A lot of people who work in concert photography work in the press/media. Our editors expect images instantly. We don&#039;t have the time to take to change files or white balance and all the adjustments that go with it. We crop, change curves and colors. We use other plug ins to photoshop to make our work as quick as possible. It&#039;s required. Those who can get their work transmitted first are those who are going to be published first and are asked to return for more jobs. 

Personally I don&#039;t understand why you would want to go through all that work. Why make it so much work when you don&#039;t have to?</description>
		<content:encoded><![CDATA[<p>Hello,</p>
<p>I read your reply and was surprised.</p>
<p>I&#8217;ve been photogrpahing concerts since 1979. At a time when there was no such thing as an automatic camera. I started on a Nikon EM. Then went to an FM2 then to an N90s that for the first time I had a fully automatic along with a fully manual camera. I was hesitant to shoot a show in auto. The first show I shot in auto was Robert Plant in 1998. I found I was able to get many more photos than I had when I had been shooting in manual. I didn&#8217;t miss the shot because of the change of lights or the performer moved and I had to refocus. I&#8217;ve been shooting in auto ever since.</p>
<p>I changed to digital in 2004 with a D2h. I shot totally in RAW at the time because the company I shoot for requirs the photo to be 10 inches on it&#8217;s longest side. The D2h made an image that was 8. somthing inches on it&#8217;s longest side so I had to make it larger. They only accept JPEGs so I had to change them to JPEGs. When I got my D3 in 2008 I finally had a camera that created an image with it&#8217;s longest side being more than 10 inches. I started shooting in both RAW and JPEG then. </p>
<p>When you&#8217;re limited to 3 songs and have to get the shots, it&#8217;s easier and faster to shoot in auto. </p>
<p>When you have a limit of 24 hours to get your photos submitted to your employer you&#8217;re not going to want to spend your time converting files all the time. When your employer expects you to edit, caption and transmit the images within an hour or so from the show, you don&#8217;t have time to change file formats or white balance. You&#8217;re going to end up working until 4 in the morning.</p>
<p> Which is why I shoot in both RAW and JPEG. I work off the JPEG for my employer and consider my RAW like a negative. In case I need to change the image without compromising the integrity of the shot.  </p>
<p>A lot of people who work in concert photography work in the press/media. Our editors expect images instantly. We don&#8217;t have the time to take to change files or white balance and all the adjustments that go with it. We crop, change curves and colors. We use other plug ins to photoshop to make our work as quick as possible. It&#8217;s required. Those who can get their work transmitted first are those who are going to be published first and are asked to return for more jobs. </p>
<p>Personally I don&#8217;t understand why you would want to go through all that work. Why make it so much work when you don&#8217;t have to?</p>
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	<item>
		<title>By: adam</title>
		<link>http://www.dphotojournal.com/concert-photography-tips/comment-page-1/#comment-278068</link>
		<dc:creator>adam</dc:creator>
		<pubDate>Wed, 27 Jul 2011 13:13:00 +0000</pubDate>
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		<description>I can&#039;t imagine any professional photographer or amateur for that matter(which I am) not shooting in RAW and shooting in full AUTO... especially in such a tricky lighting situation like a concert...
Shoot in RAW and be free to change to any White Balance post-shooting.. and you will be able to adjust exposure by a few stops post-shooting as well...
I would suggest full MANUAL and take a few test shots to get and understanding for the correct exposure and adjust from there...
I am sorry but you seem to suggest the exact opposite of what to do in such a situation...</description>
		<content:encoded><![CDATA[<p>I can&#8217;t imagine any professional photographer or amateur for that matter(which I am) not shooting in RAW and shooting in full AUTO&#8230; especially in such a tricky lighting situation like a concert&#8230;<br />
Shoot in RAW and be free to change to any White Balance post-shooting.. and you will be able to adjust exposure by a few stops post-shooting as well&#8230;<br />
I would suggest full MANUAL and take a few test shots to get and understanding for the correct exposure and adjust from there&#8230;<br />
I am sorry but you seem to suggest the exact opposite of what to do in such a situation&#8230;</p>
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	<item>
		<title>By: dot</title>
		<link>http://www.dphotojournal.com/concert-photography-tips/comment-page-1/#comment-263695</link>
		<dc:creator>dot</dc:creator>
		<pubDate>Tue, 03 May 2011 02:30:16 +0000</pubDate>
		<guid isPermaLink="false">http://www.dphotojournal.com/?p=16548#comment-263695</guid>
		<description>Great article Dana.</description>
		<content:encoded><![CDATA[<p>Great article Dana.</p>
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