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An Intern’s Guide to Concert Photojournalism

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By Carissa Leong, intern

In high school, I was a big fan of music and a photography hobbyist, so the natural bridge was becoming involved in concert photography. At sixteen, I had my first press pass slipped into a laminate around my neck–covering the post-hardcore band Sleeping With Sirens at the Regency Ballroom in San Francisco, CA in January of 2020–and it was not only a long journey to get to that point, but also a long journey to continue from there. For anyone interested in pursuing the same hobby, here are a few tips.

Grayscale opening for All Time Low at the Wiltern, Los Angeles 11.10.23

Building your Portfolio:

  1. Reach out to small bands

If you don’t already have connections, a good way to start a portfolio is to reach out to local bands playing at venues that allow DSLR cameras. Typically for free entry, you can provide them with promotional photos that they can market themselves with while you receive the experience and work for your portfolio in return.

2. Low light

Keep in mind that you’re shooting in low light and need gear good enough to accommodate this. Make sure you shoot in RAW format to capture the greatest amount of detail and ensure that you can freeze the action with a higher shutter speed while still being able to see the subject. Look into owning a lens that can achieve a shallow aperture (f/1.4 to 2.8) as that will let in the most amount of light.

Half Alive at House of Blues, Anaheim 18.10.23

Getting onto a Publication:

  1. Apply

If you plan to photograph outside of Paddington Arts for any reason, there are a lot of small online music publications with application sections that are more prone to being open during the summer. Being backed by a publication is vital in getting approved for the higher-profile shows that you want. Often, you’ll be asked to submit your portfolio, a list of your gear, as well as your favorite musicians.

Christian French at the El Rey Theatre, Los Angeles 22.10.23

Applying for Press Passes:

  1. Editors

Stay in communication with your editor. If it is your editor’s job to apply for the shows that interest you, then don’t violate that unless you get permission and don’t be afraid to follow-up.

2. Review

You will also have a higher chance of getting approved for a show if you are able to write a review accompanying a gallery.

3. Be professional

If you’re the one directly communicating with the band’s PR contact, then be professional. Make sure they know your name, have access to your publication’s website as well as your portfolio, and ensure that they know what the press access will be used for. Don’t be afraid to follow up with these contacts as well, especially a week before the concert to remind them that you exist.

4. Use connections

Connections are everywhere. My alumna got me into the KIA Forum in Los Angeles to photograph an EDM artist San Holo with all-access–which was a surreal experience as I had just seen my favorite band Paramore performing at the same venue only a few months earlier–and my mother’s friend’s daughter got me access to her friend’s gig which was Devon Gabriella opening for Christian French at the El Rey Theatre in Los Angeles.

5. Transportation

Getting a photo pass will often come with free entry to the show, but keep in mind that you will still need to transport yourself which is a lot more difficult and expensive in car-dependent cities.

My first press pass 18.01.20

Shooting the Show:

  1. Be respectful

You will be let into a special area between the barricade and the stage called the photo pit. Make sure you don’t get in the way of the other photographers as much as possible. Don’t ever enable flash on your camera, as that can be very distracting to unexpecting performers and will result in you being kicked out.

2. First three songs

You will be limited to photographing the first three songs in the photo pit unless given special instruction so don’t fight to remain there after the allotted time. Afterwards, know the rules about shooting from the rest of the venue and what areas you would be allowed onto (ex. balcony). Don’t be afraid to check in with the security about the rules.

3. Camera settings

Shoot in manual mode and keep an eye on your light meter. The lighting will change unpredictably and depending on the genre, there can be rapid action so make sure there is enough light as well as a high enough shutter speed. Photograph in bursts to capture the best moments. From my experience, the most action–specifically in hardcore, punk, and metal genres–results in the best, most unexpected photos.

Geneva Jacuzzi opening for Automatic at the Fonda Theatre, Los Angeles 12.12.23

Coverage:

  1. Turnaround speedy but quality coverage

Submit 12-20 of your best photos to your editor. The ideal content turnaround timeline is 24-48 hrs from the concert, though bear in mind that your editor may be slow in going through the content that you sent over so don’t be afraid to follow-up. However, in the case that photos need to be approved before publishing, send a folder with the files to the artist manager first.

2. Send coverage to PR

If it was your personal responsibility to email the artist PR contact, then email them the coverage once it’s posted on the website to show that you are reliable enough to work with them again in the future.

3. Photo usage

Try not to post your photos from the show before it’s released by your publication unless you receive explicit permission to do so. Also don’t send your photos to another publication to use if you acquired a press pass through a different one.

4. Build your portfolio

If you end up getting good photos, make sure you update your portfolio!

JVNA opening for San Holo at the KIA Forum, Los Angeles 06.10.23

My early experience in this has led to my further interest in becoming a part of the music business, which admittedly arrived late due to the COVID-19 pandemic throwing off my career trajectory, yet it luckily still arrived regardless. A turning point for me was that through one of my publications, I was invited to the Hopeless Records’ 30th Anniversary museum opening party in December 2023 and had the opportunity to mingle with artists and creators in the industry that I had known about for years. In my future, I hope to become involved in record label marketing, starting out with internships in Los Angeles, CA where I am based, and it all started because I loved music too much as a teenager.

Me at the Hopeless Records 30th Anniversary Museum Opening 8.12.23

All photographs by Carissa Leong (@carissalphoto.cr2).

Show Review: Tom Odell at the Roundhouse, London

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By Carissa Leong, intern

Thumbnail credit: Ciara McMullan (@ciaramcmullanmedia)

On March 15, Tom Odell had a victorious homecoming at the first of two sold-out shows at the Roundhouse in London while on tour for his newest album Black Friday. Accompanied by his backing band, his soulful vocals pulled the audience from triumphant highs to melancholic lows and back up again, multiple times over with apparent effortlessness.

To kick off the night, the sole opening act Sofia Isella was just nineteen but had the stage presence of a performer who had been in the industry for over a decade. Her performance was haunting and magnetic, successfully engaging the audience in ways that openers often fail to with a combination of breathy whispers, full-bodied vocals and casual chats. Taking advantage of her multi-instrumental background, Isella swayed in the spotlight while providing her own violin accompaniment to the last song on her setlist “I Looked the Future in the Eyes, It’s Mine.”

When Tom Odell finally took the stage, one of the most immediately striking characteristics was the show’s visuals. It reflected the cinematic simplicity prevalent in his album art and music videos, playing well with lighting, colors and shadows. From a spotlight carving him an isolated silhouette at his piano to his band’s shadows shifting across a piercing red backdrop, the lighting designers made the show visually engaging while staying true to Odell’s grounded, minimalist aesthetic.

Credit: Ciara McMullan (@ciaramcmullanmedia)

The moment that the first lyric rang through the air, a somber opening to “Somebody Else,” cheers immediately melted into a reverent silence at the raw emotionality of Odell’s live vocals thundering through the Roundhouse. The air of quiet awe was consistent with many of the ballads throughout the set. That was not to say that audience engagement was dissuaded at all, however, as many were happy to join their voices to the upbeat and popular songs. On the more spirited end, Odell directly employed crowd participation to call back parts of the anthemic track “Hold Me,” and there was a point where he amped the energy all the way up by clambering on top of his piano to sing.

Backdropping Odell’s vocal and piano performance was a whole host of different instruments, from the conventional guitar, bass and drums to the more classical violin, trumpet and saxophone that lent a jazzier edge less typical of indie rock singer-songwriters. The backing band contributed to layered compositions that made the emotional lows more heart-wrenching and emotional highs even more buoyant.

Credit: Ciara McMullan (@ciaramcmullanmedia)

Between songs, Odell included a love letter to the host city. Introducing “Long Way Down,” the title track from his 2013 album, he reminisced that it was the first song he wrote when he moved to London at around twenty years-old–over a decade ago, back when his present success was just hypothetical. He called out London as the best city which met an eruption of biased, infectious cheering.

Further into the set, homage was also paid to Elton John whom Odell performed with in the past. For a nostalgic duet of “Tiny Dancer,” Abigail Morris, the singer of indie group The Last Dinner Party, was invited to the stage. It was well-received and many show-goers echoed the pair’s performance of the classic with their own attachment to the song.

Credit: Ciara McMullan (@ciaramcmullanmedia)

Tom Odell wrapped up the night with an ode to his expansive discography, leaving the audience with some of his newest music including the TikTok viral “Black Friday” but creating a final, bittersweet conclusion with 2013’s “Another Love,” his most popular song to date. A testament to the universality of his songwriting, I was one among hundreds who couldn’t help but relate to the utterly human topics confronted so artistically by the night’s performance.