# Nightclub Photography Questions / Networking



## MOREGONE (Sep 14, 2012)

Alright, got a gig with the local newspaper and I am totally stoked. I  initially emailed them about an upcoming show and expressed I would be  interested in covering other events. Well they responded, gave me the  freelance agreements and set me up with a show this weekend.

If  anyone has any good articles on small venue / nightclub photography I would  appreciate the links. I have been to venue in the past and I believe the  DJ will be outside since the editor quoted he will be upstairs. Theyve  asked me to get 5 shots of the atmosphere/venue and 20-25 of the crowd  with a majority being of groups facing the camera. I will need to get  the names of people in groups of 3 or less.

Never really done anything like this. Anyone want to throw out some tips on working with the gear I got, Im all ears.

Nikon D90
SB600 Flash + Omin Bunce
35mm f1.8, Tokina 12-24 f4, Tamron 70-200 / 24-78 f2.8
Tripod / Monopod

I  am thinking to get some group shots with the 35 1.8 and flash angled  up, some crowd/DJ shots with the 12-24, and might break out the 70-200  if I can get perched up somewhere in the back to cover the DJ again.

Thoughts?

Sorry for the long post. Since I am covering the even for a newspaper, would it be bad form to hand out personal business cards? I'd like to start building a fan base on Facebook to aid in getting more gigs from different promoters and venues in the future.

I think as long as I wait 24hrs after the newspaper publishes the event I am in the clear to post pictures myself. Here is the verbiage from the contract.

Thanks for everything!!



> You hereby grant the Newspaper, Gannett Co., Inc., its affiliated corporations and licensees: (i) exclusive publication rights for the period up to first publication of the Work in the Newspaper and for twenty-four (24) hours thereafter [or insert other mutually agreed upon time period]; (ii) the non-exclusive rights thereafter to reproduce, edit, adapt, modify, perform, transmit and otherwise use the Work, including any derivative works created therefrom, in whole or in part, in any language, manner or medium now known or hereafter developed, including, without limitation, in electronic or optical media, CD-ROM, online or other similar format, throughout the world in perpetuity, without any additional compensation; (iii) the right to digitize or otherwise electronically scan and store the Work for archival purposes or the purposes set forth above; and (iv) the non-exclusive perpetual right to use your name, likeness and/or biographical information for advertising or promotional purposes in connection with the Work, without further compensation.
> 
> Subject to these rights, you hold the copyrights in your original Work, including the right (after 24 hours [or insert other mutually agreed upon time period] from first publication in the Newspaper) to publish it as you wish and to prepare other material based on it. You warrant that the Work submitted under this Agreement is your original work, of which you have sole ownership, that it has not previously been published and that its publication will not violate any copyright, proprietary right or other right of any third party, including, without limitation, rights of publicity and privacy. You agree to indemnify and hold harmless the Newspaper, Gannett Co., Inc. its affiliated corporations and licensees from any loss, claim, damages or expenses arising from your breach of this Agreement, including any representations and warranties contained in this Agreement.


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## ColeGauthier (Sep 14, 2012)

I can't help you with nightclub photography but there is one thing in that contract that I really don't like, "_without any additional compensation" _


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## tirediron (Sep 14, 2012)

The contract seems perfectly reasonable to me and I don't see any reason not to hand out cards, BUT I suspect you're very quickly going to find out that your body falls short in the high ISO areas you need to be to really pull this off.  Good luck!


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## MOREGONE (Sep 20, 2012)

tirediron said:


> The contract seems perfectly reasonable to me and I don't see any reason not to hand out cards, BUT I suspect you're very quickly going to find out that your body falls short in the high ISO areas you need to be to really pull this off.  Good luck!



I definitely will not question the performance of my ISO. I won't move it past 800 unless it was difference of me getting a pic of the end of the world or not. 

I have a lot to learn with nightclub photography but have to say, I found zero problem shooting at ISO400. The area I need to develop in is knowing my flash better. Even powered down to 1/16th, it seemed like it was over powering the scene. That said, they weren't the 'cool' shots I was hoping for. Really they were pretty good photos for being inside and poorly lit. The club didn't have the colorful lights or lasers I was hoping for. Just strobes and walls they projected different colorful animations on.


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## bruisjem (Oct 5, 2012)

Night club photography is sometime tricky for photographer. So using umbrella or softbox you can get better result of photography.


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## Barachias (Oct 10, 2012)

bruisjem said:


> Night club photography is sometime tricky for photographer. So using umbrella or softbox you can get better result of photography.


Sure, I am doing photography atleast 7 years but i am not much expert in night club photography. Cuz we are suffered there of several flashers, laser,and other hard lights. So i think it is very difficult adjustment for a photographer.


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## MLeeK (Oct 10, 2012)

How did your gig go?
You have to remember with nightclub  photography-especially if you are shooting the band or show-it's not  BRIGHT, well exposed with perfect white balance that is proper. It is  exactly what it looks like on stage. If you meter the light on the stage  properly* you should be able to expose easily.
Your camera isn't best for ISO, but you definitely can push it a bit if you have LR or PhotoShop's ACR to remove noise. You're always better pushing your ISO and getting a good, clear photograph in good exposure than to either risk blurry or to have to raise exposure in post. Raising will introduce or bring out any noise that you aren't seeing, thereby making your images even worse for noise. 
I don't do much club/concert work, but what little I have done I think I MAY have maxed my ISO out at about 3200 in a no lights kind of situation-ok, little bit of light-and that was on a 50D. Comparable to your camera. With proper exposure and noise removal the images were very nice and useable for print. One ran at about an 8x10 with no problem.
When removing noise make sure you zoom to 100% your image size. You may have to add a little on the clarity slider after noise removal. I use a different set of settings for high ISO noise removal as well. In ACR/LR I believe my settings are 59, 3px, 16 and masking of about 90. It's a launching spot for you. 
Hopefully  you will have many more like this! Share! There are a few here who do nightclub or similar situations that can help a lot!


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## 2WheelPhoto (Oct 10, 2012)

MOREGONE said:


> tirediron said:
> 
> 
> > The contract seems perfectly reasonable to me and I don't see any reason not to hand out cards, BUT I suspect you're very quickly going to find out that your body falls short in the high ISO areas you need to be to really pull this off.  Good luck!
> ...



I've done a few public venue indoor shoots and appreciate my camera functioning at high ISO's. If you're serious, scrap the D90.  A lot of times your subject may not be in range of the pic or *you may not be able to walk into range of the subject* fast enough to take your shot  Thats what happened in my below pic very high above "400". Composition/lighting/shadow control was not an option, nor was setting up a flash and such in time and at the distance.


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## MLeeK (Oct 10, 2012)

2WheelPhoto said:


> I've done a few public venue indoor shoots and appreciate my camera functioning at high ISO's. If you're serious, scrap the D90.  A lot of times your subject may not be in range of the pic or *you may not be able to walk into range of the subject* fast enough to take your shot  Thats what happened in my below pic very high above "400". Composition/lighting/shadow control was not an option, nor was setting up a flash and such in time and at the distance.



I really love that shot. Just plain and simple!


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## MOREGONE (Oct 11, 2012)

Hello and thanks for the replies.

So far I haven't really found my ISO performance to be a hindrance. Most of my shots are of the guests for the paper so I am usually very close and have my speedlight with a difffuser. While I do shoot at 400, I could shoot at 200 most of the time without issue. What I find to be harder than the photos themselves is approaching and collecting the information required for the paper (Name, Age, City). Some people want their picture taken, but NOT for the paper, even if its just for online. 

Here is the gallery from my first Shoot.  - Chis Baio - Bar Smith

I have been fortunate to get 2 more gigs since, one photographing an AZ Diamondbacks pitcher at a fan appreciation event and another covering a charity event where Danny Masterson, aka Hyde from That 70's Show DJ'ed. That was pretty cool. They also said they would have some Halloween events for me, so things are coming along fine. Getting paid, published, practice, having fun and doing something I love!

I still have a lot to learn, but the events I have been covering haven't been at bars or clubs with crazy lights, more of a patio / sports bar feel. I was anticipating having the chance to drag the shutter and get some cool background lights but that just hasn't been the reality (yet).


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## djk (Oct 26, 2012)

I shot the club scene for awhile and I've got to say it was one of the crazier gigs I was working for awhile. For me what really worked wonders was getting a GF lightsphere, that really seemed to push the difference from the usual blasted out pics I saw from other photographers. In your situation at the sports bars/patios lighting isn't too big of a problem, but if you start getting more into the club scene definitely take notice of your surroundings as the lighting changes at a moments notice. And always carry extra batteries for your flash, nothing more dreaded than missing out when the party is peaking because you're out of juice.

Here's a few picks from the club stuff just to get an idea:


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## MOREGONE (Oct 26, 2012)

Hey djk,

Yeah those are the kind of shots I am wanting to get. Behind the DJ at a true club with lights, smoke lasers and whatnot. I have some more gigs this weekend but again they are more off the bar atmosphere and not the club/rave scene I am wanting to get into. 

I have been using a knockoff lightsphere from Amazon but recently upgraded to the read deal GF collapsible. I will say it is a better product. I snapped a couple pics and knew right away. The color casts from the knock off weren't noticeable until I tried the GF, what a world of difference. SO I am looking forward to using that at an actual gig tomorrow.

What shutter speed do you usually start around?


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## djk (Oct 27, 2012)

To really capture the action and the lighting in the background I usually start at 1/8, 1/10 and kind of adjust from there depending on the lighting. Most people will stay still long enough for you to get a steady enough shot but I usually take two/three shots per group b/c drunk people tend to like to move around haha. I've always just brought my 24-85mm f/2.8 lens and SB600 and both have served me perfectly fine. The lightsphere is a little bulky so just be careful of people bumping into you and knocking it around. 

Getting that bar atmosphere is definitely a good jumping point, from there I would pick out maybe 20-30 of your best shots and just start talking to promoters for clubs if they need photographers. I'm writing this from my cell right now, but when I get a chance to be on my computer I can elaborate a little more. But best of luck tonight and most of all just have fun with it.


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