Concert Photography 101: Pit Etiquette
You’re never actually taught what to do when you get your pass and get into the pit for the first time. You essentially get thrown to the wolves and learn what not to do based on the glares you get from the other photographers who have been through the same thing already.
If you got your photo pass through a PR representative, you probably got an email saying what you can and can’t do already. Usually something along the lines of “first three songs only, no flash,” the usual. You’re gonna want to pay attention to that, and follow it, because breaking the rules set by an artist or venue is the fastest way to get your career going downhill as soon as it started.
Standard Photo Pit
These are more than likely the type of photo pit you’ll see the most. From 100 to 5000 capacity venues, these photo pits have the more “obvious” rules. You get the first three songs, typically no flash is allowed, and you usually get to stay in the venue with your gear and are sometimes able to get photos from nearly anywhere in the venue.
If flash isn’t mentioned, assume none is allowed unless you speak to the band or their management about it. Some of these venues don’t have the best lighting, I know, but it’s better to ask first than to be branded as the annoying person in the pit blinding everyone.
While you’re in the photo pit, you must stay mindful of others in the pit. Everyone will be working around one another, stepping on toes, maybe a gentle nudge, but it’s usually not on purpose and is typically met with a “sorry” wave because we’re too busy and it’s too loud to have a conversation. I try to fully apologize when we gather in the pit before the next set when I feel I really did something wrong.
Being mindful extends to the fans too. They paid to be there, many fought to get a spot at the barricade, and a lot are wishing they could be us on the other side. So before sets, I talk to them. Maybe ask them about the bands, see if there’s any shots I might miss at a certain point of the show, they know a lot that I’d otherwise miss. During the set, I check behind me a lot. Sometimes there are some pretty good crowd shots to get, sometimes there’s a crowdsurfer coming my way. I try not to wave my camera in the air too much to get a shot or if I’m using flash, I try not to blind them because my speedlight is pointed the wrong way.
Festival Pit
This is basically the same thing as your standard photo pit, but a lot bigger (depending on the festival). It’s a bigger venue, so that means more photographers, more fans, and a way more competitive environment. I’ve gotten lucky and haven’t worked as press for a festival since Warped Tour, so I have a couple different perspectives on this environment.
Every festival is a little different. Some require special approval specifically for headliners, some have media tents, and some don’t allow you to wander until your act goes on. These photo pits seem scary. Everyone is hot and ready to just take their photos and chug some water before the next act, and I get it. Festivals are stressful. But if you already have experience in smaller venues, you can handle this just fine.
Stadium Pit
Don’t be alarmed if you get ushered out of the pit and into a media section after your first three songs. Stadium shows are also tricky because you may need separate approval to shoot certain acts. There’s also the chance you’ll be told you have to take photos from the soundboard, so the second you know you’re photographing in a stadium, make sure you can at least get access to a telephoto lens. Otherwise, you’ll be taking wide photos of a huge stage, and I know a lot of publicists don’t really like that.
I started writing this post like a year ago before i decided to start my blog back up again, and recently twitter has reminded me that I actually have to say this. No photographer is more important than another. Whether you’re working press, for a festival, or for an artist, we’re all here to get our jobs done. Respect goes both ways. Never forget that.
