Live Music Photography 101: Shooting & Editing Gig Photos | Sophia Carey | Skillshare

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Live Music Photography 101: Shooting & Editing Gig Photos

teacher avatar Sophia Carey, Photographer & Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Class Project


    • 3.

      Intro to Pre-Production


    • 4.

      Getting Your Photo Pass


    • 5.

      Exploring the Venue


    • 6.

      Schedules and Shot List


    • 7.

      Camera Settings


    • 8.

      Camera Gear


    • 9.

      Choosing Your Focal Lenghts


    • 10.

      What to Pack & Wear


    • 11.

      Typical Shots


    • 12.

      What to Look for in a Shot


    • 13.

      Considering Output


    • 14.

      Shooting with Purpose


    • 15.

      Shooting Lasers


    • 16.

      Flash Photography


    • 17.

      Prisms & Reflections


    • 18.

      Choosing Your Final Photos


    • 19.



    • 20.

      Editing in Lightroom


    • 21.

      Editing on your Phone


    • 22.

      Double Exposures in Photoshop


    • 23.

      Creating Instagram Carousels in Photoshop


    • 24.

      Delivering Your Photos


    • 25.

      Final Thoughts


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About This Class

Do you want to get started as a live music photographer? Or maybe you just need some help levelling up your photos at gigs?

In this class, we’ll be covering the complete process of photographing a live show, from pre-production through to editing and delivery, and exploring my best techniques from my own personal workflow working as a live music photographer.

This class will cover:

  • How to get your press pass
  • Designing your schedule and shot list
  • The best camera settings for shooting live music gigs
  • How to find interesting shots
  • Shooting lasers
  • When to use flash photography
  • Using reflections to add interest to your photos
  • The editing process
  • And more!

Who is this class for?

Any student of any level can access this class! Although it has been designed for those with prior knowledge of photography who are looking to start working professionally in live music, this class will cater for both beginners and the casual hobbyist photographer.

Let’s get stuck in!

Meet Your Teacher

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Sophia Carey

Photographer & Designer

Top Teacher

Hi guys, I'm Sophia! I'm a photographer, videographer and graphic designer, specialising mostly in fashion and event photography, and I'm taking to Skillshare to share what I've learned throughout my freelance career so far, including tips on photography, design and creative business skills.

I've been working as a photographer for the past six years, working with clients across fashion, music and lifestyle! I work with both film and digital photography and have been honoured to work with some amazing faces, teams and clients, from global companies such as Vodafone and Red Bull, to amazing individuals like Leigh-Anne Pinnock of Little Mix and Georgia Stanway and Mary Earpes, two Lionesses.

You can find me most of the time over on Instagram and YouTube, so f... See full profile

Level: Beginner

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1. Introduction: Welcome to live music photography 101. This course is the basics of live music photography whether you are a photographer looking to go professional or you're a casual gig-goer who's looking to get a little bit better at taking photos at live gigs. We're going to be looking at all of the things that I wish I had had spell out to me at the beginning of my career from shooting in low light venues to how to account for interesting shots. My best tips for pre-production and of course what to pack in your photography bag. My name is Sophia Carey and I am a photographer who specializes in live music photography. I started my career photographing small venues and gigs in my local area, mostly in grime and hip hop genres. Before moving on to capturing the live music scene in the UK, as well as some of the biggest UK festivals. I've worked in a range of venues from small clubs to large outdoor festival venues. I'm going to be going through the best tips that I've learned in almost a decade of working in this industry. This course will be broken down into three sections, pre-production, the shooting process itself and then post-production so that we're able to cover everything from before the event, during the event and after the event, right into the culling, editing and delivery process. By the end of this course, you should feel comfortable to go into any live music gig event of any and captured the moments that are unfolding in front of you. I won't say much more. Let's get stuck straight in dreaming the next lesson where we're going to be discussing the class projects. 2. Class Project: Thank you for choosing to join me in this class, all about Live Music Photography. Throughout the class, we're going to be touching on every element of the live music photography process, from pre-production all the way to post production. For the class projects, I'd like you to head to a gig, whether in your local area or something a little bit bigger, and snap three photos; one that focuses on the crowd, one that focuses on the production, and one that focuses on the artist. When it comes to production, that could be anything from set design to lighting, but we will get into that in a little bit more detail later on in the class. You can take these three photos on the newest mirrorless camera, or you can take them on a iPhone, or similar phone. What you use to take the actual photos doesn't matter. Throughout this process, we're going to be exploring how you can use a variety of different equipment to capture live music photography. This class should give you a great idea on how to nail these three shots. Let's dive straight in and get started with pre-production. 3. Intro to Pre-Production: Pre-production is the first natural step to any photography process. It refers to all of the work that you do before the event or the shoot itself that helps that process go as smoothly as possible. Preparation as in any photo shoot is really important because of the unpredictable nature of photography, especially when it comes to events. If you can prepare as much as possible for the things that you can control, the things that you can't control will be a little bit easier to deal with. In this section of the class, we're going to be looking at how you can secure your press pass, your photo pass, which allows you into the venue. We're also going to be talking about venue access, what that means, why you might be allowed to be within the venue. Then we're going to move onto understanding your shortlist and your schedule. I think that ultimately the pre-production process is the most important aspects of any photography process. If you get the pre-production right, everything else will slow it into place. In the next session, we're going to get started with the pre-production process and explore how to get your photo pass and gain access to shooting inside the venue. 4. Getting Your Photo Pass: Before we get stuck into all of the details of the pre-production process, it's important to understand when you can and when you can't bring a professional camera into a venue. For those of you who are shooting on your phone or small pocket-sized point and shoot, this often won't be an issue. But some venues, especially bigger venues, don't allow you to bring in DSLRs, mirrorless cameras, or any kind of professional looking camera. Usually the rule is if it has a detachable or interchangeable lens, you can't bring it in. That being said, some small venues don't have this rule and you can bring your camera in, but it's important to check beforehand. Usually places have it on their website. They have it all detailed as to whether or not you can bring a camera into a venue. If you're in doubt, then you can always reach out and ask them. In order to gain access to those bigger venues with your camera, you need to get what we call a photo pass or a press pass, which essentially is a piece of accreditation that lets the security and the staff there know that you are okay to bring a camera in. When it comes to getting your photo pass, there are three ways that photographers would usually gain access. Either by shooting for a publication, whether it's a magazine or an online blog, shooting directly for the artists. You might be hired by the artists themselves, their management or their label. Or thirdly, shooting for the promoter or the venue itself. Often it's easiest to gain access via publications, which is how most photographers would get their press passes. But of course you can try to reach out to any of the three, whether it be publications, artists, or venues. Just make sure that you include your portfolio or link to your online portfolio within your email. Once you've secured your photo pass, which should be confirmed to you via some sort of written communication, it's time to wait for the day of the event. Unless you've been asked to arrive at a specific time, if you're shooting the whole show, it can be a good idea to arrive around the same time that doors open. If it's one artist that you're shooting in particular, then maybe 20 minutes, half an hour before that artist goes on stage. When you arrive at the venue you're going to need to request the accreditation entrance. Usually security will be really helpful in directing you towards whichever door or entrance you might need to head to. Once you're at the entrance, security would then basically just check your name against a list and see if your name is on there, give you the correct pass which will give you access to wherever you are allowed to be as a photographer. Once you've got your pass, if you're not really sure about where you're allowed to go, then just ask security and they'll be able to point you in the right direction and let you know where you can access and where you can't. For your pass secured, it's time to head into the venue and head towards the stage where you'll be shooting. Join me in the next lesson where we're going to be talking all things venue. 5. Exploring the Venue: In this lesson, we're going to be talking about all the things you need to know about a venue, starting with venue access. As mentioned in the last lesson, understanding what access you're going to have within the venue is really important. It's important so that you know where you're going to be, where you're allowed to be, and you can plan your shots accordingly. This is going to help inform so many of your decisions in the pre-production process, such as choosing your lenses, or what equipment you're going to bring. You should be able to ask whoever's hired you as to where you're going to have access on the day. As mentioned in the last lesson, if whoever hired you doesn't know, then you can always ask security on the day of the event. Ordinarily, you're going to have greater access if you are shooting for the venue, or an artist than you would if you were shooting for publication. The different types of access that you want to be aware of are stage access, where you'll be able to be onstage with the artist, pits access where you'll be positioned in an area that is usually directly between the crowd and the stage. Front of house, which is usually towards the back of the venue and gives you a view of the crowd and the stage. Depending on the venue, there may be other less common areas and vantage points that you have access to. But these three are often the most typical. Lots of venues will only allow you to shoot for the first three songs, especially if you're shooting for our publication and you're in the pit. This means that you're going to need to get all of your shots within the first three songs of an artist setup before either dispersing into the crowd, heading home, or heading backstage to starting your edits before the next art. Which one of those things you do will depend on your ticket type and what access you have at the venue. For example if I was shooting for the venue, I might be able to head back sage style my edits before the next app. However, if I was shooting for the press and only had access to that one artist, I would likely head home after those first three shots. As well as understanding the actual access you have within the venue, I find it really useful to try to understand what the venue actually looks like before you get there. If you haven't been to a venue beforehand, a quick search on Instagram, or Google should give you a good idea of a, the size and type of rooms the venue has and b, what kind of shots you can maybe expected to capture. In the next lesson, we're going to dive into schedules and shot lists to work out what you're actually going to be capturing. 6. Schedules and Shot List: In this lesson, we're going to be talking about schedules and shortlists. Aside from having a good understanding of a venue, it's also important to understand what you're going to be doing on the day. I work a lot in dance music where you have a lot of acts during a night. You might have between five and 10, maybe more acts throughout a given set period that you're there for. So having a good idea of who is going to be where and at what time is really important to ensure that things run smoothly for you in the night and that you don't miss any key moments. I usually compile all of this information in a format that is easily accessible for me. For example, I might create a screensaver or screenshot my schedule and have that as my phone wallpaper so that I can quickly take my phone out, check the screensaver and know where I need to be for which artist. Alongside the actual schedule for the artists, is also really useful if you can try and get access to some sort of schedule for the production moments. This could be like any big special effects such as confetti or pyro or big lighting effects that the crew have planned for you. Getting access to this kind of information can sometimes be a little bit more tricky than getting access to an artist schedule. But if you're working for a promoter or a venue, then you could always head to the lighting crew, the sound crew or production manager and ask them if they have a schedule that they're willing to share with you. All of this information can be used to ensure that the process is as smooth as possible for you and you're not stressed about where you need to be and at what time. If you're not shooting professionally and you're just heading to a gig with your phone or a point-and-shoot camera, then you don't need to worry about all these schedules in the same way. However, it can be really useful to try and find this at times which are usually around the venue on posters or maybe on social media. In the next lesson we're going to be looking at camera settings and how to get the most out of your camera. 7. Camera Settings: If you're just starting out with live music photography, it can be really important to understand the basics of shooting in low light environment. The most important thing to get right is your camera setting. Make sure you know how to adjust your ISO, your aperture, and your shutter speed for different lighting condition. ISO, shutter speed, and aperture make up what we refer to as the exposure triangle. Three elements that make up any photograph allowing you to balance the amount of light that's laying. ISO refers to the sensitivity of your sensor or your film stock. The higher the number, the more sensitive your sensor or film stock is to light. This means it will allow for a brighter image, but the image will be grainier than an ISO of a lower number. Shutter speed refers to how quickly or how slowly the shutter opens and closes. The shutter speed we use units of seconds or fractions of seconds, for example one is one second, whereas 1/250 is one 250th of a second, meaning that the shutter is open for longer at one than it is at 1/250. The longer your shutter is open for, the more light is allowed in to hit the sensor, brightening your image, but in return, the more motion is captured. Alternatively, shorter shutter speeds that less light into images but able to freeze the motion. Aperture controls the depth of field in your photographs, or in simple words, how blurry or how sharp your background is. Aperture refers to the hole in your lens that lets light in. We measure this in whole numbers and decimals such as 16 or 2.8. It feels contradictory but the smaller the number is, the larger the hole in your lens, meaning more light enters your images and there's a shallower depth of field. This means that your background will be blurrier. The higher the number, the less light, but the greater depth of field, meaning your background will be sharper. When we're shooting in low light venues, often it's best to shoot with a wide aperture such as 2.8, but to keep your shutter speed at a fraction close to 1/200 or 1/250, so that we don't capture too much motion blur which can be tricky as performers like to move around a lot. In terms of ISO, indoor settings can often be quite dimly lit, and so we want to opt for a higher ISO. For a lot of good photography, I tend to use some range between 1600 and 2500. But how far you can push your ISO will really depend on the type of camera you are using and how well it handles a high ISO. When you're shooting in venues with more light available, you can usually afford to set your ISO to a lower number, reducing the amount of grain, as well as setting your shutter speed at an even quicker units such as 1/800 for example and that further reduces the chance of motion blur. The thing to remember about your camera settings is that these three things, your aperture, your ISO, and your shutter speed, they work in unison to create the perfect balance, the perfect exposure. It's really important to fully understand how all three of these elements not only work individually, but also how they work together. The best way I've found to fully understand how these elements work is to head out and shoot and practice using all three different settings. You can do this with a camera or you could use your phone with an app such as ProCamera, changing the different elements, and seeing in real-time how that affects the image. In the next lesson, we're going to be diving into camera gear, and what I would recommend when choosing your camera bodies and lenses. 8. Camera Gear: Now we've got a good understanding of the settings that we're going to be balancing when shooting live music. It's time to get stuck into what we're actually going to be using to shoot those images with. When it comes to live music photography, it's always better to be over-prepared. One thing I always recommend is having backup gear, so I always take two camera bodies and multiple lenses, as well as spare SD cards and spare batteries. What other considerations do you need to take when it comes to your camera gear? Let's start off by talking about your camera body. When it comes to the camera body, one of the main considerations will be how it performs in low light. I personally opt for a mirrorless system that performs notoriously well in low light. This means I can push my camera to much higher ISOs than I could, otherwise, I use both the Sony A7 IV and the Sony A7 III. Other camera brands, such as Nikon and Canons mirrorless range in particular, are also great at performing in low light, so they are great options. Another thing that I like to consider is whether or not my camera has more than one slot for an SD card. I find that having a camera that has two slots, meaning you can backup onto one of your cards is really useful because you don't know what's going to happen. If a card was to malfunction and you were to lose all your photos, then at least you have everything backs up onto your second SD card. I personally like to have two camera bodies with me for reassurance really, and mostly because if there was a problem with one of them, then I have a backup to use. But also it can be really handy to have different lenses on different cameras, meaning that you're not going to have to switch lenses mid performance. However, for a really long time I shot with only one body, so don't worry if you can't splash out right now and afford two, having one is a great way to get started. Next up, let's talk lenses. In the next lesson, we're going to be talking more specifically about focal lengths, what that means, and how to choose which focal lengths you're going to be using. But right now we're talking about the lenses themselves. So me, the considerations are really narrowed down to two factors. Firstly, a lens that has a wide aperture that allow me to let loads of light into the image, and secondly, a lens that has auto-focus. I don't want to be worried about manual focus when it comes to live music. It's a really fast-paced environment, and having to worry about manually focusing each shot is just something that for me wouldn't work within my workflow. When it comes to a wide aperture, of course, it's great to have a lens that let's loads of light in. When we're working in low light environments, that's not really a worry and we can drop down our aperture rather than compromising shutter speed or making a really grainy image. Aside from these two main factors, another consideration would be whether or not you use a prime lens or a zoom lens. A prime lens is essentially a lens that doesn't zoom, it's fixed focal length. I tried to shoot with one prime lens on one camera and a zoom lens on the other camera. This is because prime lenses often stop down to a wider aperture, meaning you can let more light in. But of course with zoom lenses, you have a little bit more flexibility, you can shoot at different focal lengths, and so having both with you at all times is a great way to find a great balance between letting loads of light into your images and not having to compromise on your focal length. In the next lesson, we're going to be diving deeper into the topic of lenses, talking all about focal lengths. 9. Choosing Your Focal Lenghts: Now that we have a clear understanding of camera settings and camera equipment, let's talk focal length. Focal length determines the angle of view captured by lens with shorter focal lengths resulting in wider angles of view, and longer focal lengths resulting in narrow angles of view. It also affects how much of the image is magnified with longer focal lengths producing greater magnification. Different lenses have different focal lengths. Prime lenses, as I mentioned in the last lesson are fixed to one focal length. For example, a 35 millimeter prime is fixed at a 35-millimeter focal length. Zoom lenses on the other hand, has the option to move between a range of different focal lengths. For example, a 24 millimeter to a 70 millimeter has a range of 24-70, which means it can have any focal lengths within that range. When it comes to choosing your focal lengths, there are certain considerations. Firstly, your vantage point. Where will you be shooting from? Will you be in the pit quite close up to the artist, or are you going to be right at the back, in front of house. For example, if you're shooting from a far, you may need a focal length that allows you to zoom in closer to the action. For smaller venue, something like a 24-70 is a perfect lens for these scenarios. Then for bigger than venues, maybe something like a 70-200 millimeter. Another consideration is how many people are there on stage. If there are multiple people within a band or a DJ Collective, then you might want to opt for a wider focal length just to ensure that everyone can be in the shot at a time. For a recent tour that I shot with four DJs going back to back, I opted for an 18-millimeter lens, which helped me to ensure that all of the DJs were able to fit into the shots, even when I was shooting at quiet close distances in quite close spaces. Thirdly, what type of shots are you going to be focusing on? If you're focusing on crowd shots, then something like a wide lens, a wide focal length is going to help you out here. Personally, I like anything from an 18 millimeter to a 35 millimeter for crowd shots. But some people like to go even wider, maybe shooting with fisheye lenses for crowd shots. In the next lesson, we're going to be looking at other equipment, things that aren't your cameras, things that aren't your lenses, and what you might need to take with you to shoot a live gig that isn't camera oriented. 10. What to Pack & Wear: In this lesson, we're going to touch on equipment that you might want to use or you might want to take with you that is not camera equipment. Let's get started with things that you want to wear and common etiquette when it comes to shooting live music. For most events in particular with music, you're going to want to wear all black. We call this stage black, which essentially ensures that you blend into the crowd, you blend into the stage, and you're not standing out not only to not distract the crowd from the performance but also so you're not in other photographers and videographers shots by as a really intrusive, bright figure or wherever. I personally tried to wear lots of items or clothing that have pockets for room for extra SD cards, batteries, even lenses if I can fit them in. It's also useful to you layer your outfits. Some venues are really hot and some venues are really cold. Having layers that you can remove easily or add easily is also a really great consideration. Probably the most important thing when it comes to what to wear is your earplugs. Other than your camera equipment, having earplugs with you is probably the most important thing that you're going to need to remember to bring for the night. But if you do forget you can usually get spare earplugs at most venues, if you just ask the bar star. Protecting your ears in live music venues, especially when you're going to be spending so much time, so close to speakers is really important so that it doesn't affect your long-term health, your hearing. I also like to wear a small bag that goes across my body, meaning I can again fill it with spare SD cards, batteries, tissues, lens cloths, lens wipes, anything that I might need to access really quickly. Sometimes you'll even find a flash gun or a prism within this bag depending on the size of the bag that I'm wearing, I'm going to be touching on both flash guns and prisms later on in this class. The more shows you shoot, the more you'll get used to what you need, what works well within your workflow. But these are some great considerations to get started with. In the next lesson, we're going to be looking at the typical shots you need to consider at a live gig. 11. Typical Shots: When it comes to what kind of photos to take during a show, I like to categorize this into four categories. Firstly, artist shots, secondly, production shots, then crowd shots, and hero shots. In this lesson, we're going to be talking about each one of these categories and what they look like. Let's start with artist shots, probably the most self-explanatory of the four categories. Artist shots refer to the photos that you get of a band or DJ or musician. These could be wide shots that encompass the whole band or the whole group of DJs or it could be closer cropped shots that just focus on one member or if there is just one artist, then a specific detail or a mid shot, something close up of the artist. Next up we have production shots. Production shots refer to the shots of the visual production. This could be anything from stage design to special effects such as confetti or pyro. These shots tend to be most effective when you shoot them from a wider angle, encompassing the vastness of these production pieces. The third category is crowd shots. Again, really similar to artist shots in that it's pretty self-explanatory. Crowd shots are photos of the crowd and they usually come in two forms; one being wider shots that encompass the vastness and the scale of the event, and secondly, shots that hone in on individuals or groups of individuals within the crowd. Finally, we have hero shots. Hero shots are the shots that I like to think of as like the ultimate shot. It encompasses a little bit of all three of the other categories. You have the artist on stage, you have the crowd, and you have production moments. These are often shots from wide angles maybe in front of house looking out over the crowd towards the stage or from a higher vantage point. In the next lesson, we're going to discuss what to look for in each of these shots and how to know your shots within these four categories. 12. What to Look for in a Shot: In this lesson, we're going to be talking about what to look for in a shot for each of the four categories described in the last lesson. Firstly, let's discuss artist shots. For artist shots there are two things that you really want to consider or pay attention to. Participation and interaction being the first. This means any shot where the artist or a musician is interacting with other people on stage, whether that'd be a friend or a fellow musician, or anything where they're interacting with the crowd. Secondly, interesting movement. Anything where the artist is moving in an interesting or strong and striking way, this can make a great shot. For production shots, it's important to be able to predict when production moments are going to happen. Of course, you can speak to people beforehand, get a timetable of when certain production is meant to happen, but you can't always predict the exact second that these are going to happen. You're going to need to keep an eye in the air out for when you think production moments are likely to happen, and there are a few ways that you can do this. One way you can do this is by getting familiar with an artist's music or set list. This isn't always possible, but when it is, it can be really useful to try and predict when the biggest part of a song or a set list is going to be. These biggest parts of songs and set lists tend to be the moments in which production release that special effects. You're going to have the confetti shots on the biggest song on the set list. Secondly, you can listen to the music and try to work out the beat of the music and listen to the beat as these are key moments in which they might release special effects or change writing, for example. Thirdly, and this one is a little bit of a cheat, is to keep your eye on whoever is doing the special effects. Often you'll be able to tell when they're going to press a button or pull the lever and you can use this guidance by looking at them every now and then to work out when they're going to release the special effects. As long as you've got your shot ready, you've got everything ready to go, you can keep watching them and as soon as they go to press the button or pull a lever, you're ready to take that shot. The crowd shots I take a similar approach to artists shots. Looking for any interaction either with other members of the audience or with the artists on stage themselves. I also look out for people who seem to really be enjoying the music as these are the shots that your client is really going to want to be able to see. I personally prefer a more candid approach to crowd photography. Preferring shorts where the audience aren't looking at me and maybe aren't aware that I'm taking a photo. But this is definitely something of personal preference. Some people prefer more posed crowd photography, and it's definitely a time and place for both. The hero shots. You want to consider a little bit from all three of those categories and throw it into one. In the next lesson, we're going to be talking about output and why that is important to consider. 13. Considering Output: In this lesson, we're going to be discussing the output of your photos, where they would end up, and how does that affect the shooting process. This is arguably one of the most simple but important aspects of any photo job. But when you're shooting for yourself, what considerations do you actually need to take when you're taking a photo? It can be really useful to understand where you're going to be putting these photos. Are they for social media or are you going to print them out for that your bedroom wall? Understanding where your images are going to end up will help you when it comes to naming the composition of your image. Do you need to compose it in portrait orientation or in landscape orientation? When it comes to working for a client, this will often be dictated within the brief, but where it's not, it's a good idea to get a variety of different compositions and different compositions for different aspect ratios just in case. For example, photos that might be needed for web or billboards tend to be shot in landscape orientation. However, photos for social media will usually be short in portrait orientation. To further this, when it comes to social media, often you have two aspect ratios to consider, 9*16 for Instagram stories or real covers, and 4*5 for Instagram grid post. This can be something to consider when it comes to composing your image and thinking about what the crop will impact. In the next lesson, we're going to be discussing the idea of shooting with purpose and how to make sure you get everything you need covered. 14. Shooting with Purpose: In this lesson we're going to be discussing how to shoot with purpose. Shooting with purpose is important to make sure you find that balance between getting everything that you need to capture, but not overshooting. Firstly, don't just spray and pray. This term refers to shooting aimlessly and just hoping that you get something good out of what you've captured. Instead try to make what you're shooting a little bit more considered. Think about what we've discussed in previous lessons, such as what to look for in a short or the output. Another good way to ensure that your work is considered is to think about the brand of the artist or your client. Can you find a way to incorporate their personal brand and their visual identity within your work? This is a big part of shooting live music. The way that you shoot rappers is likely going to be different to the way in which you shoot a folk singer. Ensuring that you're capturing enough of photos can be something that is a little bit tricky to judge. How I try to do this is ensure that I've got at least three solid shots for each item on my shot list. This way I know that I definitely have enough to deliver to the client. Once I've now the shot list, I can use the rest of the time remaining to get creative, try techniques that I haven't tried before, or things that aren't on the shot list but I want to try anyway. Understanding how to shoot with purpose and be more considered in your approach is really important to ensure that you get everything that you need to get, but then you don't end up with thousands of images that are likely not going to make the cut at the end. In the next lesson we're going to be talking about how to shoot lasers at a gig, and what you might need to consider. 15. Shooting Lasers: Lasers are a firm favorite for big shows, especially when it comes to genres such as dance music, but effectively and safely capturing them can be quite difficult. In this lesson, I'm going to outline some of the things I've learned in the years that I've spent shooting shows that include lasers. First up, you're going to want to be aware that lasers can cause damage to your camera sensors. This happens if the laser hits the camera sensor directly, so you're going to want to try and avoid any kind of laser's going directly into your lens. Thankfully, most lasers are mounted on a stage pointing above the crowd. So if you can stay crowd-level, you're mostly going to be safe from this. You also want to consider that the longer that the laser hits your sensor for, the more damage it's going to create. If you're shooting with really slow shutter speeds, then the damage is going to be higher than if you're shooting at faster shutter speed. That leads me nicely onto shutter speed and how to adjust your shutter speed when you are shooting lasers. I found that working with slower shutter speeds is a lot more effective than shooting with higher shutter speeds. Of course, you don't want it to be too slow so that you minimize laser damage, but you do want to find a point somewhere between maybe 1/15 and 1/100, as I found that this kind of range usually generates the best images for capturing lasers. Experiment with different shutter speeds as you work to try and find that sweet spot as different lasers are fired off at different speeds and so there's not like a one-size fits all for the shutter speed when it comes to lasers. However, if you do shoot lasers at too high a shutter speed, you'll find that the laser display might look weak as the camera won't capture all of the lasers. Meaning you might end up with a photo of just one laser captured instead of an array of 20 across the image. When it comes to shooting lasers, I like to offer a wide shot, usually shot from the crowd or front of house focusing on vast crowds in an attempt to lose any motion blur thanks to the slow shutter speed rather than focusing directly on the artist who is going to be moving around a lot. In the next lesson, we're going to discuss flash photography and when it's appropriate to use it during live music. 16. Flash Photography: In this lesson, we're going to touch on the topic of flash photography. When is it appropriate to use and how do you use it when you're able to? Within most live music, it's not really customary to use flash. However, there can be some exceptions to this rule, and this usually depends on the artist and the venue and the rules that they have. In my experience, for some smaller venues and artists, it has been okay for me to use flash. When I've used it I've used it in a direct light kind of way, which essentially, means that you're directing the flash directly at your subject and creating quite harsh light. Alternatively, you can also bounce your flash, which entails shooting the flash, let's say onto a ceiling and bouncing the light off of the ceiling down into your subject. The thing is that this usually works better when there's a white ceiling that you can bounce it from. Most venues have dark ceilings or really high ceilings. If you're going to use flash, it's probably best to use a direct form of flash, but to reiterate, it's not really that common that you are actually able to use flash within music photography. Most of the time, you're going to be expected to use available light, whether that is natural light at different outdoor venues or the strops that they have specifically for that venue. Other instances where flash might be appropriate is if you're shooting backstage behind the scenes content with the artist and you're away from the stage. In these instances, bouncing your flash or using direct flash would be appropriate and just depend on your personal preference and the style that you want to go for. In the next lesson, we're going to discuss shooting with prisms and reflections and how you might want to do this. 17. Prisms & Reflections: Using prisms and reflections in your photos is a great way to add an additional creative element and there are a few ways that you can do this. Presumes are essentially pieces of glass that come in different shapes and sizes that you can use, or attach to your lens if you're using a presume filter. They used to distort your image, or to create interesting reflections within your photos. If you don't have a prism, I like to use my phone as a reflective surface instead. You essentially just need to put the reflective side of your phone underneath your lens and that will reflect an image into your photos. Different types of prisons can have different effects. It can be fun to experiment with the different shapes and the different sizes and find the ones that you'd like to use the most. A top tip for working with reflections is to really consider what is being reflected into the image. For example, you don't want the sound desk, or yourself reflected into the image. Instead you want to focus on reflecting things like production moments, lighting into your photos. In the next lesson, we're going to dive into the post-production process, chatting about how to choose your final photos for delivery. 18. Choosing Your Final Photos: Creating your final slacks or calling as it's also commonly referred to, is it an important aspect of the post-production process. In this lesson, I'm going to be talking about two of my favorite ways of narrowing down the photos to my final selects. The first calling method is to call in camera. This can be done on shoot or maybe on your way home from a shoot before you get into the actual editing process. The way that I prefer to do this is to write my images with a star rating in camera. Often during the shooting process, you will take a photo and you'll know that photo is one of the photos I'm going to deliver at the end. It's one of the best photos that I've taken tonight. These star ratings are saved into the photos metadata, so that when you import them into something like Adobe Lightroom, a piece of cataloging, and editing software that we're going to be looking at in an upcoming lesson. The star ratings remain, making it easy for you to instantly identify your favorite photos of the night. When it comes to shooting on your phone, you can use similar tools to cope during the shooting process. For example, iPhones have this option where you can favor an image once you've taken it, and this just sends that image into another folder which you can access at a later date. Next up, let's talk about calling in Adobe Lightroom. There are a lot of different ways that you can call in Lightroom and deciding which method is best for you is usually a matter of personal preference. To me, the main ways that I like to call is to use the star system where you can write an image 1-5, or to use the flagging or quick collection options. Each of these three options are effectively one and the same. In essence, they each help you to separate your selects from the rest of the photos you've taken. Play around and see which system is easiest for you and what's best within your workflow. In the next lesson, we're going to jump into the editing process, starting off with cropping your compositions. 19. Cropping: Whilst is definitely easier and more effective to get your compositions right in camera, this doesn't always happen, and so using cropping as a tool of fixing and editing your photos is a really powerful idea. In this lesson, we're going to be looking at some top tips to consider when it comes to cropping your photos. In terms of equipment, when it comes to cropping, you could use anything from the photos app on your phone to a software like Adobe Photoshop. The equipment you use for this doesn't actually matter, it's just actually what you do with the crop. Firstly, think again about output, for example, do these photos need to be cropped into a specific aspect ratios such as 1*1, 9*16, 4*5. This will instruct you as to what aspect ratio the photos need to be cropped into. And then you can consider cropping for a variety of different reasons including cropping to create a focal point. Cropping is a powerful tool and the cropping create a focal point can be a great way to utilize it. This means designing the crop of your photo to draw attention to a specific area or part of the photo. A really common way to crop to create a focal point, is to position your focal point in the center of your image. Another great way to utilize the crop is to crop things out of frame. As much as image-making is about what you include in the frame, it's also about what you emit. Cropping distractions or items that don't serve your composition or narrative can be a useful way of using the cropping tools. Now, that we've covered the basics of cropping, arguably the most important and powerful tool when it comes to image editing, let's dive into some specific software that you can use within your editing process, starting out with Adobe Lightroom. Join me in the next lesson, as we jump into Adobe Lightroom and some of the key features when it comes to image editing. Next lesson. 20. Editing in Lightroom: Adobe Lightroom is my personal favorite editing software, perfect for color grading as well as cataloging all of your photos. You can access Lightroom using an Adobe subscription which allows discounts for students but if you don't want to purchase a subscription the editing options that Lightroom has are common options across loads of different editing software. This tutorial will give you a good idea of what each of the options do and how they affect an image. Lightroom also offers a free mobile app which we'll be getting into a little bit more in another lesson available for both mobiles and tablets which don't require a subscription or any payment, they offer a lot of the same editing capabilities as the desktop bar. In this lesson I'll be using the Adobe Lightroom classic version on my Macbook. I think this is a 2015 but you can use it on Mac or Windows. Let's dive into some of my favorite options. Welcome to Adobe Lightroom, this is our workspace for this lesson. Adobe Lightroom is essentially a photo editing and cataloging tool, so you can import your photos into Lightroom, you can edit your photos into Lightroom, and then you can export them from Lightroom. In this lesson we're going to be jumping into some of my favorite tools or some of the most powerful tools that Lightroom has to offer and we're going to be starting with temperature. Temperature is a really simple and really effective tool that you can use to really transform your image. To show you an example of this I have this image that I shot a few months back and we're going to just edit it using just temperature and see what that does to the image. As you can see over here on the right-hand side, you can see the temperature and the tint sliders. Just a preface we are in the Develop tab, so if you are in your Library tab you need to switch to your Develop tab to be able to edit your images. But back to the sliders. This section here is what we call white balance and that essentially changes the temperature and tint of the colors in your image. As you can see, Lightroom has made it really easy for you to identify what these tools actually do, so you can see here temperature will make your image either warmer going towards a yellow tone or colder going towards more blue hues and then tint on the other hand control your magenta like your pinks, and purples, and your greens. We're just going to play around with the temperature bit to start with and see what that really does to an image. Straightaway, this image is quite a cold image that is based on the lighting in image. As we change the temperature you can see that not only does the temperature change but actually how bright the image also changes. So you can see as I go warmer it loses a little bit of its luminance, a little bit of its brightness. But as I go colder, it introduces a lot more brightness into the image. Again, we can do the same on tint. If you go towards green it's going to make that image a little bit darker, but as we go towards pink it's brightening it up. The idea here is to really find a nice balance not only on color but on how bright you want your image to be. For me I'm going to go for something in the mid tones here. If you don't actually like the blue colors that's where other tools in Lightroom are going to come into play, so we're going to stick on this right-hand side and let me just close with these. We're going to go into this section here which is your color grading section. Color grading essentially allows you to add colors into your mid tones, your shadows, and your highlights which will change the balance of how the colors look. You have these little dials and this will determine what color you're adding to what part of your image. If we start with highlights, you see I can add a really vibrant green into the highlights of the image. By going towards the center it's going to double that green down, it's still going to be there but it's not going to be saturated. When it comes to color grading I usually like to use complimentary colors or contrasting colors. So this means choosing colors that are opposite each other on your color wheel. Since we're putting in this greeny yellow into the highlights, let's go into your shadows and see what we can do with this roughly opposite and how that changes the image. You'll see that most of this image is actually shadows. As I go around, whatever I'm adding to the shadows is really affecting most of this image. I'm going to add something roughly around here in the purple section. It's opposite our green and yellow, so it is complimentary, it does work well with this tone here, but it just adds a little bit more contrast away from the main blue of the image. When we come up into the mid tones, again, I'm going to want to go in with something similar to the highlights just to create a little bit more of contrast. You can also change the brightness here of these sections using these sliders. If we have a look at it without the highlights, without the shadows, and without the mid tones, we've added a little bit of contrast here by adding some brighter colors into the highlights, darker colors into the shadows. Then if we're not 100 percent certain with it we can come back into our basics and play around again with our temperature. For me, I'm quite happy with this all blue image but another way that you could change this about is by opening up your HSL section. HSL refers to hue, saturation, and luminance. Hue is the color, think of hue as the color of your image. You have red here in a slider from a pinky red to an orangey red. This is going to change all the reds in your image, there's not many reds to show you. Let's go further down into a blue because we have a lot of blues in this image. If I wanted to make it more purple I would drag it this way. If I wanted to make it greener you drag it that way. Your saturation is how saturated those hues are, so we can see if I drag this down it's going to take out the saturation of the blue, if I drag it up it's going to increase it. Your luminance is your brightness or your lightness, so bringing this up is going to lighten my blues, bringing it down is going to darken them. You can play around with the HSL sliders to really get the color that you want but let's jump into another image to see how we would use the similar tools. This image here is pretty dark, so we're going to start with your temperature moving that about and seeing where we want it. I'm going to make it a little bit warmer this time. Add a little bit of pink and then I'm also going to increase the exposure just to brighten the image up. These sections here, your shadows, your highlights also will help you change your exposure and create different levels of contrast. Let's jump into our split toning, our color grading again. If we add a green into the mid tones and maybe something a little bit similar, let's go for a blue or green in those highlights and then in the shadows put something in that's a little bit opposite, maybe like a pink or a red. Now we go. We can again jump into this HSL sliders if you want to tweak the colors even more. Another thing you can do is if you don't really know what color you're trying to identify is you can click this little button, you click it and then you come over to whatever color you want. Let's say we want this color here, click and then drag up and down and it will drag whatever color that Lightroom detects that is. Again, you could do it down here in the blues. You see that it's changing the blue and the purple because that's the hues that is detecting within the color that we've selected. Then let's open up a larger scene. Again, you can really see how your temperature is going to change, the mood, and the vibe of an image. It's all about playing around and experimenting really and finding a way that you enjoy using colors. Something you can do in Lightroom as well is create masks and masks essentially select certain parts of your image and only affect the parts selected within the mask for your edits. There's different ways in which you can do this, you can either draw your mask on with the brush tool or these ones are my favorite, you could either use the linear gradient or the radial gradient. So for example if I wanted to brighten this section of the image up I'd use a linear gradient and I would just create a mask that affects that. You can see that this red section is the mask, I can change the color of the overlay, if I want to say maybe something, I don't know like a really bright yellow, so you can see. This is what the mask. You can also turn overlay off so you can see what the image actually looks like. Then what it's going to do is it's going to create this little section here which allows you to make adjustments just to this mask. I can use the Exposure tool and you can see that it's not affecting all of this image, it's only affecting this section within the mask. Another thing that we can do in Lightroom is we can copy and paste edits. Let's say the lighting setup was exactly the same between this photo and another photo and I wanted to take the edits that I've taken in this photo and put them onto another photo for speed or ease or consistency, you can copy and paste your edits. Down here you can click copy or Command C if you're using a Mac or Control C if you're using Windows. You can select all the different things that you want to copy, so you could even copy your mask, you could copy your crop. For me I don't tend to do that because the compositions of different images are different, so the things that I tend to copy along are your basic staff, your colors, and press copy and then we can go into another image. This image actually isn't the same lighting setup but let's pretend it is and you can paste and you can see that now that edit has come into this image. In my opinion these are some of the most powerful tools in Lightroom. You have your HSL color sliders, you have your color grading section, then your white balance with the bits of that in the basic section on Lightroom that affects your exposure, and then of course you have your masking. These are all really great tools, really powerful tools that all can help you a lot when it comes to editing your photos. Lightroom is a great tool for editing and organizing your life music photography and I definitely recommend using it if you're looking to go professional with your music photography. For those of you who are more interested in casual photography, casual good go ahead, and just taking photos at live music events, join me in the next lesson where we'll be editing on my iPhone using a mixture of two different free apps that you can use. 21. Editing on your Phone: In this lesson we're going to be looking at two different apps that you can use on your phone to edit photos. Firstly, let's get started with VSCO or VSCO. VSCO is a firm favorite of mine. It's an app that not only offers you multiple presets to choose from but it also allows you an array of different tools to be able to alter your photos from hue saturation and luminance sliders to split tone controls. Let's take a look at some of the most common tools within VSCO or VSCO and how to use them, starting with exposure. Let's jump into VSCO. Let's open up this photo that I took quite a long time ago. I can't remember what phone this was on, I think an iPhone 7. We're just going to start by adjusting the crop. Let's go for a one-by-one just to make things simple. The first thing we're going to do is we're going to open up the exposure tab. An exposure essentially makes an image darker or lighter. Next up you can move along to your contrast. These tools are already similar to what you have in Adobe Lightroom for desktop. You also have H and S under your tone section here that affects your highlights in your image. You can't really see in this one because there's not many highlights to edit and the shadows which you can see a little bit more makes them either darker or lighter. You also have your white balance tools. Not only do you have that, you have a tool called vignetting which essentially makes it darker around the edges of your image. That helps to create some focal point in the image. Next up, let's move into your split toning which is essentially your color grading section from Lightroom. You can add different colors into the shadows and into your highlights. Alongside split toning you also have your HSL sliders, so similar to when you're working in lightroom. VSCO also has a ton of different presets that you can use if you don't fancy editing things from scratch. Next up, let's dive into the mobile app of Adobe Lightroom mobile. The tools in lightroom mobile are similar to VSCO and also very similar to light room for desktop. They offer more advanced features than VSCO similar to the desktop version of Adobe Lightroom, including masking and color grading. Let's look at a few of my favorites within the app. As you can see down here you have a lot of the same tools as VSCO and as Adobe Lightroom for desktop. You have this cool tool which is called Auto and that essentially predicts how the image should be edited. You can however overwrite this though. We're going to head into the light section which will open up our exposure contrast and highlights, etc. You can see that things have already been edited thanks to the auto setting. But as I said, you can overwrite these settings. I prefer to have a little bit more contrast so I'm going to bring some of the darkness back into those shadows. You also have something called a Tone Curve Tool which you also have in Adobe Lightroom for desktop, is a little bit more advanced tool but essentially what it allows you to do is it allows you to put points into a curve and affect different parts of the image. For example, this top right corner will affect the highlights in your image, the bottom-right will affect the shadows. You can also add different colors within those shadows, so within the red tone curve, you can add either red into the highlights or blue or the same into the shadows, and the same for green and also blue. This is a bit more advanced tool and it does take a little bit getting used to, so do play around with that. Next up we have your color section and color will include your white balance and it will also include your grading. Grading will be what we did in VSCO in your split toning and what we did in Adobe Lightroom desktop with your color grading. So you can add a color to your shadows, your mid tones, and your highlights. When you come into mix, this will introduce your HSL sliders, so the same as in other software we've been using and of course you can also crop from different aspect ratios, straighten, etc, and zoom in this app. In the next lesson we're going to be looking at a really common editing technique used in live music photography and jumping into Adobe Photoshop. 22. Double Exposures in Photoshop: In this lesson, we're going to be diving into Adobe Photoshop. We're going to be talking about a really common editing technique that is used a lot in live music photography, double exposures. Double exposures originated back to when film photography was the norm. It really consisted of two or more photos being exposed onto the same frame. Nowadays, this technique is commonly replicated in a digital form using software like Adobe Photoshop, where photographers can layer one image or multiple images over the top of another. Let's take a look at how this can be achieved layering two photos that I took at repercussion in 2022 at warehouse project. When it comes to creating a double exposure, what you want to look for is images that are contrasting. So we're going to be overlaying this image and this image. Firstly, I'm just going to copy this image and create a new canvas to work from. So we're going to paste that image in. And then I'm want to come in and take this crowd image, which is quite contrasting image, and also add it in. Next up, I'm going to just make sure that both images are the same size. So we're just going to resize this image. To resize really quickly, I press Command T. You could use Control T if you're using Windows and that will open up this Resize box. Next, I'm just going to lower the opacity of this image. I'm going to lock the layer at the bottom. I'm locking that layer so that I'm not moving the bottom layer when I'm experimenting with the composition. Then on Layer 1, I'm going to be able to drag this layer. What I want do is just make sure that this image and this image are lined up properly and that they look good together. So I'm just going to again transform it and play around. Then I'm going to set this back to 100%, lock that layer, drag Layer 1 above Layer 2, unlock it and reduce the opacity so that I can line this layer up next. So now I have my two images. What I want do is experiment with layer styles. So I'm going to unlock both images, both layers. Click the top layer, increase the opacity, and then click into the section where it says Normal. This will give me a ton of different options, and I'm just going to scroll through and see which looks better. So I think I want to go with something like Lighten, but I want this silhouette to be the main focal point rather than this focal point. Because of that, I'm going to select it back to normal and drag that to the bottom layer. Then I'm going to do the same on this one. I'm going to select this to Lighten or Screen or something like that. Then I can drag it so that the shadows are behind the silhouette so you can still see it. Alternatively, what I could do is have this as my top layer. Work so that the shadows of the bottom layer eliminate my silhouette. I think in terms of this composition, this will work better having the crowd closer to the main silhouette. Creating double exposures is really just playing around with the different layer styles, seeing what you like, the look of best, and experimenting with composition. But it's a really fun and simple way to create interesting compositions out of images you've already taken. You can, of course, then come into your brightness or something like that and edit a photo more to really enhance the technique. These tools are just going to be really similar to everything that we've played around with in Lightroom and VSCO. They're just in different places, essentially. When you're happy with your photo, you can just save your photo. When you're looking for photos to overlay, I like to look for contrast. So you have a big image of your artist and then an image where the crowd is small, or you have contrast in lighting between the darkness and the light, the light in the darkness. Anything with contrast will help you to create a really interesting double exposure. You can even perfect a double exposure by using things like the Subtract or the Erase functions. So click your Erase brush and then you can take out any of the textures or things that don't really serve the image. Bring me in the next lesson where we're going to be staying in Adobe Photoshop and we're going to be looking at how you can create an Instagram Carousel when it comes to the delivery of your photos. 23. Creating Instagram Carousels in Photoshop: Creating Instagram carousels can be a really interesting way to display your photos within your portfolio. It's great for live music because it allows you to not only include more than 10 photos within the carousel, but also a mixture of landscape and portrait images. In this lesson, we're going to be looking at how we can create a really simple Instagram carousel using Adobe Photoshop. To create an Instagram carousel, the first thing we're going to do is open up a new file, a new canvas in Adobe Photoshop. The dimensions for a normal portrait image in Instagram is 1,080 pixels by 1,350 pixels. However, we want to have 10 images within our carousel. The height isn't going to increase, but the width is because we're going to have 10 photos within the carousel. What you're going to do is you're going to simply put an extra zero on to the end of your width and click "Create". This now has created us a really long canvas that is going to be able to fit in 10 frames appropriate for Instagram. The next thing to do to set up your canvas is to head over to your View panel and click on "New Guide Layout". What this will do is essentially create columns within your canvas that will help you to understand where each new frame begins and ends. Since we're having 10 frames, we're going to put 10 in on columns. We're going to leave the width and the gutter clear and also keep rows unchecked. Then click "Okay". Next up, it's time to add the actual images to the canvas. How I like to do this is open up my finder, find the shape that I want to use. For this example, I'm going to be using photos from the Arthi Hard party. Then I will usually just make these images a little bit bigger so I can properly see them and choose a selection of my favorites. Don't worry about there being exactly 10 images to choose from to start with, that's not really important and we can narrow that down later on. You can select a mixture of landscape and also portrait, that doesn't matter. That is the brilliance of using carousels. I have 11 items selected, I'm going to drag them all into my canvas. You replace them with the Enter on your keypad or with this little tick here. Once all of the images are placed, you can start moving them about and deciding what order they're going to be in. For me, I personally know that I really like this photo, it's likely going to be the one that I want at the beginning of the post. This is just really playing around with how you want the images to look. For me, I like to put my favorite images towards the beginning. You can also include landscape images, so I could just drag this out over the two images and people will be able to swipe to see both. This image is probably not the best to do that for, so I'm going to keep that as a portrait image, compose it as a portrait image. I'm going to remove this image because I've already got a photo of him in here and I don't want too many of the same people. Then what I'm going to do is I'm actually going to remove that image, recompose that image, and then jump back into my finder to find a better landscape image that I want to use for the final post. What I'm going to do is I'm going to opt for using this crowd photo and I'm going to place that so that it covers both of the last frames. I could have this as two separate frames, but what I'm going to do instead is I'm going to add other photos within these images so that I can fit in even more. I'm on a hunt now for two more and what I'm looking for here is contrast in colors. Either something that is pink to contrast the blue or something that is maybe black and white. Once I've got my final two images, I'm going to make sure that these are the right height. I'm going to click one with the Shift button held down and then click the second to select both of them at the same time, then Command T to transform. If you're using Windows, you can click "Control T" instead. Then I'm going to resize these so that they will fit in the middle of this image, maybe a bit thicker than that. Then I'm going to separate them. Personally for me to be able to create them dead center, I will create a little box that is the same dimensions as that frame. I will move that behind the layer so I can see the image. Select that layer and my photo, and then use the align tools. Then I'm just going to drag this box over to the second image, drag it down below again, and then do the same thing. Then I can delete the white box. I actually want to switch these images over just because they're facing the wrong way, I want them to face inwards. We're just going to do that again. We move them across, then delete that one layer. Now I have my carousel, it's time to export it. Next up, what I'm going to click is I'm going to find the Slice tool in Photoshop, which is usually just behind the Crop tool. If you can see the Crop tool here and there's a little triangle, press and hold that triangle and it will open up the Slice tool. Then what you want to click is "Slice from Guides". This is going to create separate frames where your guides are. Next up, I'm going to click "Export", "Save for Web" and then I'm ready to save it as the Arthi Hard carousel, and that is going to export for me my carousel. Once I come back into the Arthi Hard folder, they'll be a new one that says images. When I click that, I can see all my images, I'm going to select them, and I'm going to send that to my phone. You can do this, however is easiest for you, emailing, drop-boxing, etc. For me, I'm going to add Drop to my phone. Now that I have the photos on my phone, I can open up my Instagram and then select the photos. In the next lesson, we're going to be staying on the topic of delivery, but talking a little bit more about how you actually get your photos from yourself to your client or whoever is you're delivering the photos to. 24. Delivering Your Photos: So you've successfully shot and edited your photos. How would you now go about delivering those photos to your client? In this lesson, we're going to be covering the best methods of transferring your photos to your client. Alongside my top tips for labeling and naming your photos. Let's get started with naming your files for delivery. So naming your files can be done within the export or saving process, or you can rename them once you've already exported them. But clearly, naming your files is really important for two reasons. One of which is archiving, making sure that you and your client can find those photos in the future by searching for the artist's name or the date or something like that. But also making sure that you are accredited properly. I recommend naming your files with a structure such as artist's name underscore your name, underscore, number of sequence of the photos. Once you've appropriately named your files, it is time to send them off for delivery. In the modern world, there are so many different ways in which you can transfer files to your clients. My personal favorites are utilizing cloud storage and file transferring softwares such as Google Drive, Dropbox or WeTransfer. All three of those services, offer free versions of their platforms, which is great, no matter what level you're at in terms of photographing gates. I also find all three really useful if you don't have access to something like Apple's AirDrop to actually get the photos from your laptop to your own phone, to post on Instagram, or wherever. In the next lesson, we're going to be wrapping up today's class and I'm going to be leaving you with a few of my final tips. 25. Final Thoughts: We've come to the end of the class. First off, I want to thank you for sticking with me and staying all the way to the end of the process. Throughout this class you've successfully mastered the pre-production, shooting process, and post-production of shooting a live gig. From understanding how to secure your photo pass, to learning what to look for in a shot, and how to use various different tools to enhance the shot in your editing process. I hope that you found this class not only interesting but also feel as though it's prepared you and given you the confidence to get out there and shoot your first gig. Before I sign off I want to leave you with a few final points. Preparation as with anything is always key. In a genre that can be so unpredictable, focus on controlling the things that you can control and everything else should slot into place. Have fun with it, photographing live music is one of the best aspects of being a photographer. It's one of the most enjoyable jobs out there, so make sure that you are enjoying the whole process. Feel free to reach out to me at any time whether through Skillshare or other social media. If you need any help with anything, any pointers when it comes to live music photography or any other photography. I have other classes here on Skillshare that cover a range of different things from color theory to shooting portraits. If that's of any interest to you then head over and check those out. I can't wait to see what you create from today's class. Feel free to share it in the project gallery so I can take a look. But thanks so much for watching and good luck with shooting your first show.