Here are some questions someone asked me last week that I thought some of the rest of you might also be interested in:

How did you become a concert photographer?

When I started having a sparked interest in concert photography, it definitely came unexpected. I was still just a young kid (too young to really start thinking about my future) about nine or ten years ago, going to shows and street-teaming for record labels. I was living in Missouri at the time, and Neptune Crush (a local St. Louis band) and Kill Hannah were always playing shows together at this tiny little club. Neptune Crush always had some of the coolest light setups, and every time they played with KH there, they’d let them use them, as well.

I remember at one of the shows, I brought a dinky little point-and-shoot camera with me to take pictures just to have for my memories. A good chunk of them I had accidentally taken without the flash… but ended up mistakenly taken them at just the right moment to capture some pretty rad images with the perfect lighting. One shot in particular was such a beautiful image that I decided I wanted to try photography once I hit college.

So college years came around and I immediately signed up for photography classes so I could learn more about manual 35mm cameras and how to develop my own film. By that time, I had already built great relationships with these bands and record labels that I was helping promote, that they were all very supportive and willing to help me out when I wanted to take a stab at concert photography. That’s how I started getting all of my photo passes to shows, and the more I practiced in the field, the more I loved it.

What inspires you to taking photographs, what are you hunting?

Other great concert photographers and their work inspire me, especially when they have these amazing action shots of musicians showing emotion as they sing or play their instrument. I think that’s what all concert photographers seek– to capture the perfect moment. It’s really easy to take a photo of a guy just standing around, playing his guitar… but it’s a bit of a challenge to grab that perfect second where he’s jumping mid-air, or even leaping from the stage into the crowd, screaming his head off. I also try to find a way to get some good shots of the drummers, if possible. They never get enough love.

What is important to know while shooting a concert?

It’s really important to know the rules of the band and show you are shooting and what venue you are at. This can vary in so many ways, but it is usually safe to assume that, with your photo pass, you are allowed to shoot the first three songs of each band from the photo pit (that space between the stage and the barricade). This is standard. A “no flash” rule also used to be standard back in the day, but I feel this has changed in the recent years as I see more and more photographers use their flashes and nobody yell at them for it (or kick them out) like security used to do in the past. (I, personally, however, still like to shoot without flash because I like the challenge of trying to capture a great image with what I am given).
Do not be surprised if the “three song rule” changes, depending on the band. Usually when bands managers change this, it is for safety precautions. For example, when I’ve shot the larger My Chemical Romance shows on the Black Parade tour with massive production and a whole lot of pyro, photographers were only allowed to shoot the first two songs before everyone was cleared from the photo pit for safety reasons.

Also keep in mind that the photo pit isn’t exactly the safest place to be, especially during shows with heavier music. Although it is the security guards’ responsibility to keep everyone safe, it is also partially your responsibility to keep yourself safe, as well. If the guards are busy making sure a crowdsurfer is let down easily instead of plummeting to the ground and possibly cracking their skull open, they can’t always look out for you (who is standing right behind them) at the same time. If they tap you, don’t think it’s them being rude… it’s just their way of telling you to quickly get out of the way because there’s an incoming body.

This also means MIND YOUR EQUIPMENT. It is YOUR responsibility to protect your baby, not the venue’s. There is a venue out here in Los Angeles that no longer allows photographers to shoot from right in front of the stage. From what I’ve heard, the reasoning was because a photographer got his camera damaged once from a rough show, and tried to sue the venue… which, sure, sucks… but at the same time, that is a risk you are supposed to know you are taking when you enter the photo pit of a rock show.
If a band lets you shoot from the sides of the stage, make sure you don’t get in the way of their tech team. Also always be aware of the rest of your surroundings. It’s not good if you’re not paying that much attention and you’re knocking over roadcases and tripping over power chords.

Do you get to choose which concerts you want to shoot?

Since I work for myself and/or the bands, for the most part, yes. Usually the only thing that stops me from shooting a show is if I don’t know any of the bands personally and try requesting a pass from their PR agent– who generally only grant passes to those working for publications.

How important it is to have a professional equipment?

I’d say it’s VERY important. I’m not going to sit here and say that it’s impossible to take a great image without some super fancy schmancy expensive branded camera, because honestly, I’ve taken some great images before with disposables and point-and-shoots that nobody has yet to recognize as such. Do I do it often? Definitely not. I’m just saying it’s possible to do, but you also have to truly know your lighting and assume it would be just as if you were shooting with your custom ISO and aperture settings. If you want to test it out for fun, I say go for it. Would I recommend relying on it? No way. You have a lot more control with professional gear.

How do you use your photographs after the shooting?

I use a lot of it for my own personal portfolios. Sometimes they get used for big music magazines, and occasionally albums and press releases.

Do you consider concert photography a creative work?

Yes. You always hear people say that “anyone can stand there and click a button,” which is true. Anyone can just stand around and click a button… but not everyone can make sure they truly capture the moment, with the perfect lighting, and even with the perfect composition.

How would you describe an excellent concert photograph?

This is a tough question because that’s like asking a painter to describe an excellent painting. At the end of the day, it’s all in the eye of the beholder, right? With me, personally, an excellent photo can be a clear-as-day, super sharp image of a vocalist, screaming as tears roll down his cheeks– it’s emotional… or it can be a silhouette shot with colorful lighting in the background. Sometimes it can be a photo where something other than the head and torso are in focus.

What is your greatest achievement in concert photography?

Although there’s quite a few that I can think of, I think my initial work with Five Finger Death Punch takes the number one spot. A dear friend of mine was finally getting this band together and he needed band photos. He asked me to do it as a favor, and I agreed… but I never imagined it would’ve gone as far as it did. Next thing I know, those photos were EVERYWHERE. Obviously on their websites, but as well as being printed on flyers, printed on Monster Energy posters, posters in general, in their debut album, MTV, L.A. Times, Rolling Stone, you name it. Most of the time, my name was even credited on the sides on some of those publications. Even though the Rolling Stone one was TINY, my name was still in there. That’s definitely something I never even imagined would actually happen.

Name some photographers you admire. Why them?

As far as concert photographers go, one of them is a guy named Duncan Black. He used to tour with Marilyn Manson back in 2001, and I can say that watching him work partially helped spark my interest in shooting shows along with those Neptune Crush/Kill Hannah shows. I’d watch him just run around all over the place to get the shots that he wanted– this includes running ONSTAGE, too. It just looked like a great rush (and I now know that it is). Unfortunately, I don’t know what ever happened to him after that year, and lost touch with him.

Another one is a guy that I just recently became aware of because he started following me on Twitter and has quite the website/blog with his great work: Todd Owyoung. I’ve been preaching about capturing the perfect moments with the perfect lighting and the perfect composition– well he’s definitely got it.

Show me one of your best concert photographs you have taken. Why did you choose this one?

Hmmm.. I have quite a few that I favor, but I think my favorite one is still this shot of Johnny Christ of Avenged Sevenfold that I took back in 2005:

If you look close enough, you will also see guitarist Zacky Vengeance in the reflection of his bass.

One of my band buddies hit me up today, informing me that they are looking for a merch girl for their local shows and upcoming tours. He asked for my advice on what questions he should ask possible candidates to make sure they were truly fit for the road. This also lead into conversation on what merch girls need to know (other than the basic “Don’t fuck around” write-up I left in Martin Atkins’ Tour:Smart book a couple years ago).

My first bit of advice to my friend was that he ask these girls if they’ve even toured before, and if they have, with who and what, exactly, they were doing on the tour… because, well, it’s been my experience that a lot of girls have different ideas on what “touring” is and what it entitles. For example, a few years ago, I spent a week on Warped Tour helping out Warner Bros. Records. We were sharing half of the bus with a band and a wreckless tour manager who didn’t really know what he was doing and just wanted to party all the time. He ended up having the bus pick up these girls… and perhaps they were a part of the inspiration behind what I wrote in Tour:Smart and why it was so “dumbed down.”

I was watching these two girls prance around like pampered prom queens, always tending to their hair and makeup and nails… while I spent my time breaking sweats from loading and unloading some heavy freakin’ gear, as well as running around like crazy getting some press shots when I wasn’t helping inside the booth. Throughout the week, I noticed these girls weren’t doing much, and one day, even complained to me about how they SOOOOOO didn’t want to work the next day. I asked them what it was, exactly, that they had to do. OH NO. ALL they had to do was SIT IN THE SHADE OF A BOOTH AND SELL SHIT. They didn’t even have to load in (or out) anything themselves. At all. Nor did they have to even work the booth all day. Oh no, heaven forbid you have to sit in shade for three hours!

I also remember one morning, I was in a rush to get everything set up. I hop out of my bunk and rush to the front lounge.. to find them SITTING IN MY WAY. Who sits in the aisle doing their makeup and bitching about breaking a nail? Apparently these two chicks. I just remember thinking that they wouldn’t be able to hack it on a REAL tour job.

I also advised him to ask if they were able to load their own “gear”– or at least most of it. Let’s be real, here. There are a lot of heavy boxes and bins and sometimes displays to be carried… and usually band members aren’t going to want to fumble out of their bunks to help out. This is why there is usually a dolly… and sometimes, with a little luck, you can get the venue loaders to help out… but mostly, you’re on your own and it’s your job to figure it out.

Another thing I advised him to ask the girls is if they knew how to count in, count out, and settle with the venue. Again, touring as a merch girl isn’t all fun and games. You don’t just sell a T-shirt or two and hang with the band. You’ve got responsibilities, and some of those responsibilities include a bit of Accounting.

This soon turned into a conversation about how the merch world works.

• So typically before a tour, you take inventory of all of your merchandise. Write it all down on a master sheet. Each night, you will take a certain amount of merchandise into the venue with you to try to sell. This is where daily count sheets come in. Make sure you keep track of this; how much is each item? How many shirts of each design and size did you sell? How many CDs were sold? How many did you have during count-in, and how many do you have as you are counting out? Do the numbers add up? …because they’re supposed to.

• It’s pretty standard that the merch person gets paid in a small percentage of sales. Usually the only bands I know of who don’t do that are the big dogs who do INCREDIBLY well in merch every night to the point that if they gave their sellers a small percentage every night, they’d be making more money than the band.

• Most venues do take a cut of sales on merchandise per night. Usually it’s anywhere from 10 – 15%. Sometimes the bigger, fancier venues ask for 20 – 25%.. and sometimes something as ridiculous as 30%. Then sometimes, you will run into the venues who don’t take percentage at all; and sometimes venues who do take percentage will cut you some slack if they don’t think you’re making that much money in sales in the first place. Usually these percentages apply to CLOTH ONLY. It’s rare that a venue will take percentage on CD sales. It really all just depends on what is in the contract made with the venue, so make sure everyone is clear on that.

Well, that’s all I’ve got for now. If anyone has any other questions, you can most likely find them in “the Bible of the road,” Tour:Smart.

[And to my friend who originally asked me for advice, best of luck to ya! Sorry I don't tour anymore, otherwise I'd be out there with you guys in a heartbeat!]

I’m an aspiring photographer. A concert photographer to be exact. I just want to be around live music all the time. The thing is, I don’t know where to start with that. I’m already a communication arts student in college and have taken some photography classes in my curriculum. I know I won’t get in shows to take pictures because I don’t have a press pass. I can’t get a press pass because I have no experience or credentials whatsoever….

I want to know how you got into shows, did you build your portfolio first? stuff like that.

I personally didn’t exactly start off the traditional way. As you can read in other entries and websites, I originally started off in the music business with street teaming/marketing. While networking and building up my contacts, by the time I got into photography, I had musicians and publicists willing to help me out in that field to practice since I had previously helped them out with other work in the past.

However, my advice is to start off with your local clubs. Talk to the club owner to see if they need a club photographer, perhaps even in trade for helping them pass out flyers and hang up posters all of the town for their upcoming shows (which is what I did for the Blue Note in Columbia, MO while I was going to college out there).

I also suggest searching for any local music magazines or webzines to see if they need any show photogs… maybe even start your own (which is what a few of my fellow concert photographers started with). Some publicists, even for the bigger acts, will honor even the “smallest” of press outlets because at the end of the day… press is press.

How about local bands in your area? Talk to them to see if they can do anything to help you out at their upcoming shows, as well. It’s good practice… Plus, if they happen to be opening for a national act, sometimes you might be able to luck out and get in touch with their publicist who might be willing to help you out, as well.

Someone had asked me a series of questions for one of her class projects, and since I usually get asked these questions anyway, I figured I would repost here:

1. How did you break into working in the music industry?

I started off with basic street and online teaming– the ones that marketing companies and record labels would have available for any kid to sign up for. Sometimes some of the bands I would see would give me bundles of marketing materials to pass around.

With a couple of the labels I was street teaming for, after a while of working hard, they chose me to be their main rep for the area. When they would send me to shows, I would make sure that not only did I do my job, but I would make sure I introduced myself, who I was working for, etc.– networking.

That is what originally opened up all these different doorways to a variety of options in the music business.

2. What kinds of opportunities do you get as a photographer?

As a (mostly) concert photographer, sometimes I get to shoot and work with a lot of my favorite musicians.

I usually get completely taken care of for shows: free entry and press passes. This allows me to have access to the photo pit (the area between the stage and the barricade) to take close up and personal shots during the show without having to worry too much about digging through the crowd. Sometimes, depending on certain factors, I will also be allowed to shoot from the stage and run around backstage taking more journalistic shots.

I have also had opportunities to have my work published in a number of ways: printed magazines, online ‘zines, publicity shots (which can be used for anything, really– magazines, websites, merchandise, etc), album covers or inserts…

3. How were you able to expand your field to become more than just a photographer? (such as working on graphic design, promotions…)

I kind of started everything when I was young before I actually realized that they could all integrate with one another and how much it was actually going to work out in the future.

I was big on the music promotion thing at the time, but I was still in high school. I was “the outcast” then, and while everyone else went out partying and doing the underage drinking thing, if i wasn’t at a show, I was staying at home, finishing homework and in my spare time, playing with Paint Shop Pro and Photoshop, as well as teaching myself HTML just out of pure boredom. I never really thought about turning it into a career at that time.

I would continue doing this throughout the years, even when I moved on to college.

When I moved to Los Angeles, I had built a solid base with a handful of musicians by then who had asked me to design their pages or banners.

Eventually, I started interning at Warner Bros. Records. I took a couple weeks off to spend in NYC, and when I returned, things had changed. We got a new head of the [Street Marketing] department, and he asked me what they had me doing before I left. Somehow we got to talking about Photoshop and he asked me to show him some of my work. I had a few websites up by then to toss him, and as it turns out, he was already familiar with some of my work and my name from hearing about me through one of the previous labels he worked for. He asked what on earth was I doing stuffing packages and demanded I be behind a computer immediately. Together we started to redesign and reinvent the entire department.

I guess it all kicked off from there.

4. Out of all your fields is there anything you like best?

My top two are definitely graphic design and photography. Although I thought I would never say this, I think graphic design might take the number one spot right now. I started to realize that there’s so much more I can do (especially with technology and new programs these days) with computers than I ever imagined before. Plus, I can still incorporate my photography into some of my digital designs.

5. What is it like to work in promotions?

Marketing can be an interesting business to be into. What most people may not realize is that it is more than just “Hey check this out!” and then that be it. You want to think about the type of demographic you want to reach out to and what methods would be best for it– both online and in the real world.

You also want to keep all of the visual factors in mind, as well. If you are designing something or even if you’re just in charge of setting a display up– you want to think of ways that are both appealing to the eye and unique. You want something that will catch more attention than just the average ‘pile of stuff on a table’ setup, if possible.

If you are passing promotional materials out to people on the streets, you want to make sure you’re in an outgoing and friendly mindset, keep in mind what kind of demographic you want to promote your product to, and try to toss a few compliments and strike up small talk instead of just holding your arm out with your materials and yelling “here, this is what this is; take it.” Those, if taken, usually end up in the trash bin about two feet away.

6. How has your job been affected by the decline in the music industry?

I won’t lie, the music business is tough, ESPECIALLY rock ‘n’ roll. There isn’t much money there to begin with (regardless of what most people think), and there’s always the chance that you’re going to get screwed out of getting paid.

I have had some bad experiences with this myself, and honestly, it’s left me a little jaded for the time being. At the same time, I believe everything happens for a reason, and not only did I learn from it, but I think it couldn’t have all happened at a better time. It just so happens that I had a backup plan ready with the viral marketing company that I have been doing a lot of designs for.

7. What is the most rewarding part of your job?

Well since I work in a lot of different industries, I’ll say that, in general, it’s been nice to work with so many talented people (whether they be musicians, actors, comedians, photographers, makeup artists, etc). It’s always great to see my work published all over the place, both online and offline.. and of course, honestly, it puts a big smile on my face every time I hear others telling me I help motivate them in some way. It’s a good feeling knowing I’m helping at least one person in the world.

8. What advice would you give to photographers, graphic designers and other artists trying to work in the industry?

As cliche as it may sound, but “Don’t give up.” There is the common misconception that things are supposed to happen suddenly and “overnight.” It never really works that way. It takes a lot of hard work, and often, it will take working hard for YEARS, so don’t get discouraged if you aren’t where you want to be after “only” a year or two. If you are truly that passionate about something, keep going for it.

9. Do you think there was anything you did when you were younger to help prepare you for all these jobs?

Oh definitely! Like I said before, a lot of what I am doing now I actually started learning when I was in high school and built up from there.

I get asked this question a lot… and since someone recently stumbled upon this blog searching for “what camera does sarah dope use” (ah, how I love my admin panel stats…)… I figured it’s time to answer it here.

When it comes to my photography work, in the past, I have hopped back and forth between a Nikon F (35mm film) and a Nikon 5700 (digital). Every now and then I will still use those, but mainly I currently shoot with my Nikon d70 (digital SLR).

Let’s see if I can keep up with these this time ’round..

[taken from thefridayfive.livejournal.com]

Ear Worms!
Ear worms are those annoying little songs that get stuck in your head. Sometimes they are the last song you hear on the radio before you go into the office, sometimes they just randomly pop in.

1. What is a common ear worm that you get?
2. How long do they last?
3. What do you do to get rid of them?
4. What is the worse ear worm you’ve ever had?
5. Do you get some guilty pleasure in passing the ear worm along?

1. What is a common ear worm that you get?
Lately, it’s been T.I.’s “Whatever You Like.”

2. How long do they last?
It hasn’t really left at all in the past three weeks. HELP.

3. What do you do to get rid of them?
I haven’t yet…

4. What is the worse ear worm you’ve ever had?
I guess the worst one I’ve had lately has been Britney Spears’ “Womanizer.” If there’s something worse than getting a song you like stuck in your head for weeks… it’s getting a song you don’t like at all stuck in your head for weeks.

5. Do you get some guilty pleasure in passing the ear worm along?
If I must suffer, then you all must suffer, as well!! BUWAHAHAHAHAHAHA!!!

…Sorry. I just wanted an excuse to write out an evil laughter.

Probably one of the… silliest… most annoying question I’ve ever been asked (that, unfortunately, gets asked all the freakin’ time):

“Is your last name really Dope?”

If you couldn’t already figure out the answer of that from the intro of my post…. the answer is N-O.

Oh, and while I’m on the topic, no, it doesn’t mean I’m a drug dealer, either.

Allow me to introduce you to some good friends of mine: www.dopearmy.com

I figured I’d get another FAQ out of the way before I try to get some sleep for the night:

Do you actually like the music of the bands you are friends with, or are you just supporting them because they are your friends?

That, of course, depends on what the artist puts out. Contrary to popular belief, I don’t like my friends’ music just because I am friends with them… After all, if I was that shallow and easy, what kind of friend would that really make me?

Someone once asked me what was the deciding factor… and with me, it’s a a lot of things… and often, different for each artist I like, really.

Some of the bands I just so happen to be friends with, I’m in love with everything about their music– each instrument, each lyric, and each performance. Sometimes, I’m just a fan of the instrumental, not necessarily the vocals. Sometimes I like a lot of guitar, and fast… and sometimes, I dig something much more mellow… something I can kick back and relax to. Sometimes I like angry music, and sometimes I like happy-go-lucky “everything’s perfect” type of music. Sometimes I like meaningful lyrics, and sometimes, I just want something silly and something I can dance to when I’m in the mood to.

I’m pretty open minded these days when it comes to music… however, just because someone is my friend, doesn’t always mean I’m a fan of their music. I might appreciate it, as their art, as their business… but it just might not be “my cup o’ tea.”

For example, Jeffree Star. I’ve never hidden it from him, or anyone else for that matter, that I’m not a fan of his old songs. I found the lyrics pretty amusing, sure, but it just wasn’t my thing.

There are a few Finger Eleven songs that I’m not big on. I don’t think they “suck”… they just don’t “do it” for me. The same goes for Dope… and Mushroomhead… and Rikets… and so on and so on.

On opposite note, there are bands that I cut out of my personal life that I still appreciate some of their music. I don’t disregard someone’s talents just because I think they’re terrible people on the inside.

However, at the same time, if I am friends with someone, whether I am a personal fan of their art or not… as a good friend, I will support them as much as I can. In other words, yes, I have been to live shows of bands I am friends with, yet aren’t exactly the biggest fan of their music.

Okay, so I realized that for some reason, my post about this the other day has mysteriously disappeared. I’ll try to remember what was asked and what all I said…

Who does your MySpace layouts?

Me, myself, and I.

Which trade of choice do you prefer?

Graphic design and photography are usually my top priorities above everything else I do.

Where can I find a copy of Tour:Smart?

You can find the book in any Barnes & Noble store, usually in the Music/Music Business section. If for some reason your local one does not carry a copy, you can order it online:

• AEBMedia – http://aebmedia.com/books/toursmart/toursmart.shtml
• Order from Amazon.com here
• Barnes & Noble’s website
• Cakewalk – http://www.cakewalk.com/Products/Toursmart/contributors.asp
• Invisible Records – http://www.invisiblerecords.com/mm5/merchant.mvc

Not counting the few years of learning and practicing in the field, I’d say, professionally, about four to five good years now.

So I often get quite a bit of emails, MySpace messages, and IMs asking about certain parts of my professional life and sometimes they get a little repetitive. Nothing wrong with that, but I figured with my latest blog here, I’ll just start answering questions here and putting them into their own category. That way, perhaps some of you can find your answers already without having to wait on me to respond.

Anyway, a few of you have asked if I ever studied anything to get to where I am today.

Yes, yes I have.

With graphic and web design, for the most part, it was self-taught. I admit that I didn’t have much of a social life in high school, and aside from taking care of homework, I spent a lot of time reading websites that taught basic and advanced HTML. I would start practicing and playing around with code myself to learn what everything did and what all of it meant. I did the same thing with Photoshop and Paint Shop Pro…. but when I hit college, I not only took quite a handful of Art classes (after all, I was studying for a Bachelors Degree in Fine Arts) that included 2D and 3D Design, but before I left, I took Graphic Design 1. I was able to take the things I had studied myself over the years and incorporate it with the new material I was learning in college.

As for photography, I had my mother teach me a few of the raw basics while I was in high school, and like I had done with graphics and code, I just started to play around and experiment with things myself. When I hit college, I signed up for actual Photography courses– Beginning, Intermediate, and Advanced.

With marketing, I honestly didn’t take any courses about this. It was just another thing that I dove into (starting with street teaming for labels and music promotion companies) and watched others who were above me; took a few notes; and started applying them to my own tasks and work. Do I recommend the “just winging it” idea for everyone? Nope. I know it wouldn’t have hurt me to take some marketing courses while I had them offered to me; There’s always always more to learn about anything. Hell, I’m still learning, watching my fellow coworkers and colleagues in action and learning from them.

With selling merch on the road… again, I didn’t really take any courses in schools for it. It’s a lot like getting a job at a local retail store, only you’re on the road all the time. I guess if there’s anything that really needs to be taught about this is the concept and rules of road life to begin with.

As for modeling, yet again, I didn’t take any classes unless you count the few workshops about runway that my former agency sent me to. I don’t do this professionally, so I’m probably the wrong person to even ask about this one regarding any of it, haha.