What to wear
For the photographer: black, so you do not reflect stage light or appear in anyone else's frame. For the band: whatever they perform in — this is…
In short: For the photographer: black, so you do not reflect stage light or appear in anyone else's frame. For the band: whatever they perform in — this is documentary work.
Colour. For the photographer: black, head to toe. You are standing in front of stage lighting and beside other people's cameras, and anything pale reflects into both.
Fabric. Nothing that rustles. In quiet passages a noisy jacket is more disruptive than a shutter.
Footwear. Closed, sturdy, comfortable for hours standing in a pit that is wet by the second song.
The thing that ruins frames. A lanyard or a strap swinging into the lens. Tape it down before the first song rather than discovering it in the edit.
Pockets matter more than usual. Three songs is not long enough to open a bag. A spare card and a spare battery go in a jacket pocket you can reach one-handed in the dark, and everything else stays outside the pit.
Photographers with a three-song pass, and bands who need live images that are not phone footage.
Location changes the answer: The pit for the first three songs if you have a pass, then the sound desk for wider frames. Check the venue's photo policy before arriving; many require accreditation and most ban flash and detachable lenses without it.
Planning pressure to account for: Shooting in the red wash. Using a slow zoom lens instead of a fast prime. Staying in one position. And forgetting to ask about the photo policy, which is how people end up outside with a camera and no pictures.
Bring each proposed outfit as a complete look, including its shoes and accessories. The final choice is made against the actual background and light rather than from a generic colour rule.
For the photographer: black, so you do not reflect stage light or appear in anyone else's frame. For the band: whatever they perform in — this is documentary work.
For a one-hour session, plan one complete look and one quick variation such as a jacket, shoe or jewellery change. Two hours can normally support two or three resolved looks. More changes reduce shooting time, so photograph the most important outfit first and treat extras as options rather than promises.
Choose colours that separate clearly from the location and suit the intended use of the pictures. Solid tones and controlled texture are reliable; very fine checks, tiny stripes and reflective logos can distract or produce moiré. Send phone photographs of the options with the brief if you want a decision before the shoot.
Bring the garments on proper hangers, matching underwear, the shoes for every full-length look, a lint roller and simple touch-up products. Pack one neutral backup layer. Steam everything beforehand, but keep a small steamer nearby for travel creases and final adjustments on set.
Send the date, location and what you need photographed.