AFI

Todd Owyoung·
Music Photography
·1 min read·2431 views

Concert Photos: AFI

On their headlining Crash Love tour, AFI stormed the Pageant in an electrifying performance that saw singer Davey Havok and his bandmates dominating the front of the stage under explosive lighting.

Under no condition are these photos authorized for hotlinking, re-posting, or any other use, editorial or commercial.

Concert Photos: AFI

Concert Photos: AFI

Concert Photos: AFI

Concert Photos: AFI

Concert Photos: AFI

Concert Photos: AFI

Concert Photos: AFI

This is an example of catchflash on Jade Puget, with a shutter speed of 1/10.

Concert Photos: AFI

Concert Photos: AFI

Concert Photos: AFI

I had to whip out the Nikon 14-24mm for one shot like this – Davey Havok is about six feet above the pit here.

Photographer's Notes:

This was a great show to photograph and AFI put on a tremendous performance – however, for all the photo-candy that the band was, this shoot also came saddled with some big shooting challenges as well.

Spastic lighting and huge changes in the dynamic range of the exposures from one minute to the next were the principle obstacles. On top of this, there was a ton of movement by AFI on stage, especially front frontman Davey Havok.

Due to some of the dramatic dim points of the set, this is one concert where I actually relied on catchflash a number of times, especially at the start of the show. Imperfect a technique as this is, the P&S-happy fans of AFI were more than happy to oblige most of the time whenever Davey Havok or Jade Puget came to the front of the stage.

I photographed this set with the Nikon 14-24mm f/2.8 and Nikon 24-70mm f/2.8 for most of the set – the reach of the Nikon 70-200mm f/2.8 telephoto wasn't necessary for this close-quarters kind of live music photography.

Several ego risers lined the front of the stage, which, along with a fat stack of monitors, provided a slight challenge in adding to the vertical height of the subjects. However, for a venue like the Pageant, these issues are pretty much par for the course with rock bands. Mark O., a photographer on tour with AFI, remarked that the Pageant had the highest stage out of all the venue's he'd been tour with the band.

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Todd Owyoung

Todd Owyoung is an internationally published music photographer based in New York City. He specializes in music lifestyle, concert, and celebrity portraits. He is proud to be a Nikon Ambassador for Nikon USA.

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49 Responses

  1. holy cow, the catch flash photo of Jade is just surreal! can you do a tutorial on how to achieve that? good work todd! always enjoyed your work!

    Reply

    1. Hi Gilang,

      Thanks for the comment. Yes, I think that I will have a tutorial on catchflash. The mechanics are pretty simple – shooting within the flash sync speed of your camera while a flash is going off. In that sense, only ISO and aperture matter for exposure of the subject. I’ll do a full post on this shortly. In the meantime, you can read more about catchflash here:

      https://ishootshows.com/2009/07/28/preview-incubus/

      Reply

    1. Thanks for the comment, groovehouse.

      I first heard the term “ego riser” from a lighting tech who I became friends with (shout out to Ignacio if you’re reading). And yes, it’s pretty amazing.

      Reply

    1. Hey Donnie,

      Thanks for the comment. Due to the challenges, I focused on the guys up front. With the crazy lighting and limited views due to the risers and monitors, I stuck with this game plan without regret.

      Reply

  4. Congratulations, cool ones as usual, but with this:

    Under no condition are these photos authorized for hotlinking, re-posting, or any other use, editorial or commercial.

    you just lost a subscriber

    So long and thanks for all the fish tips :)

    Reply

  5. Good stuff, as always, Todd.

    I’m guessing you signed the contract that also came saddled to the show? I’ve been wanting to photograph the band for 3 years, but had to turn the pass down for that reason.

    Reply

    1. Hey Olga,

      Thanks for the comment. Only emails and a phone call were exchanged. I hope you get to photograph AFI sooner rather than later, though this show was challenging enough that I will say that it was a pretty tough go this time around.

      Reply
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  11. I have to reply to this as the Lighting Designer for AFI, I have been with them since 2003. Todd, your work is very good, and I have seen it previously. I understand that this was a challenging photo-shoot, due to the dynamics of the whole show. That includes band and lighting. You did well to get some quite good shots.
    However, the main reason I am replying here is about “catchflash”. This effect kills me, it really does. I spend many hours designing looks for the show, such a lot of work has gone on before anybody even gets to see it, let alone take a photo to record it for posterity. The “dim” looks that you dislike so much are there for a purpose, this a show, we like to add a little Theatre in there. Although we love the work that photographers do to capture our art, the show does not revolve around them. Not every look can be F22 with nobody moving. It’s a living moving thing. The problem with “catchflash” is a relatively new one, I remember before everybody had portable digital cameras and cellphones with cameras, that at no point during the show would the singers face be lit up in a disgusting orange colour from peoples cameras trying to autofocus on a dark subject. Where there were once dark looks which accented a dark part of the song that would not be a cue for the audience to destroy that look with their own strobe sequence.
    I have been a lighting designer for nearly 20 years now. Worked with many different bands, and also seen literally thousands of shows, I used to go and watch shows, people now watch shows through the screen of their cell phone so they can post it on You Tube, what a waste of an experience. My advice to anybody going to see a show is leave your camera at home, enjoy the experience, look on the web for the photographs that the professional photographers put out there. And please , please stop adding your own effects to the lighting. You would get to see the show the way it was intended. After all you would probably hate it if I came into your work and constantly fiddled with the brightness on your computer monitor.
    Sorry for the length of the rant, I realise this is not going to change anything, but it at least needs to be said.

    Thank You for reading.

    Alastair

    Reply

    1. Hi Alastair,

      Thanks for joining in the discussion, I do appreciate your comments. It’s always interesting to hear different sides of a story, and especially in this instance where there are so many technical factors.

      Even with whatever dichotomy exists between lighting designers and photographers, I think that goal of both is to is ultimately to bring an expression of the music to the fans.

      Reply
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  14. Wow! I was at this concert and have seen a lot of pictures from this tour, but these are definitely the best so far. Thanks so much for sharing them with us!

    Reply

    1. Hi Luna,

      Thanks for the very kind words, I really appreciate it. I love hearing from fans of the tours I shoot, and even more so if you were at the same show. Hope the AFI fans enjoy this set.

      Reply

  16. Hey! That’s me up there!

    It’s also really fascinating to see how you interpreted the exact same stage as me. I love the wide angle shots a lot. I really need to get a second body to be able to choose between shooting with my prime and a wide angle lens. It really adds a great diversity to your shots.

    The lighting was certainly difficult to photograph with, but I actually enjoyed the dim moments so that I had a moment to compose myself for the next shot, especially with a band so active as AFI on stage. Some of my favorite shots from when I was on the road are ones that aren’t lit very well.

    It was a pleasure meeting you Todd!

    Reply

    1. Hey Mark,

      I was hoping you’d see these images. It was great sharing the photo pit with you as well. Thanks very much for the comments.

      With regard to tough lighting, I think that music photographers are either masochistic, or we all like a good challenge.

      I don’t think any photographer would willing choose to work with catchflash – it’s not a wholly viable technique as it is – but for those instances where the stage treatment is dark, what I will do is use with whatever light is available to continue working.

      Reply

  17. Just wanna respond to Alastair as a current music photographer and (potential) future lighting designer.
    It’s obvious that people are going to use flash now as a way of documenting a concert experience – I think instead of lamenting the loss of the effect of darkness, you need to embrace and provoke a new challenge.
    What really irritates me is “The “dim” looks that you[/we] dislike so much” being used in the first three songs. Yes, interesting for the intro – but you have the whole show to really blow people away and allowing a few songs for a really lit up stage (which to be honest, I think the crowd want anyway – they really do want to see the musicians!!) and then really letting the magic of lighting settle in for the rest of the set. It’s the same as people complaining about me “getting in the way” during the first three songs (which is doubtful, having to move about so much anyway!) – they’ve got the entire set to enjoy afterwards.
    The bridge between LDs and Photogs should be a mutual love of presenting music visually – they shouldn’t be at odds with each other!
    Just my two cents :)
    Ed
    Stellar Spontaneous Photography

    Reply

    1. Hey Ed,

      Thanks for your thoughts on this discussion. When you’re a big time lighting designer, just remember to go easy on the red lights if you ever see me in the photo pit. ;)

      Reply

  18. Ed,

    Thank You for your comments. However, you should remember something, As photographers you are there to record the show, Albeit with your individual eye to make the shot your own. And to make your own art from it. But you are still essentially a recording device. The show is there as a concert going experience, just like Theatre, you take in the whole evenings events. Just because you are only allowed to take pictures of the first three songs doesn’t mean I have to adjust my whole show so it is lit up like a christmas tree all of the time.
    As I have stated for many years, I design the light show for the audience, not for those with light meters. I also have to say that some of the best shots I have seen from photographers taking pictures of my work have been the “dim” parts. Maybe they just had better equipment or got lucky. I neither know nor care to be honest. My guess is that they were great photographers in the top of their field. The day I start lighting shows for a bunch of photographers in the pit I will hang up my towel. You guys do a great job most of the time, and I really wouldn’t want to be in the pit doing what you do. But take the show for what it is, do your best and leave without moaning. If the dark parts irritate you , then maybe you should shoot football games.
    That aside I am horrified at your attitude towards people who say you are in the way. I understand that you are there to do your job, but have some respect in return, Some of these people have paid hard earned cash and queued outside for many hours to get to see their idols, for you to stand in front of them. And points more to your “it’s all about the photographer” attitude, “they have the rest of the set to enjoy afterwards” So once you have left after we blast the hell out of the stage with light for the 3 songs that you need, then everybody can get back to enjoying the show? Just remember they pay for tickets so the band can play so you can take pictures.

    Kind Regards

    Alastair

    Reply

  19. Have you seen the portfolio here? Lighting designers should be ecstatic to have an Owyoung in the house. The photographers are not the ones polluting the specially designed darkness, and fans aren’t going to put away their flashing cameras. Better to have a moment preserved with catch flash than not at all. Another great set Todd, looking forward to the catch flash tutorial.

    Reply

  20. As I said in my first post I think Todd’s work is great, Thats not up for dispute. I also agree that Todd should use what is there if it is there. It is no photographers fault that everybody Is flashing.

    My latter point to Ed was use what is there, If it has it’s dark points prepare for that.

    Reply

  21. I should’ve structured my response better really.

    I know to light the stage up ‘like a christmas tree’ is completely tacky (and actually ridiculously challenging for photographers sometimes! but that’s besides the point) but a subtle white light is brilliant for the first three.

    The animosity between LDs and Photogs is just misunderstanding. I appreciate the whole idea of the light show and parallels with theatre – and it’s fantastic that you think like that, I get incredibly bored by lazy LDs who barely make any of their stuff interesting.

    As for the dark bits. I like the dark bits, just photo editors don’t! ;)

    I’m more opposed to those who shout abuse at me whilst trying to work. I guess we’re on a different level to security there, but I do try and be courteous in the pit to the fans, making sure I’m ducking a lot – avoiding catchflash! – and moving about often. It just feels a bit horrible to be shouted at whilst working.

    I understand entirely how dedicated one has to be to their light show – and I’m grateful for your dedication and not just doing the generic show that requires very little effort – but as photographers we are at your mercy, and yeah you design the show for the audience and possibly a little bit for the creative ideas behind the music – but spare one fleeting thought to the artists in the pit.

    I love standing back and admiring lighting, and I’m sure you love seeing brilliant shots as well – despite what you say about the dim parts of the show creating great photos, the bright parts definitely do too!

    Thanks for the insight though, as Todd says it’s great to have another view :)

    Ed

    Reply
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  26. So what do you think?
    As photographers are we just “essentially a recording device.” When we cover a show?

    Although I guess a photographer could be accused of that about anything we capture. One of my favorite photographers quotes is that “photography is savoring life at 1/1000 of a second”
    I don’t know, maybe in some ways we are essentially a recording device, but at the same time isn’t there something about who we are in our photographs no matter the subject. Are we not similar in a sense to Alastair as he works to create moods with his lights, don’t we as photographers have very similar goals in the way we compose, light and shoot whatever subject that moves us as humans?
    I’m not panning Alastair, I have great respect for the work that he does, I really do.. And there are times I can’t get the shot because of lighting, but that’s cool with me I get other shots. maybe this is more just a personal struggle about figuring out who I am as a photographer, what my work stands for and the value of it..

    Didn’t mean to “dump” but let me ask, what do you other concert shooters think?

    david

    Reply

  27. in regards to challenging light conditions, i must tip my hat to the pixies and their publicist, who let us shoot songs 5-8, when the lighting wasn’t going to be so stark and difficult. i’d say that’s a good compromise (even though it meant that i missed ‘Debaser’ while waiting outside the venue doors).

    Todd, from the disclaimer at the front, i see you signed the waiver?

    Reply

  30. btw, ‘where is my mind?’ i saw ‘debaser’…it was the first song we were allowed to shoot.

    anyway, Todd i love the shot w/ the starburst light pattern and the guitarist w/ his foot up on the monitor. great framing.

    Reply

  31. The pictures taken of afi were fantastic!! I was there that night and the pictures capture the beauty of that evening greatly. What kind of camera do you use?

    Reply

  33. @Taylor. I don’t really care what you are to be brutally honest. If you have an arguement other than “no I’m not” I am happy to debate it with you.

    Warmest regards

    Alastair

    Reply
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  37. I think a different way of describing it would be that while lighting designers design the show for the audience and performing artists, the photographers are interpretive artists there to capture the performance in a way that reflects them as artists and shares those moments with others. It is a collaborative experience, filled with trade-offs. The audience experiences first hand the absolute wonder of seeing the band live, and witnessing the magnificent atmosphere created by the performers, designers and technicians. Then that audience in addition to fans not present for the performance get another perspective on the experience through the photographs.

    I personally see lighting design and photography as forms of editing. I like both in that regard, and consider myself more of an editor than a creator because I prefer having something to start with, as opposed to a blank canvas with drawing or an empty stage in scenic design. Lighting design and photography each make their own aesthetic adjustments to the performance, and frequently clash. My favorite resolution to this is HDR photography (granted, that process may not be feasible for concerts).

    Everyone puts time, money, thought and effort into their work, and there will always be points of friction. The best we can do is remain true to yourselves as artists, do your best to respect the work of others, and be willing to accept that there is no easy, win-win solution for this or a “right” perspective.

    Would it be possible for photographers to speak with the LD before the performance to get an idea of the concept and aims of the design and discuss their own objectives before the shoot? Would that resolve anything at all?

    Unfortunately, not all photographers and lighting designers have the knowledge or understanding to respect the others’ work and perspective, so the next best alternatives are to light and shoot your own work when possible, or to make sure anyone doing work that will go in your portfolio understands how you work and your preferences and beyond that accept that in most cases (if not all) no show or shoot will be perfect.

    Reply
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