​Looking Forward: Future Goals in Photography

As I reflect on my journey so far in live music photography, I’m excited about what lies ahead. My style has started to take shape, and with that foundation, I’m looking toward new opportunities, challenges, and creative avenues that can help me grow both technically and artistically. There are specific goals and ambitions that I’m keen to pursue, from the bands and venues I’d love to photograph, to new techniques and styles I want to experiment with.

One of my biggest aspirations is to shoot for larger, well-known bands and festivals. While I’ve had the privilege of capturing smaller, intimate gigs, there’s something exhilarating about the idea of photographing major bands with massive audiences. As I believe that with a small crowd would be a safe way to stay safe. Were as a massive crowd, you would have so much more to be a part of. The life of a small crowd, to the life of a massive crowd are two completely different beasts. As the bigger the crowd, the more energy there is.

The bands that I am looking at are Foo Fighters, AC/DC and U2 just to name a few. Events like Splendour in the Grass or Laneway Festival are high on my list, as well as some massive festivals overseas. The scale of these festivals, with their dynamic lighting, vibrant crowds, and energetic performances, presents an exciting challenge. Capturing that larger-than-life atmosphere would push me to my creative limits and it would also help me, to refine my skills, particularly in dealing with more complex lighting setups, fast-paced action, and the sheer unpredictability of live events on that scale.

There are also specific bands I dream of shooting. Bands with a strong visual identity, like Lady Gaga or Madonna, come to mind. Their stage presence, coupled with their use of innovative lighting and visual effects, would allow me to experiment with creative compositions and capture more than just the music—conveying the mood and energy that their performances evoke. I’d also love to photograph artists who use theatrical elements in their shows, like Florence + The Machine or Queen, where the performance itself tells a story. In terms of venues, I aim to photograph some of the iconic stages that have been at the heart of the live music scene. The Sydney Opera House is a dream for many photographers, offering both a stunning architectural backdrop and a stage for diverse performances. Similarly, The Forum in Melbourne, with its atmospheric setting, and Festival Hall, where so many legendary artists have played, are on my radar. These venues have a certain energy and history that can elevate the photos to something truly special, beyond just the performance itself.

As for the technical side, I want to continue evolving. Two areas I’m particularly interested in is black-and-white photography and shooting with a fisheye lens. While I’ve mostly worked in colour so far, I believe black-and-white could add a timeless, moody quality to my work. It would push me to focus more on contrast, shadows, and composition, forcing me to hone my eye for detail and emotion. There’s something powerful about stripping an image of colour and relying purely on light and texture to tell a story. Then using the fisheye lens, I believe it would give my live music photography a hole new dimension to the photos.

Another technique I’m keen to explore is motion blur. Concerts are full of movement, from the performers on stage to the crowd’s energy. I want to experiment with slower shutter speeds to capture the fluidity and dynamism of live music, allowing the motion to become a part of the image. Instead of freezing a moment in time, I’d like to convey a sense of movement, whether it’s the strumming of a guitar or the sway of an audience member.

Finally, I’m eager to push myself out of my comfort zone by trying different angles and perspectives. I’ve started moving around more during gigs, but I want to go further experimenting with wide-angle lenses for dramatic, immersive shots, or getting up close to capture intimate, emotional moments. Playing with perspectives will help me to tell a more complete story through my images.

In the future, I see myself becoming more confident in my voice and style as a photographer, while always staying open to new influences and experiences. Whether I’m shooting in a tiny local venue or at a massive festival, my goal is to continue growing, experimenting, and finding new ways to capture the magic of live music. There’s always something more to learn and explore, and that’s what keeps me excited about what’s to come. As you never know what is around the corner.

When I first picked up a camera to shoot live music, I didn’t have a clear style in mind. In fact, I wasn’t even thinking about what my “style” could be. I was simply focused on capturing the energy of the moment, snapping shots as quickly as possible without much thought. It was very much a point-and-shoot approach, just aiming at the stage and hoping the results would be good enough to show the vibe of the gig.

As a beginner, it’s easy to feel overwhelmed by everything going on. The flashing lights, moving musicians, and the sheer unpredictability of a live performance make it difficult to plan or anticipate shots. So, in the beginning, I stuck to the basics—trying to capture whatever I could, without putting too much thought into composition, lighting, or the finer aspects of photography.

Over time, though, things began to change. I started paying more attention to the results. I began noticing patterns in the photos I liked versus those I didn’t. Slowly, I realized that I wasn’t just shooting aimlessly anymore. I started to see more of a patten in my shooting. Certain angles, lighting choices, and moments on stage started to stand out more. It was like a hole new world, had opened up to me. Whether it was a close-up of a guitarist during a solo or a wide shot of the band silhouetted by stage lights, these were the types of photos I felt drawn to. Unconsciously, I was starting to develop a photography style.

At the same time, I became more aware of other photographers around me. Watching more established photographers work at the same gigs I attended was an eye-opener. Some would see them moving around, as they were looking around constantly, switching positions to catch different angles, interactions, or lighting effects. It was fascinating to see how they adapted to the environment and managed to capture moments I might have missed if I stayed in one place.

So, I started moving around more during shoots, too. When I saw experienced photographers relocating, I would follow their lead, trying to mimic their positioning and approach. In the beginning, this felt like imitation, but I soon realized it was part of the learning process. By moving around, I began to see the stage from different perspectives and found angles I hadn’t considered before. This added a new layer to my photography as I wasn’t just shooting what was in front of me; I was actively looking for moments, new viewpoints, and creative opportunities. As I continue to grow as a photographer, I can see how my style has evolved. It’s no longer about taking as many photos as possible and hoping some turn out well. Now, I’m more selective in how I approach each gig. I know this will sound strange, but I let the gig show me what to point my camera at. I think about how I want the final images to look—whether I want to focus on capturing the emotion of the musicians, the connection between the band and the crowd, or the dramatic effects of lighting and staging.

While I’m still learning and experimenting, my photography has become more intentional. I no longer feel like a passive observer just taking photos. Instead, I’m actively engaged in capturing the story of the performance in a way that reflects my evolving style. Watching and learning from others has been invaluable, but I’m also beginning to carve out my own identity in the world of live music photography. An, with this I could not be happier. Hey mum I have made it!

• Phone Setup.    

For many beginners (me included), the most accessible camera is the one in their pocket—the smartphone. One of the key advantages of using a phone to capture photos at live events is its simplicity. There are typically no settings to adjust, making it a point-and-shoot experience. Most modern smartphones are equipped with sophisticated software that automatically adjusts exposure, focus, and even low-light performance. While you might not have the same level of control as with a DSLR or mirrorless camera, a smartphone can still produce some impressive shots, especially in well-lit environments. I have found that the smart phone is quick & easy, but it can still give you some amazing photos.
For those just starting out, using a phone at concerts or events is a great way to practice composition and timing without being overwhelmed by the technical details of more advanced cameras. As with a professional camera, there are so many things to remember & that can be quite overwhelming. Just remember to use the highest quality settings available, keep the lens clean, and experiment with angles to make the most of what your phone offers.

•  Nikon Z6ii Setup. 
  
• When it comes to more serious photography, particularly in challenging low-light conditions like gig, stepping up to a mirrorless camera like the Nikon Z6ii, can make a world of difference. To help capture the energy and atmosphere of a live music event, it’s important to have the right settings dialled in. Also, the 24-70 mm lens can help with that, as it can get you up close to the action.

For starters, ISO is crucial, as I have found out the hard way. For you have the ISO not low like on 1000, then your photos will be very dark. So, to get the photo, so you can see it. Set your ISO on around 3200 to 6400, so that way the photos are light enough you to see it on the cameras screen at the back of the camera. The Nikon Z6ii handles higher ISOs very well, so for concert photography, it’s recommended to set your ISO between 3200 to 6400. This will allow more light into the sensor, helping to reduce noise and make your images clearer, even in dimly lit venues. Next, your F-stop should be around 5.6, giving you a decent depth of field while still letting enough light in. Finally, your shutter speed should be set at around 1/100th of a second. This speed strikes a balance between capturing movement without too much blur while still allowing enough light into the shot.

• Aperture Priority Mode 

Personally, I like to shoot in Aperture Priority mode, as when I get to a gig, I do loss myself in the action of the gig. So, for beginners, this mode allows you to set the aperture (or F-stop), and the camera automatically adjusts the shutter speed to maintain proper exposure. By using Aperture Priority, you can focus on managing depth of field, which is especially important for concert photography, where you often want to isolate the performers from the background. With this setting, I typically leave the F-stop at 5.6, and the camera does the heavy lifting of adjusting the shutter speed based on the lighting conditions.
That said, even in Aperture Priority, it's important to keep an eye on your shutter speed. If it gets too low, you risk motion blur. If you’re reviewing your shots later in Lightroom Classic or Photoshop, you’ll be able to see which shutter speeds worked best, allowing you to adjust on the fly at your next shoot.
Overall, the Nikon Z6ii is a solid choice for beginner to intermediate photographers (as I have found out, this camera is awesome), and with these settings, you can get well-exposed, sharp concert shots that capture the mood and motion of the performance. Whether you’re just starting with a phone or leveling up to a more advanced camera, understanding the right settings and techniques will go a long way in improving your photography skills.
I have shot my hole portfolio was shot, with the Nikon Z6ii with the 24-70mm lens and I am super proud of it. I can not recommend that time enough, as it has helped me out a lot.

​My love of music started around 12 years old, as my older brother played a lot of music that he was into. Then I had a class in year nine, at high school, of photography which I fell in love with.
 
Then around 2015 I started a course at uni, that was a Bachelor’s in Entertainment Management. I then completed that & found out that my uni, had just announced a Bachelor’s in Photography. So, I applied & I was accepted into the course.
 
I think it was in trimester three, when I went to photograph a band live, at the Gaso Hotel in Collingwood. The band was Bentham’s Hed, it was a heavy metal gig. I was then hooked on live music photography & I then started to go to more & more gigs with my camera. The more gig’s that I have been to, has made me hooked on photographing live music. As I love live music & I love photography as well, you could say that I have at long last found my dream job.
 
I have now graduated from Entertainment Management, but I now have just finished my Photography course. So now I have started my own business, as a live music photographer & my business name is Kaz-Marie Photography. I specialised in live music photography only, but I would also love to try to get into album art as well.
 
I would have a very hard job if I had to decide, which gig was my favourite live gig. As I have so many happy memories, of each gig. But if I had to brick it down, then there are only three gigs. Which would have to be Ashers To Ashers, The Midnight Devils & Sisters Doll (sorry) but I can not brick it down anymore. As those three gigs was a lot of fun, not only for me, but the band’s & crowd as well, as those three gigs kicked ass.
 
Also, I would love to develop my style & photos to a point that I can have an exhibition of my live music photography. So, to develop my photography to that leave, means that I will need to get to work as many gigs as possible.
When I have a gig coming up, I first check that all my batteries are fully charged & that all my SD cards are all empty. Then I make sure that my camera settings are set to the right setting for a live music gig at night. I would love to be the photographer for the Foo Fighters tour. Just get some experience working with an international band. So, when I can get overseas, I will have experience working with the big bands.
Then I just do not know where live music photography will take me, but it is a journey that I will enjoy!