For background, I am not a professional photographer. Although trial and error can be a good teacher (especially in the age of digital photography), I have also learned a great deal from a variety of free seminars sponsored by camera retailers. YouTube is a good source for technical advice specific to my camera and lenses. Finally, studying the published photos of local experts, such as Richard Lautens and Steve Russell, is both educational and inspirational.
Preparation is vital. Subject, date, time, location, dress code — all are important to deal with in advance. Now that I live outside of Toronto, scouting for parking near the location and the anticipated travel time to the location are important. Thankfully, the internet is invaluable for these purposes. If I’m not familiar with the performer or keynote speaker, a Google search helps. I anticipate the appropriate dress code for an event, including formal attire when necessary. Otherwise, dark clothing seems to be standard for photographers. And to minimize any disturbance I may cause when moving around, soft-soled shoes are a must.
… all media were sequestered in a room an hour before the event and strict rules were given regarding when, where, and how photos could be taken.
For most local events, my media pass is sufficient. However, some events require more extensive media accreditation, typically months in advance. Examples include the Estonian Song and Dance Festivals, the National Bank tennis tournaments, the Pan Am games (2015), and the Invictus games (2017). Some events require more stringent media screening such as for the late Prince Phillip, the Governor-General, and the Canadian Prime Minister. With the latter, all media were sequestered in a room an hour before the event and strict rules were given regarding when, where, and how photos could be taken.
Equipment preparation usually occurs the day before an event. I use the following mental checklist:
Which lenses will accompany my Nikon mirrorless camera body? Specifically, in addition to my usual 24-120mm lens, will I need a telephoto lens (70-200mm) or perhaps even a super telephoto lens (80-400mm) when photographing from far away or for sporting events such as rhythmic gymnastics? Will a flash be necessary, or will ambient light be sufficient with the lenses I plan to use? Have I packed spare batteries for both the camera and the flash unit?
Arriving early is the next aspect of good preparation. Dealing with Toronto traffic and finding a parking spot are only the first benefits of arriving early. At an unfamiliar location, surveying the terrain helps me to determine the most likely vantage points for photography. Balconies are a great way of providing unique perspectives. It is also critical to assess the lighting conditions, as this will influence camera settings and may even dictate the need for a flash. On occasion, one discovers a fortunate lighting arrangement, like when an overhead light shone directly onto a piano keyboard that provided a nice reflection of light onto pianist Kristjan Randalu’s face while he was playing.
In older buildings, squeaky floors will pose an auditory hazard when trying to move around quietly during a concert. At Trinity-St. Paul’s Church, while photographing the Tartu University Women’s Choir in 2012, the noisy floorboards compelled me to sit in one place for the entire second half of the concert. Fortunately, I was able to use the reflective surface of the grand piano beside me to capture one of my all-time favourite photos!
I have experienced security personnel who assist me to protect my photography location against a surging crowd. Standing beside television cameras can also be very beneficial.
Early arrival also allows me to meet with event organizers who will provide valuable information about the exact agenda, the order of speakers, seating arrangements, and any other information that will guide my picture-taking effort. In 2013, when covering the visit of Estonia’s President Ilves to Rideau Hall, a friendly security guard told me exactly where to stand and on which side of the carriage the president would be sitting. In very crowded environments, I have experienced security personnel who assist me to protect my photography location against a surging crowd. Standing beside television cameras can also be very beneficial. Some venues also require photographers to be chaperoned to key vantage points. Such is the case at the Estonian Song Festival, where photographers are escorted to such restricted sites as the top of the torch tower and the area immediately below the conductors’ podium. Koerner Hall staff accompany accredited photographers to specified locations and check that the camera is sufficiently silent.
An invaluable benefit of early arrival is the opportunity to meet the performer(s) or speaker. I introduce myself, seeking their permission to photograph and informing them of the future posting of images to both Estonian Life as well as my Instagram account. I typically give them my business card, or I exchange social media credentials. On some fortunate occasions, if the musician is rehearsing, I seek permission to capture some informal images that can be taken at a closer range than during the concert itself. During such meetings, I recall one performer during Estonian Music Week who adamantly insisted that I could only photograph from one angle during the performance. Fortunately, such requests are uncommon.
Stay tuned for tips, tricks, and insights from the heat of the moment, once an event begins and the camera is ready to go.
