Photography

The Perils of Self-Critique: A Creative's Struggle

Have you ever been too hard on yourself? And the simple answer is yes. Any creative or anybody who's been in a creative field has been way too hard on themselves. Self-critique is probably one of the hardest things that anybody can go through and deal with. I mean, you are looking at your own work, comparing it, you know, even if it's subconsciously with other people's work and figuring out, okay, why is this person going through and getting X, Y, and Z opportunities and I'm not. And you start looking at your work and saying, well, this could be corrected. That could be corrected. This is what this person is. So yeah, any creative, you know, it doesn't matter if you're playing the piano, if you're cooking, if you're doing photography, you're going to always have those moments where you're doing self-critique and you're really getting down on yourself. Sometimes it's good. Sometimes you can learn from that and grow. Sometimes it's deprimental to your progression as a creative. But personally, yeah, I've been way too hard on myself in certain times and you know, it can be discouraging and it's sad. But yeah, short, simple answer. Yes, I've been way too hard on myself, uh, looking at my work, um, figuring out, okay, well, this complete, you know, this, this shoot, this concert sucked, you know, in it's nothing I can do about it because that opportunities pass on and moved on. Um, and you know, that happened from a very young age when I was first starting off to even, you know, in some instances now where, you know, it's like, well, I should have done this better, should have done that better. I know better dot, dot, dot. And yeah, it happens all the time with any, any creative out there.

Yes, I have been too hard on myself when it comes to my creative work.

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Yes, I have definitely been too hard on myself. Self-critique is a common struggle for anyone in a creative field. Comparing your work to others and questioning why they may be getting more opportunities can lead to self-doubt. Whether it's playing the piano, cooking, or doing photography, there are moments of self-critique where you can be really hard on yourself.

Sometimes, self-critique can be beneficial as it helps you learn and grow. However, there are times when it can be detrimental to your progress as a creative. Personally, I have experienced moments where I've been overly critical of my work. It can be discouraging and disheartening. I've looked at my photos or projects and thought, This could have been better, or I should have done this differently. These thoughts have occurred throughout my creative journey, from when I first started to even now.

It's important to recognize that being too hard on ourselves is a common experience for creatives. It's a process of learning and finding a balance between self-critique and self-compassion.

Have you ever taken a risk where it really paid off?

Risking it all for the perfect concert shot

The question is, have you ever taken a risk where it really paid off? Yes. Concert photography, there can be a lot of risk in there. The risk that I took was photographing Death Cab for Cutie. When they first started off on their show, there was a singular light. It was a bluish light that was shining on the back of the lead singer's head. Right when he came out on stage, there was no other lights. I was kind of sad, you know what, we have the first three songs, I'm the only other photographer in here, screw it, let's go. Started photographing it and took, I think it was like five to seven shots. And that particular image, the way that it was lit and everything else, turned out to be absolutely beautiful. Because there was enough light falling off to the side of his head where I got a very thin profile of him. But the light coming on the back was absolutely just beautiful. And it just made for a very dramatic and distinctive look on that image that I don't think I would have got if I would have just waited for the lights, the rest of the house lights, or excuse me, the stage lights to come up in the concert to start. Because that show ended up being a lot more side lit and back lit. And that just set the mood for everything else and was probably one of my favorite shots from the whole entire show.

I took a risk with concert photography at a Death Cab for Cutie show by shooting in a single bluish light. The shot turned out to be one of my favorite shots from the show and it paid off.

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Yes, I have taken a risk that really paid off. It happened during a concert photography gig with Death Cab for Cutie. At the start of their show, there was only one bluish light shining on the back of the lead singer's head. While I initially felt disappointed by the lack of lighting, I decided to take a risk and start shooting anyway. In just five to seven shots, I captured an image that turned out to be absolutely beautiful. The way the light fell on the side of his head created a thin profile, while the light on the back produced a stunning and dramatic effect. This distinctive look wouldn't have been possible if I had waited for the stage lights to come up. The rest of the show featured more side and back lighting, setting the mood for everything else. Ultimately, it became one of my favorite shots from the entire concert.

Have you ever had to work with other photographers or videographers in a crowded venue, and how did you navigate that situation?

Mastering the Art of Working with Photographers in Crowded Venues

Okay, so the question is have you ever had to work with other photographers or videographers in the crowded venue How does that not or how do you navigate that situation? Yeah I mean there's been some instances where I'm the only photographer there only photographer allowed in which is great because I get the full run Of things but even when you have like one other photographer there up to maybe six seven eight other photographers You know you have to be able to hold your ground you got to be able to kind of like what they do in Basketball box out for a rebound, and you know it's up make sure you're good to go You know if you're shooting from The front of house or otherwise known as the soundboard You know you don't really have an issue there more or less I mean I arrive early because I like to Find the spot I'm gonna be photographing from let's try to choose that best spot and then go from there Try to make sure that no other photographers are gonna get in my way I'm really kind of claim my my area to myself, but for the pitch shoots You know you're gonna. You know if you're dealing with another photographer up to multiple photographers Eight I've had in a shoot before You know you have to hold your ground you have to move your body around Make sure that you know your presence is known so other photographers. Don't get into your Your line of sight between you and the band You know if they do if they are getting into your sight make sure that you can move your body around You know you're not burdened down by a big camera bag I usually just have my sling camera bag with me so I can if I need to switch lenses from my 55 to 300 millimeter to a like my 35 million 35 prime I can but I normally don't have to do that and if I do do that. It's gonna be between sets or between songs when Everybody's kind of calm down a little bit, but you know the maneuverability when a pit is is vital The ability to make your presence known in the pit is vital because without those two things You know people are gonna be getting in your shot Intentionally or unintentionally I've had it both happen Also the fact that they go you know you're gonna You're gonna want to go through and move around regardless within this the pit itself So then you can go through and get as many different shots many different angles as you possibly can you know not all not One one angle is not gonna go through and suffice the whole entire shoot the whole entire set so You know your ability to maneuver around other photographers is important Not being loaded down with extra camera gear is important You know camera gear that you don't need and pack lights But make you sure that your presence is known that you know if somebody tries to get in front of you You know kind of move or maneuver around or make sure that they know you're that they're in front of you That's how I go through and work with other photographers in the pit, and I mean it's it's it's easy

When working with other photographers in a crowded venue, it is important to hold your ground and make sure your presence is known. Make sure you arrive early to choose the best spot and be able to maneuver around any other photographers that may get in your line of sight. Be sure not to be burdened down by extra gear and try to get as many different angles as possible.

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I have certainly had to work with other photographers and videographers in crowded venues. In some cases, I have been the only photographer allowed, which gives me the freedom to capture everything. However, there have been instances where there have been multiple photographers, ranging from one to eight. In these situations, it's important to hold your ground and be assertive, just like in basketball when you box out for a rebound.

When shooting from the front of house or soundboard, I arrive early to secure my preferred spot and ensure that no other photographers obstruct my view. For pit shoots, where there are multiple photographers involved, maneuverability is crucial. I make sure my presence is known and move my body around to prevent others from getting in my line of sight between me and the band. I keep my camera gear lightweight with a sling bag so that I can easily switch lenses if needed during breaks between sets or songs.

Being able to navigate the pit and make your presence known is vital because without that, people might unintentionally or intentionally get in your shots. It's important to move around and explore different angles within the pit to capture diverse shots throughout the set. Avoiding unnecessary camera gear and staying nimble is key.

Overall, working with other photographers in a crowded venue requires assertiveness, maneuverability, and ensuring that your presence is known while respecting others' space. By following these guidelines, it becomes easier to collaborate effectively in such environments.

Assuming no client, how does one know when to listen to others for photo advice versus follow your own vision instead?

When to Listen and When to Follow Your Own Vision: Navigating Photo Advice

Assuming no clients, how does one know when to listen to others for photo advice versus following your own vision instead and honestly with this question it's always safe to assume that People who are offering photo advice Know and at least some form or hand what they're talking about because it's worked for them You can take it And run with it, you know in full if you want to or you can go through and say hey, you know mentally I'm gonna take X Y & Z bits of the advice and apply that to my own the only Advice that I would honestly go through and say it's probably not Valid I guess you can say is If it's racist sexist or anything else like that, but usually people have the best intentions when they're trying to offer advice It doesn't matter if there's a client involved or not Listen to them because there's you know for photography In our art, there's really nothing. There's no end to the limits of What you can learn and what you can go through and do So if you are listening to or somebody's offering you advice listen see what see what they have to say and you can either disregard it or Adapt it to your own workings or take bits and pieces of it and put it to your own use or I mean There's there's nothing wrong with people listening or trying to offer advice and help you out because that's the way we learn heck I still have people offer me advice every once in a while now listen to what they say You know, it might be stuff I already know it might not be but I'm gonna at least you know Entertain what they have to say and go from there and maybe I'll add something to my own repertoire Maybe I won't but there's nothing Nothing wrong with that

Listen to advice and take what you think is most useful and disregard the rest. It's always good to be open to learning more and not limiting yourself.

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Assuming no clients, determining when to listen to others for photo advice versus following your own vision is a personal decision. It's generally safe to assume that those offering photo advice have knowledge and experience in the field. You can choose to take their advice fully or selectively incorporate certain aspects into your own approach. It's important to note that any advice that promotes racism, sexism, or any other form of discrimination is not valid. However, most people offer advice with good intentions. Whether or not there is a client involved, it's valuable to listen and consider different perspectives in photography, as there are endless opportunities for learning and growth in our art. You have the choice to disregard or adapt the advice based on your own creative process. There is nothing wrong with seeking or receiving advice from others; it's a way to learn and improve. Personally, I still receive advice from others occasionally, and I listen to what they have to say. It may be something I already know or something new that I can add to my own repertoire. Ultimately, the decision is yours, but being open to feedback can contribute to your artistic development.

How do you handle copyright issues when shooting for a venue or band?

Protecting Your Copyright: Key Considerations When Shooting for Venues and Bands

The question is how do you handle copyright issues when shooting for a venue or a bin? I simply put, we'll go through it in every contract, make sure that it states in there I as a photographer retain all copyright of my images that I take. Now under US copyright law, as soon as you push that shutter, you as a photographer own the copyright. The only way that you can relinquish that copyright is if you sign it away. So do not ever sign it away in a contract, whatever. I've gone through and in the 25 years I've been doing concert photography, I've never once relinquished my rights to any artist as far as my images are concerned. I'm not about to start doing that. There's actually an instance right now that I'm working on where there's a tour, it's a farewell tour, I'm not going to name the band, but in their contract under part number four I believe it is, that says the artist will retain all copyrights to performance, video, audio, photography, dot dot dot, that is taken during the show. I straight up told them, I'm sorry I cannot do that. If you guys want to hire me for this, I retain those images, I retain the copyright to those images, we can work out a deal where you can go through and use them. But as far as copyright is concerned, that's mine. I will not sign a contract that states that I give away my copyright. Now you can hire me where we can work out a deal where, like I said, the venue will be able to lease, even lease for free in some instances, but I retain all copyright to any one of my images and if there's an issue with that, then I'm passing. And they can go through and find somebody else who's willing to shoot and not retain copyright. End of story.

As a photographer, I always make sure to retain all copyright of my images that I take. I never sign away my rights in any contract, and if the venue or artist insists on doing so, then I pass and look for another shooting opportunity.

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When shooting for a venue or band, handling copyright issues is crucial. In my case, I ensure that every contract clearly states that I, as the photographer, retain all copyright of the images I capture. Under US copyright law, photographers automatically own the copyright as soon as they press the shutter. To relinquish this copyright, one would need to sign it away in a contract. However, I have never given away my rights to any artist in the 25 years I've been doing concert photography and have no intention of doing so. 

I recently encountered a situation where a band's contract stated that the artist would retain all copyrights to performance, video, audio, photography, and more taken during their show. I expressed my inability to agree with this clause and informed them that if they wanted to hire me, I would retain copyright ownership of the images. We could then negotiate an arrangement for them to use the images. It's important to me that my copyright remains intact.

While it is possible to work out agreements where venues can lease or use my images with proper arrangements, I firmly maintain my copyright ownership. If there are objections to this stance, I respectfully decline the opportunity, allowing them to find another photographer who is willing to shoot without retaining copyright.

Do you have any tips for photographers who are just starting out in concert photography and trying to build their portfolio?

Building Your Concert Photography Portfolio: Tips for Beginners

Okay, great question. Do you have any tips for photographers who are just signing out in concert photography in trying to build a portfolio? Yes, number one number one shoot as much as possible Never go to a show with you know with unless it's a big show. You don't have photo credentials Never go to a small show Especially on a dive bar without your camera I'm asking me that the the key number one thing a lot of dive bars a lot of small bars like for instance there's a local bar called the replay lounge that has a lot of Very Beginning bands that are to are traveling through and you know it costs a little bit of money to get in site Three to five bucks for the the door free and it's great because they don't care if I have my camera in there I never have and You know and I'll bring it in And then I'll just talk to the band say hey, this is what I'm doing. I'll trade my ability to photograph Your show for you guys getting some of the photos And that's the tip number two is is work out those deals Yeah, you're reshooting for free for a little bit But that's a great way to build up your portfolio and a lot of those bands is opening bands at dive bars Are those bands performing at dive bars? They would love to have the opportunity to go through and have photos of their performance where there's for spot or their Spotify portfolio profile picture to Instagram to Facebook you know wherever they can go through and use them just work out a deal where you get photo credit for them so people know what you what you're doing what you can do and you know that's gonna build into more business, but That's that's the two things that shoot as much as possible And shoot the smaller local bands with you know where venues have you know bands that you just walk right up to and talk to say Let me do this Perfect way to build up or portfolio portfolio and get your name out there

The two tips for photographers just starting out in concert photography to build a portfolio are to shoot as much as possible and to work out deals with smaller local bands to trade their photos for photo credit. This will help get your name out there and build your business.

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Sure, here are some tips for photographers who are just starting out in concert photography and aiming to build their portfolio:

1. Shoot as much as possible: Take every opportunity to photograph concerts. Even if you don't have official photo credentials, consider attending smaller shows or dive bars where they may not mind you bringing in your camera. Talk to the bands and propose a mutually beneficial arrangement where you offer to photograph their performance in exchange for access and the rights to use the photos in your portfolio.

2. Work out deals with bands: While you may be shooting for free initially, it's a great way to build up your portfolio. Many local bands performing at smaller venues would appreciate having professional-quality photos for their promotional materials, such as their Spotify profile or social media accounts. Negotiate a deal where you receive proper photo credit in return.

By shooting as much as possible and focusing on smaller, local bands, you can build up your portfolio and gain exposure for your work. This approach can eventually lead to more opportunities and business prospects.

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Award winning concert photographer who has photographed everyone from Bruce Springsteen to Alicia Keys, Garth Brooks to Carlos Santana, Twenty One Pilots to Machine Gun Kelly, The Who to Carrie Underwood. My love for both music and photography runs deep, as it has been a lifelong obsession. I have been working in the field of photography for more than 30 years and have been working in the Concert Photography field for about 25 years. I have made this my life long work, holding a Master of Fine Arts degree in Photography, having also been involved in the music scene itself for about a decade before I photographed my first big show. Feel free to ask me anything that you might want to know.

Chris Ortiz