Concerts
Stage, crowd and backstage in one visual language. We work with the lighting design, not against it.
The brief
Knowing the set list is half the work.
A show is already directed. Our job is to understand the set, read the light and be in the right place when the moments come together.
During the show we work without getting in the way of the performance or the room. The final set should feel like one night, not a folder of unrelated colours.
Selected work
Shows we covered
Shot from the pit and from the room, across club shows, tours and festival days.
Possible deliverables
For promoters, labels, venues and management.
01
The performance set
Every band member, the wide stage picture, and the frames that carry the whole night.
02
Crowd and venue
The room as proof: a full floor, faces in the front row, the queue outside. What promoters actually need for the next announcement.
03
Backstage and tour life
Load-in, catering, the last minutes before walking on. Shot quietly, released only with the artist's approval.
04
Same-night socials
A vertical set edited before we leave the venue, so the tour account can post the same night.
05
Press-ready selection
A tight selection, captioned and credited, in print resolution — the set you send to a magazine without editing anything.
What a given night needs is agreed with you beforehand and confirmed in the offer.
Show night
Doors to load-out
Afternoon
Load-in
Empty venue, rigging, the crew at work. Also where we agree positions with front of house.
Early evening
Soundcheck
The calm version of the show — useful for portraits and for learning where the light will sit.
Songs 1–3
The pit
If access is limited to the first songs, this is where the essential frames are secured.
Main set
The room
From the balcony, the desk, the side of stage. Crowd, scale, and the encore lighting state.
Same night
Delivery
If fast turnaround is part of the brief, a selected vertical set can be edited on site. The full gallery follows as agreed.
Example scopes
Club shows, tour runs and festival days need different setups. These are the shapes they usually take.
One night
Single show
One photographer from soundcheck to encore, with a vertical set edited the same night.
Possible elements:
- Performance set
- Crowd and venue
- Same-night verticals
Several dates
Tour run
The same photographer across a run of dates. Backstage access grows every night, and so does the material.
Possible elements:
- Performance set
- Crowd and venue
- Backstage and travel
Festival day
Multi-stage day
Both of us covering parallel stages and the site itself, with material going out through the day.
Possible elements:
- Parallel stages
- Site and atmosphere
- Material during the day
Before we start
Then we plan those songs carefully: access, likely lighting, positions and the frames that matter most. If both of us are there, we can split positions and cover the stage and the room at the same time.
Usually not during the show. We work with the existing lighting design because it is part of how the performance looks and feels. Backstage, flash can be used if it fits the situation and is agreed.
That depends on the agreement with the artist, management or organiser. We deliver the material as agreed and do not publish backstage work ourselves without the required approval.
Yes. If photography and film are needed at the same time, we usually split the roles so each format gets the attention it needs. The exact setup depends on the show and the scope.
Tell us where the tour goes.
Send us the dates and the venues. We will come back with a clear approach and a realistic scope.
❯❯ Get in touch ❮❮Or write directly — team@vznbrothers.com