Bethany Anna discusses No rights Grabbing Contracts and Commercialising Live Music photography!


In our latest instalment of #audioloveshowcase we are delighted to shed light on the work of yet another photographer whom we do not hesitate in recommending for a follow, namely the stunning work of Bethany Anna of @livemusicimage . 

Bethany creates lovely sharp images that delight in its simple beauty, which is not to be underestimated for the skill and mastery that belies the work.

We particularly love her flawless ability to capture movement and energy and her jump shots are exceptional! If you do not already follow this talent, we recommend you do, you will not be disappointed! 

We caught up with Bethany to ask her about her thoughts around no rights grabbing contracts and how to commercialise concert photography and more. Read the full interview below...

How did you fall in love with concert photography?

When I first started shooting about 5 years ago, I dabbled in all sorts of photography. I finally found my niche and love for live music photography when I shot my first live show. Capturing that perfect shot with ever changing lighting, fast moving subjects, fog and short time limit make concert photography a huge challenge. I love a challenge.  I tend to gravitate towards metal, hardcore and punk because that’s where I find the most interesting, fun and emotion provoking moments to capture

Is there a particular shot you have captured which is close to your heart and if so, which shot and why?

My favourite band to photograph is Every Time I Die.  I’ve probably shot them close to 20 times now. Their energy is absolutely out of this world and every shot I take at one of their shows is a favourite. My most recent favourite  is a shot of Jordan Buckley (their guitarist) that I took standing on top of the crowd at Hartford Warped your doing what he does best.

What advice would you give for someone trying to commercialise their music photography?

Don’t shoot for free!  Starting out, you may have to work for a small outlet or magazine that doesn’t have an income, and therefore doesn’t have a budget.  Everyone has to start somewhere to build a portfolio and those are amazing opportunities to do so.  But here are too many people out there willing to work for bands, labels or venues for “exposure” which ruins it for the rest of us trying to make a living in a difficult industry. Know your worth and charge accordingly. And...Network, network, network!!! Make as many friends in the industry as possible... you never know what door may lead to an amazing opportunity.

What are your thoughts around how music photographers are treated in general regarding photo passes/ no rights grabbing contracts etc?

There are a few bands out there that have given our job a run for our money with rights grabs and unfair contracts, but most are VERY fair about it. Sometimes contracts can be negotiated, however I just choose to stay away from the few that have such rules.

What camera and lens combination do you tend to shoot with for most concerts?

My go to equipment is a Nikon D750 full frame body, with a Nikon 24-70mm f2.8 for most live shooting situations. I occasionally use a Nikon 70-200mm f2.8 for bigger stages and festivals or a Nikon 20mm f1.8 for wide crowd shots.

Low aperture glass is key!

Where can we find more of your work?

My work can be found on Instagram or Facebook @livemusicimage or at