This is something I get asked a lot. From the outside, it might look the same: someone with a camera taking photos of a show. But there is a huge difference between being a tour photographer and being a media (aka press, media outlet, or guest list photographer).

The difference is in the access, the responsibility, and the expectations.

There was a time when photography felt lighter. I used to go out with my camera just because I wanted to — not because I had deadlines, deliverables, and expectations to meet. It was instinctual. I chased light, waited for the perfect moment, played with framing. I wasn’t thinking about reels or carousels or how many backstage shots I’d need by midnight.

When you're first starting out in tour photography, the instinct is to say yes to everything. And honestly? That hustle is part of it. Most of us took every opportunity that came our way — low pay, long hours, zero sleep — just to get a foot in the door.

But if you're past that first grind phase, it's time to shift. Tour offers aren’t just about the paycheck anymore. The right tour can grow your career, fuel your creativity, and support your health. The wrong one can burn you out fast.

For a long time, I thought I was being fair — just counting the shooting time, maybe an hour or two, and calling that the job. It felt simple. Honest. Until I finally sat down and listed out everything that goes into each project. That moment changed everything for me.

Let’s be real. Most of us don’t charge for the hours we spend behind the scenes. And when we don’t track it, we don’t value it. But that work? That’s the reason we can deliver something great in the first place.

It’s Not Just the Shot, It’s the Edit.

Every time someone tells me, “I wish I could shoot like you,” I want to reply, It’s not just the shot, it’s the edit.

I get overexposed and underexposed photos all the time. Not every show has perfect lighting. Not every shot is composed perfectly in the moment. But I know how to fix it. Or crop it. Or turn it into something worth sharing.

The truth is, editing isn’t cheating. It’s where the photo becomes yours.

Let’s get this out of the way: working for free isn’t the goal. Your time, skills, and gear have value. But sometimes, very selectively, shooting for free can open the right doors.

I’m not talking about random "exposure" gigs or strangers asking for full edits for zero budget. I’m talking about strategic, intentional decisions that you choose, on your own terms, because you see long-term potential.

Honestly? It’s different every time. There’s no fixed plan. It depends on the band, the venue, the lighting — and what kind of content we need that day. Sometimes I know exactly what I want. Sometimes I figure it out on the fly.

There’s this moment — right before the band comes on — when every photographer tightens their camera strap and lines up at the edge of the pit. You glance around, and suddenly it hits you: you’re the only woman there.

And even if no one says anything, you feel it.
Not always in a bad way. But it’s there. The glances, the subtle sizing up, the assumptions. Sometimes it’s support. Sometimes it’s surprise. Sometimes it’s silence.

Tour photography looks glamorous from the outside — traveling the world, working with bands, capturing epic moments night after night. But what most people don’t realize is that those moments often look exactly the same every night.

Same lighting. Same songs. Same setlist. Same three jumps during the breakdown. And somehow, you're supposed to find something new in it — every single time.

Most people assume that shooting massive music festivals means you need a massive zoom lens — or three. And yeah, zooms have their place. But after years of shooting in photo pits and backstage... I still mostly rely on just three prime lenses: 14mm, 35mm, and 85mm — all from the Sigma Art series.

Are they light? Absolutely not. Sigma primes are tanks. But the image quality, light performance, and control they give me are worth every extra gram strapped to my shoulders during a 10-hour day.