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Photography & Film Crews at Folk Festivals: Low-Impact Capture in Sensitive Spaces

Learn how to photograph and film folk festivals with minimal disruption. Use silent gear, move discreetly, secure consent, and honour tradition in every shot.

Understanding Sensitive Spaces at Folk Festivals

Cultural and folk festivals often include sacred moments, quiet performances, and intimate community gatherings. These sensitive spaces – whether a silent traditional ceremony, a folk music set in a hushed hall, or a ritual in a place of worship – require special care from photography and film crews. Capturing the essence of a festival without disturbing its atmosphere is both an art and a responsibility. Seasoned festival organisers stress the importance of low-impact capture: documenting vibrant traditions without intruding on the experience. This ensures that festival attendees and tradition-bearers feel respected, and it allows photographers and filmmakers to work harmoniously within the event.

In folk festivals around the world, from remote villages to big city cultural expos, the guiding principles remain the same: be unobtrusive, respectful, and collaborative. The following advice draws on decades of festival production experience across music, art, and cultural festivals globally. It offers practical tips on managing photography and filming in sensitive settings – including limiting movement during quiet sets, using silent equipment, obtaining permission, respecting anyone who opts out of being recorded, engaging with communities, and properly crediting cultural custodians.

Pre-Production: Permissions, Releases, and Community Liaison

Successful low-impact media coverage begins long before the cameras start rolling. Preparation and communication are vital, particularly for folk festivals that involve local communities or sacred traditions:

  • Research Cultural Protocols: Before the festival, learn about the cultural and spiritual significance of the event. Every festival has its own customs – some ceremonies may be closed to cameras, or specific performances might have rules (for example, no photography during a sacred chant). Understanding these nuances ahead of time will prevent missteps. Festival producers should consult with community leaders, elders, or cultural liaisons to identify what can or cannot be photographed or filmed. As a veteran organiser will tell you, knowledge and respect go hand in hand when entering someone’s cultural space.

  • Obtain Proper Permissions: If the festival involves private venues or sensitive ceremonies, ensure you have explicit permission to bring in a camera crew. This might mean securing a press pass or written consent from event organisers, or even permits from local authorities for heritage sites. For example, the Smithsonian Folklife Festival in Washington D.C. works closely with cultural delegates from each community beforehand – outlining what media coverage is appropriate. Organisers under director Sabrina Lynn Motley involve the communities in planning how their traditions are presented and documented, so photographers know when they are welcome to shoot and when they should refrain. The takeaway: always align with the festival’s own guidelines and any conditions set by tradition-bearers.

  • Model Releases and Consent Forms: In many cases, especially for film crews creating documentaries or promotional videos, it’s wise to obtain model releases from performers or participants who will be featured. While public events often have implied consent for crowd photos, close-up shots of individuals or interviews warrant a signed release. This not only covers legal bases (use of someone’s image) but also sets expectations. Make it a part of your workflow to carry release forms or have a digital consent process. However, even with a signed release, remain sensitive – if someone has second thoughts or seems uncomfortable later, be prepared to omit or blur their footage if feasible. Ethical storytelling sometimes means putting a person’s dignity above the perfect shot.

  • Respect Opt-Outs: Always respect if a person or group does not want to be photographed or filmed. Folk festivals often involve community members who may be shy or simply protective of their culture’s representation. Create an environment where people feel safe to say “no.” For instance, some Native American powwow events ask that photographers request permission before photographing dancers in their regalia, and some dancers will decline – not out of unfriendliness, but because their attire and its designs are deeply personal. One powwow photography guide notes that artisans spend countless hours on their beadwork and have understandable concerns about close-up photos enabling others to copy their sacred designs. If a potential subject opts out or asks not to be filmed, thank them, honour their wish, and move on gracefully. Festival producers should empower their media teams to accept “no” as a final answer with no pressure or complaints.

  • Notify Attendees of Photography: On the flip side, it’s courteous (and often legally required) to let the general public know if an event will be photographed or recorded. Posting signs at entrances like “This event is being filmed; by entering you consent to possible appearance in photos/videos” covers basic notice. Some folk festivals include this in their online ticket terms as well. (On Ticket Fairy’s platform, for example, organisers can add a disclaimer in the ticket purchase flow or confirmation email to inform attendees of media presence.) Transparency helps avoid surprises and gives anyone truly uncomfortable with being filmed the chance to speak to staff or stay off-camera. In extremely sensitive gatherings, consider designating no-camera zones or offering something like a special coloured wristband for attendees who prefer not to appear in any footage, so crews can be aware.

  • Community Liaison & Cultural Advisors: If your festival involves an indigenous community or a group with distinct cultural protocols, hire or designate a cultural advisor or liaison. This person can brief the photography/film crew on etiquette – for example, “During the Maori haka in our opening, please shoot from the sides, not in front of the warriors” or “In the temple procession, cameras must remain behind the rope barrier.” Having a respected community representative on your production team builds trust. It shows the tradition carriers that the festival organisers and media crew are working with them, not just capturing despite them.

Minimizing Disruption During the Festival

Once on site, the golden rule for cameras in sensitive spaces is be as invisible as possible. The goal is to document the festival’s magic without ever stealing focus from it. Here are key strategies to limit impact while shooting:

  • Limit Roaming During Quiet Sets: During moments of silence or delicate performances, avoid moving around. If you must reposition, do so slowly and discreetly. Excessive roaming, especially near a stage or altar, can distract both performers and audiences. Instead, plan your angles in advance. For example, if a folk music stage has an intimate acoustic set, pick a spot at the very beginning and stick to it for those songs. Many experienced festival photographers adopt a “shoot from the sidelines” approach during low-volume or emotional pieces – keeping to the perimeter rather than pacing in front of seated listeners. By limiting movement when things are quiet, you let the audience immerse themselves in the moment. Staying out of the way of performers and not blocking anyone’s view should be second nature (sixt.vn). If there’s a particularly important ceremony (a blessing, a moment of prayer, etc.), consider pausing photography entirely unless you can do it from a considerable distance with a long lens.

  • Use Silent Shutters and Quiet Gear: The loud click-clack of a camera shutter or the whir of a film rig can break the spell of a tranquil scene. Modern DSLR and mirrorless cameras often have a silent shutter or quiet shooting mode – use it. In sensitive environments like a shrine or a storytelling circle, even a small sound can echo. Similarly, mute any camera beeps or autofocus noises. Use cameras that operate quietly and avoid bulky, noisy rigs unless absolutely necessary. For instance, opt for a monopod instead of a clattering tripod if you need stability, or use rubber lens hoods to prevent the scrape of plastic on floors. The principle of smaller and quieter equipment goes a long way in not disturbing ceremonies (photographydiscover.com). Many documentary filmmakers in sacred sites choose mirrorless cameras with silent mode and turn off any bright LED indicators. If you’re filming, use headphones to monitor audio instead of playing anything out loud. By investing in discreet gear (like cameras with good low-light performance that don’t require bright lights or flash, and compact gimbals instead of large shoulder rigs), you show respect and you actually blend in better – which can lead to more candid, genuine shots.

  • No Flash, Minimal Lights: Flash photography is usually a no-go at folk festivals unless you’re in a clearly permitted setting (like a daytime outdoor concert where fill flash is acceptable). Flash can not only startle performers and audience, but it might also be forbidden for spiritual reasons. Imagine a sudden strobe during a midnight spiritual dance – it can be offensive and even dangerous (some rituals involve animals or fire that could react unpredictably to bright lights). Stick to natural light as much as possible. If additional lighting is needed for filming, use diffuse continuous lights and keep them at low intensity. Always ask permission before shining lights on ceremonial activities. In many cases, it’s better to capture a grainy, atmospheric shot at high ISO than to ruin the ambiance with a flash. Follow any instructions given by organisers about lighting – for example, if the MC announces “please, no photography during this part,” that’s your cue to put the camera down (sixt.vn). In tightly controlled environments (like inside a cultural center or sacred ground), turning off flash isn’t just polite but often mandatory.

  • Be Mindful of Noise and Movement: Aside from silent equipment, you need to be quiet and calm too. Avoid loud chatter on headsets or radios – use earpieces and keep voice communication to a whisper or hand signals when near the action. If you’re shooting video, remind your crew (boom operators, assistants) to move deliberately and quietly. Obstruct as little as possible: don’t set up gear in the middle of footpaths or in front of seated sections where you’ll block someone’s view. A good tactic is to wear neutral, dark clothing that doesn’t draw attention – essentially, a crew should “fade into the background.” Some large festivals designate specific photographer zones or pit areas; if so, stick to those rules. Even without explicit zones, a self-imposed boundary (like staying low at the front of a stage for only the first song, a common rule in concerts) can be useful. In small village festivals, you might find yourself in a communal space like a courtyard – here, it’s even more important not to dominate the area; keep your footprint small. Being mindful of your presence is something even freelance photographers should practice – as one ethics guide puts it, you are a guest in that cultural space, so act like a considerate guest at all times.

  • Coordinate with Stage Managers and Emcees: Good festival producers know the value of teamwork. Liaise with stage managers or the MC (emcee) about the schedule. Often, they can cue you on when a quiet or sensitive segment is coming up, so you can prepare to be extra cautious or even hold off shooting. For example, if a folk dance performance will end with a solemn tribute to ancestors, you might arrange to take photos before that segment, then pull back. Some festivals will allow photography only during certain portions: e.g., at a Balinese temple dance, pictures might be fine during the welcome dance but forbidden during the prayer that follows. By communicating with those running the show, you’ll know these details and avoid any gaffes. It’s also wise to attend rehearsals if possible; not to take photos, but to get a sense of the flow and identify vantage points that won’t interfere. The production crew can also decide when to let photographers on stage or close to performers for brief periods and when to keep them away. Clear signals (like a nod from stage manager) can be used to tell media when it’s okay to approach and when to retreat.

Real-World Lessons: Successes and Cautionary Tales

To truly understand low-impact capture, let’s look at a few real festival scenarios from around the world – both positive examples and cautionary ones:

  • Honouring Sacred Moments – Powwow Protocol: At many Native American powwows in the United States and Canada, organisers explicitly announce photography etiquette to the crowd. For instance, during the Grand Entry (when all dancers enter in full regalia) or during veteran honour songs, it’s common for the Master of Ceremonies to request no photography or filming. They do this to ensure everyone is focused on the significance of the moment. Seasoned festival producers cite such protocols as exemplary – the community sets the boundaries clearly, and respectful photographers abide by them. Those who follow the rules find they are warmly welcomed and often invited closer after the sensitive moment has passed. By contrast, anyone ignoring these rules sticks out and may be kindly (or firmly) asked to stop. The powwow example shows that when festival organisers educate media and attendees about sacred elements, it results in a smoother experience for all. One photographer at a powwow in New Mexico shared that after he followed all guidelines and asked permission for portraits, the elders themselves invited him to a private feast afterwards – a rewarding sign that respect earns trust.

  • Calm Coverage in a Quiet Concert – Cambridge Folk Festival (UK): The Cambridge Folk Festival is famous not only for big folk music acts but also for intimate acoustic sets in smaller tents. Photographers there have learned to adapt their techniques to each stage’s vibe. In the Club Tent, where an up-and-coming singer-songwriter may hold an audience rapt in pin-drop silence, photographers know to crouch low and shoot with silent shutters, taking only a few frames. Festival staff have sometimes provided photographers with a shot list or schedule indicating which songs they can shoot (often the first two or three) and then asked them to exit or remain still for the rest of the set. By limiting the photo frenzy to the start, the rest of the performance can proceed undisturbed. Cambridge’s longtime production team has also been known to brief media on respecting the audience experience – reminding them that folk festival attendees often come for a listening experience, not a spectacle, so any photography should be as invisible as possible. The success here is evident: press photos still get captured for the newspapers and festival archives, but patrons and artists leave happy, feeling the music wasn’t overshadowed by click-happy paparazzi.

  • Respecting Indigenous Protocols – Woodford Folk Festival (Australia): One of Australia’s largest folk festivals, Woodford Folk Festival, features a beautiful opening ceremony called the “Welcome to Country” led by the local Indigenous custodians. Festival founder Bill Hauritz and his team have always treated this moment with the utmost respect, working closely with Aboriginal elders to determine how it should be observed and recorded. At Woodfordia (the festival site), media crews are briefed that during certain sacred segments of the Welcome (like traditional smoking ceremonies or ancestral chants), cameras might be limited to certain positions or asked not to film at all. Photographers often use long lenses from the perimeter to capture the scene without crowding the ceremonial fire or performers. By integrating Indigenous protocols into the media plan, Woodford’s organisers show that tradition takes precedence over “getting the shot.” The result has been a longstanding trust: Indigenous communities continue to share their culture at Woodford, confident that it will be presented authentically. The press still gets images of the moving opening event, but always from a respectful distance or at pre-arranged moments. Woodford’s approach demonstrates that even a very large festival (tens of thousands of attendees) can coordinate with traditional owners so that filming and photography elevate the experience rather than detract from it.

  • When Things Go Wrong – A Cautionary Tale from Malaysia: At the Thaipusam festival in Penang (a Hindu religious festival that attracts thousands, including photographers), there was an incident a few years back that has since become a lesson for media crews. A zealous photographer, eager to get dramatic close-ups of devotees with kavadi (ornate frames carried as penance), started intruding into the procession route and even used a bright flash during a quiet devotional moment. This behavior angered both participants and fellow spectators – so much so that a public argument ensued, disrupting the event. The festival organisers and local press later highlighted this as an example of what not to do. It underscored how one person’s disregard for boundaries can not only offend the community but also tarnish the festival’s atmosphere. In culturally sensitive festivals, the community’s goodwill is paramount; once lost, it’s hard to regain. Following that incident, organisers at Thaipusam tightened the rules: today media personnel must register and agree to guidelines (like no flash near altars, and no standing in the path of devotees). The lesson: disrespecting cultural space has real consequences, from hurt sentiments to potential removal from the venue. It’s far better to work with the flow of the festival than against it.

  • Collaboration with Communities – Rainforest World Music Festival: On the positive side, consider the Rainforest World Music Festival in Sarawak, Malaysian Borneo. This internationally known folk and world music event features indigenous musicians from around the region. The producers here always involve community representatives and tribe leaders in planning the media coverage. Photographers assigned to capture traditional segments (like a Kenyah tribal dance or an Orang Ulu bamboo flute workshop) first meet with the performers and learn about the art form. The media crew is often accompanied by a cultural liaison who ensures communication is smooth. As a result, the photographers know exactly when they can take photos up close – for example, perhaps during the encore when the performers invite it – and when they should keep distance (say, during an initial prayer or sensitive storytelling segment). Additionally, Rainforest Festival organisers instituted a practice of sharing select images with the performers and community representatives first before publishing them widely. They might, for instance, give the visiting tribe copies of the best photos of their performance as a gesture of thanks. This approach has paid off: many cultural groups return year after year, comfortable that their traditions will be shown in a respectful light. And the festival gains a reputation for being culturally sensitive, making other communities willing to participate. It’s a virtuous circle built on trust and mutual respect.

  • Crediting Tradition Carriers – Jodhpur RIFF (India): The Jodhpur Rajasthan International Folk Festival (RIFF) in India provides a great example of giving credit where it’s due. This festival showcases folk musicians from rural India on grand stages at a historic fort. The production team, led by festival director Divya Bhatia, makes it a point that all official photos, videos, and social media posts explicitly credit the performers by name and identify their tradition or village. Instead of a caption that reads “Musicians performing at Jodhpur RIFF,” they will write “The Langa ensemble from Rajasthan performing a traditional sarangi and dholak piece at Jodhpur RIFF.” Photographers are briefed to gather those details (names of artists, the song or dance’s cultural background) along with their images. By prominently crediting these tradition carriers, the festival acknowledges that it’s their artistry and heritage at the heart of the event. This boosts the artists’ profiles and ensures that the community feels seen and respected in all documentation. It’s an approach every festival can learn from: credit and celebrate the people keeping the traditions alive, not just the event or the media team.

Post-Event: Sharing and Giving Back

After the festival, how you handle the photos and footage is the final step that can either strengthen your relationship with the community or sour it. Low-impact capture isn’t only about the act of taking images; it extends to what you do with those images next:

  • Community First – Share Select Images Privately: Especially when working with indigenous or local communities, consider sharing the best shots or clips with them before releasing anything publicly. This could mean sending a curated set of photos to the community leaders or performers as a courtesy. In some cases, festivals host a small post-event screening or photo showcase for the participants, so they can see how they were portrayed. Not only does this gesture show respect, it also gives an opportunity for the community to voice any concerns (“Please don’t publish that shot of our sacred altar,” for example). Technologically, it’s easy – you can upload an album to a private link or cloud folder accessible to the community, or even create a simple slideshow to send over. Many festival producers note that when communities see that you’ve captured them beautifully and respectfully, they become even stronger partners for future events. For instance, a folk festival in Mexico made it a tradition to send each participating village a set of printed photos of their dance troupe on stage – this kind of goodwill goes a long way.

  • Thoughtful Curation: Just because you can take hundreds of photos doesn’t mean all should be made public. Be thoughtful in selecting what to share on official channels. Avoid images that might misrepresent or sensationalise the culture. Sometimes an image might seem dramatic to outsiders but actually capture a private emotion or a ritual that’s better kept within the community. As a rule, favour photos that celebrate the culture positively and have clear approval or are obviously public moments. Behind-the-scenes shots of a vulnerable moment (an elder resting in exhaustion, or a child crying in traditional attire) might tell a story, but ask yourself if it’s your story to tell. When in doubt, seek a second opinion from a cultural advisor or the festival’s community liaison. It’s better to hold back an edgy shot than to inadvertently offend or violate trust.

  • Credit and Context in Publishing: Whenever you publish to social media, websites, or press releases, give full credit and context to the subjects. This was touched on in the Jodhpur RIFF example and is worth reiterating. Name the performers or community if possible, identify the tradition, and use respectful language in descriptions. Rather than “tribal people dancing,” say “members of the Huli community performing a traditional Huli wigmen dance from Papua New Guinea.” Highlight the tradition carriers prominently – essentially, centre the narrative on them, not on the photographer or the exoticness of the event. Also credit the photographer/videographer and any festival partners, of course, but never forget whose culture it is. This practice not only gives respect but also educates the audience and combats the tendency to treat cultural subjects as anonymous spectacle.

  • Respect Privacy and Sacredness: If you captured something that was meant for limited eyes (maybe you were allowed to film a ritual on the condition it’s not broadly shared), honour that. Securely archive such footage for the festival’s documentation if needed, but do not post it on YouTube or share it beyond the agreed scope. In some traditions, images of certain ceremonies should never be seen by the general public. A professional crew will label and separate such files to prevent any accidental misuse. Also consider data protection laws – in some countries, individuals have rights over images containing them. Ensure compliance with regulations like GDPR when applicable, which might require removing images if someone requests it.

  • Thanking the Community: Finally, close the loop by publicly thanking the communities and individuals who allowed you to photograph and film them. This could be a simple note in a blog post or video credits like, “Special thanks to the XYZ community for sharing their traditions.” Such acknowledgments reinforce that you as a festival organiser or media creator recognise the privilege of having been allowed into their world. It signals that the festival values its participants not just as content, but as partners.

Scaling the Approach: From Small Gatherings to Global Festivals

The core principles of low-impact capture apply to festivals of all sizes, but the implementation can scale differently:

  • Small-Scale Local Festivals: In a small folk festival – say, a local harvest celebration in a rural village – the atmosphere is familial and trust is personal. Here, the photographer might be the only one or one of very few. The key is to integrate into the community. You might spend more time talking to people, getting to know Auntie who is making the traditional dish over the fire, or asking the village chief’s permission directly for photos. Flexibility is crucial: if someone suddenly asks you to stop filming a dance because it turned into a private prayer, you comply immediately. The reward at small events is that, by building personal rapport, you may get access to angles or moments outsiders usually can’t see – but that’s a privilege you must handle with utmost care. Also, be prepared to share images freely with the community afterwards as they might not have had a professional photographer before; the goodwill from a few prints or a link can cement a long-term relationship.

  • Large-Scale Festivals with Global Audiences: At a huge international folk festival (think of Festival Interceltique de Lorient in France or Surajkund Mela in India), there will likely be a formal media management system. Multiple photographers and film crews will operate, perhaps dozens of press members. In these contexts, festival organisers might schedule media calls or designate press pits to control impact. As an organiser, ensure that all media personnel are briefed on cultural sensitivity – don’t assume professional journalists know the protocols of every culture represented. Provide them a cheat-sheet or briefing document: e.g., “Dear press, please note the Maori troupe requests no photos during the opening haka, but will pose for portraits afterwards,” or “The temple inside the grounds is off-limits to cameras; you may photograph the facade only.” Large festivals can also benefit from staging certain shots: for example, inviting performers to an off-stage area for media to take photos after their main performance, so that photographers get their needs met without swarming the actual stage show. Crowd control and safety are factors too – make sure tripods or frequent stopping photographers aren’t creating bottlenecks in audience flow. Use barricades or media-only zones where necessary. A big event requires a dance between giving media enough access to do their job and enforcing boundaries to keep the event authentic and enjoyable for paying attendees. It’s a more formalised extension of the same philosophy: balance documentation with respect.

  • International and Multi-Cultural Audiences: Many folk festivals, especially outside the US/UK, tend to have diverse international audiences nowadays. This means your approach also considers audience sensitivity – not every crowd reacts the same to cameras. In some places, attendees love being on camera (you’ll find plenty of people at, say, a European medieval fair who are delighted to pose in costume), whereas in others, people might shy away or only want their photos taken in a certain way. Be observant and adapt to the vibe. If a particular group of attendees looks uncomfortable each time you raise your camera, maybe switch to capturing more candids from a distance or focusing on performers instead of crowd shots. Conversely, if you notice people enthusiastically waving at the camera or taking selfies, you can engage with them, perhaps even setting up a festival photo booth or designated photo-op area away from the sensitive ceremonies. That way, those who want to be photographed can do so on their terms, and your crew isn’t roving through the crowd randomly.

Conclusion: Fostering Respectful Storytelling

Photography and film can powerfully share the story of a folk festival – its emotions, its colour and energy, and its cultural significance. But with that power comes the duty to capture these stories in a way that honours the people who live them. An experienced festival producer knows that a festival’s success isn’t just measured in tickets sold or stunning photos published later; it’s also in the goodwill you build with the communities and artists who make the festival possible. By practicing low-impact capture, you create an environment where tradition carriers feel respected and willing to participate again, year after year.

From the quiet corners of an ancient temple festival to the bustling arenas of a world music extravaganza, the principles remain universal: plan ahead, tread lightly, seek permission, and show gratitude. Future generations of festival organisers and media teams can continue the legacy of cultural celebration with integrity by following this guidance. In doing so, you ensure that the festivals themselves – and the cultures they showcase – will thrive in front of the camera, rather than be diminished by it.

Every click of the shutter and every frame of footage should ultimately serve the festival’s mission: to celebrate culture. Keep that mission front and centre. When in doubt, ask yourself: Am I capturing this image with the community, or at the expense of the community? The answer will guide you to do the right thing. A festival truly shines when its stories are told respectfully – and when the photographers and filmmakers become trusted allies in preserving heritage, rather than outsiders looking in.

Key Takeaways for Low-Impact Photography/Filming in Folk Festivals:

  • Do Your Homework: Research the festival’s cultural context and identify any sensitive ceremonies or venues. Know the rules and protocols before you start shooting.
  • Permission is Paramount: Always seek permission from organisers for access, and ask individuals if you can photograph them – especially in culturally sensitive attire or moments. Respect any and all refusals with grace.
  • Minimize Disturbance: Use silent shooting modes, refrain from flash in sacred or quiet situations, and limit your movement during performances (no wandering in front of audiences or into ritual spaces). Stay low, to the side, and invisible whenever possible.
  • Use Discreet Equipment: Opt for quieter, smaller gear and avoid setups that draw attention or block lines of sight. A less intrusive rig helps you blend into the background and reduces the impact on the event’s atmosphere.
  • Follow Community Guidance: Listen to community elders, liaisons, or MC announcements about when not to film or photograph. When in doubt, err on the side of caution and ask if something is okay.
  • Give Back with Images: Share photos and footage with the community or performers before (or when) you publish. Honor any requests to remove certain images. Showing your subjects the respect of preview and approval strengthens trust.
  • Credit the Culture: When you do publish, prominently credit the cultural practitioners and provide context for their traditions. This ensures they receive due recognition and educates the audience about the cultural heritage on display.
  • Adapt to Scale: Tailor your approach to the festival’s size – personal touch and community integration for small local events, and structured guidelines and briefings for large festivals. Always balance media needs with participant experience.
  • Safety and Respect First: Never sacrifice respect for a dramatic shot. No image is worth violating someone’s spiritual moment or personal dignity. Keep safety in mind (for example, no drones over crowds without permission, as they are noisy and potentially dangerous).
  • Build Relationships: Over the long term, aim to become a familiar, trusted presence. Festival producers who cultivate ongoing relationships with communities and hire photographers who value respect will find their festivals enriched with goodwill – and yes, you’ll still get incredible imagery, made all the better by the cooperation and openness of your subjects.

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