The Photo Pit
About

Photography is my reset button.

A space where I slow down, stay curious, and reconnect with the joy of creating something just for the sake of it.

The pit is where I’m most present. Close to the stage, chasing light, movement and the moments that last a split second. It’s a passion project, and it’s where I recharge and remember why I love making things.
Teodor Bjerrang
Find me in the pit (and online)
InstagramRandom shots from the pit & beyondLinkedInThe business side of rock 'n' rollBlueskyLive thoughts & snapshots
Photographer seen from behind in the crowd, Nikon raised, shooting The Darkness on stage
That’s me in the back, Nikon in hand.
In the bag · The Pit Kit

Tools for the noise & the dark

Fast sensors, fast glass and one stubborn film camera — gear built to survive three songs of strobes, smoke and stage divers.

Nikon Z8 mirrorless camera body seen from the front, lens mount open
Digital body

Nikon Z8

  • 45.7 MP stacked sensor
  • Silent electronic shutter
  • 3D tracking AF
  • Dual card slots

No mechanical shutter means no blackout and no click during quiet songs — and autofocus that keeps up with musicians moving through smoke and spinning lights.

Nikon F5 35mm film camera with a 50mm lens, seen from the front
Analog machine

Nikon F5

  • 35mm film
  • 8 fps motor drive
  • 3D color matrix metering
  • Magnesium body

36 frames per roll forces discipline. No checking the screen — just patience, waiting for the peak of the jump.

The f/2.8 trinity

14 — 24 — 70 — 200

Nikkor Z 14–24mm f/2.8 S wide-angle zoom lens lying on its side
14–24mm
Nikkor Z 14–24mm f/2.8 S

Pressed against the stage edge, shooting up from the pit floor. The whole wall of amps, and the bond between singer and front row.

Nikkor Z 24–70mm f/2.8 S standard zoom lens lying on its side
24–70mm
Nikkor Z 24–70mm f/2.8 S

The frontline workhorse. Guitar solos, jumping bassists and full-body shots — most of a three-song set without changing lenses.

Nikkor Z 70–200mm f/2.8 VR S telephoto zoom lens with tripod collar, lying on its side
70–200mm
Nikkor Z 70–200mm f/2.8 S

Reaching the drummer behind the cymbals, big festival stages and tight portraits full of emotion.

Analog

EVERY FRAME MATTERS. GRAINY, IMPERFECT AND REAL

From film to web · The workflow

Shoot — Develop — Scan — Publish

  1. 01

    Shoot

    Nikon F5 · 36 frames
    • Ilford Delta 3200
    • Cinestill 800T
    • 50mm f/1.8D

    Fast film pushed into dark clubs. No screen to check, so each frame is a choice made in the dark.

  2. 02

    Develop

    Chemistry · Darkroom
    • Push processing
    • B&W and C-41
    • Dried & sleeved

    The roll turns into negatives. This is the first moment you see if the night was caught.

  3. 03

    Scan

    Negatives to pixels
    • Epson Perfection V600
    • High-res TIFF
    • Dust & scratch check

    Each strip is scanned flat, turning grain and light on film into a digital file.

  4. 04

    Edit & publish

    Lightroom · The Photo Pit
    • Invert & tone
    • Light cleanup
    • Web export

    Gentle edits that keep the grain and flaws, then published here as galleries.

Sabaton at Unity Arena, Oslo, 11th December 2025

Shot on Cinestill 800T using a Nikon F5.

Published work · Rockman.no

In the press

2026

2025