images. With the internet you can view bands online to observe,
for instance, any iconic moves and get a “general vibe” of how
the artists perform on stage.
“The key for me is doing a bit of research before each show,
working out simple things such as whether the lead singer is
left or right handed. If you know that, it will help you identify
where to stand in front of stage. If they’re right handed and you’re
standing on the right of the artist, the microphone will cover
their face. But if you position yourself on the left, it opens you up
to getting shots of their facial expressions,” he explains.
It all comes down to experience, Penel says, drawn from years
of practice and studying your own and other’s work, to know
what looks good in two dimensions. You have to be prepared and
know, for instance, when the dancer is about to do a grand jeté
or a back f lip. He advises beginners to get to know their genre.
If you want to capture ballet, go to ballet performances. If you
prefer circus or hip-hop go to those shows. He says they’re all
similar, but different.
Techniques that work
Turning away from the psychology to technical issues, Herzfeld
nominates setting the camera on automatic as the biggest
mistake first-time performance shooters can make. He urges
beginners to shoot everything in manual mode. “I try to max out
everything. I generally shoot between ISO 8,000 and 10,000.
With my Nikon D4, I’d be shooting closer to ISO 20,000. I do
pick the lowest ISO setting possible in the circumstances to
reduce the noise. I try to then shoot on the highest shutter speed
with the greatest depth of field. This changes right throughout
the performance, and you’re continuously changing absolutely
everything,” he explains.
He recommends people use manual focus because modern
cameras aren’t quick enough. Autofocus is designed for
movements generally left to right, or right to left, and are not
designed, and do not work well, when objects are moving
towards you, and then quickly moving away from you.
“For most performances I’ll put up to four cameras in the
theatre if I can. I operate one and I’ll use three with pocket
wizard remotes to trigger them. With the low-percentage shots,
I might only get one or two from those cameras, but that enables
me to get a far greater coverage. I use a D800 and a couple of
Nikon D3s, and a D3S, when I’m doing that.”
For performance photography, Penel suggests you can use
any camera with good low-light capabilities. Use the smallest
f-number – the widest aperture – with an ISO of 200 for studio
shooting, and between 200 and 64,000 for performances.
He recommends including a couple of lenses in your kit – a 24-
70mm for up close work, and a 70-200mm for distant shots.
A tripod is useful if you use a heavy zoom. He aims to avoid
f lash as it kills the theatrical lighting. Don’t move too much so
you can avoid camera shake, and focus on the main performers
as the depth of field is usually quite shallow, especially with aAUSTRALIAN PHOTOGRAPHY + DIGITAL SEPTEMBER 2015 AUSTRALIANPHOTOGRAPHY.COM 63
“As much as you may want to use flash, do not use it in
live performances. It’s distracting, it ruins the vibe of the
show and the capture is not true to the show itself.”
LEFT
“I’m lucky in that I sponsor a number
of independent choreographers who
are also good friends and they let me
go anywhere in the theatre to get the
shots I need,” says photographer Chris
Herzfeld. “This shot was taken from the
wings through the final rehearsal. To get
these types of shots you need a very
good relationship with not only the dance
company but also the theatre. Always
ask before attempting these shots. The
dancers are, left to right: Kialea Nadine
Williams, Kimball Wong, Madeline
Edwards, and Alex Baden Bryce.
This was taken from Daniel Jaber’s
‘Agile’.” Nikon D3S, 24-70mm f/2.8 lens
@ 36mm, 1/500s @ f/4, ISO 10000,
handheld.OPPOSITE
Hayley Williams of Paramore. Canon
5D Mk III, 24-70mm f/2.8 lens @ 24mm,
1/400s @ f/3.2, ISO 1600. Photo by
Sammy Roenfeldt.EXPERT TIPS Shooting Live Performances