long telephoto or zoom. During a performance, he says, you
have no control over the lighting, and to avoid glare, you’ll
need to change your position. If the lighting is bad, you can
attempt a more artistic interpretation. The colour balance is
also likely to be all over the place, but you can correct it to
some extent in post-production software, particularly if you
shoot RAW which offers more f lexibility in post production.
In a studio shoot, he aims for simplicity and emphasis on the
performer’s skills, grace, f lexibility, or strength. He says his set-
up depends on the scope of the shoot, of course, and what he
wants to achieve.
“As I do shoots in and out of the studio using different
backgrounds, they all require different techniques and creative
lighting, from using large soft boxes to grids, scrim and
ref lectors,” says Penel.
When it comes to choosing a camera, Herzfeld empasises the
importance of fast shutter response. “Once you press the button
you want the shutter to fire. You don’t want there to be any sort of
lag because dancers move incredibly fast,” he says.
He points out that digital cameras have a longer shutter lag
compared to the old film cameras. Your camera should have a short
lag and also superior low-light capabilities. Remember that in some
situations you do not really have the time to change lenses during
the performance. In some theatres the only place you’re allowed
to shoot from is the back row, so you’re forced to use a telephoto lens.
“The further away from the stage you are, the less distance
you have to pan the camera to follow a dancer moving on stage,64 AUSTRALIANPHOTOGRAPHY.COM AUSTRALIAN PHOTOGRAPHY + DIGITAL SEPTEMBER 2015
EXPERT TIPS Shooting Live Performances
IN THE BAG
Chris Herzfeld's kit
Performance- Cameras: Up to four Nikon cameras,
including D3S, D3 (x2), D800 - Four tripods
- Pocket wizard remotes for the cameras
- Laptop computer
- Lenses: 16-24mm, 24-70mm,
70-200mm, 20mm prime (all f/2.8) - To r c h
- Lens tissues
- Spare batteries (for everything)
- Speedlights with Pocket Wizard triggers
- Small soft box 9 (“Just in case someone
wants a quick headshot or similar”). - Battery chargers
Studio kit- Camera: Mamiya Leaf AFi-11 12 (80
megapixels, medium format) - Lenses: Schneider, 50mm, 80mm,
120mm (all f/2.8) - Six Broncolor A4 Grafit floor packs
- 10 Pulso 3200 J heads
- Various light modifiers, soft boxes
- Heavy duty tripod
- Apple iMac, which is always shoot
tethered in the studio
Location kit- Cameras: Nikon D3S, D800
- Lenses: 16-24mm, 24-70mm,
70-200mm (all f/2.8) - Eight Speedlights with
Pocket Wizard controllers - Battery chargers
Rehearsals kit- Cameras: Nikon D3S, D800
- Lenses: 16-24mm, 24-70mm, 70-200mm
- Monopod
- Computer
- To r c h
- Lens tissues
- Spare batteries for everything
- Battery chargers
Philippe Penel’s Kit
- Cameras: Nikon D3S, D610, D800. Penel
says, “I still have my trusty Nikon FM2
film camera, even though it sits on my
mantle piece as decoration these days!” - Lenses: Nikkor 24-70mm f/2.8,
70-200mm f/2.8 - Tripods and supports: Manfrotto, Gitzo
monopods and tripods- Flash: Nikon SB800
- Lighting: Various Elinchrom heads
and soft boxes - Favourite piece of equipment: “My Nikon
D3S. It might not be the latest, but it’s
a solid performer in low light. It handles
contrast beautifully and the files aren’t
too large. It is also solidly built.”
Sammy Roenfeldt’s kit
- Roenfeldt says, “My go-to camera is
a Canon 5D Mk III. I also have the
battery grip for this camera, as it helps
balance the weight as well as giving
me more battery life so I don’t have
to keep changing batteries at a show.
This camera is incredible in low-light
situations. I have also just recently
bought a Canon 6D as a back-up.
This little camera is incredible and a
great option if you are on a bit more of
a budget. It doesn’t have all the bells
and whistles of the Mk III, but it’s great
in low-light situations. It is also full
frame. The first lens I ever bought was
the Canon 24-70mm f/2.8 USM. It is
the most universal lens – a ‘must have’
for all music photographers. If you’re
starting out and saving up for one lens,
get this lens first. I still have this lens
in my kit and still use it at most shows.
I also have a Canon 16-35mm f/2.8
USM. It’s a super sharp and amazing
wide-angle lens, which is great for
smaller shows or if you need to get
big crowd shots from on stage. The
Canon 70-200mm f/2.8 USM is great
for extreme close ups of performers or
if you are shooting a show with high
stages. I would use all of these at almost
every show. - Tripod? “Tripods aren’t very useful in a
live music situation, so I don’t own one,
but I do own a Manfrotto carbon fibre
monopod. It’s super lightweight and an
effective tool if you couple it with remote
triggers for your camera. You can lift
your camera above the crowd and get
some really cool shots.” - Favourite piece of equipment?
“Cameras aside, my favourite piece
of gear is actually my ThinkTank
international roller case. As I’m on
the road a lot of the time, this camera
roller is hands down the best bag
I have ever used.”