A.D. Drumm Images, LLC – Landscape, Portrait, and Fine Art Photography in Rochester MN Photography

July 20, 2013

Steel Magnolias at Summerset Theatre

Filed under: Theatre — Tony Drumm @ 4:12 pm

Steel Magnolias

I shot Summerset Theatre’s production of Steel Magnolias earlier this month. The show takes place in a beauty shop, as my mom would have called it. An all female cast take us through some important times in the lives of some of the characters as they support one another.

The large, single set is mostly brightly lit with a few exceptions. Much of the set is pink – a color with special meaning in the show – which provides some challenges in the photography department with its similarity to Caucasian skin tone. But there were some vividly colored costumes which help play against that pink.

Steel Magnolias

Lighting was bright, but not as contrasty as we see in some shows. When we’re watching a show, subtle differences in the quantity of light across the stage go pretty much undetected. In the camera, though, these differences are pretty clear. A generally evenly lit stage might have a two stop variation over the span of just a few feet. Fortunately, we have tools to help us keep those differences under control.

Back in the darkroom days, we had similar tools – they just involved cardboard and wires!

Steel Magnolias

When I’m shooting staged shots, I’ll sometimes ask the actors to move a bit to bring them into the light better, or to balance two actors a bit. When trying to tell the story in still images, we don’t always want balance – in fact, we mostly don’t. But when the main subject is in the dimmer area, that’s a problem.

Here, shooting live, I have to just live with the light I’m given. I then rely on Lightroom in postproduction.

Steel Magnolias

An interesting aspect to shooting Steel Magnolias was the number of actors on stage. There were nearly always more than two women on stage at once, and often five or six. This gave me lots of opportunities to find interesting angles and views of two or three of the actors at once. Many compositions were of the sort that I just love to capture, so it was certainly a lot of fun to shoot.

Steel Magnolias

Even with the bright set, there were some good angles that put the actors against the dark background off-stage. I like the contrast this produces. Even with a cool and interesting set, it’s nice to grab a few shots that set the folks off this way.

Steel Magnolias

I was somewhat familiar with the story from seeing the movie years ago, but it’s been a while. I often get lost in the photography, but I was still able to keep an ear to the dialog well enough to follow along. It is important to have a general sense of the story to find that story in the photos I’m taking.

Steel Magnolias

Next up for Summerset is Monty Python’s Spamalot. It was one of the few shows Lynne and I have seen on Broadway, and it’s a fun show for Python fans. It’s a musical theatre version of Monty Python and the Holy Grail complete with the song Knights of the Round Table from the movie. Having it produced in Spam-town will be fun indeed! It opens August 1.

This is a splendid season for Summerset. I Do! I Do! and Steel Magnolias have both been exceptional. No doubt Spamalot will be, too!

July 14, 2013

Shooting Live Dance

Filed under: Dance,General photography — Tony Drumm @ 8:51 am

L.Sterling, Minnesota Youth Ballet Academy

L.Sterling, Minnesota Youth Ballet Academy

In early June, I had an opportunity to photograph a live performance by Minnesota Youth Ballet Academy. This a dance school here in Rochester; Ellen Huston serves as executive director.

I have not attended their other performances, but this one was held in the Rochester Community and Technical College’s Hill Theatre where I’ve attended several plays and other live events. As with other dance school events, the dancers represented a wide range of ages and abilities. I was amazed, though, by the pace and the production values. In particular, the lighting – something that draws my attention as a photographer – was very cool. Between gels and this wonderful side lighting, it made for a visually striking show.

There are venues in town where the lighting capability is just less than ideal. That is, there are stage lights, and I suppose the performance group can adjust and gel the lights, but their placement is not great. Performers on stage should not have their eyes in shadow – well, unless that’s desired for a scene – like the villain.

Using the RCTC stage worked well. The side lights produced some terrific rim lighting as you can see in the photo above. I had to catch the moment, but the lighting helped me make a good photo.

L.Sterling, Minnesota Youth Ballet Academy

L.Sterling, Minnesota Youth Ballet Academy

Since I was shooting during an actual performance and not a rehearsal, I basically planted myself in front of stage-left where I remained. I moved around a bit, but only in the same general area. I had the camera on its silent shutter mode which isn’t really silent but pretty quiet. This limits the frames-per-second, but I wanted to avoid drawing too much attention away from the wonderful dancers.

In many ways, this was similar to shooting a live play, and I started with the same settings. I used a longer lens for most of the shoot allowing me to move in tighter. Especially with some of the younger dancers, there were lovely expressions of joy to be on stage doing something truly fun. Sort of a look of innocence and wonderment of youth. Being in close to catch a few of those expressions was great.

Some of the dances had portions in very low light. I could probably have raised the ISO even more for those. In a theatre performance, there is movement to cope with requiring a decent shutter speed. But in dance, it’s nearly all movement, some of it very fast. It’s almost like shooting sports – and dancers are truly athletes. This is challenging to capture when combined with stage lighting. When you hit it right, though, it’s magic. I’ve often said I need to learn more about posing from choreographers. It’s what they do – creating a pleasing, captivating visual arrangement with human bodies.

Dancers themselves make ideal photographic subjects. When I’ve shot dancers in studio, I know that if I can visualize it, they can likely produce it. When I’m shooting them, I feel it’s my duty to bring drama to the shot. Make a photograph that tells a story just as a dance would. A still photo is an entirely different medium. The movement – the very essence of dance – is easily lost. If I can keep some of that, a visual hint of the movement (I don’t mean motion blur here), then I feel successful.

Now, if anyone knows someone who knows someone who could get me onto the set of So You Think You Can Dance – with my camera, of course – let me know! Okay?

July 11, 2013

Diorama Photos

Filed under: General photography — Tony Drumm @ 4:44 pm

Little Big Horn 1

My friend Dave Allen has created an elaborate diorama of Custer’s Last Stand at the Little Big Horn. This will be moved to the History Center of Olmsted County for a roundtable discussion of the event this coming Sunday. I took some photos of the diorama for him yesterday.

Little Big Horn 2

It’s pretty remarkable, representing a ton of work. Dave says it’s to scale in that each of the small figures represents four real people, horses, etc. Seeing it in person, it’s rather clear that the numbers favored the Native Americans.

Each of the figures has to be painted by hand, riders placed upon their steeds. Dave created and painted the teepees from scratch.

Little Big Horn 3

I don’t photograph miniatures much. When you are in close, depth of field is a big deal if you don’t want only a tiny region to be in focus. I shot mostly f/9 and f/11. Occasionally, I turned it up to f/13. I don’t mind a bit of blur to help draw the eye to one area, but you can see that even at these relatively small apertures, when you’re close and the layout is deep, you do need to think about this.

How does that translate to the lighting? Yeah, it means we need a lot of light. I had my normal three speedlights and shot all three through a pair of umbrellas. I placed all the light on one side to make the lighting more realistic to the event. I asked Dave which direction was north and he said it was afternoon, so all the light is coming from the west. The umbrellas keep it from being harsh light – perhaps we’ll just assume there were some thin, high clouds!

I used manual mode for the flashes and had them all set around 1/2 power. Most of the time for portraits, I shoot around f/5.6 or f/8 and have the lights nice and close to my subject if possible. So this was quite different. It was also tough to make the light consistent from west to east, but I was able to overcome that pretty easily in Lightroom.

It’s always fun to try something new. The key is having a good foundation of ideas and tricks from which to pull.

July 9, 2013

Overcoming the Technical

Filed under: General photography — Tony Drumm @ 8:13 pm

I love dance, and I’m a big fan of So You Think You Can Dance. Tonight, there was a dance by Paul and Makenzie. They are told they are probably the best technical dancers on the program, but they must move themselves above that to fill this dance with emotion. I think most art forms have these two components. There is the technical part and the emotional part.

The technical aspect of the art helps us construct the foundation and frame our art for our audience. It is important but not the most important aspect. If there is no emotion to draw our audience in, we fail. Pure and simple.

Photography can be massively technical. Many of us have some technical leanings causing us to sometimes overly geek out on the technical side of taking pictures. There are f-stops and shutter speeds and ISO and megapixels and frames per second and focus points. And that’s not enough. There are the very aspects of the physics of light: diffusion, diffraction, resolution, chromatic aberration. We can just worry ourselves sick over getting the absolute clearest and cleanest image.

I’ve been an engineer for most of my life. Science is a big part of who I am. So I understand this very well. But… We cannot become consumed by the technical parts of photography. It is so easy to be drawn into these debates, to try to put ourselves above our fellow artists, what we know, why our gear and choices are better. How smart we are.

Like Makenzie and Paul, though, we must overcome these desires. Use our technical skills, but focus on the story. Focus on the emotion. Focus on giving our audience something powerful, something that transcends the technical. For, if a viewer examines an image and says, nice catch light, this is really sharp, I can read this tiny sign! – we have failed.

I want my viewer to look speechless at my image. A tear. A gasp. A “wow!” Megapixels and the finest, most perfect lens in the world won’t do that. The technical side of the art is, frankly, easy for me. It’s easy for many. But it doesn’t make me an artist. Love, life, connection, feeling, awe. Those are the things that make me a better artist.

Learn the fundamentals. The physics of light is important to a point. But when the viewfinder is finally in front of your eye, you need to see – with your brain and with your heart.

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