Spotlight on a serious photographer: Marty Watson
Photographers are a notoriously introverted and solitary bunch. Musicians have to venture out of their bedrooms once they're ready to make music with other musicians, but a photographer can spend all his time in the darkroom (or at the computer nowadays) and never have to interact with another one of his kind. Without the collaboration necessary in music, photographers can keep their output undiluted by outside influences if they choose, distilling their ideas and techniques into a highly personal style that very much reflects the mindest of the individual doing the shooting.
When I showed up at the Casbah a while back, Marty Watson of Elemental Photography was hard at work shooting Marasol. I grabbed a couple shots of him doing his thing during Modern Rifles's set.
He uses the Canon 16-35L in one hand and a flash in the other to capture striking, dynamic images of performances. He gets VERY close to his subjects, so close that there's the occasional collision of a guitar headstock with his lens. This two-handed approach makes him have to move around with his subjects, which looks like quite a workout. He pulled out a film camera a few times to capture ambient light shots too.He's developed his style much more than I've developed mine at this point, and I see some clear advantages and disadvantages to his method vs. mine.
Bringing your own light source (handlheld flash in this case) lets you control more variables like white balance, depth of field, shutter speed, ISO, as well as direction and quality of the light. My guess is that he comes home with maybe 1/4 as many shots as I do, but I'm sure he's got a higher percentage of keepers.
On the other hand, it's more intrusive to the performer. He's right in their face, very close in order to fill the frame with the short focal lengths. I would only be able to shoot like that if I got permission from the band first. I'm pretty close myself, but with a 17-55mm focal length, I can shoot across to the other side of the stage and still get the shot, and although it's not as dynamic a look, I don't feel like I'm distracting to them, or the audience.
Anyway, just my observation of a different approach to concert photography. I think Marty's got a great style, and it's a shame he's moving away in a few weeks.
When I showed up at the Casbah a while back, Marty Watson of Elemental Photography was hard at work shooting Marasol. I grabbed a couple shots of him doing his thing during Modern Rifles's set.
He uses the Canon 16-35L in one hand and a flash in the other to capture striking, dynamic images of performances. He gets VERY close to his subjects, so close that there's the occasional collision of a guitar headstock with his lens. This two-handed approach makes him have to move around with his subjects, which looks like quite a workout. He pulled out a film camera a few times to capture ambient light shots too.He's developed his style much more than I've developed mine at this point, and I see some clear advantages and disadvantages to his method vs. mine.
Bringing your own light source (handlheld flash in this case) lets you control more variables like white balance, depth of field, shutter speed, ISO, as well as direction and quality of the light. My guess is that he comes home with maybe 1/4 as many shots as I do, but I'm sure he's got a higher percentage of keepers.
On the other hand, it's more intrusive to the performer. He's right in their face, very close in order to fill the frame with the short focal lengths. I would only be able to shoot like that if I got permission from the band first. I'm pretty close myself, but with a 17-55mm focal length, I can shoot across to the other side of the stage and still get the shot, and although it's not as dynamic a look, I don't feel like I'm distracting to them, or the audience.
Anyway, just my observation of a different approach to concert photography. I think Marty's got a great style, and it's a shame he's moving away in a few weeks.
I'm flattered by the attention and at the same time weirded-out by the actual photos of me.
In answer to your points:
I would love to shoot ambient more but its so damn dark in these places, its near impossible to capture any movement/energy without the flash. The approach works but it has a lot of limitations.
As far as the distraction it causes, I'm aware of it in relation to the audience and try to minimize things between shots, but as far the performers, I always inquire beforehand and make sure they are OK with flash and me getting in their faces. 99% usually are.
Anyway, best of luck.
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Ha, I was wondering if you'd end up seeing this post... I know how it is weird to see yourself in pictures, I'm also much more comfortable behind the camera.
Darkness sucks.. but fast primes are awesome! If it wasn't for dim places like the Ken Club or the Whistle stop, I'd never have an excuse for breaking them out. I also have a high tolerance for motion blur, so that helps. 95% of my 1/10s shots are tossed right away, but a few come out well.
I had a feeling you got the band's OK beforehand. Otherwise you'd shoot the wrong band on the wrong night and get a headstock across the face. I do admire your courage- both putting yourself in harm's way, and getting the bands to agree. I'm usually too shy to talk to band members I've never met, unless I've had a few.
Take care, Marty. I'd love to see your photos from that night.
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