My love of theatre and stage was born in high school. Singing was my thing, so naturally, I loved musicals. Being on stage and belting out a musical number was heaven to me. But acting -- having lines to deliver -- let alone in character -- while trying to remember blocking, props, being aware of other actors and having new director’s notes to assimilate -- that was all rather terrifying to me.
Having spent just enough time ON stage to have even a tiny taste of what goes into it, I am completely, utterly, wholly in AWE of actors. The courage it takes to be unabashedly vulnerable combined with the intuitive ability to inhabit the lives of others to tell a story is profoundly inspiring to me.
Storytellers, in general, have my utmost respect -- the desire alone to tell a story that could make someone feel, think, or widen perspective -- it's a beautiful thing to me. But being able to tell a story while in character, and to do it with nuance, humanity and honesty… that is a gift that I find to be ridiculously amazing. RESPECT.
In recent years I’ve discovered that my own gifts with regards to the theatre may not have been given in the realm of any discernible acting talent -- but -- I DO feel blessed to have found a profession in which I'm able to capture live performances in all their ephemeral light and magic. Or at least I feel honored to be asked to TRY to capture some of that magic!
Theatre is, by nature, fleeting. It's alive with the particular conditions of the moment in which it is breathing. So to photograph a production -- to attempt to best capture a design team's work, as well as specific moments based on their theatrical, artistic, aesthetic and compositional quality -- is no small thing.
These moments, captured in still photographs, become part of the collective memory of a particular story, cast, design team and production company.
[ Note: click on photos to view larger and for actor and production credits ]
When I'm working with professional theaters, I shoot during the final dress, designated as a "photo call" rehearsal -- Ideally this is a full costume, full tech running performance with no audience. In an ideal world, I've been able to attend a rehearsal prior to shooting, but this isn't always possible, so sometimes I shoot never having seen the material, the light, the set or the staging, and I need to be able to react quickly to whatever conditions may present themselves during the run, viewing the performance in those cases, essentially through my lens alone. It's surreal and incredibly exhilarating (read: anxiety producing).
Technical expertise is a critical starting point. While the technology is improving, cameras aren't yet capable of seeing the dynamic range of shadows to highlights that a human eye can see, which means getting things as close as possible in camera, then extra editing time to get shadows and highlights to look natural in each photo. Oh, and that low light? It's constantly changing and often has colored gels on it! Colors and luminosity typically vary widely throughout a show, and the effects are amplified when falling on a variety of costumes, changing set design and texture, different skin tones and other elements of production design, requiring experience and comfort with the ability to constantly be adjusting one's camera settings throughout the show.
Set, costume and lighting design often feature low light, high contrast and varying color to help tell the story, pushing the limits of even the best equipment, and ALWAYS keeping a theatre photographer on his or her toes!
Once you get used to constantly changing technical conditions, the real art is in being in the right place at the right time to capture a human moment and an interesting composition. This, of course, is largely dependent on a not so perfect formula of experience, anticipation, and good timing! It's a workout running non-stop for often over 2 hours, carrying heavy cameras and lenses the whole time. OH! And let's not forget that for final dress, there are still many obstacles in the house (lightboards, stage managers, directors, designers... all of their dinners, computers, electrical cords, etc.), and inevitably in your way as you run madly while watching action with your equipment through the theater. In the dark. Yes. I am often bruised the next day from running into chair arms with my thighs!
Ultimately, photographic composition in the theatre is part magic, and part math -- a dynamic and always changing formula based on where you are standing relative to where actors are moving within a space.
Getting to know work with the same theaters, actors, designers and directors more than once is always advantageous, and I love it when, ideally, there's time to scout a rehearsal prior to photographing a show. These things allow me to better anticipate blocking, staging, light, and the potential inherent in a particular production. I watch for appealing compositions as well -- I particularly love the opportunity to photograph a downstage (foreground) actor looking out over the camera, eyes to the light, another actor out of focus in the background, and I definitely need to be in the right place at the right time in order to catch this shot. Shakespearean soliloquies aside, it's often a very fleeting moment!
Capturing expression in an actor's EYES -- especially when he or she is facing the light is my absolute favorite! Lit eyes are critical to most any portrait as they convey so much expression, and here, capturing the soul of a character in a living, breathing moment is my ultimate goal.
[ Seriously... click on photos to view larger -- especially with these EYES -- and for actor and production credits ]
Of course, weave into all of this the fact that this is living, moving action -- actors are people, and people do blink… if someone blinks, they blink, and I move on to try to catch the next moment! Cards need to be changed and there's not always a convenient moment to change them. When the moment is gone, it’s gone forever. There are shots I've missed (some still haunt me)...
In many respects, live "running shoot" production photography is similar to wedding photography: it's not for the faint of heart, nor is it for the lazy. And like when I was shooting weddings, I still get nervous before every single shoot. Every. Single. One. It's unpredictable, constantly moving, and un-repeatable.
But… Oh my goodness when I GET THE SHOT... The one that captures the emotion of a scene… the shot that tells a piece of the story or hints with nuance at the essence of a character… or freezes a moment of soul, comedy or action …
. . . there’s no more satisfying feeling than capturing that perfect moment. Patience, experience, stamina, passion, and no small amount of luck all factor into the photos that make the final cut. I often hear myself audibly gasp while sitting at my computer editing production photos. A fresh photo pops up on the screen and suddenly I'm reliving a moment that positively takes my breath away...
Ultimately, my gratitude circles back and is given wholly to the incredibly talented teams of storytellers and designers who create beautiful, performance art. From their passion and art I get to hopefully create another layer of art. A documentation of an experience that hopefully will, in some small way, get to live on long after the curtain has come down.
When I get it right, I help in some small way to tell the story of the storytellers.
And I love it to no end.
NOTE: Click any image to see Actor, Production and Company credits.
QUESTIONS? INQUIRIES? Want to discuss photography for your theatre company?