Drummer’s Dream

CASE STUDY #22 Drummer’s Dream

CAMERA: Hasselblad 503c LENS: 120mm macro

FILM: 120 Kodak EPR

EXPOSURE: f/11 at 1 / 125 second

LIGHTING: Luz 1600ws pack with medium softbox as main light; medium softbox on drums behind the subject; 30-degree grid backlighting subject’s head; 30-degree grid with red gel on columns; 30-degree grid on drums

Assignment This portrait of jazz drummer Max Roach was created for New York Magazine. My goal was to portray Mr. Roach with his drums in a visually dynamic way.

Posing Whenever you photograph a musician with his instrument, the rest falls into place. In this case, we were shooting in the sound studio where he was rehearsing. I wanted to emphasize the repetition of the similar round shapes so I shot from above looking down. I selected a telephoto lens to tighten the proximity of the shapes.

The Story Mr. Roach had recently returned from Japan, where he was playing and living with the Kodo drummers on Sado Island. He was inspired by his trip and brought back some traditional Japanese drums (those are the colorful ones in the background). He was already at the studio when I arrived with my assistant, so I asked him to play while we set up. When I was done, I signalled him to stop and asked him about his trip to Japan. He lit up and started to describe the experience. Then I just asked him to smile, took a couple of rolls, and gave him my thanks. He continued to play while we broke down the lights and packed. When I waved good by, he stopped playing, said it was a real pleasure, and went back to drumming. That was cool.

Tips I found all the visual props I could ever have wanted in the sound studio. Before I started moving anything, though, I cleared it with the manager. I also took a Polaroid so that I could put back all the drums where they were originally placed (you could, of course, do the same thing today with a digital image). I learned this when I started shooting architecture and would sometimes have to move furniture to create a stronger image. I have also learned—the hard way—to ask before I move anything in a shot. When I was photographing composer Philip Glass at his home, his composing area was a mess with scores, music paper, and books. I started straightening up to create a “clean shot” when Mr. Glass walked in and looked at me aghast. I’ll never do that again.

30-degree grid spot with red gel on column

30-degree grid spot on drums 30-degree grid spot for backlight on subject’s head

medium softbox

66 50 LIGHTING SETUPS FOR PORTRAIT PHOTOGRAPHERS