Motion to Urban Earth

CASE STUDY #32 Motion to Urban Earth

CAMERA: Hasselblad 503cw LENS: 120mm macro

FILM: Fuji RDP

EXPOSURE: f/11 at 1 / 8 second

LIGHTING: two Profoto 800ws power packs; large Plume softbox for main light; 30-degree grid covered by spun glass on background; 20-degree grid with blue gel highlighting drummer and sax player; tungsten light for motion

Assignment Jazz bassist Harvie Swartz hired me to photograph his band Urban Earth for their upcoming CD.

Visual Objective Harvie wanted a group shot for the back cover of the album—back when it was really a vinyl record. I always think of Picasso’s painting Three Musicianswhen I photograph a band, so I initially had in mind a recreation of the painting with a fourth musician . . . but it wasn’t working. Instead, I went for a spontaneous moment and tried to capture the joy of hearing Harvie play his bass.

The Story I asked the band to come to the studio and play. Unfortunately, they were still recording and were on a tight schedule so I had to have a solid plan for what I wanted. Happily, I had just done a test shoot emphasizing motion (see the previous case study), so I decided to apply this technique. Harvie wasn’t sure what I was up to, but when I showed him the Polaroid he loved the idea and we just kept playing. of the image. It is important to discuss the music and concept, but it is just as important that you make the final decision on the direction of the shot.

The other potential setback is financial. If you are working with the band directly, there isn’t usually a sufficient budget to produce the “big” shot the band wants. It is up to you how you want to negotiate, but try not to lose money on the shoot. Also be sure to to have a contract between you and the group specifying how the images are to be used. If they have a small budget, limit the usage of the image. Be sure to note in the contract that if the image is used for any additional promotional venues, an additional fee needs to be paid to the photographer.

20-degree grid with blue gel highlighting drummer and sax player

spun glass over 30-degree grid on background

Tip It is great to work with musicians and fellow artists, but it can also have drawbacks. One possible setback is getting too much subject involvement in the creation

large softbox for main light tungsten light for motion

LIGHTING CASE STUDIES 87