23.03.10
James Rowbotham: How to capture movement using just natural light
There are many situations where flash photography is neither feasible nor appropriate for dance. In staged performances, for example, flash photography is not only annoying for the audience, but also kills any rich theatrical lighting. It is also quite impractical in large dance studios where the photographer is merely an observer of the class or rehearsal.
Available light typically means daylight, continuous light and sometimes a mixture of daylight and artificial light. The locations are likely to be theatres, outdoor locations, whether stages or otherwise, and dance studios. One of the most important issues in dance photography is to manage motion blur. Although there are exceptions where blur is intentionally introduced for artistic reasons, working in available light usually means using shutter speeds as fast as necessary to minimise motion blur to an imperceptible level. It often also means that the photographer has not been part of the creative process and may not know in advance what the performance entails. There are always different strategies that the photographer can employ and the correct choice often depends on the specific circumstances.
A good starting point is to:
- Use high ISO (subject to camera capability), lots of glass and fast shutter speeds on the basis it is possible to deal with digital noise in post processing, less so motion blur. Use a minimum of 1,600.
- Find the focusing and metering system that works best for the situation at hand then keep things simple so you can concentrate on the subject matter. Use the camera’s processing speed and inherent capabilities as much as possible. Choose a strategy and stick with it.
- Use auto white balance in theatres unless, of course, you know better.
- Select the best camera position available given the nature of the performance, physical restraints, background and light.
- Aim to capture ‘that’ moment. Listen to the music, keep your eye on the performance and try to predict when something interesting might happen. If it does, look for repetition. Think about switching from single shot to continuous shooting at times.
While theatrical lighting can involve many lights and be much richer than what can be created in a photographic studio, it often operates at levels that are not very helpful for freezing fast motion. Focusing in low light can also be very difficult. For example, a dancer dressed in white under a bright follow spot is one thing, but another dancer dressed in black in the low light of a black box stage is something else entirely. Therefore, always shoot in RAW and expect to correct exposure later. Take lots of shots but don’t expect a high success rate, and be prepared to accept that not all images will have the clarity and sharpness necessary for large prints. In dance studios, be particularly mindful of clutter and, if you can, have the mirrors cleaned of finger marks first.
Most importantly, watch out for a clash between the different colour temperatures of natural and artificial lighting. In particular, watch out for fluorescent lighting that can give an awful colour cast if the capture takes place on the wrong power phase. This can be managed to some extent by either taking enough shots to get a clean capture or by taking a position where natural daylight dominates the scene. When starting out, find public open-air performances or work with local dancers. There are always dancers on modelling websites who you might chose to approach, but be aware that an ex-dancer may have lost the level of flexibility you are hoping for. Local dance organisations and schools may also be helpful though you will need Criminal Records Bureau certification to work with young people. Try to use natural daylight (though it is hard to recommend a dull English day) and try to find a location with a lot of reflected light — a beach, perhaps, or even snow.
Once you have grasped the principles, try to get inside a theatre, but don’t approach dance companies until you know what you are doing and can demonstrate that. Don’t expect too much if they are merely visiting your local theatre for a one off performance; they will have far more to think about on the day than a photo shoot. That said, the attitude of companies does vary greatly and some are more accommodating than others, so there is no harm in asking.
Once you are through the door, bear in mind you may only get a few minutes of rehearsal time and will need to be prepared for any eventuality, especially your camera position. You may find yourself right under the noses of the dancers, or miles away from them. If your local theatre is a receiver of productions, then you may be be better off speaking directly to the dance companies than the theatre.It is unlikely, but not impossible, that you will be allowed to shoot live performances inside a theatre unless you can position the camera behind the audience and mitigate the deafening sound of the shutter.My original inspiration came from the work of dance photographer Lois Greenfield, who specialises in creating set pieces using flash photography. I joined one of her workshops in New York and haven’t looked back since. I now offer my own workshops, which teach attendees how to capture fast dance action in the studio.A further source of inspiration has been the outdoor work of Richard Calmes.
Shoots with dancers usually take all day. As a starting point, ask them to bring:
- Something tight and colourful for making interesting shapes
- Something skimpy (or nude) for capturing physique, which should be lit accordingly.
- Something light and flowing for capturing motion. For girls, let the hair down and try to freeze the motion.
- Something in character (for example, a clown).
- Something characteristic of dance. This could be jazz, urban or burlesque.
- Anything else that takes their fancy.
- The right underwear, which is very important.
- Ideas for props, which really help to bring the image up and give the dancer inspiration.
A lot depends on the ideas I discuss with the dancers prior to the shoot. I always prepare ahead and usually ask them to do their own make-up.
Safety is a big consideration. It is vital to mention, especially given the current popularity in dance photography. Here are some important factors to consider:
- Dancers must warm up and stay warm throughout the shoot.
- They must rehydrate regularly.
- It is important to have a suitable and clean surface to work on.
- They should not be pushed beyond their physical capabilities. Bear in mind that, as a photographer, you might not know what the dancer’s limit is. Therefore, the final decision on to stop has to be with the dancer.
- Professional dancers are athletes and can suffer injuries, so be aware. Don’t ask ballet dancers to jump on concrete in pointe shoes, or conversely, expect capoerists to perform on a very soft surface.
Useful links
www.perfectlandscape.com
www.rowbotham-dance.book.fr
www.rowbotham-cirque.book.fr
www.modelmayhem.com/rowbotham
What’s in your kit bag?
- Primarily a Nikon d700 with a d300 as back-up.
- Lenses for shoot selected from:
- Nikon f/2.8 DX 10.5mm fisheye
- Sigma f/1.4 DX 30mm prime
- Sigma f/2.8 FX 24/70mm
- Nikon f/1.8 FX 50mm prime
- Nikon f/2.8 FX 70-200mm VR
- Manfrotto monopod and tripod
Post production kit
- MacBook Pro with a second 22in screen
- Capture one Pro/DXO if needed for distortion/Photoshop CS4
- Typical adjustments such as fix verticals and distortion, reduce noise, crop, fix exposure, curves/contrast, vibrancy, clarity, sharpening (double/smart)
Biography: James Rowbotham
Professional photographer James Rowbotham first became interested in dance photography while watching tango dancers in Buenos Aires. He shoots in a variety of locations including large and small theatres, dance studios and on location. www.rowbotham-dance.book.fr
This feature is from the March 2010 issue
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