PASSION IN DANCE AND PHOTOGRAPHY

Without light we would have great difficulty observing the extraordinary world of dancers and other performance artists. And without it photographic artists would be left, well, in the dark.

As a portrait and action photographer, the manipulation of light through the medium of photography is what fascinates me. In fact, I specialize in photographic portraiture of performing arts students and professionals, both youth and adult, as well as live action photography at recitals, regional competitions, and national championships particularly because of the special challenges dance, and dancers, present when under extreme pressure.

But I don't just take pretty pictures. Whether I'm taking studio portraits or live action, I apply photography and innovative techniques to create images that express the very essence of what the dancer attempts to convey in their performance. And with advanced students and professionals I like to explore new avenues of complex artistic expression for both them and myself.

A performer’s devotion to their craft manifests itself recognizably through their level of commitment. And, while sheer athletic ability and psychological fortitude are critical, along with the starring roles that choreography and directorial guidance play, it is the emotional language of the dancer - telling a story infused with an intensity that has you gripping your seat or on the verge of tears - that truly elevates these disciplines to high art. Ultimately, the performer reaps the rewards of the self discovery that comes with achieving and surpassing such ambitious goals. This, in turn, raises the dancer to a whole new level of awareness in their quest for absolute perfection.

I've taken a similar journey of commitment, exploration, and discovery. Along the way I have strived to capture the dynamics of the human form in motion and the poetic beauty that accompanies both the foreseeable and unpredictable movements of dance. Movements that are constantly evolving often while under the jurisdiction of ever-changing light, making their capture both elusive and fleeting.

For me, it has always been more than just the compositional form, or the beauty, or the graceful line and movement, or the split second timing, the dazzling costumes, or even the masterful choreography, although all of these elements are important to be sure. It's also shaping the light, the interplay between the light and shadow, the dancers and objects, and the tension these forces create. And it's even about the way I ultimately process, crop, and present the final images. Mostly though, it's about the passion. And it is this same passion, this intense internal energy, that brings electricity to all the myriad of things that make up both a developing and skilled dancer. It is this passion in dance, this supercharged force imbued with magic, that I try to capture in my photography.

THREE BOXING AMIGOS

It isn't every day that a photographer has the opportunity to photograph a boxer, especially three of them. And if you're expecting gritty, sweaty, bare-chested guys with popping muscles, missing teeth, and over-sized shorts, you're absolutely right, all except the missing teeth. And they couldn't have been nicer.

My first order of business was to set up the studio with the goal of getting a variety of different shots for their personal and professional boxing portfolios. By the time I had all the lighting adjusted and my camera ready to fire the guys had suited up and were ready to go. Although the lighting setup was adjusted here and there, I primarily utilized two 4 x 6 soft boxes, with the main light elevated and positioned in a 40 degree angle to the subjects while the second light was placed to the side and slightly behind the boxers. The background was a black paper backdrop and two large black "V" foam panels on each side of the subjects eliminated stray light although a small white foam reflector provided subdued illumination to the lower body. The occasional use of a hair light gave some separation and I deliberately positioned the soft boxes and hair light so that feathering lent a more edgy look to the subjects. Leaving ladders and lighting equipment visible in many of the shots was deliberate. My camera was a Canon 1D Mark IIN with a 24-70mm lens set at f/11, ISO 100, at 1/250 sec, utilizing Norman power packs and light heads. Post-processing was achieved primarily with presets and Photoshop CS2 Shadow/Highlight adjustments and Channel Mixer, as well as simulated-HDR effects.

I started with a couple of the guys to get the camera and lighting adjusted and then immediately began working with one, then the other, and finally the three together. While I chose to present them in a low-key framework, I periodically shifted the lighting from moderate to strongly subdued to heighten the visual and psychological tension. The shoot comprised different fighting stances and relaxed postures as well as contemplative and combat poses. I closed the session by putting the three pro boxers together for a group pose. 

Happily, I have been invited to do a longer shoot with other boxers at their workout facility, apparently a traditional boxing gym in every sense of the words: dark and dingy and accentuated with lots of spit and snot, glistening sweat, splatters of blood, and rancid b.o. permeating the air. I can't wait.