She Wants Revenge

She Wants Revenge @ the Pageant -- 2008.06.11

After an explosive set by youngsters Be Your Own Pet, She Wants Revenge dimmed the lights and brought on the crushing Dark Wave tones to the Pageant.

Headlining the 2008 Nylon Summer Music Tour, the Los Angeles-based band's epic, brooding performance was anchored by Justin Warfield‘s deep vocals and Adam Bravin's sinister bass lines.

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

She Wants Revenge @ the Pageant -- 2008.06.11

Photographer's Notes:

Alright, so this set was dark. Really Dark. But if this show offers up anything, it's the lesson that there are different kinds of darkness, with She Wants Revenge bringing a moody, sinister brand that utilized heavy color washes without a hint of white light. Much different than say, pitch blackness with strobes.

Heather Marie Ryan, who worked this tour, was super cool and hooked up a little back stage access so I could pick up some drummer shots. As per my instructions, I hung back behind the bass speakers for a few shots from both sides, which was nice treat. I was even lucky enough to get a bit of catchflash during this time, the only white light I saw during the set.

Lighting:

Deep color washes dominating this set, with nearly no front-lighting to speak of. Lighting for the first song was primarily blues and purples, which gave way to orange-reds for the rest of the alloted time.

Before the show, I was chatting with the lighting engineer at the venue and he warned me that it was going to be dark. He even said that the band had requested no front-lighting at all, and basically wanted only background effects with heavy smoke.

Lenses & Gear:

I used the Nikon D3 and a variety of lenses for this set, including the Nikon 50mm f/1.4, Nikon 24-70mm f/2.8, Nikon 14-24mm f/2.8, and Nikon 70-200mm f/2.8. Basically, I threw everything I could at these guys.

Exposure & Metering:

I shot between 1/40 and 1/80 for this set at f/2.8, between ISO 3200 and ISO 6400. Needless to say, it was pretty dark.

End Notes:

Despite the challenges working with this set's lighting, or lack of it, it was actually a slightly refreshing change in some respects. And going in, I didn't expect anything more or less, which goes a long way toward sucking it up and working with what's available.

Again, thanks to Heather for hooking up the backstage access for a song!

My Camera DSLR and Lenses for Concert Photography

Nikon D850:
I use two Nikon D850 for my live music photography. A true do-it-all DSLR with amazing AF, fast response, and no shortage of resolution.
nikon-24-70mm-f28-lens-squareNikon 24-70mm f/2.8:
For most gigs, the 24-70mm is my go-to lens. Exceptional image quality at wide apertures and super-functional range.
Nikon-70-200-squareNikon 70-200mm f/2.8 VR:
A perfect pair to the Nikon 24-70mm f/2.8, I can basically shoot any job with the midrange and this lens. Superb image quality.
nikon-14-24mm-f28-lens-squareNikon 14-24mm f/2.8:
Ultra-wide perspective, ridiculously sharp even wide open at f/2.8. I love using this lens up-close and personal, where it excels.
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