What do you do when you have 15 minutes to photograph a Grammy-nominated band on a pitch black loading dock? You dial in the lights, hold onto your butt, and let it fly. That’s the plan going in, anyway.
Before Underoath’s performance last weekend, I had the privilege of photographing the six-piece band in a very quick portrait session. Here are the results.
Photographer’s Notes:
The time really flew by on this one. When the schedule came in, I immediately noted the time.
6:00pm – 10-15 minute photo shoot.
Pretty quick, but a great challenge. Due to the short time frame and constraints of shooting before the band’s performance, the locations for this shoot were basically limited to what was in a minute’s walking distance of the venue.
To make things more interesting, all the views for one side of the venue, which included nearby industrial sites and power stations, were off-limits for photo due to protection of Homeland Security. This limitation left the primary options as a gravel lot on the other side of the building and the loading docks of a small warehouse immediately adjacent.
Just before 6:00, I called the band’s manager, met up with the guys, and walked them over to the location, where we did two main looks: one shooting down the walk of the loading docks, one shooting into it.
For this set, I used the Nikon D3 with the SB-900 as the commander, which triggered up to four remote flashes, with two shot into 45″ umbrellas. The Nikon 24-70mm f/2.8 was used for the majority of these shots, with just a few with the 14-24mm f/2.8.
End Notes:
Big thanks to MSO, RLM, Brian S., and the band for making this shoot happen. Shout out to Dave Mullis for assisting.
Stay tuned for the images from Underoath’s performance, coming up!
This entry was posted on Friday, November 7th, 2008 at 2:20 am and is filed under Portrait Photography and tagged with Aaron Gillespie, Christopher Dudley, Grant Brandell, James Smith, metalcore, music, photographer, portrait, promo, Spencer Chamberlain, Timothy McTague, underoath. You can follow any responses to this entry through the RSS 2.0 feed.
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Geeeeeez dude – four flashes? You’re making me damn jealous with my two 580EXIIs! (Although I have a 540EZ awaiting modification, but it’ll need another PW)
Love the work mate! Care to share some lighting setup info? (Location of bits n pieces) o=)
Hey Joel, thanks. Technically it was five flashes with the SB-900 as commander, but yeah. The fourth flash wasn’t used for all of these shots; three remotes would have been just fine for this shoot.
The lighting here wasn’t anything too crazy. Basically two SB-600s fired into 45″ umbrellas camera right and left, and an SB-600 as the backlight behind the band. The cam-right flash was lowered at around 3′, cam left was around 6′ for the shots on the loading dock. For the shots shooting into the dock, this setup was reversed.
What kind of modification are you doing with the 540?
nice photos… i was trying to get a few setup shots but i couldn’t get the lights to trigger with the d700 at first and the time constraints kind of put that in the back seat. don’t forget that email!!
Thanks for your help, Dave. We really ripped through this one, but I think we pulled it off.
Shame about the D700 not firing the speedlights, some setup shots would have been nice to have.
15 minutes, 6 band members, 5 flashes, and a loading dock later: exclusive portraits of Underoath http://tinyurl.com/6q7zbv
I like the 5th shot the best of the whole group – the stretched shadows and beams are a great draw. Nice work on all of them.
And seriously. D3, D700, and FOUR FLASHES? /jealous
Hey Doug, thanks for your pick. That’s one of my favorite shots, too.
I barely used one of the remotes, if that’s any better. Also, two of the remotes were on loan to me. :)
You can make any location look good. I agree that the 5th shot is my fav. It has really great lines.
Thanks, Tasha. This location was interesting, ha. Pop’s in Sauget, IL has all kinds of “special” locations that can use all the help they can get.
I had three other portrait shoots here last week, too, but I think they all worked out alright. I saved the grungiest one for Underoath. :)
Like the last one the best. Great atmosphere and compostition.
Hey Bob, thanks for the feedback.
I still love the long shadows in the 2nd and 5th pictures! They look great! And the single portraits of Spencer and Aaron are superb as well!
Now what’s this about Homeland Security restrictions? Holy jeez. You totally should have done the shoot at the strip club that’s right behind Pop’s. I hear that place is full of some Grade-A ladies.
Sike.
Great work though, Todd. I’m glad things worked out, even with the strict time limit.
Hey Brian,
Thanks for the feedback on this set, and thanks for your help.
While I was setting up for Hey Monday’s shoot at Pop’s a few days before this gig, a police officer rolled up and said that we were not allowed to shoot on the location due to the power station and various factories that were visible from the location. He was nice about it, but said that normally he’d have to take the cameras and send them to the FBI.
This shoot with Underoath was actually behind one of the “gentleman’s clubs” that flank Pop’s – the warehouse building is connected.
Thanks again.
I agree with everyone in that the long shadows photos are the best.
Do you recommend any website or tutorial on learning how to do flash photography with commanders, slaves, etc? I really want to learn this stuff to break out of mold of just live photography.
Hey Bryan, thanks for the feedback. As far as learning flash, I think the best thing to do is just jump in and start experimenting. Grab some of your friends and put together a shoot.
Even using one flash is a good start and can be triggered using a pop-up flash. The D300 and D700 can control three different groups just from their built-in flash.
Sweet setup, man. Portrait shots for bands are really fun to do… and gives you a little variety. I really like 5, 8, and 9… hell 15 minutes I wouldn’t have even been done popping off test shots for the lighting! Wicked cool — do they have plans to use em for a magazine?
Hey Chris, thanks for the comment. I’ve really been enjoying these portrait sessions with bands, whether it’s five minutes (We The Kings) or half an hour (Hey Monday). This is just the start.
For the group shot…5 is my pick. Can’t beat it…except for maybe that solo shot of Aaron. That shot is my favorite! You’ve really captured his spirit there with the demure pose and kind eyes.
Hi Mary, thanks for your pick here and your thoughts!
15 minutes, 6 band members, 5 flashes, and a loading dock later: exclusive portraits of Underoath http://tinyurl.com/6q7zbv
2nd And 5th are my picks too, love the contrast from the 2nd one.
Ha, I see the reflection of the umbrella and your camera on Spencer’s glasses :P
Hey Jessie, thanks! Looks like the two vertical shots are the winners here.
Yup, that’s one 45″ Photoflex umbrella reflected in those shades!
Yo Todd — does the d300 really control 3 flash channels? I know I read somewhere it was only 2, which was kinda a let down for me, but if it’s really 3, rock on!
That’s two remote channels and the commander itself, not three remotes.
Oh, ha. I’ve never really counted the commander, because all you can do is dial it down… I usually like to control 3 different remotes, but you can’t do it unless you have the 800 or 900. The d80 has the d300‘s ability, too.
And I demand you get/modify your camera as such:
http://www.photoaxe.com/wp-content/uploads/2007/10/nikond3pimped.jpg
You can change the exposure mode and the power of the built-in flash, from 1/1 or 1/128 or -3.0ev to +3.0.
Aside from increased flexibility with the number of remotes, having a dedicated commander unit is much preferable for triggering remotes, due to the higher reliability.
are you using the sb-900 as fill as well, or only as commander!
great stuff, as usual. you are an inspiration!
Hi Pilar, the SB-900 was used as the commander only, with no fill to the scene. Thanks for your comment, I’m looking to really jump into portraits, and I hope to learn and improve as much as possible.
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