Photos: Darkest Hour

Photos: Darkest Hour

Washington DC's Darkest Hour brought a pummeling set of metal opening for The Dillinger Escape Plan. Paradoxically playing under the brightest lights of the night, this five-piece was a blast to photograph with the wide-angle.

Photos: Darkest Hour

Photos: Darkest Hour

Photos: Darkest Hour

Photos: Darkest Hour

Photos: Darkest Hour

Photos: Darkest Hour

Photos: Darkest Hour

Photographer's Notes:

Plenty of frontlight and incandescent backlighting made this a relatively bright set; the main challenge for this show was the very  narrow photo pit.

With the braces of the barricade pushed up all the way to the stage, moving in photo pit was an exercise in self preservation as fans thrust out metal claws and the band dominated the monitors.

While the stage wasn't terribly high, the close distances made the shooting angles another problem to solve. I found that shooting slightly downstage – rather than straight on – helped minimize the steep angles.

For Darkest Hour's performance, I rocked the 14-24mm f/2.8. Up close and personal like this, the ultra-wide is almost a necessity.

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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