As part of my collaboration with GigGuide.tw, the full review and photos for this set are now available there. Below I’ve posted a few select photos from the batch and of course, my photographer’s notes and gear information. For the complete set of photos and full review of the Echo (回聲樂團) performance, see my full review on GigGuide.
By the time Echo took to the stage, I was fully prepared in the pit. At this point, I knew more or less where all the important lights were. More importantly, I started to explore and exploit better angles at all points in the stage. It was at this point that I decided I never want to shoot outside of a pit again (although that’s unlikely to become reality). Technically, Echo’s set was a breeze. Fast-ish shutter (1/250), wide and wider aperture (f/1.4-2.8) and “low” ISO (200-800). Within those ranges I had plenty of light to snap away at whatever I felt like. Oddly enough, while the projection was still up it didn’t play much of a role, for the most part. The exception to this rule was again the drummer, who pretty much got painted by it. Oh well, can’t have it all.
The learning experience for me here was in maximizing the pit. Despite the fact that it’s a full-height stage, I still tried to stay out of people’s ways and crouch-ran along the pit whenever I wanted to move. Yeah, my legs were not happy about that the next day (or the day after that..). However, this vantage point got me to see the potential in going low, and I milked it for all it was worth. There are some shots (like #5 above) where I was almost under one of the musicians. It makes for an interesting experience. At some point I’m going to have to sit and write down all the ridiculous angles that you can compose a shot from when in the pit.
My one sad panda moment of the set was watching the in-house photographer. The guy had full access to the stage, so he would intermittently run on stage and shoot close-ups of people. While that’s ridiculously awesome (someday I’ll have enough pull to do that too, I just know it), he also almost always picked the worst time to do so. Basically, whenever he was off shooting the drummer up close — which he had to do because of his one normal zoom — something awesome would happen up front and I’d be the only one getting it. Kinda makes you wonder why the hell so few venues here don’t want photographers in the pit to begin with, and then don’t leave enough to cover everything properly. I outta talk to management about a gig…
Nikon D7000 (Amazon)
Nikon AF 24mm f/2.8D (Amazon)
Nikon AF 50mm f/1.4D (Amazon)
Nikon AF 80-200mm f/2.8D (Amazon)