11/3/2022 0 Comments Shutterbug portland orPhotographing an opera is like nothing else. In a lot of ways, shooting an opera has shaped the way I shoot a concert.Įurydice (Credit: Cory Weaver) What special things do you have to consider when shooting an opera? With concerts, usually the photographers with access are only allowed to photograph from a pit between the stage and the audience-and only the first three songs. There are a lot of boxes to check off to get images from the PR gallery to what you see on an opera company’s website and those that accompany reviews. After three to four hours of editing right after the rehearsal, I then submit a gallery of PR-worthy photos for the company to choose from that are used for previews, reviews and other needs. I always keep in mind that I’m not only photographing for the PR and marketing departments, I’m also shooting for the costume, lighting and set designers, the director and the production department. I enjoy the responsibility of capturing all of an opera company’s photo needs. During a rehearsal, I’m usually the only one in the house shooting and I’m able to move around and get any angle I’m looking for. When I have to shoot a performance with a paying audience, I use a blimp or muzzle that goes over the camera body to reduce shutter noise. With an opera, I’m usually shooting one of the final rehearsals. Hansel and Gretel (Credit: Cory Weaver) How is shooting an opera different from shooting a concert/anything else? My first season shooting opera as photographer Ken Howard’s intern included Hippolytus and Aricia with a young Morris Robinson. It paid $250 a week, which I thought was a lot of money, and I got to work in a theatre-even though I had never seen an opera, wasn’t sure if I liked opera, and had no idea how important that company was. And when an internship for the Opera Theatre of Saint Louis was posted on our callboard at the paper, I applied immediately. Getting involved with the theatre crowd at SLU led to me shooting their productions and featuring the department more for the school paper. At SLU, we had a pretty small and underrated and underfunded theatre program, and the people there reminded me of some of the same people I knew in theatre in high school. The theatre is a place I always felt comfortable in. I was involved in all aspects of our productions-as an usher, designing and building sets, developing light plots, and as makeup crew head. Throughout high school I was a theatre person. So I’ve been a photographer since 1997, professionally since 2001. After a few months, I knew that being a photographer was what I was going to do for a living. I was thrown into all kinds of scenarios to fulfill the photography needs of the paper, from news to editorial to arts and entertainment to sports. I just knew what I liked and what I wanted the photo to look like.Īfter transferring to Saint Louis University, I became photo editor of the school’s weekly paper. I had been saying I could do a better job taking photos than what I had been given to accompany my articles for a community college newspaper, and he said, “Here, if it’s so easy, let’s see what you can do.” So I started shooting rock bands that I had interviewed or was reviewing. I was able to combine my love (more like obsession) for music and photography when my grandfather gave me his Minolta 7000 Maxxum when I was 19. I’ve always been interested in photography, from the works of Richard Avedon to Ansel Adams to Neil Lifer to Baron Wolman and Helmut Newton-I’ve always been mesmerized by the image. The Magic Flute (Credit: Cory Weaver) What made you want to get into photography?
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