70’s British Glam Rockers The Sweet are arguably one of the most influential groups to modern rock and pop music. Their unique blend of Hard Rock and Pop has inspired literally hundreds of commercially successful acts.

“Little Willy”, “Ballroom Blitz”, “Action”, “Love is like Oxygen”, “Wig Wam Bam”, “Fox On The Run”, and “Hell Raiser”, represent but a fraction of the bands classic catalog of hits which are genre appropriate and well received on the main stage by the Rock N America crowd.

Shooting Notes:

The three song lafternoon set was effectively shot in the sauna of the late afternoon sun and humidity. Exposures fell about 1/1000 F2.8 ISO 400. The bright sun of this set made even the viewfinder challenging and the focus points of the Nikon D700’s moved purely by memory of their positions. Overall a real treat to shoot such an influential act. One of the real surprises of the festival.

Stuart Smith

Richie Onori

Stevie Stewart

Joe Retta

Steve Priest

Stevie Stewart

Joe Retta

Stuart Smith

Joe Retta

Stuart Smith

Steve Priest

Stuart Smith

Steve Priest

Stuart Smith

Stevie Stewart

Stuart Smith

Steve Priest

Joe Retta

Stuart Smith

Joe Retta

Steve Priest

The Sweet

Joe Retta

Steve Priest

Stuart Smith

Stevie Stewart

Stuart Smith

Joe Retta

Stuart Smith

Joe Retta

Stuart Smith

Richie Onori

Steve Priest

Joe Retta

The Sweet

Richie Onori

Kicking off Day 1 of the inaugural Rock N America Festival in OKC Lizzy Borden bring their entertaining and engaging blend of LA Glam, Heavy Metal, and Shock Rock to the Rock N America main stage.

Shooting Notes:

Shooting for the 3 song limit was an opportunity to familiarize myself with the stage and photo pit for the next three days of shooting. A formal tutorial on festival shooting will be forthcoming. This set began at 3:35PM. The amphitheater stage faces northwest which shielded artists from direct sunlight during daylight sets which is always a challenge to shoot in. With generally good cover and a black backdrop, shooting was handled by the Nikon D700 twins and their 24-70 2.8 and 70-200 2.8 soulmates. Exposures fell around 1/800 F2.8 ISO400 for the allotted time.

Lizzy Borden

Dario Lorina

Lizzy Borden

Dario Lorina

Joey Scott Harges

Lizzy Borden

Dario Lorina

Mårten Andersson

Dario Lorina

Chris Sanders

Dario Lorina

Mårten Andersson

Chris Sanders

Dario Lorina

Joey Scott Harges

Mårten Andersson

Lizzy Borden

Dario Lorina

Mårten Andersson

Chris Sanders

Dario Lorina

Lizzy Borden

Chris Sanders

Dario Lorina

Chris Sanders

Mårten Andersson

Chris Sanders

Lizzy Borden

Dario Lorina

Lizzy Borden

The Counting Crows and Augustana deliver nearly three hours of jam style performance filled with hits and deep album cuts in freeform fashion in their second annual Traveling Circus and Medicine Show tour to Atlanta’s Chastain Park Amphitheater.

Shooting Notes:

Shooting this time of year at Atlanta’s Chastain Park Amphitheater, sun is generally a problem as the stage faces into the setting sun. Tonight brought the blessing of cloud cover allowing for the ambient stage lighting to shine through. The challenge then became subject isolation with the large number of performers onstage and remaining courteous to the table seating for season ticket holders and VIPs. Shooting was the standard 3 and out with exposures falling 1/200, F3.2, ISO1600 +/- one stop.

Counting Crows

Adam Duritz

Counting Crows

JIM BOGIOS

Counting Crows

Dan Vickrey

Counting Crows

Dan Vickrey

Counting Crows

Counting Crows

Adam Duritz

JIM BOGIOS

Counting Crows

Counting Crows

Adam Duritz

David Immerglück

Counting Crows

Adam Duritz

Counting Crows

Counting Crows

Counting Crows

Adam Duritz

Dan Vickrey

Adam Duritz

Few acts have demonstrated such legendary status and longevity as the Scorpions. With a career spanning 38 years, 17 studio albums, and 21 Tours including a planned 3 year farewell tour, the band continues to influence and amaze in their impeccable live performance and larger than life stage show. The Scorpions are the definition of the rock show.

Truly, the pictures are worth 1,000 words.

Shooting Notes:

In a word. BRILLIANT.

Rudolf Schenker

Klaus Meine

Matthias Jabs

Rudolf Schenker

Klaus Meine

Matthias Jabs

Klaus Meine

Rudolf Schenker

Matthias Jabs

Rudolf Schenker

Klaus Meine

Rudolf Schenker

Klaus Meine

Rudolf Schenker

Klaus Meine

Rudolf Schenker

Schenker / Jabs

Klaus Meine

Matthias Jabs

Schenker / Jabs

Rudolf Schenker

Matthias Jabs

Klaus Meine

Rudolf Schenker

Matthias Jabs

Klaus Meine

Klaus Meine

Rudolf Schenker

James Kottak

Rudolf Schenker

Matthias Jabs

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Paweł Mąciwoda

Rudolf Schenker

Rudolf Schenker

Klaus Meine

Rudolf Schenker

Klaus Meine

Klaus Meine

Rudolf Schenker

Klaus Meine

Rudolf Schenker

Touring in support of their 2010 studio release “Infestation”, Ratt continues to draw fans of their signature 80’s style in both headlining and direct support slots on the festival and tour circuit.

The headlining length set drew largely from the groups classics both commercially popular and fan favorites intermixed with selections from their 2010 release.

Shooting Notes:

Shooting for the set was the first 3 with photographers corralled in small pit directly in front of the stage due to a video recording setup in place for the Scorpions. The setting afternoon sun was at our backs, largely eliminating stage lighting. Setting fell around 1/400 F3.2 ISO800.

Warren DeMartini

Stephen Pearcy

Ratt

Warren DeMartini

Robbie Crane

Carlos Cavazo

Stephen Pearcy

Robbie Crane

Ratt

Robbie Crane

Stephen Pearcy

Robbie Crane

Stephen Pearcy

Carlos Cavazo

Robbie Crane

Carlos Cavazo

Bobby Blotzer

Robbie Crane

Carlos Cavazo

Warren DeMartini

Skid Row delivers an exceptional performance to thousands at their seemingly annual Wild Bill’s blowout. This performance being the best to date.

While the band always delivers an incredible and high energy live show. This nights show gave fans a unique treat in the exceptional encore delivery of Quicksand Jesus which in the dozens of times I’ve seen the band this song has never been performed live. Bravo.

Shooting Notes:

Wild Bill’s is an exceptional venue to shoot in, though this nights performance came with the challenges of a large crowd and an unenforced pit packed with die hard fans of the band. As such, movement was quite limited and required shooting over, around, and sometimes through the fans. Lighting for the set fell at a usable ISO3200-ISO5000 at F3.2 with shutter speeds relatively constant at 1/320. Favorite shot of the night by far which was a result of limited movement is that of friend and drummer Rob Hammersmith through the arms of Rachel Bolan.

Rob Hammersmith

Johnny Solinger

Scotti Hill

Rachel Bolan

Scotti Hill

Johnny Solinger

Scotti Hill

Johnny Solinger

Dave Sabo

Scotti Hill

Johnny Solinger

Scotti Hill

Johnny Solinger

Rob Hammersmith

Dave Sabo

Rob Hammersmith

Johnny Solinger

Scotti Hill

Johnny Solinger

Dave Sabo

Johnny Solinger

Rob Hammersmith

Dave Sabo

Scotti Hill

Using a formula of refined Punk Rock influence with an edge all their own, The Luchagors bring their hard hitting and highly energetic performance to Wild Bill’s in the support slot for Skid Row.

Shooting Notes:

Shooting the Luchagor’s was straightforward and predictable across the expansive stage and exceptional house lighting at Wild Bill’s. The pit was not enforced this evening giving the crowd opportunity to be up and close with the artist and myself squeezing in as unobtrusive as possible. Movement is quite limited but the fans are always nice and accommodating in the shared space. Exposures fell around ISO3200 in the house spots to ISO6400 in the darker areas of the stage. Easily handled be the Nikon D700 system.

Amy Dumas

Shane Morton

Amy Dumas

Amy Dumas

Amy Dumas

Jay Hedberg

Amy Dumas

Amy Dumas

The Luchagors

Amy Dumas

Jay Hedberg

Amy Dumas

Amy Dumas

Jay Hedberg

Amy Dumas

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Shane Morton

Amy Dumas

Jay Hedberg

Amy Dumas

Shane Morton

Amy Dumas

Shane Morton

Amy Dumas

Kansas has written and performed some the most influential and enduring progressive and classic rock masterpieces. 40 years later, the band continues to tour delivering impeccable execution night after night.

The band performed a classic set of hits and deep album cuts including “Point of No Return”, “Hold On”, “Miracles Out of Nowhere”, “Dust in the wind”, “Icarus (Wings of Steel”, and anthem “Carry On Wayward Son” to the capacity crowd at Chastain Park Amphitheater leaving this photographer wishing for more.

Shooting Notes:

I always enjoy shooting environment at Atlanta’s Chastain Park Amphitheater. Low stage, generally few photogs for whatever reason, each of which are friends. While there is no pit, the area in front of the stage is comprised of tables and chairs for season ticket holders who are always a pleasure to meet. The one challenge with the amphitheater is the stage facing into the setting sun which largely kills the stage lighting until the sun sets and makes for a hot a and humid three songs for artist and photographer. This set was shot at a very casual ISO200-ISO400 with the Nikon D700 twins coupled to the 70-200 2.8 and 24-70 2.8.

Steve Walsh

Billy Greer

Rich Williams

Steve Walsh

Billy Greer

David Ragsdale

Rich Williams

Billy Greer

Steve Walsh

Phil Ehart

Billy Greer

Rich Williams

David Ragsdale

Steve Walsh

Rich Williams

Phil Ehart

David Ragsdale

Rich Williams

David Ragsdale

Rich Williams

Billy Greer

David Ragsdale

Steve Walsh

With an angelic voice transparent eloquence, singer/songwriter Imogen Heap and band deliver spectacular catered set to a full house.

Having heard of the band and their live performance for years, I was anxious to cover the event and experience the accolades first hand. In support of her album Ellipse and from fan requested favorites, the songwriter and band delivered an impeccable set to the full house of fans old and new.

Shooting Notes:

Lighting for the set featured heavy front lighting from house follow-spots for Imogen with who covered the left 3/4 of the stage. The band received limited lighting of largely ambient nature for shooting the first 3. A very comfortable 1/400 F4.0 ISO 2000 covered the majority of the set. Stage height and monitors coupled with the artist favoring the back 1/2 of the stage limited shooting angles.

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

Imogen Heap

In support of Imogen Heap’s North American Ellipse Tour, Geese provide a performance of experimental acoustic and ambient with classical undertones.

Shooting Notes:

Lighting for the short set was largely ambient in nature with artists just out of reach of the fixed house front lighting. The artists remained stationary throughout the set on stage left, with Emma being relatively well lit and Vincent playing largely with his back to the crowd.
Shooting fell around 1/125 F2.8 ISO 5000 save a single momentary flare up by the house follow spots. I particularly love the classical and technology contrast of the violins and the Macbook Pro in many of these shots.

Geese

Geese

Imogen Heap

Emma Smith

Emma Smith

Vincent Sipprell

Emma Smith

Don't Forget the Drummer

Emma Smith

Emma Smith

Vincent Sipprell

Emma Smith

In addition to handling Guitar/Keyboard duties on Imogen Heaps Ellipse Tour, Songwriter Ben Christophers filled the opening slot for the tour with a short set of favorites from his 5 album career.

Ben noted during the set that this was his first performance as well as visit to North America. The acoustical set was quite well received by the crowd in attendance.

Shooting Notes:

Shooting the set was the standard 3 and out of the 5 song set. Lighting was very usable at 3200ISO. Shooting acoustic sets are challenging in terms of shot variety as the performers often give a relatively static stage performance throughout. To add variety to the set I made use of the wide, mid, and long Nikon 2.8 concert photography trinity in the 14-24 2.8, 24-70 2.8, and 70-200 2.8 zooms.

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers, live, concert, photos

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Ben Christophers

Germany’s Metal Masters Primal Fear release live DVD and CD from the bands 2009 World and North American tours. Respectively titled “16.6 – All Over the World” and “Live in the USA”, the releases capture some of the bands greatest live moments including the 2009 Progpower USA X performance.

I had the pleasure of working with founder Mat Sinner and Level 10 Music with some live performance shots for the DVD / CD packaging. A professional and exceptional experience all around.

The band returns to North America in 2010 for their “The Fear Is Here” tour. If they are playing near your town, be sure and catch one of their awe inspiring performances which include a special guest appearance by Pamela Moore of solo and Queensryche (Suite Sister Mary) fame.

From the press Release:

“Frontiers Records to release German Metal icons PRIMAL FEAR brand new Live CD and DVD.
German true Heavy Metal icons PRIMAL FEAR completed the work on a brand new live DVD named “16.6- All Over The World” recorded in various locations between September and November 2009 and on a live CD aptly titled “Live in the USA”. Frontiers Records will release the two products separately and in a limited edition combo version on June 2nd in Europe and June 22nd in the USA.”

More photos and review from Progpower USA X

Angels and Airwaves delivers an audibly and visually rich performance in support of their gratis third studio album “Love”.

Led by vocalists/guitarist Tom DeLonge, the band drew heavily from their recent studio release while intermixing favorites spanning the bands three album career. Guitarist David Kennedy and Drummer Adam Willard were particularly crowd engaging and energetic. The group carried the core vocals and musical passages solidly with each member augmenting the intricate passages with synthesizers and samples which paired well to the atmospheric light show.

Shooting the performance was arguably one of the more challenging assignments I have had in some time. The bands intricate though atmospheric light show was sans any front lighting and while it paired nicely with the performance made for a very challenging shoot. With little contrast to work with and zero visibility of faces, timing and patience were key for the allotted 2 1/2 song shooting period. Captures with lit faces are a result of capturing some crowd initiated P&S flash which was welcomed this night. Exposures were locked at F2.8 with ISO ranging from 6,400-12,800 for second straight assignment.

Angels and Airwaves

Tom DeLonge

David Kennedy

Adam Willard

David Kennedy

Tom DeLonge

David Kennedy

Adam Willard

Matt Wachter

Tom DeLonge

David Kennedy

Adam Willard

Tom Delonge

Matt Wachter

Adam Willard

David Kennedy

Tom Delonge

Matt Wachter

David Kennedy

Adam Willard

Tom DeLonge

Following up an exceptional promo shoot with the band Greedy White Citizens, I covered their live show as they filled the opening slot for Saliva’s current headlining tour at the Masquerade Atlanta tour stop.

The group and its management where exceptional to work with shooting their promo portraits. As such, I was excited to cover them live and they delivered it in spades. Drawing from their strong following, the band clearly brought in more attendees than the touring opener for Saliva and delivered an exceptional high powered set that I would describe as a more modern and mainstream blend of Hard Rock, Metal, and Hip Hop.

Shooting conditions at the Masquerade have been previously documented. You simply cannot ask for a more challenging “pit” and extreme lighting conditions. Think one of the Ghost Tracker reality shows. That said, another years experience with the Nikon D700 system gave confidence in the ability to push the gear to its limits. The set was shot from 1/100 F2.8 ISO12,800 to 1/160 F2.8 ISO6400 for the duration. The close proximity of the stage in the pit is ideal for the Nikon 14-24 2.8 while the crowd shots where easily managed by the 24-70 2.8. A single Nikon D700 handled the duties admirably. An an interesting note, ISO6400 images tend to have more noise than ISO12,800 (or +1EV). While I shoot without the camera applying noise reduction, I suspect this is the result of the built in algorithms allowing pushing the ISO to these levels while still providing a very usable image.

Greedy White Citizens

Matt Shultz

Austin Bolen

Chris Sincavage

Matt Shultz

Austin Bolen

Alex Gray

Austin Bolen

Matt Shultz

Alex Gray

Chris Sincavage

Austin Bolen

Greedy White Citizens

Alex Gray

Chris Sincavage

Austin Bolen

Alex Gray

Austin Bolen

Alex Gray

Austin Bolen

Chris Sincavage

Austin Bolen

Matt Shultz

Greedy White Citizens

Three Days Grace delivers a crowd engaging headlining set to 10,000+ at Atlanta’s Project 9-6-1 Cinco De Mayo Celebration.

Having covered the band out of town in February, part of me expected a duplicate of the Augusta performance. I was pleased that the set was in fact unique in song order and selection and provided a slightly different look than the show months earlier. The pyro however, was absent from the production and sorely missed. Nonetheless Adam Gontier delivered his customary energetic and engaging performance as he led the band through popular radio hits, fan sing along favorites, and the always appreciated Apocalyptica’s “I Don’t Care” – Three Days Grace style.

Shooting for the headliner continued with the standard 3 and out. The lighting however drastically changed with the headliners full tour production onstage augmented with 4 house follow spots. The follow spots were head on and harsh – quite overpowering the stage lighting. Shooting fell around 1/400 F4 ISO1600. The high stage continued to be a challenge for shooting angles while the ever energetic Adam Gontier kept the pace high in the pit. Set coverage was easily handled by the Nikon D700 twins mounted with the 24-70 2.8 and 70-200 2.8 respectively.

Three Days Grace

Adam Gontier

Neil Sanderson

Barry Stock

Brad Walst

Barry Stock

Neil Sanderson

Adam Gontier

Brad Walst

Barry Stock

Barry Stock

Adam Gontier

Barry Stock

Brad Walst

Barry Stock

Adam Gontier

Brad Walst

Adam Gontier

Chevelle kicks off Atlanta’s Project 9-6-1 Cinco De Mayo celebration with a crowd engaging set of hits spanning their five album career.

As the opener for this night, Chevelle played to a largely natural light lighting treatment in the amphitheater as the sun largely overpowered the stage lighting treatment. Exceptions to this were the far corners of the stage and the drum riser which had enough canopy shadow to allow a hint of stage lighting to come through. Shooting was a rather consistent at ISO2000. The only real challenge of the set was a high stage which limited shooting angles and relatively static positioning by the artists.

Pete Loeffler

Dean Bernardini

Sam Loeffler

Pete Loeffler

Pete Loeffler

Pete Loeffler

Dean Bernardini

Pete Loeffler

Sam Loeffler

Pete Loeffler

Pete Loeffler

Dean Bernardini

Sam Loeffler

Pete Loeffler

Dean Bernardini

Pete Loeffler

Had the pleasure of working with the talented guys from Greedy White Citizens whose management, Fast Forward Management, contacted me about a promo shoot with the group. A lot of fun and we nailed it, but not without a fair amount of pressure as noted in a bit.

Prior to the shoot, the band’s management informed me their last photoshoot was a few years ago with one of my friends and inspirations, Zack Arias. Needless to say, the pressure was on. 5 different looks in 4 hours. Shooting was both in and within walking distance of the studio both in group and individual format. Lighting was straightforward – studio shots comprised 2 Nikon SB-800’s on the cyc wall with a clicker failing Westcott 60″ umbrella up front paired to a single Nikon SB-800. Location shooting involved a single Elinchrom Quadra and a 30 degree grid spot. My absolute favorite shots of the set came when walking back to the studio to a gray sky long after dusk with the moon peeking through the clouds. We fired off a few frames at 1/8s, F7.1, ISO1600 or so to pretty spectacular results. All captured with the Nikon D700 and 28-70 2.8.

All of my promo shoots include a live shoot if possible. Forthcoming is some GWC at the Masquerade Atlanta opening for Saliva in some Nikon D700 12,800 ISO goodness.

Greedy White Citizens

Fast Forwrd Management / Nina Baldridge

Zack Arias

Filling the midday slot of the Project 9-6-1 Cinco De Mayo celebration, Seether delivers a 75 minute set of crowd favorites and radio hits to the enthusiastic crowd.

Seether was shot at that precarious time of day when stage and ambient (sun) lighting perfectly mix and flatten the overall exposure. This coupled with a 6′ stage and another 12″ of monitors made for limited shooting angles for the first 3. The better angles were shooting downstage or leaning back over the barricade into the crowd to clear the height as best possible. By the end of the third the stage lights began to overpower the ambient. Overall exposures were around 3200ISO.

Seether

Troy McLawhorn

Shaun Morgan

Dale Stewart

Shaun Morgan

John Humphrey

Troy McLawhorn

Shaun Morgan

Troy McLawhorn

Shaun Morgan

John Humphrey

Shaun Morgan

Dale Stewart

Shaun Morgan

Shaun Morgan

Shaun Morgan

Troy McLawhorn

Shaun Morgan

Dale Stewart

John Humphrey

Shaun Morgan

Chiodos delivers an aggressive set of their unique hardcore sound with new vocalist Brandon Bolmer filling lead vocal and frontman duties decisively.

Shooting for the set was 3 from the pit. Interesting shoot as I was dealing with what I thought was a failing shutter on the long lens camera. Turns out the analog shutter control switch had been bumped from CL (continuous low which I set a 4FPS) to S (Single). :-/. That aside, lighting treatment was manageable for the opener with a generally warm treatment coupled with red/green backlighting and a reasonable balance from house stage front lighting. Exposures fell at a relatively constant ISO5000.

Brandon Bolmer

Bradley Bell

Brandon Bolmer

Chiodos

Tanner Wayne

Bradley Bell

Brandon Bolmer

Matt Goddard

Brandon Bolmer

Tanner Wayne

Chiodos

Brandon Bolmer

Bradley Bell

Chiodos

Brandon Bolmer

30 Seconds to Mars delivers an incredible headlining set to a sold a crowd while challenging this photographer in every way imaginable. Commensurate with their 2005 hit “The Kill”, shooting 30 Seconds To Mars can be labelled the same for a live music photographer.

While opening act Mutemath allowed pit shooting for the first 3, headliner 30STM preferred photographers shoot from behind the soundboard. Generally not a problem. Adding to the pressure was the media outlet for the assignment had interviewed the band hours prior and a solid live shot was required for a feature on the group. Again, generally not a problem.

This night however would prove to spiral downward quickly. Behind the soundboard puts the photographers in a small public 4 foot wide area flanked in front by security gates and security staff and in back by the largest and most active bar in the venue. Given it was a sold out show and general admission to boot – this is the spot where the late arrivals pack it in and seem to partake of the bar behind us more than average.

The set began with a few hundred camera CCD’s are in the air before the house lights drop – with Jared Leto appearing silhouetted by bright white lights behind a white curtain. As the curtain dropped, I grabbed a quick shot of drummer Shannon “Don’t Forget The Drummer” Leto as the lighting went to dark with the band taking an atmospheric approach to the first three accented slightly by LED strobes in shades of yellow and blue hues. In the second song Jared Leto appeared to call me out directly while I pressed on to get a single usable shot for the feature. Midway through the third song, I shared unavoidable words with a friendly couple as I politely apologized for them bumping into my 70-200 2.8 and they were not so gracious in acceptance.

Finally and appropriately with 30 seconds remaining in the shoot, Leto paused mid stage in the darkness as I saw a red eye reduction preflash firing from a point and shoot house left and shot a quick 3 frames, grabbing the shot for the feature lit solely by fan activated catch flash.