Blog: Our Reality Show

Choose a Category
Back to all posts
  • Photography, Art & Dance

    This is an edited narrative of a presentation I gave at the National Dance Society’s annual conference on Aug. 4 in Norfolk, Va. Photos included in this blog entry were taken during classes offered to area students and attendees at the conference. My wife, Jill, also was a keynote speaker at the conference, talking in separate sessions about mental health and bullying.

    The purpose of this session is to talk about the role of the dance photographer so you can capture and promote the work that you do as educators and studio owners. But first, let’s start with a bit of background — the “why” you’re listening to this person on a sunny, summer Friday afternoon.

    Here’s what I’m not:

    • A painter, or sketch artist: I can’t draw a stick figure or a straight line with a ruler — that type of talent skipped from my father to his grandchildren
    • A singer: My wife and oldest son are the singers in the family. I lip-synch “Happy Birthday.”
    • A dancer: My son and daughter have that down, thanks to their mom and her excellent coordination. I have to look down to make sure both feet are moving in the proper order.

    Here’s what I am: A photographer, writer, storyteller, husband, father, and the son of two teachers. I learned my way around a camera out of necessity while working as a journalist and communications professional, and was told I had an eye for it.

    Like many parents, I found myself taking pictures at my kids’ major events, including their dance recitals. The limitations of my camera and lenses made it difficult get much, however, and I did not know enough about dance to capture the proper technique.

    Over the last four years, since going out on my own, I’ve learned how to capture the art of dance, both in performance and in various settings that make up my “Art & Dance” series. This series, primarily focusing on young, pre-professional dancers performing on city streets, in an abandoned church, in a creek, in a subway tunnel, and under a bridge, among others, has been profiled in a Northern Virginia arts magazine and has been the subject of three exhibits at a local art gallery. You can see my photos on my website — http://glenncook.virb.com.

    What I’ve discovered is that these types of photographs are powerful marketing for educators and studio owners. So let’s spend a little time looking at photography, the basic technical information you need to know, and ways you can broaden your audience.

    Getting the Right Equipment

    Photography is, like any art form, both independent and interdependent. Yes, anyone can take a picture, and technology has made it easy to capture beautiful shots with our phones. But if you want to shoot dancers, especially during a performance, your iPhone won’t do the trick. In fact, rather than promoting your brand, it dilutes your impact.

    The reason, not to get too technical here, is cell phones do not have what is known as an SLR, or single lens reflex. This allows you to focus, click and — if your light and shutter settings are correct — stop action. Your phone camera can’t do all of those things at once, especially in dim light, and it can’t do some of them at all.

    So that means you need “a real camera,” and depending on the complexity of what you’re trying to capture, the reality is that a “real camera” and good lenses don’t come cheap.

    Here’s why: Going beyond composition, photography comes down to two things — light and speed. This is where photography is most interdependent. If the two are not in sync, it will be difficult to capture what you want to achieve, even if everything is perfectly composed and in focus.

    In most performance settings, you will need a camera that can handle low light really well. This is where ISO, the setting for how much light you allow into the camera, comes into play.

    If you’re shooting outside, you can normally set your ISO on 100 (brightest), 200, 400, 640 or 800 (getting dim, but still light out). When you’re indoors, you likely will need your ISO settings to start at 1600 (if you’re lucky), 3200 (if there’s good lighting), and 4000 or 5000 (most common).

    Although technology has improved greatly, it’s still hard to find an inexpensive camera that can shoot with the speed you need at ISOs of 4000 or 5000 consistently without too much “noise,” which affects the sharpness of your picture.

    This is further complicated by the speed factor. To stop a dancer’s motion without blur, you need to have a shutter speed of at least 1/200th of a second. Anything less — whether you’re outside or inside — and you will get blur. Sometimes you can get a flash to sync at 1/200th of a second, but I haven’t been to a performance yet where you can shoot photos with a flash.

    So if you decide to take this on yourself, remember these things:

    • Get a camera body that can comfortably handle an ISO of at least 4000. (To do that, you’ll need one that can shoot at an ISO of up to 25600, because that means the camera’s sensor will be able to handle 4000 without too much noise.)
    • Set your shutter to at least 1/200th of a second.
    • Start shooting.

    Shooting a Live Show

    Photographing a live performance is one of the most difficult and demanding things I’ve done. You have to learn how to anticipate the action, and find ways to shoot so that both technique and emotion are captured. Yes, you want the leaps and jumps, but it’s also about telling the story of the work your students are doing.

    This again, speaks to the interdependence of photography. Understanding the story being told on stage is key to capturing the big moments, and the small ones as well. Knowing generally where the performers will be positioned also is helpful.

    In most cases, a photographer will not shoot the actual live performance, but a dress rehearsal. This prevents you from disrupting the paying audience and gives you time, in case anything bad happens, to ensure that you get decent shots. It also offers you flexibility because you can shoot from all areas of the performance space.

    What happens all too frequently is a photographer will set up in the back of the auditorium and shoot from the same spot. This does capture the show itself, but it prevents you from getting those small moments of emotion that help you tell the story.

    So what does this mean for you?

    • Talk to the photographer beforehand. Let him or her know what you’d like to see captured — the big and small moments — but give the photographer the flexibility to surprise you.
    • Let your dancers/performers know in advance that someone is shooting the dress rehearsal and/or show itself.
    • Given that you are capturing a live performance, be prepared for things not to be perfect and know, generally, how that will affect what you choose and use to promote your work.
    • If there is time, consider setting up certain scenes to be run more than once so the photographer can capture the action from multiple angles.

    Storytelling and Photography

    You have millions of ways to tell stories today. Video, stills, audio, the written word. You are in a visual medium, and social networking — despite the political wars many get into on Facebook these days — is geared toward the visual.

    This should be a great match, so why don’t you invest in it? And why do you accept poor quality, or opt for the cheap stock art, rather than focusing on your performers? As you put your shows and performances together, do you think about how you will tell the story to the outside world?

    Folks are interested in process, the “how” of you put something together. Behind the scenes videos, photos, and short narratives are increasingly popular because of the online world’s endless thirst for content. You don’t have to have high production values for these types of stories; simple iPhone interviews often will do.

    As the performance nears, this is where you need to engage a professional photographer and talk about telling your story. Consider having a promotional shoot that can be used for posts — posters, post cards, online posts.

    Finally, as the show/performance nears, have the photographer shoot the dress rehearsal. Let your cast know the photographer has free reign to walk around. Say you want 10-15 shots to use for social media purposes immediately; the additional photos can be sold or made available for download to parents.

    There are many ways to do this effectively, but being willing to partner and plan is key. I can’t begin to tell you how many times I’ve been asked to shoot something at the last minute. The photos turn out decently, but they would be so much better if I had the opportunity to meet and plan beforehand.

    Make It Work for All

    I understand that your bottom line on these types of performances is often razor thin, and photography is the first thing to get cut when finances are tight. But you can be creative and original in ways that are fair to everyone involved.

    This is my pitch/plea to you: In addition to remembering the photographer in your planning, be prepared to work out some sort of financial arrangement for the work he or she does.

    Many photographers I know are willing to go the extra mile for their customers, but free is not acceptable. Think about how you feel, as a business person, when someone constantly asks you to do something without compensation of some sort.

    As fellow artists, we understand the financial constraints you’re under, but you can make it work. Telling a photographer he or she can “sell” pictures in lieu of a shoot fee is, unfortunately, a nonstarter. We are in a share society, not a sell society, where consumers feel like they can get their music and media for free.

    Here are some things you can do:

    • Offer the photographer a shoot fee or a per diem in exchange for the right to sell prints on your own.
    • Add a small extra fee for photo services to your recital fees or master classes to offset your cost.
    • In return, work with the photographer to make a selection of photos available for sharing on social networks. Usually, these will have the photographer’s watermark on them so that intellectual property rights are not violated.

    That’s it, really. If you know your audience, assess your needs, make marketing your story integral to what you do, and work with your photographer and your students to tell it, your audience will be much more engaged in the great work you do.