I always associate the brilliant opening salvo to Prince’s song “When Doves Cry” to Photography.
“Dig If You Will The Picture.”
I always dig cool, soulful, well-shot, well-framed images that tell a story.
This Blog is about the Camera Lens and the role it plays in “shaping” stories. How you focus, depends on the type of lens used, that zooms in or out of the subject matter. Whether ultra-wide, wide, portraiture, telephoto, or macro.
To me, Photography is the creation of the Eye. Painting is the creation of the Mind.
The Lens is the Paint Brush from which you convey the image (perspective) to which you want your audience to focus in on and perceive your intended message.
The Camera is akin to a trusty baseball glove to catch the fleeting “blink and it’s gone” moment that you share with your subject. Mostly, my subjects (rock stars) move around a lot and at quick pace. I need a fast, robust, trusty camera that will not fail me.
To me, all good pictures must be soulful and be able to tell a story. Dig?
Some technically, brilliantly, sharply executed images, unfortunately, do not necessarily have soul.
I always let my images “breathe”, have a Zen relaxed feel and they must “pop”. If you know, you know.
I chose my lenses carefully for different moments in the concert. I always, for decades, only rely one camera while shooting. My differing lenses (ultra-wide, wide, telephoto, fish-eye), dictate what how I want to capture the moment with my subject(s). I still shoot like I’m shooting with film i.e. I shoot economically, in my signature “one shot, one kill” style, no burst “spray and pray” mode for me. My choice of lens dictates the perspective on how I wish my resultant shot is to be seen by my audience.
I know my mirrorless lens well, each has their own characteristics and idiosyncrasies. All bright (f2.8 and less) mirrorless lenses are bulky and heavy. If you complain about the lens weight, don’t be a serious photographer.
At the end of the day, it’s about getting The Image, isn’t it? And using the right lens to capture that image.
Career rock guitarists performing for over two hours without complaining about their Strats or Teles being heavy. They just get on with it.
When I have conversations with fellow photographers, I usually ask them about the lenses as well as the f-number they are using. That tells me about themselves and the “pictures” they are trying to express, and how much they are willing to spend on their visual arsenal. These days, with the advancement of camera technology, it’s hard to take a bad picture.
The only little crucial difference, separating the men from the boys, is the photographer’s focusing eye.
Me, with my trusty Canon R3 camera and RF 28-70mm f2.0 L lens, photographing Debbie Gibson at her recent concert in Singapore (above image). A friend of mine caught me, in action, in my natural rock photography habitat.
When I was shooting in film (mostly Kodak Tri-X 400), I used the Nikon FE and F3.
When I shot in digital, I relied mostly on the Canon 1D Mk2 and the 5D range, Mk1 through Mk4. Great cameras, those Canon 5D’s.
Now with mirrorless, I use Canon R3 and R6 Mk2 (as back-up) cameras.
I had many DSLR EF lenses – EF 16-35mm f/2.8L IS III USM lens, EF 24-70mm f/2.8L IS II USM lens, EF 70-200mm f/2.8L IS III USM lens, EF 85mm f/1.2L IS III USM lens, EF35mm r/1.4L II USM, EF35mm f/1.4L II USM, EF100mm f/2.8L Macro IS USM lens, Pancake EF-S24mm f/2.8 STM lens and Fisheye EF15mm f/2.8 USM lens.
But when I migrated my camera/lens system to the mirrorless system, I realised that, from experience, some EF lenses were not that frequently used (35mm, 100mm etc).
So I acquired only the RF 15-35mm f/2.8 L USM, RF28-70mm f/2L USM, RF70-200mm f/2.8L IS USM, RF85mm f/1.2L USM DS, Pancake RF28mm f/2.8 STM. To retain the use of my favourite, lucky Fisheye EF15mm f/2.8 lens, I bought a RF-EF lens adapter.
Because of my privileged proximity to the stage, I use plenty of my ultra-wide lens.
The following are some of my favourite images – with different story-telling lens configurations.
Enjoy the Show!
Beach Boys (above image). To accommodate ALL twelve members of the band on stage, I shot with my Canon 5D Mk3 and my favourite Fisheye EF15mm f/2.8 USM lens.
The band loved my band bowing image and used a cropped version of the previous image for the cover of their award-winning 50th Anniversary Live album.
Slash (above image). I used my Wide EF 24-70mm f/2.8L IS II USM lens,
Always great when my subject, Slash, also signed on my beloved print, donated to Hard Rock Cafe, Singapore.
My other Slash framed display, with kind plaque, hangs proudly in Hard Rock Cafe at Singapore’s Changi Airport, T2 location.
The late Joey Jordison, Slipknot (above image). Joey loved this expansive image of him in front of the wild crowd. This image is featured in Slipknot’s Live 9:0 CD album artwork.
Kitaro (above image). I used my EF 24-70mm f/2.8L IS II USM lens on Kitaro during soundcheck,
Kitaro loved my portrait of him with the single light beam shining on him so much he used it for his Grammy Award-winning “Thinking Of You” album artwork (above image).
Eric Clapton (above image). Shot with Nikon F3 camera with Kodak Tri-X 400 film.
Steve Wozniak, co-founder of Apple Computers (above image). Shot with Canon 5D Mk3 and my favourite Portraiture EF85mm f/1.2L USM lens. Shot in the comfort of my living room, at my home.
Darth Vader and his Clone Troopers, At Ease (above image). Because of the tight restroom space, I relied on my trusty Ultra-wide EF 16-35mm f/2.8L IS III USM lens to get the entire gang.
Pete Wentz, Fallout Boy (above image). To tell the story of the components of concert performance, from behind the barricades, of a rock star for his frenzy fans amidst surrounding security guards and film crew, I relied on my trusty Ultra-wide EF 16-35mm f/2.8L IS III USM lens to convey the story.
Blondie (above image). To get the overall shot of the relatively small recording studio, I relied on my trusty Ultra-wide EF 16-35mm f/2.8L IS III USM lens to convey the story. To get the band members up front to place emphasis on the gorgeous overhead lights like a sunshine. My back was literally pressing against a speaker. I thank the band members for trusting in my vision for the shot.
Carlos Santana (above image). A fun, impromptu portrait shot, encompassing the legendary subject, photographer and the green room, using my Ultra-wide EF 16-35mm f/2.8L IS III USM lens.
Shawn “Clown” Crahan, Slipknot (above image). A foot or two away from Shawn, I used my Portraiture EF85mm f/1.2L USM lens. The two blurred objects in the bottom of the image are his outstretched hands. I told him I am only focusing on his face. He loved this portrait, and requested a signed print to be hung in his home. This image is featured in Slipknot’s Live 9:0 CD album artwork.
Lady Gaga (above image). I used my Wide EF 24-70mm f/2.8L IS II USM lens,
Debbie Gibson (above image). I used my Canon R3 and Wide RF 24-70mm f/2L IS II USM lens,
Kenny G (above image). I used my Canon R3 and Wide RF 24-70mm f/2L IS II USM lens, Super-impressive low-light lens, worth carrying the extra weight around.
“Exit Strategy” (above image). To get a squeezed, flattened impactful shot of the post-concert departing crowd, I relied on my EF 70-200mm f/2.8L IS III USM lens.
My Merry Motley Crew of Camera Handlers (above image).
Dig If You Will My Picture!
Thanks!
