Nick Carter: Tale From The Photo Pit (Flashback 2016)

NICK CARTER

NICK CARTER at HOB/Anaheim photo: Lauren Ratkowski

Flashback: NICK CARTER 2016 concert coverage,,,

What do you do when your editor asks if you can shoot a member of Backstreet Boys, aka Nick Carter, at one of your favorite venues? You agree and grab your camera of course!

It was a typical Friday night in Downtown Disney when I arrived – crowded and buzzing with people. I was expecting to catch the end of the first act when I arrived at House of Blues, but instead I got held up at the box office. There was a tiny bump in communication and I was left without a photo pass. But it wasn’t anything a quick call to the on-site tour manager couldn’t fix.

By the time I got inside, the venue was packed. I went straight into the photo pit as there was no one on stage. I thought I had managed to arrive before anyone played, as there were no other photographers in sight. But I was wrong. The crew was setting up for Nick Carter!

It was twenty minutes before set time, so I made sure my camera was ready while I waited. I expected other photographers to show, but as it got closer to set time, it seemed as if I would have the entire photo pit to myself.

Nick Carter greeted fans with a familiar sound when he hit the stage – the unmistakable beat of Backstreet Boys’ hit “Larger Than Life”. Fans greeted him in return with singing and screaming. There was a ton of energy in the room, so I knew it was going to be a good shoot.

With the photo pit to myself, I had a ton of freedom. All I needed was some great lighting and a lively performance and I was set for a good shoot – and that’s exactly what I got! I was able to shoot at wide angles without worrying about having ends of other photographer’s lenses in my frame, which is a luxury! The lighting was constant, yet not overpowering. This allowed me to follow Nick Carter as he moved to and from his mic stand. It also let me zoom in and get some great on-stage portraits.
After my three songs were up, I headed up stairs to shoot some group shots from above the main room. Getting an overhead view of a show isn’t something I get too often, so I took the opportunity.

Carter and his band sounded great and it was nice to see such a dedicated fan base turn out in support of his solo career. Photographing this show was surprisingly simple, but I’ll be sure not to take those shows for granted as I head into shooting in 2016!

Cold War Kids: A Tale From The Photo Pit

Cold War Kids; photo Lauren Ratkowski

Cold War Kids; photo Lauren Ratkowski

It had been awhile since I had been in the pit. I was excited that I was heading to House of Blues to shoot SoCal based Cold War Kids. They had been on my radar for a long time. I mean, I grew up listening to KROQ and like many, the first song of theirs I heard was “Hang Me Up To Dry.” Their sound always struck me as different. Something needed in this age of rock-and-roll.

After getting my pass and ticket for the night, I headed straight for the pit. I longed to be back in my home. Only two other photographers joined me to capture the night’s opener, Samia. High energy music was met with an active stage performance. These are all things I love from a band, and even better when it’s how I get to start my night. Through the lens I could tell that lighting was even, a perfect mix of reds and blues. I was happy that this meant I could really focus on the flipping, feet in the air, and kneeling being served to me from Samia herself.

Cold War Kids; photo Lauren Ratkowski

Cold War Kids; photo Lauren Ratkowski

Only two bands were on the bill, meaning Cold War Kids were next. The crowd was anxious for them to hit the sage. More photographers had come to photograph the headliner, so I chose to start my shooting at the furthest end of the pit and make my way back. I know when the pit is full, it’s best to try not to get stuck in the same spot. Variety in shots is just as important as lighting.

Cold War Kids started off with much darker lighting overall, which meant I was going to have to think of ways to add some visual effects to the photos. The best way to do this is to use silhouettes to my advantage. The lighting featured many brighter, color spotlights. With little fill light, the photos were going to be dramatic. But I was ready for the challenge! I was selective with the moments I caught, trying to wait to make it count. This led me to one of my favorite shots of the entire set.

I got stuck in one part of the pit, toward the middle. I was waiting, watching. Next thing I know I had bassist Matt Maust right over my head. I took a slight step backward, focused, and fired. I ended up with a pretty nice series of shots with him almost leaning into my lens. Some say photography has to be calculated, but I often find it mostly luck. At least in music photography it is!

Taking Back Sunday: A Tale From The Photo Pit

TAKING BACK SUNDAY; photo Lauren Ratkowski

TAKING BACK SUNDAY; photo Lauren Ratkowski

Camera charged. Lens cleaned. Press confirmation ready. All I needed to do was hop in the car and make the 2-hour drive to San Diego from Orange County. Now, I don’t make these drives for just any band. Taking Back Sunday has served as a pillar in my love for rock music as long as I can remember. Tonight’s show was extra special. Their current touring cycle is in honor of their 20-year anniversary – something not many bands get to celebrate.

TAKING BACK SUNDAY; photo Lauren Ratkowski

TAKING BACK SUNDAY; photo Lauren Ratkowski

Last time I shot Taking Back Sunday, I was covering their show at The Observatory in Santa Ana, The Observatory North Park’s sister venue. That show had also sold out. I remember how crazy packed it was inside the venue – we photographers barely had any room to get out of the pit once our 3 songs were up. Needless to say, I was expecting the same for tonight!

I arrived early to make sure I got inside to catch the openers on this tour- Frank Iero and the Future Violents. Without getting too far into my music listening history, I’m sure we all know Iero was the guitarist in My Chemical Romance. Eleven-year-old me wouldn’t believe that we would get to see AND photograph his new band in addition to Taking Back Sunday!

TAKING BACK SUNDAY; photo Lauren Ratkowski

TAKING BACK SUNDAY; photo Lauren Ratkowski

Only two photographers were in the pit alongside me for the first act. I was surprised by this, as well as by the sheer size of the pit at North Park. I usually compare the photo pit to a trench, but this pit was at least 7 feet wide! More room is always a plus as it gives more space to shoot from different angles and catch more action both on and off the stage. I used this basically empty pit to shoot from both close up and far away. A lot of red tone lighting gave a challenge, but that just meant I had to speed up the shutter and kick up the ISO a bit to be sure that the photos would capture sharp movement. Correcting red lighting was going to be for editing in post- something I’m more than accustomed to now!

Adam Lazzara-TAKING BACK SUNDAY; photo Lauren Ratkowski

Adam Lazzara-TAKING BACK SUNDAY; photo Lauren Ratkowski

Once it was time for Taking Back Sunday to hit the stage, the venue was packed! More photographers had shown up now. This made me ultra-grateful for the larger photo pit. With a pristine multicolored neon of the band’s logo behind them, the performance was bathed in a blend of red, blue, purple, and yellow light. The first few shots I took had me concerned – there was a lot of back lighting action going on. However, I knew this would just take patience. I had to wait for the right moments to snap. I raised my ISO until I found where I needed to be, as well as continued to change shutter speeds with the different lighting schemes of each song. In addition to the band, I always try to keep an eye on what’s going on behind me – what are the fans doing?

Audience at Adam Lazzara-TAKING BACK SUNDAY-Observatory North Park; photo Lauren Ratkowski

Audience at Adam Lazzara-TAKING BACK SUNDAY-Observatory North Park; photo Lauren Ratkowski

If you couldn’t feel the energy in the room when TBS launched into “Cute Without The E”, I would think you were broken. The crowd immediately SCREAMED along (myself included!). I turned my back to the stage for a moment, knowing there were some great photos to be made of the audience. Once our three songs were up, I spent some time getting some more broad shots of the scene from the back of the venue. It felt amazing to see such a blend of fans, many of which had been there for all 20 years of the band’s history, still supporting and participating in the TBS community. Is there a better way for a band to celebrate?

Warped Tour 2018: A Tale From The Photo Pit

The Final First Day of an Era

BLACK VEIL BRIDES -Warped Tour 2018/Pomona; photo Lauren Ratkowski

BLACK VEIL BRIDES -Warped Tour 2018/Pomona; photo Lauren Ratkowski

Dearly beloved, we are gathered here today to celebrate this thing called Warped Tour. This tour has a very special place in my heart. It was my first TRUE credentialed show circa 2011. I had just graduated high school two weeks before. I still carry the wristband in my wallet to this day to remind me how far I’ve come in this crazy world of photography. When I found out that this was its last year as a cross country tour, I knew I had to shoot it. I HAD to.

MAYDAY PARADE -Warped Tour 2018/Pomona; photo Lauren Ratkowski

MAYDAY PARADE -Warped Tour 2018/Pomona; photo Lauren Ratkowski

The tour kicked off Jun 21 in Pomona, CA – the same place I shot my first Warped Tour! I grabbed my photo wristband and ticket and then hopped in line. Doors didn’t open for another 45 minutes. Why was I there so early? Ah, any Warped vet knows the set times are different each day for every band. And those times are not announced until the day of. One does not simply have their day planned like most other festivals. If you miss the first hour, you could risk missing someone you really wanted to shoot, no matter how big or small.

ISSUES-Warped Tour 2018/Pomona; photo Lauren Ratkowski

ISSUES-Warped Tour 2018/Pomona; photo Lauren Ratkowski

Once inside, I grabbed a paper schedule and a Sharpie. Let the plans begin. It made me happy to see that there were three bands on the lineup that I also photographed my first Warped. For nostalgias sake, I knew I had to be in the pit for them. My day started at the main stage with the band, ISSUES. In 2011, Issues front man Tyler Carter was fronting WOE, IS ME on the iconic Hurly Bubble Stage. Yes, things had changed but from a side stage to the main stage in just a few years is quite the accomplishment!

KNUCKLE PUCK-Warped Tour 2018/Pomona; photo Lauren Ratkowski

KNUCKLE PUCK-Warped Tour 2018/Pomona; photo Lauren Ratkowski

Once Issues was done, it was on to KNUCKLE PUCK, MAYDAY PARADE and REAL FRIENDS. While shooting each band, I had a few things to keep in mind. The biggest was the location of the sun in relation to the stage. Yes, outdoor lighting is great, but it can be just as challenging, especially when shooting in the early afternoon. The sun is at its highest point in the sky at that time of the day meaning harsh shadows and bright exposure spots. I had to keep reminding myself to keep an eye on my exposures as I was shooting each act in case that pesky sun was shining too bright.

MOTIONLESS IN WHITE-Warped Tour 2018/Pomona; photo Lauren Ratkowski

MOTIONLESS IN WHITE-Warped Tour 2018/Pomona; photo Lauren Ratkowski

The most challenging set of the day was for MOTIONLESS IN WHITE. If you’re not familiar with the band, they perform adorned in black and white stage make up. Normally I’d be all for the theatrics, however the sun was shining directly onto the stage. This mean it was going to be more challenging to get a correct exposure to capture the “skin tones” of the band while not either blasting out whites or having the backgrounds appear as a dark abyss. In a perfect world, I’d have time to adjust for each shot, or to just move the sun. I decided the best way to go about it was to adjust as needed until I found that middle line exposure.

THE MAINE-Warped Tour 2018/Pomona; photo Lauren Ratkowski

THE MAINE-Warped Tour 2018/Pomona; photo Lauren Ratkowski

Back to the main stage for one of my personal favorites, THE MAINE! It was late afternoon, which gave me more even lighting and less worry about the location of the sun. After The Maine it was time for THE USED. I have been DYING to shoot The Used. Their set time fell during the wonderful “golden hour”- what more could I ask for?! To round out the night were two other bands that I captured during my first Warped – the ever so energetic 3OH!3 and BLACK VEIL BRIDES.

3OH!3-Warped Tour 2018/Pomona; photo Lauren Ratkowski

3OH!3-Warped Tour 2018/Pomona; photo Lauren Ratkowski

I could sit here and pour my heart out about the meaning of Warped Tour to me personally and to the world of music, but we’d all be here for a very long time. It broke my heart to know as I left that night, I was leaving Warped behind me as I knew it. I had four great years visiting Warped. I was able to meet some of my favorite bands, made countless memories, and beyond. But the thing I am most grateful for is Warped giving me a chance, a platform, to start my music photography journey. I wouldn’t change one sweaty, hot, dirty moment I spent on those black tops. Suppose I’ll keep it simple. Thank you, Warped for everything.

Pale Waves: A Tale From The Photo Pit

PALE WAVES; photo Lauren Ratkowski

PALE WAVES; photo Lauren Ratkowski

If you’ve never been to The Constellation Room inside the Observatory, let me set the scene. It’s a small room off to the side of the main entrance, just before you reach the main venue space. This small room is reminiscent of the legendary venue Chain Reaction just a few cities north in Anaheim. Friendly to local acts and smaller touring bands, this room holds a max of just 300 people. Yes, bands do sell this little room out, but usually not until the night of. Pale Waves, a young band from Manchester, England had their show sold out days, maybe even weeks in advance.

PALE WAVES; photo Lauren Ratkowski

PALE WAVES; photo Lauren Ratkowski

There is no photo pit in this space, just a stage and the fans. Knowing this, I arrived an hour and half early to get my credentials and to be sure I had a good place to work from. Sold out meant it was going to get packed quick, leaving little room for moving around. I ended up at the corner of the stage with a clear view. This was going to have to do. The rest of the room was already a sea of heads.

Shooting from the crowd is always a challenge. Angles and space are limited. Being conscious of others is always a must. And stage lighting in smaller venues is an expected hurdle. Despite those small things, it was refreshing to be shooting outside of the photo pit. It brought back memories of my humble beginnings as a young photographer- sneaking my camera into local venues (including the Observatory) and shooting up at the acts I admired.

PALE WAVES; photo Lauren Ratkowski

PALE WAVES; photo Lauren Ratkowski

Once Pale Waves hit the stage, everyone came alive. Hands in the air, lyrics sang back to goth angel lead singer Heather Barron-Gracie, and small pockets of dancing. Not to sound jaded, but it has been a minute since I’ve seen a young band produce such a passionate following. It speaks volumes to see sold out small venues packed with kids who know every word. Beyond that, that type of energy always bleeds into the photos!

PALE WAVES; photo Lauren Ratkowski

PALE WAVES; photo Lauren Ratkowski

The lighting has improved since I last shot in The Constellation Room, much to my relief. Mixed red and blue lights created an interesting appeal, while white light evenly mixed in to allow the capture of skin tones without washing out. Score! My outpost at the corner of the stage worked out well. I was able to capture some of my favorite shots of the night, especially during the more somber songs of the set when there was some artist-to-fan interaction.

PALE WAVES; photo Lauren Ratkowski

PALE WAVES; photo Lauren Ratkowski

As the set started to come to a close, I started eyeballing places to move to. I scooted across two rows to an empty space just big enough for me to squeeze in. I was now almost dead center, which allowed me to leverage the flying hands in the air as framing devices. I know young photographers who sometimes hate capturing that extra hand/limb/head in the frame, but when you can’t avoid it, you have to use it to your advantage! That move paid off. I ended up with some really strong images from this view point.

Personally, I’m going to bet that we will be seeing Pale Waves in bigger venue spaces before we know it. Between their infectious sound, passionate fans, and confident image, there is no room for failure. Suppose that is my photo lesson of this round- never stop paying attention to the up—and-comers!

HIM: A Tale From The Photo Pit

HIM

HIM; photo Lauren Ratkowski

Although this column is about concert photography, there is a back story which began when I was around 12, about the time my sister and I discovered the music of the Finnish rock band called HIM.

Their music was intoxicating to a young soul just learning how to explore music. Poetic lyrics about love, death, and life delivered by one of rock music’s smoothest voices, all encased in metal instrumentals. We practically watched the two music videos of the band via Yahoo Music on a loop (YouTube quite wasn’t around, yet).

Fast forward to 24-year-old me standing at the box office of the House of Blues, Anaheim on Oct. 27, 2017. With my camera ready to rock, I waited for the friendly people behind the counter to take my I.D. to receive my photo credential for that night’s HIM show, one of the first few stops on their farewell tour. Once the silver wrist band with the words “PHOTO” separated by a heart-a-gram (the band’s infamous symbol) was on my wrist, I sprinted inside to catch the first act of the night.

HIM; photo Lauren Ratkowski

HIM; photo Lauren Ratkowski

When it was time to jump into my trench-sized office for HIM, I still wasn’t really feeling the gravity of what was about to happen. When the band finally walked out on stage, I had this incredible moment where I just stood there thinking to myself “oh my god, they ARE real people.” I shoved 12 year-old-me down and raised my camera to my eye, 24-year-old me had a mission to complete, even if I was singing along as I did my job!

HIM; photo Lauren Ratkowski

HIM; photo Lauren Ratkowski

I expected the lighting to be dark, so I cranked the ISO a bit higher than usual this time. I’m glad I did, despite the risk of the photos looking grainy. Challenge one: Conquered. Next was trying to get good shots of lead vocalist, Ville Valo. Valo is a pretty tall guy to begin with, but when his black Converse high-topped feet are level with your collarbone the entire time you’re trying to shoot him, angles get pretty weird. I found myself backed up against the barrier, leg twisted around the metal supports, to get what I wanted. Sometimes you just have to get creative with your posture to get the right shot. Once I had found the right combination of exposure and viewpoints, I was on a roll. I didn’t want to waste any time looking back at my LCD screen.

HIM; photo Lauren Ratkowski

HIM; photo Lauren Ratkowski

I knew I’d never get the opportunity to photograph this band again, so making the most of it was a high priority. After song three came to a close, we photographers expected to be kicked out. But some of us weren’t ready to leave quite yet. To our surprise, security let us stay for a fourth song. All I knew was I wasn’t leaving until I was kicked out!

I’m always grateful of all the opportunities I get to join my passion for both music and photography. However, being able to photograph HIM is something 12-year-old me would have never believed would happen. I take that back, I hope she knew deep down she’d make it to this point in her photo career and that future her wouldn’t ever give up on her dream to see that band whose CD’s had to be smuggled into her bedroom.

Day N Night Festival: A Tale From The Photo Pit

Lil Uzi Vert

Lil Uzi Vert at Day N Night Festival; photo Lauren Ratkowski

Hit the ground and hustle. My motto for tackling this year’s Day N Night Festival. First order of business, as always, was to grab my credentials. I arrived at the festival grounds around 3:30, and to my surprise there was still a healthy line of people waiting up to enter. Wristbands on, I made my way inside, walking halfway around Angel Stadium before seeing the first stage of the day.

SZA

SZA at Day N Night festival; photo Lauren Ratkowski

I wanted to be sure I had plenty of time to catch SZA. I’ve really come to like her debut album, CTRL, and was excited to be able to shoot her. I was one of the first to arrive in the photo pit, so I made sure I picked out the best spot. Festival pits are amazing in that they are often quite spacious compared to the trenches we photographers experience in venues. However, there are a lot more security guards when it comes to festival pits. Add them, about 15-20 photographers at any given time, and overheated kids being pulled from the pit and space disappears quickly.

Considering this festival was entirely outdoors, I knew the sun was going to be a concern. This time, it presented a bit of a challenge in that as it lowered, it passed behind the main stage, which meant everything was backlit. And standing in the wrong spot created the type of lens flares I am not too keen on. Funky, flat colors and no detail. SZA’s set was nearing the time in the day where this sort of thing is a problem, but the sun created no issue for her set. SCORE!

POST MALONE

POST MALONE at Day N Night festival; photo Lauren Ratkowski

Next up was Post Malone. This is where lighting became a challenge. I learned very quickly that standing in one half of the pit was going to leave me with the bad sun flare all over photos. The sun was much lower now, peaking out the side of the stage’s background and backlighting everything. Great. Moving over a few feet and adjusting my camera settings took care of my issues. I always have to be able to think quickly!

By the time Lil Uzi Vert hit the stage, it was dark. I was back in the right setting for shooting shows – in the dark. Lil Uzi was easily one of the most energetic performers I’ve photographed. He ran from one side of the stage to the other, commanding the audience to engage with him. He jumped down to the barricade, causing a rush of cameras following. Next minute, he was back on stage and on the other side, climbing up to the side screens. The LED screen behind him was red by the time he took center stage again, but even white stage light balanced him out. Moments later, fog canons were shooting off, covering the stage as he bounced to the beat. Lil Uzi’s set was easily one of my favorites of the night!

THE NEIGHBOURHOOD

THE NEIGHBOURHOOD at Day N Night festival; photo Lauren Ratkowski

I hustled over to another stage immediately after Lil Uzi to catch the only rock band on the bill, The Neighborhood. I’ve been waiting to shoot them for a few years now, so I knew the hustle across the festival grounds in a matter of minutes was worth it. I arrived to see the sound crew stringing up lead singer Jesse Rutherford’s mic, which was hanging off a chain from the stage’s upper scaffolding. Yes. This meant something new! Despite the bands darker, monochromatic lighting, the combination of fog machines and Rutherford’s undeniable charisma made for a strong set of photos.

Three songs and we’re out! Hustle back to the main stage for that night’s headliner, Chance The Rapper. I arrived early, knowing the pit was going to fill up fast. Being that I don’t have the telephoto range I wish I had for these settings, I knew getting a good spot was going to be crucial. After talking with security, we were told that media would be allowed to enter the pit when Chance went on stage. It seemed as if the audience was getting crazier and security needed room to remove those from the crowd that needed an escape. About five minutes before Chance was due, we were told all media was barred from the pit. No shooting. It’s unclear to who ended up making that call, but many of us went into borderline panic. We were now faced with no pit access, a giant crowd that there was no way to plow through to get a good spot, and the need to capture the headliner. This would have been the perfect time for that long telephoto! Nevertheless, I am always grateful for my time in the pit!

Portugal. The Man: A Tale From The Photo Pit

PORTUGAL. THE MAN

PORTUGAL. THE MAN; photo Lauren Ratkowski

Jump in the car. Battle through traffic. Find a parking space. Dash to the venue. Get in line. Go to the box office. Everything was a rush, but nothing could stop my excitement to get back into the photo pit. After receiving my photo pass, I had only two minutes to make it inside and catch the first act. Usually I leave myself more time, but sometimes a rush can keep you on your toes!

PORTUGAL. THE MAN; photo Lauren Ratkowski

PORTUGAL. THE MAN; photo Lauren Ratkowski

When Portugal. The Man stepped on stage, the audience was wowed with a beautiful visual show. A massive projector sat at the edge of the stage, pointed toward a plain white backdrop. Each song had its own look, showing melting faces, lyrics, and psychedelic patterns. Did I mention there were lasers? Because there were LASERS.

As the set unfolded, I was wowed by the bands lighting display. As a photographer, I always appreciate good lighting because it makes my job easier. However, Portugal. The Man took things one step further.

PORTUGAL. THE MAN; photo Lauren Ratkowski

PORTUGAL. THE MAN; photo Lauren Ratkowski

The use of the projector complimented the stage lighting perfectly. There was very little of the dreaded solid red or blue light. Instead, the lighting was very mixed in terms of colors, which contributed to great variation in the photographs. This mixture allowed me to create everything from silhouettes to almost tie-dyed looking photographs. The previously mentioned lasers served as the cherry on top! Their sharp colors contrasted against the projections and stage lighting, making the band look like they had super powers. Perhaps this was their plan all along?

Portugal. The Man put on a crowd-wowing show for a full house. I was grateful I could experience such an incredible visual band perform!

LANY, Machine Heart: A Tale From The Photo Pit

LANY

LANY; photo Lauren Ratkowski

After shooting shows for several years, I’ve learned that it’s always worth it to talk to the fans. I arrived at the Observatory in Santa Ana to find out LANY’s show was sold out. I wasn’t surprised as I’ve been a witness of sorts to their growth over the past year. Mind you, this band from Los Angeles hasn’t even released their debut, yet.

I got into the venue and immediately got into the pit to catch the first band, Machine Heart. While in the little photo trench we concert photographers call our office for the night, I couldn’t help but overhear the chatter of the fans behind me. Some needing water, but were afraid to leave their barrier spot. Others dreaming about their after concert meal, some periodically announcing a countdown until LANY would appear on stage.

MACHINE HEART

MACHINE HEART; photo Lauren Ratkowski

When it came time for the break between bands, I immediately jumped back into the photo pit to get a good spot. About six photographers were shooting Maiden Heart, but I knew more would show for LANY. I sat on the barricade near the middle of the stage and began listening to the fans again.

I couldn’t help but notice two girls next to me with fists full of roses. For those unfamiliar, the rose has become a symbol of the band. It adorns their album cover, merch, and everything in-between. I asked how long they had waited in line – 7 a.m. They had also attended LANY’s previous show in Pomona the night before, but they weren’t the first ones there for that one. Fans had been camping for over 24 hours for that particular show. I’ve met some very dedicated fans, but I was impressed that such a young band had such passionate fans despite not having released their debut album.

The lights finally dimmed and screams filled the venue. It was time for LANY.

Twelve photographers were jammed into the pit alongside me, so I was thankful I had arrived early. Frontman Paul Jason Klein made his way to the stage, starting with just a guitar and a microphone. His vocals were almost drowned out over how loud fans sang back to him. Klein made his way over to the girls with the roses and grabbed two of them, then ended up directly over me in the pit. This usually makes me panic a bit because shooting straight up at someone usually is never flattering. I tried to take a step to the left or right, but there was no room for that. I was surrounded by photographers on both sides and the hands of the audience were reaching to Klein behind me.

LANY

LANY; photo Lauren Ratkowski

Well, what goes up must come down. So I sat on the barricade and shot almost straight up, hoping for the best. I ended up with my favorite shot from the night in that position! A minute later, roses were flying through the air toward the band, covering the stage. It was something out of a movie.

The band had great lighting and production, which makes my job a little bit easier. Their lighting started out with a 4 bulb LED strobe from behind the stage, creating a dramatic scene. As the songs progressed, it drifted into the perfect blend of soft purples, oranges, and blues. This creates great backgrounds while still allowing the artists not to get lost in the photos, much like what usually happens with solo use of red or blue.

Photographing LANY was a fabulous experience. It was refreshing to see such a young band have such a strong, passionate following. After all, there is nothing better than a sold out venue filled with positive energy!

Bear Hands: A Tale From The Photo Pit

Bear Hands

Bear Hands at The Observatory; photo Lauren Ratkowski

As I arrived at The Observatory’s box office, I saw a huge line of people queuing up to get into the venue, which was only hosting one show that night. I was excited that it was going to be a full house. I slapped my credential onto my chest and headed inside. Everything seemed pretty typical at that point. But the difference was that I had my new camera with me – a Nikon D810. I was dying to use it to shoot a show.

I had heard mixed reviews on setting the ISO to auto and shooting manual for everything else. I’ve always shot full manual but my old camera was outdated and I no longer trusted its auto ISO setting. I knew my new camera had a much better ability to function at higher ISO with little “noise” so I gave the auto ISO a whirl.

The Moth & The Flame were the first band of the night. Their lighting was pretty even, which allowed me not to worry about waiting for the right instant to capture a moment. Both the bassist and singer were very expressive, too! As I shot, I kept my eye on the ISO number my camera was choosing for itself. Three songs went by quick and I returned to my spot in the audience.

I peeked at my shots to see how things went so I could adjust accordingly for Bear Hands. I zoomed on a few images to see some noise from the high ISO, but it didn’t look too bad.

Bear Hands hit the stage bathed in blue and magenta light. I have always disliked this lighting color combination as it never worked well for my shots in the past. But before getting too discouraged, I remembered that maybe things would be different with my new buddy. I snapped a few photos and then looked back at them while still in the photo pit. I rarely do that so I don’t miss anything, but I had to be sure things were working! I could see more detail than the blue, flat images I used to get. I knew I could work with what I was getting and carried on. Soon the blue and magenta light was replaced by white and red. This was good!

Bear hands

Bear Hands at The Observatory; photo Lauren Ratkowski

Bear Hands put on a great performance. Interestingly enough, my favorite image of the night came after I was out of the photo pit. Vocalist Dylan Rau was on his knees at the edge of the stage, facing me as he sang. I leaned over the security guard I was standing above and hoped the image would come out ok – and it did!

After shooting the headliners, Atlas Genius, I headed home to get a good look at my photos. While processing my images, I was amazed at the difference between my old camera and my new one. I was able to make great things happen with the images I shot in blue light. I was comforted in knowing that I had conquered one more difficulty in shooting concerts!

Oh, and as for the auto ISO, I didn’t hate the results, but I think I’ll be sticking to full manual. Maybe I just like being in total control.