No, this is not music photography, per se. But it is related…
Ludo, one of my favorite bands, wrote a “rock opera” several years ago entitled Broken Bride. It’s a fantastic CD, both musically and plot-wise. It follows a distraught man who builds a time-machine in order to go back in time to save his wife, who died in a car crash a few years ago. Of course, the time machine didn’t work as planned (when do they ever?), so he ends up traveling to extremes – to the prehistoric age, where he fights pterodactyls, as well as to the future, where he fights zombies and dragons. Eventually, he makes it to the day his wife dies… but, I won’t tell you the end. It’s a tear jerker. (If you want to listen to it to find out the end, Ludo is rereleasing it on September 29th)
As it is an opera, it’s adaptable for the stage. University of Chicago did a black box version of it a few years ago, and now Dominican University just completed their run of the student production. Instead of reviewing through words, I’ll let the below photos tell the story.
Although most people don’t know, I actually shoot theater quite a bit. My day job is the photographer for a university, where I shoot at least four productions a year. I love it. It’s very similar to concert photography, with the crazy lighting and flair for dramatic. When I was younger, theater played a huge part of my life as well, so I like hanging out in the theater – it’s a bit like home.
I was lucky enough to be invited to shoot the dress rehearsal for Dominican’s production of Broken Bride, where I was free to roam around the theater, and even lay down right in front of the stage to get some close-up zombie shots.
Regarding shooting notes, there’s not too many, as it was a pretty straightforward shoot. The lighting was better than many of the shows I shoot, however, I did vary between 3200ISO and 6400ISO, with shutter speed between 1/100-1/160. Aperture, as pretty much always, was on f/2.8. The stage didn’t have a ton of backlighting or large set elements, so I tried to get a lot of tightly cropped pictures (although I still couldn’t resist a few wide shots).
Finally, tons of thanks go out to my friends Dan Miller (who patiently answers all my texts and hooks me up with tons of cool things) and Ian Watts (who graciously let me crash his production), as well as to the rest of the cast and crew (who didn’t mind my camera in their face, or at least didn’t show it!).