Drummer’s Dream CASE STUDY #22
CAMERA:
Hasselblad 503c
LENS:
120mm macro
FILM:
120 Kodak EPR
EXPOSURE:
f/11 at 1/125 second
LIGHTING: Luz 1600ws pack with medium softbox as main light; medium softbox on drums behind the subject; 30-degree grid backlighting subject’s head; 30-degree grid with red gel on columns; 30-degree grid on drums
Assignment
Tips
This portrait of jazz drummer Max Roach was created
I found all the visual props I could ever have wanted
for New York Magazine. My goal was to portray Mr.
in the sound studio. Before I started moving anything,
Roach with his drums in a visually dynamic way.
though, I cleared it with the manager. I also took a Polaroid so that I could put back all the drums where
Posing
they were originally placed (you could, of course, do
Whenever you photograph a musician with his instru-
the same thing today with a digital image). I learned
ment, the rest falls into place. In this case, we were
this when I started shooting architecture and would
shooting in the sound studio where he was rehears-
sometimes have to move furniture to create a stronger
ing. I wanted to emphasize the repetition of the sim-
image. I have also learned—the hard way—to ask be-
ilar round shapes so I shot from above looking down.
fore I move anything in a shot. When I was photo-
I selected a telephoto lens to tighten the proximity of
graphing composer Philip Glass at his home, his com-
the shapes.
posing area was a mess with scores, music paper, and books. I started straightening up to create a “clean
The Story
shot” when Mr. Glass walked in and looked at me
Mr. Roach had recently returned from Japan, where
aghast. I’ll never do that again.
he was playing and living with the Kodo drummers on Sado Island. He was inspired by his trip and brought back some traditional Japanese drums (those are the colorful ones in the background). He was already at the studio when I arrived with my assistant, so I asked him to play while we set up. When I was done, I sig-
30-degree grid spot with red gel on column
nalled him to stop and asked him about his trip to Japan. He lit up and started to describe the experience. Then I just asked him to smile, took a couple of rolls,
30-degree grid spot for backlight on subject’s head
30-degree grid spot on drums
and gave him my thanks. He continued to play while we broke down the lights and packed. When I waved good by, he stopped playing, said it was a real pleasure, and went back to drumming. That was cool. 66
50 LIGHTING SETUPS FOR PORTRAIT PHOTOGRAPHERS
medium softbox
