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On The Road
"At the Ballet"

February, 2008


Hi and welcome to this edition of On the Road. Sometimes having a photographic project outside your normal subject can be helpful in learning something new. Documenting the ballet has become an on going project of mine over the past 3 years. Perhaps one of the most difficult subjects to capture well, the ballet offers me a departure from sports but with many of the familiar traits that are involved in photographing athletics. These 6 images are only a small part of a much larger body of work, ... an on going documentary project On the Road.

 Image #1 The Practice ... The dance studio to a ballet dancer is like the gymnasium to an athlete, a second home. Too often the photographer only spends time taking pictures at the competition and fails to investigate the training that is so crucial to the eventual outcome of the performer or athlete. I have spent many long hours in gymnasiums, ice rinks, swimming pools, and practice fields collecting pictures for my clients and studying my subjects. This Lightpainting from a dance studio is one of my favorites. Nikon D2X, ISO100, 30 second exposure at f8, Nikon 17-55mm Lens, WB 10,000K, Manual Focus, Lightpainted with Inova XO3 LED Flashlight, Gitzo Carbon Fiber Tripod with Slik Super Ball Head, Lexar 8G Flash Card.

Image #2 Back Stage Stretching ... Just like with many athletes, stretching is an important element of life for the dancer. Back stage work before a performance is difficult in that the lighting is usually very poor quality and minimal. I try and remain very still and minimize my movement. If I'm not noticeable by the dancers I will have a much better chance of capturing a delicate moment. Nikon D200, ISO400, 1/60 at f4, Nikon 17-55mm Lens, WB 4000K, Lexar 8G Flash Card.

Image #3 Black Swan Dreams ... The ballet dancers toe shoes can be worn out in as little as a week. This cumulative collection of one ballerinas toe shoes is a Lightpainting that incorporated a "pull focus" technique. As with any Lightpainting I focus on the subject and then turn off the auto focus function so the lens does not try and search in the dark for something to focus on while I Lightpaint. For this image I Lightpainted only a portion of the scene with the lens focused on the toe shoes, then I turn off my Lightpainting flashlight and un focused or "pull Focused" the lens completely and then resumed Lightpainting the areas of the scene not previously Lightpainted. The results is this; the first portion of Lightpainted toe shoes are perfectly in focus while the second portion of Lightpainted toe shoes are out of focus and have a soft dreamy quality. For those of you who enjoy Lightpainting, this "Pull Focus" Lightpainting technique can add a new creative dimension to your images. Nikon D2Xs, ISO100, 1 minute Exposure at f5.6, Nikon 17-55mm Lens, WB 7000K, Lightpainted with Stylus Streamlight, Gitzo Carbon Fiber Tripod with Gitzo Ball Head, Lexar 8G Flash Card. Although a small scene, I used a 1 minute exposure time so that I could Lightpaint the focused portion for about 20 seconds and then take 20 seconds to gently pull the focus on the lens and still have 20 seconds to continue Lightpainting the un focused portion of the scene.

Image #4 Final Preparations ... Before the curtain goes up there are always some final preparations. Sometimes there are ballerinas scurrying around backstage, sometimes it is someone stretching and sometimes there is a delicate moment like this one of a ballerina adjusting her toe shoe. Nikon D2Xs, ISO250, 1/250 using a Lens Baby, WB 7000K, One Remote SB800 Speedlight with LumaQuest Snoot and a power output of -1, Nikon SU800 Commander, Lexar 8G Flash Card. I occasionally use a Lens Baby to create a dreamy effect similar to the previous "pull focus" Lightpainting. The Lens Baby creates is a sweet spot of perfect focus along with a very soft focus perimeter all in the same image. In this case the sweet spot of focus is on the ballerinas thumb and index finger adjusting the toe shoe. Everything else in the picture is extremely soft and out of focus. I used one remote SB800 Speedlight with a LumaQuest Snoot to also highlight the sweet spot.

Image #5 Waiting for Her Entrance ... As dancers interchange on and off stage during the performance some will watch from the wings prior to their entrance. Working in the wings can be very difficult and requires a great deal of patience. The photographer must be quiet and nearly invisible to the performers. This special access is not often granted and must be arranged well in advance of the performance dates. Nikon D3, ISO5000, 1/3 at f2.8, Nikon 14-24mm Lens, 3D Focus Tracking with 51 points, WB Auto A1, Lexar 8G Flash Card.

Image #6 Ballerina in Red ... Photographing the ballerina is like photographing an Olympic gold medalist. Years of photographing figure skaters and gymnasts executing dance moves makes it easier for me to not make use of multiple frames per second but to shoot single frames instead. I anticipate the peak of the action and capture one frame at a time. Keep in mind, I'm photographing from the front of the theater where the audience can hear the shutter. I try to choose my pictures wisely so as to minimize disturbing the audience. I offer two points of advise to help you anticipate peak action and to accomplish capturing the moment; 1. Study your subject. If you come to practices and rehearsals you will know when the best moments will occur and perfect timing will be assured because of your acquired knowledge. 2. If you are photographing a performing art like the ballet, Listen to the music. The music has a beat and the peak action usually occurs on the beat. Knowledge gained during practice will help you anticipate peak action in any sport. Add that knowledge with listening to the music and you will greatly increase your anticipation for peak action in the artistic sports of gymnastics, figure skating and synchronized swimming and of course, the ballet. Nikon D3, ISO4000, 1/400 at f2.8, Nikon 300mm, WB 2980K, Lexar 8G Flash Card.

Well, I hope you have enjoyed this On the Road at the ballet. I encourage all photographers to find personal projects and to actively pursue accumulating a body of work over time. It's fun and will help you discover new ways to accomplish making interesting pictures that you can carry over to your more usual subject.

See you next time On the Road ...................... Adios, Dave

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At the Ballet

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One Week of Work



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