Return to Zoey’s Cafe

I'm still trying to overcome my fear of shadows, photographically speaking.

Although I was pretty pleased with the images of Justine Bennett and B. Willing James made with the Nikon 50mm f/1.8, I returned to Zoey’s Café with my go-to theater lens, the 70-200 f/2.8. I wanted the benefit of vibration reduction and the flexibility of a zoom.

I opted for tight, portrait-style shots of the performers. Because of the high contrast lighting, I exposed for the highlights and let the shadows fall off. The background disappeared, which robs the images of context, but if I have to choose between the subject and the background, I guess I ought to expose for the subject, eh?

Emy Reynolds of The Emy Reynolds Band. The microphone and guitar are probably enough context. In fact, background detail would be distracting.

I’m still finding my style, and enjoying the journey very much. If you’ve ever wondered why I usually present my music images in monochrome while my dance and theater images are in color, the answer is below.

Alex Heflin joined the Emy Reynolds Band for the evening. Compare this sepia-toned image with the one below.

From the same song, depicting the stage lights as my camera sensor saw them. I prefer the smoother tonality of the sepia version.

I find that underexposed, grainy images work much better in monochrome, since many of us grew up looking at grainy black and white images. Had I been on assignment, I reckon I would have crawled to the edge of the stage to get shots of her without a guitar headstock in the way.

1 Comment

Filed under Camera Gear, Low Light, Portraiture

One response to “Return to Zoey’s Cafe

  1. Myrna Cambianica

    love all of these … hummm, perhaps not the magenta one (color and composition on that one – focus may be on the mike – maybe that was your vision) sepia works and i think black and white would too … kudos on great images!

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