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Interview With Dance Photographer Rachel Neville

May 29, 2013 by 4dancers

9

This week we feature another dance photographer–Rachel Neville. We reached out to her to learn more about her path into dance photography and are pleased to be able to share some of her beautiful images here with you today…

2How did you wind up doing dance photography? 

A knee injury brought me home from Europe where I was dancing in Germany in 1995, I think it was.  I had quit high school to go train at Rosella Hightower’s in Canne so my first job was to go back and finish.  The grade 13 art course turned out to be a photography course and I was hooked.  I went to college for photography, graduated and started working right away.  My first jobs were mostly in the wedding, portrait and commercial industry, I spent many years shooting dancers on the side for fun or doing what we call in Canada ‘recital photo’s’ (pictures at the end of the year of the kids in their costumes).  It wasn’t really till we came to NYC 7 years ago that I started doing what I call my ‘real’ work or passion.

 What do you enjoy the most about working with dancers? 

Where to start?  I love lines, shapes and textures. What more perfect a subject then but dancers?  I love feelings and emotions and energy… again – dancers.  Most of all, when we are shooting for a story line or a concept or some creative idea, I love it when it all comes together, the lighting, styling, background, dancer/s, when everything comes together and you get that ahhhhh moment.  Its a bit like having a great performance, the high.. Dancers who have worked with me know that I get excited and do a little happy dance when that occurs.  And dancers who have worked with me previously always are looking for that moment too, when we shoot.. I’m generally not satisfied until it happens, and they know that until it does we don’t ‘have it’.

8What do you think is the biggest challenge when it comes to capturing dance with the camera?

Umm, I suppose you might expect an answer like ‘capturing the moment’ or ‘getting the dancer to look right in 2D what is normal in 3D’.  I’ve not felt that to be a challenge for several years, but I think like anything else, once you master a challenge you move onto the next one.  Right now I’m all about getting dancers in front of me to get outside their heads and give me something more, their energy, their personality, their character.. and having that come across.  We all spend so much time looking at and detailing the body, our instrument, but when all is said and done if there isn’t a feeling or impetus behind a movement or shot, then I get a little bored.

Can you describe a typical “shoot” with a dancer or company? 

Sure, it starts with a conversation or consultation, where I find out what a clients goals/needs/’why they called me’ answers are.  Then we look to creating a look/feel/storyboard for achieving the maximum for the budget a client has to work with.  On a typical shoot, we will arrive usually 30-60 minutes in advance so that dancers can warm up, get ready and feel comfortable with the space and me (this is important, if you are going to give your all with a photographer having some type of rapport with them in advance a little bit is helpful to be able to let go and give), and I or my assistant will start setting up our gear.  We usually start with some basic movements or poses that we had thought out in advance for the dancer to get into the groove and for me to learn their body and facility.  I shoot tethered to a computer so if I need to have the dancer see how they are looking in the 2D we can analyze and fix on the spot together.  Once the ball gets rolling we move to other poses, costumes, improve a little bit, making sure we have several really good shots to pick from (I like to have the client’s choice be difficult in having just a few too many to choose from), all the time looking for those really special images.  Sometimes it’s the client who has ideas to ‘play’ with, often times it’s me who suggests something a little different.  The best shoots are really collaborations between everyone involved, whether that is just me and a dancer, or a director, dancer, and myself coming up with ideas and things to try.  The more time you have to play, the better!

What has been your favorite experience in terms of working in the field thus far?

This is a hard question, I try to have every shoot be excellent.  I think shoots where creatively we’ve done something I haven’t done before are my favorite.  For example, going down to Arizona to shoot dancers in the Antelope Canyons will always be top of my list.  I would love to go back there one day with more dancers from a company and do a calendar for them.

Rachel Neville
Rachel Neville

BIO: Rachel was born in Toronto, Canada where she trained to become a dancer before moving to Europe at 18 years of age.  After a knee injury, she moved back to Toronto where she completed a degree in photography at Humber college in 2000.  Working in weddings and commercial photography, her passion for dance had her move to NYC in 2006 with her photographer husband David Giesbrecht.  Her work has been seen in many different posters, postcards and media outlets including Dance Magazine, Pointe Magazine, the New Yorker and others.  She currently shares a studio in Williamsburg and lives in Queens with her husband and 2 young daughters.  

Learn more about Rachel and see additional dance photography she has done on her website.

Filed Under: Dance Photography Tagged With: dance photographer, dance photography, dancers, rachel neville

Dance Photographer Scott Belding

April 5, 2013 by Ashley David

Dance photography is a complex, fascinating art. Today we take a closer look at the journey of one dance photographer in particular, Scott Belding…

1. How did you wind up doing dance photography?

I was producing cultural programs at a 12,500 seat amphitheater and I started photographing my shows to document the events. The intent was to have images to go with grant requests and to create marketing pieces. I was producing symphony, jazz, dance, family programs and children’s programs. During this I discovered that dance was the most interesting to me. I was really taken by the dancer’s athleticism, power, grace and commitment. I started to sit with the artistic directors and choreographers during rehearsals and I got them to teach me about what the pivotal moments were in movement phrases. So I learned about dance photography from the dance artists. I have never had a Photography or lighting lesson. I just experimented until I liked something.

Mari Takahashi

2. What types of dance do you photograph?

I started out shooting what I was producing. Our philosophy was to produce the broadest possible cross section of performances to meet the needs of the whole community. I produced ballet, contemporary, modern and all types of traditional and folk dances so I was fortunate to develop my skills with a very wide range of styles. I worked at the amphitheater for 14 years and then went on to run a professional contemporary company, Moving Arts Dance, and a large Dance Center over the next 10 years. I also established my dance photography business along with Moving Arts Dance and the Dance Center.

3. Do you photograph differently depending on the dance style? Why or why not?

Shannon Bynum

There are distinct differences with different styles of dance. What really dictates the style of shooting would be the choreography more than anything else. Style here really refers more to lighting and background.  For example, there are ballets that are light and there are ballets that are dark, somber and moody. Obviously they are going to be treated differently with lighting and backdrops to support the choreographer’s intent. There are so many variations that I encounter…I shoot students in dance centers that are in tap, contemporary and ballet companies…I shoot all types of professionals…I shoot in studios and I shoot in all kinds of exotic locations. There are also many variations of light based on the time of day or night. For example, I am on a 16– day photo tour that goes from Baja, Mexico to Portland, Oregon. I will shoot professional tribal belly dancers, cabaret belly dancers, Odisi Temple dancers, modern dancers, contemporary dancers and advanced student ballet dancers. I will shoot in rivers, on rocks, at the beach and in studios during the day and at night. Additionally, the use of the images determines a lot of how something is shot. Some shots are for art and then some are for magazines, books and marketing. In this trip I am shooting “64 Dakinis” for a book project that is recreating the statues from an ancient Temple in India. The style of the shots and the editing will be done to give it an ancient feel.

4. What is the most challenging aspect of doing this type of photography?

Alexandra Meijer

With out question the greatest challenge is authenticity. It is everything to me! I spend a lot of time collaborating with artists that I shoot with to mutually understand the intent of the shoot. I explain that every shot is just like performance and that they have to be fully committed to their characters. I never say “pose” it is the complete opposite—always a movement phrase. From the fiercest leaps and partnering to the softest and slowest moments, there is always energy flowing! It is through this moment of complete engagement that magic happens and when you can capture a single moment that says so much to stop a viewer in their tracks.

Kristie Lauren
5. What do you enjoy about photographing dancers?

I enjoy everything about working with dancers! Like many artists, dancers can be full of self doubt and are rarely satisfied so for me it is often an opportunity to create images with them that really reflect their beauty, power and grace. I see it so often that it is a spring board to greater work for them. I really enjoy the process of helping dancers develop their visual images. How people respond to them is often times the direct result of images they have seen of the artist so creating work that sheds light on all their “fabulousness” is a great joy for me! I wake up daily feeling blessed that I am able to work with so many amazing and gifted dancers. Any work I can do to focus attention on their hard work and give them the recognition they deserve is work I do joyfully!

 

BIO:  Scott Belding is a dance photographer currently living in Baja California.  Scott travels regularly all over the West Coast shooting all types of dance. His work has been published all over the World. He has been shooting Dance for over 20 years and continues to produce Dance pieces and performances as well. Listed below are excerpts from his philosophy on Authenticity in dance Photography:

Dance Photographer Scott Belding

Authentic moments, those that come from our deeper emotional experiences, are captivating for those who observe them. More than amazing physical feats and more than the most stunning dance technique, authentic movements touch the basic core where humans connect non-verbally. This is the magic of dance. This, too, is the magic of great dance photography. There are three things that make a dance photograph great: authenticity, detail, and connection.

There is a common thread in all of the photographic moments that stop a viewer in their tracks and make them take notice. That is authenticity. Those authentic moments are when a dancer completely gives themselves to the character and the movement. Being in character is what must be brought into the photography studio to make great images happen. Often when dancers come to be photographed they think in terms of the pose. There is no posing but rather the complete opposite takes place.

Filed Under: Dance Photography Tagged With: dance photographer, dance photography, scott belding

10 Questions With…Kristie Kahns

May 21, 2012 by Ashley David

Kristie Kahns

Today on 10 Questions With… we have dance photographer Kristie Kahns…

1. What is your dance background?

I grew up in Grand Rapids MI, and began dancing at age 6.  I studied ballet, jazz, and tap, and participated in my studio’s competition teams.  But I began to love ballet the most, so I also studied at the School of Grand Rapids Ballet for about 5 years, before moving to Chicago.

I moved to Chicago to attend Columbia College, with an intention to major in photography and possibly dance as well.  I did take some dance classes at Columbia, but photography consumed my schedule.  Living in Chicago, I was exposed to hip hop culture, and became infatuated.  I began to take hip hop classes at Lou Conte Dance Studio, and hung around with a lot of b-boys, even apprenticed with Culture Shock Chicago.  Learning about the history of breakdancing led me to capoeira, and eventually I became a member of Gingarte Capoeira Chicago, with whom I trained for 7 years.  Currently, though, I have devoted myself to my Ashtanga yoga practice, and am training for my teacher certification at Moksha Yoga.  So I have a lot of body movement experience and knowledge.

2.  How did you get started in dance photography?

During my first couple years at Columbia, I definitely missed dancing everyday and wanted to stay connected to dancers.  My first studio lighting class was taught by Bill Frederking (a notable Chicago dance photographer), and I became inspired by his work to photograph dancers in a studio setting.  I really couldn’t imagine photographing anything else, so I reached out to dancers that I would meet and began collaborating.  My passion for dance and knowledge of technique came through in the photos, so I focused on that throughout my time at Columbia.  After I graduated, I began to photograph for some Chicago dance companies that were new on the scene at the time – Instruments of Movement, Luna Negra Dance Theater, and Chicago Tap Theatre.  And just kept going with it.

3.  What do you think is the biggest challenge in dance photography?

This is a good question. Dance photography is a bit of a paradox: dance is the movement of bodies through space, and photography is a fraction of a moment, producing a frozen and forever still image. The challenge for the photographer then is to make a still image that appears to move, or seem as though it is about to move.  That challenge can actually become a means of making a stylistic choice.  How do I want to depict the movement or the dancer?  Do I want to show the blur of motion or crisply freeze the movement?  How can I show the impetus of the movement?  I’ve experimented with many different ways of shooting, but I particularly like the work I’ve done which combines strobe lighting and long shutter speeds, which portrays a crisp moment of a movement with the blur of motion in or out of the movement too.  But the style that was made so popular by Lois Greenfield, freezing moving bodies in mid-air or in the midst of a dramatic movement, is fun to play with too.  Ultimately, the photographer needs to have a great sense of timing and intuition into the movement, because timing is everything when you’re shooting bodies in motion.

 4. What has been the most exciting moment for you in your dance photography career thus far?

A few highlights come to mind.  My first cover for Dance Magazine was a big deal for me – I photographed Meredith Dincolo and Kellie Epperheimer of HSDC for DM’s Body Issue, July 2008.  Since I grew up admiring the photos in Dance Magazine, it was amazing to photograph the cover and feature article.  Another great experience was photographing for Cirque du Soleil’s Banana Shpeel show, which did its preview run here at the Chicago Theater in late 2009.  The show had a lot of dancing and acrobatic acts, and the lighting and costumes made for a lot of great performance shots.  Those performers were incredible!

 5. Can you describe what you do to get ready to shoot a dance performance?

If possible, I like to watch the choreography first so I can see the movement and staging of the dancers.  Sometimes I can do this at a tech rehearsal, other times in the studio.  This helps me know if there may be a better side of the stage to be on when shooting.  It does help to see the dance and the lighting first, and I discuss details with the director about choreography and positioning myself in the theater.  But I’ve done plenty of performance shooting without ever seeing the dance beforehand.

6. Where do you set up to photograph live dance?

It depends on the situation.  Sometimes, I’m able to photograph a full dress rehearsal, which is obviously preferable – no audience to disturb and I can move around in the house and get close to the stage to get the best angle.  If shooting during an actual performance, it’s tricky.  I need to be close to the stage but usually off to the side, away from the audience as much as possible so I won’t disturb their experience.  Every theater is different, so I just have to find the best spot where I won’t be a distraction from the performance.

7. Is there a particular dancer or company that you would love to photograph? If so, who, and why?

So many!  I would love to photograph Misty Copeland and Drew Jacoby, both very hot in the dance world right now.  Both of them are gorgeous and have incredible technique and very athletic bodies.  I actually did get a chance to shoot Drew Jacoby when she performed with Complexions at the Chicago Dancing Festival many years ago – she is simply stunning!   I’d also love to photograph Maria Kowroski one day.  She is a principal with NYCB, and she is from Grand Rapids as well.  I saw her perform with Grand Rapids Ballet for many years before she moved to NYC, and she was quite an inspiration to myself and many young dancers at the School of Grand Rapids Ballet.  Neguin, a b-boy from Brazil and winner of the Red Bull BC One in 2010, is also on the top of my list of favorite dancers.  His style and talent make him so much more than a b-boy, he’s truly amazing to watch.

As far as a company, I would love to photograph Nederlands Dans Theater, because they are simply the most amazing dance company I’ve ever seen.   I’d also love to work with Antics Performance, a fantastic hip hop company based in Los Angeles.

8. What camera/lenses do you shoot with for this type of photography?

My digital camera is a Canon 5D Mark II, and I have a variety of lenses I use depending on the situation.  For performances, I use a long lens – I have an 80-200mm f2.8 which I like for performances.  For personal projects, I still love to shoot medium format film with my Hasselblad.  I don’t get to use it very often anymore, but there’s nothing like that camera!  The optics are fantastic and I love the square format.

9. What was the most challenging assignment you ever had?

A recent instance that comes to mind is when I photographed the Yoga Journal Conference last summer.  I documented some of the classes and activities at the conference, which were held in very poorly lit and pretty unattractive hotel ballrooms and conference rooms.  It was a challenge to make good images in an environment like that.

Basically, any scenario on location or on stage where there is poor lighting is a challenge.

 10.  What is next for you?

I’m focusing on building my portfolio of yoga photography right now.  Currently, I am working on a book project with one of my yoga teachers, the beautiful and amazing Alexia Bauer.  We’re collaborating to make a photography book of the Primary Series postures of Ashtanga yoga.  I’m really excited about it.  I’m going to make a Kickstarter fund to promote and sell advance copies of it.  I’m also planning some shoots with dancers for personal projects that I’ll work on over the summer.  Other than that, I’d really like to do some traveling soon, it’s been awhile since I spent time outside of Chicago!

Bio: Kristie Kahns is an accomplished photographer based in Chicago, specializing in capturing dance and creating dance-inspired portraits.  Growing up in Grand Rapids, MI, Kristie was an avid young dancer, participating in many competitive dance companies and studying at the School of Grand Rapids Ballet.  But a photography course in high school sparked her interest, and in 1998, she moved to Chicago to attend Columbia College, where she received a Bachelors degree in Photography.  Remaining close to her original passion, collaborating with dancers seemed inevitable; thus, she has spent the past several years becoming a part of the Chicago dance community through her camera.  She has worked as a freelance photographer for Cirque du Soleil, Diavolo Dance Theater, Dance/USA, Luna Negra Dance Theater, Chicago Tap Theatre, River North Chicago Dance Company, Chicago Human Rhythm Project, and many other dance organizations in Chicago.  Her work has been published in Dance Magazine, Dance Spirit Magazine, Dance Teacher Magazine, Pointe Magazine, Time Out Chicago, and has been used for various marketing materials for dance performances and performing arts organizations nationwide.

She was a recipient of a Community Arts Assistance Program Grant through the City of Chicago Department of Cultural Affairs in 2007 and 2009, and received an Illinois Arts Council Professional Development Grant in 2010.

She enjoys continuing to explore the many manifestations of the dance medium in our world, from capoeira in Brazil, to the traditional dances at Native American powwows in New Mexico, to b-boy battles in Chicago.  Through her camera, she pushes for new ways to express her admiration for movement artists of all kinds, and continues to allow her passion for photography and movement to evolve.

All photos courtesy of Kristie Kahns

Filed Under: 10 Questions With... Tagged With: antics performance, Ballet, chicago tap theatre, chicago theater, columbia college chicago, culture shock chicago, dance magazine, dance photographer, dance photography, drew jacoby, instruments of movement, kellie epperheimer, kristie kahns, lois greenfield, lou conte dance studio, luna negra dance theater, maria kowroski, meredith dincolo, misty copeland, nederlands dans theater, school of grand rapids ballet

Finis: Rehearsal Lighting Vs. Performance Lighting

October 31, 2011 by 4dancers

Today’s post by dance photographer Christopher Duggan explores the difference between rehearsal light and natural light when it comes to dance photography. We’d love to hear what you think about the following…

(Disclosure–photos contain some nudity) [Read more…]

Filed Under: Finis Tagged With: christopher duggan, dance photographer, shen wei dance arts

Finis: Triangles & Light

August 31, 2011 by 4dancers

Photo by Christopher Duggan

by Christopher Duggan

This monthly contribution will highlight an image I’ve made or perhaps an image I love by another photographer. I’ll discuss how I made the image, what the purpose of it was, why I love it or maybe some mistakes I made trying to make it. I’m always open to questions, comments and ideas.

Let’s begin with an image I simply love. It’s Crystal Pite’s Kidd Pivot from the company’s performance of Dark Matters this summer at Jacob’s Pillow. I’m drawn to the dramatic light and the triangles. The shadow, the symmetry, the muscles in his legs. It’s a beautiful moment. He looks so still. [Read more…]

Filed Under: Finis Tagged With: crystal pite, dance photographer, dance photography, dark matters, jacob's pillow, kidd pivot, nel shelby, new york dance photographer

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