Concert photography has proven to be one of my greatest inspirations. Fueled in part by my own aspirations for the stage, and in part by the power an image is able to provoke, I will never forget my first experience with photographing a show for a label, credentials and all. An experiance my younger self would have never deemed a possibility, but it in fact seasoned another improbability - my relocation to New York City.
My love for the metal genera, folk, symphonic and otherwise, and the stylization which often accompanies, is certainly an undercurrent in what influences me. I wrote Napalm Records last April requesting photo coverage of Visions of Atlantis, deciding that after effectively covering Anaria and (unofficially) covering Otep and Doyle, two adolescent favorites, I knew I needed to reach for the next rung up. While the request was denied, I was granted the opportunity to photograph two bands unknown to me - Arkona, and Belphegor.
Nonetheless, I couldn't pass up this opportunity, nor the opportunity to discover new acts.
The Gramercy Theater is a legendary New York venue. The practically next-door Irving Plaza is perhaps the more comparable concert hall to the Worcester Palladium, my home haven for heavy metal, but as a made my way into the photo pit, I could only draw parallels. The Gramercy is certainly an hair more grand than the Palladium, there was a part of me that had felt had I ever been able to shoot there, I would have "made it" - and here I was doing it in NYC (I, of course, now have a far greater understanding of what it means to be both "successful" and "freelance"). I humbled, yet ready to conquer.
Arkona. The Russian folk and black metal group emerged first. Speaking foremost on their musical prowess - wow. I have a tendency to experience events and concerts more retroactively in the editing process, but I will never forget the conflated sensations of trying to hone in and focus in near complete darkness, as the opening chords of Kob' began to audibly unfurl.
Three songs, no flash. The photo pit mantra. Arkona began interestingly with the three tracks leading their then-new album, beginning of course with the title track, Kob.' The sensations. Hearing opening chords whilst smothered in darkness; I all but felt something creeping up my spine. As the lights briefly flashed on as the band emerged, I utilized my then-new toy, a six-point star filter, and caught a mighty if tonally juxtaposed entrance. The lights were to hardly be seen again, so I was happy to own all that the image (underneath the first paragraph) conveys.
While I could tell you that those three songs, Kob,' Ydi, and Ugasaya, and then some all continue to get play from me; I could tell you how the looming and eerie growls of vocalist Masha Scream left a visceral impact with me, and it would all be true. I immediately became a fan of their music and vision. But words, and to some degree even these photos, however, cannot properly convey how visually DARK Arkona's set was. The Pagan outfit were clearly out for atmosphere and relied on rim lighting. It was stylish, it was unique, it was brooding, and effective. What it was not, was practical to shoot in. Into the fire, where I apparently thrive.
I had recently upgraded a prime lens, capable of gathering more light, and decided to lean on it for the bulk of my time in the photo pit with Arkona; I did not see any practical way to leave with acceptable shots otherwise. The 50mm focal length can do anything, but it's definitely a bit tight for the photo pit. Limitation, however, only promotes creativity; by getting on the ground and staging side angles, I believe I emerged from said fire.
I still ended up with many pure silhouette shots, but many from this I still rank among my best photos. Between taking in and capturing this fascinating band, I was soaring, but, there was still a headliner before me.
Belphegor, named after a licentious demon, then emerged. From a photographic standpoint, this was oddly the exact opposite experience from Arkona - there was too much light, and it was bouncing off of the band's white face and body paint. Beginning with the star filter compromised much of their performance of Baphomet, but there's always straw which can be spun into gold.
Audibly, Belphegor fall under black and death metal, and were far more what I had expected and not necessarily my kind of metal, but there is a power to an audio and visual performance; I found the band quite visually compelling and fun to photograph, but I was certainly in awe as well. Helmuth Lehner checks more than a few boxes as a makeup-slathered frontman leading the charge by sharing guitar duty. I decided to try for a tight portrait - also landing one of my favorites of the night (located at the top of the page).
Once our three songs are up, the Gramercy becomes our oyster - easier said than shucked in a GA venue. This one, however, had a balcony which made the rest of each band's set easier the reap spoils from - Belphegor's in particular. I was able to claim shots of Helmuch framed through people's arms and again, perfectly framed by fans' horn's up, while his own arms filled the air, taking in the power of their fanfare.
On the back end of their set, the band slowed their tempo slightly with Virtus Asinaria -Prayer, an incredible, brooding track, the like which I imagine accompanying of Prometheus, as he lay wait for that vulture, day after day. Instead though it beheld a mosh pit, as did their closing track Totentanz - Danse Macabre, which is a potent metal assault but employs a slightly more melodic chorus than their norm. Both tracks are mainstays for me.
Reflecting on this glorious foray into concert photography is bittersweet. Feedback from the bands was positive, and having a deadline while creating necessary grades for many of the photos is its own version of proactive hell. I emerged with what I believe to be some of my best work to date, but as I began to break through, the writing was on the wall that concert photography needs to be a passion. It will be no one's monetary bread and butter. Not anymore. I paid for my access, I was permitted only to take photos. I was not alone.
I remind myself that money, time, and energy are all valuable assets, but ask why I began shooting. There is a joy I get from framing musicians to larger than life, as to accompany their own music. This is universal, but truly lends itself to the metal genera. A level of excitement from capturing those who are at their most free, and uninhibited - on stage. If I am called to shoot another Gramercy-tier show, be it bands I know I love or near-unknowns, I see myself answering. Without hesitation.
