Article Originally Published on BostonBallet.org. Excerpt…
My first assignment for Boston Ballet was Carmen, Serenade and Dying Swan in May of 2006. That was followed by a location shoot at the Museum of Fine Arts, featuring Don Quixote and other ballets. Two challenges always present in stage work are lighting and speed of movement, and the choice is always blur or grain. The term “dramatic lighting” is terrifying to a dance photographer, as it usually means “no light”. On a positive note, constant camera and software development has made the task a little easier.
Looking at a photograph is different from watching a performance. The camera freezes a moment in time that immediately becomes the past. It preserves an instant that is usually not evident to the audience who is watching the dancer pass through it. I’m happy to be able to preserve some of these moments.
My favorite classical ballet to shoot is Swan Lake. It’s very difficult due to the “dramatic lighting” but rewarding if you’re able to capture the emotion. To me, a good image is one in which you can hear the music. When I look at a Swan Lake photo, I can always hear the music.
Boston Ballet is one of the great companies and this will mark my fifth year. I consider it a great privilege.
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