When I arrived to shoot
First Folio Productions' dress rehearsal of its spring show, "Hamlet," director Glenn Dobbs told me that in addition to the actual performance, he wanted me to shoot individual photos of cast members from which he could pick an appropriate "album cover." (For a post devoted to my play pictures,
see previous post or click on the link in this sentence.)
I didn't ask him about what kind of album he was talking about. Even if I were going to ask him, before I could do that, Dobbs told me he wanted to use the electric bulbs wired into his false brick posts stage props for lighting.
Anyone who knows lighting for photographs knows what kind of pictures will result in the dramatic lighting he was proposing -- modest to wide shadows in and/or under the eyes, or when one side of the face would be illuminated while the other was in dark shadows or turned away from the camera, depending on how you position the subject(s). Portrait photographers know that dramatic lighting can be effective when you seek to present a subject in a certain mood, and that it can work on occasion for male subjects. They also know that such lighting is generally considered unflattering and unappealing for female subjects.
Dramatic lighting is what Dobbs was after, so we went through the full cast trying to position them as best as we could. Dobbs was so excited about the bulb lighting, that when he stood in for a test shot (right), I decided to compose it with one of the bulbs in it. I made both color and monochrome versions of each formal shot. I also made a few informal (candid) color images for Dobbs -- shots from moments during the very short lulls when one individual departed and Dobbs rounded up the next one. And we had to do it fast, because Dobbs needed to get the play rehearsal started on time so we wouldn't be at the theater very late into the evening.
It occurred to me as I processed the images yesterday that it might be of interest to readers here to see what kind of quality can come out of a situation like that. In most cases, I was able to keep the ISO setting on the camera at a reasonable level for my Canon 6D, which can process photos without revealing too much "noise" (or grain) up to about ISO 6400, and sometimes even a bit more. In a few cases, however, I had to push the ISO higher, so while processing the photos, I made decisions to toss a couple shots that would have been usable under better lighting conditions.
From the number of poses we did of everyone, it was clear afterward that Dobbs was looking for one of Hamlet or Hamlet with Ophelia to be on the cover of whatever album he was putting together. We did a lot of different poses with Carey Shea (Hamlet) and of Shea with Devan Mathias (Ophelia). While Dobbs might have his own ideas about what he will want and use, this post is more about how I regarded the results of the shots.
My favorite solo shot of Shea is the one presented in the dual-photo presentation I have leading off the post -- and this dual photo presentation for a lead graphic, incidentally, is a first for
Photo Portpourri. Notice the bit of shadow on the right side of Shea's face -- not nearly as dramatic as I would see while exploring and using other poses. In fact, in general, his face in this photo has favorable lighting, and the pensive pose comes off as powerful, I think.
In the spirit of giving credit where it's due, I'll mention here that Dobbs had ideas for poses throughout this quick shoot, and we tried everything he mentioned. He also yielded to me every time I expressed concerns about unacceptable lighting or distracting backgrounds. Indeed, we used his ideas more than half the time, and this one was one of his. To show you examples of what else we came up with, I include a shot of Shea looking directly at the camera (left) and a monochrome conversion of him looking over his shoulder (right).
My favorite of Hamlet and Ophelia (Devan Mathias) together is the one sharing the lead-off spot at the top. Dobbs and I shared the idea for this pose; Dobbs had sought some separation between the two, and when I told him there wasn't ample lighting for both individuals in any separated position without creating a significant depth of field issue (one individual would have to be out of focus), we put Devan in a position facing the camera and gazing at Hamlet. Her face caught a good share of light, so we put her in focus. In the foreground, Shea is prominent ... but thrown out of focus because of the separation.
We took shots of Mathias solo in two poses, one serious, one with her smiling. I think because of what I mentioned above about women come off in an unflattering nature when cast in dramatic lighting, I favor the shot of her smiling (right). For one, it's a genuine, pretty smile, and also I think it goes a long way toward conquering the women-in-dramatic-lighting issue.
Outside of the lead characters, my favorite individual shots -- female and male -- are of Anne Gross and John Mortell (below). Anne has a couple roles in the play, but her main one is as a performer in "The Murder of Gonzago," a play within the play. Even though the right side of her face is cast in shadow (it was virtually unavoidable), I like her shot because of the costuming and how she holds herself in the pose. The latter is also one reason I like Mortell's shot. He exudes confidence, and both individuals have a good sense about how to present themselves. Because I'm familiar with Mortell from previous First Folio shows, I know this is a very accurate representation of his command of the characters he portrays. In "Hamlet," Mortell plays Laertes, brother of Ophelia and son of Polonius.
Here are some more examples of the individual shots:
Ericka Barker, as Queen Gertrude, Hamlet's mother
Matthew Anderson portrays Claudius, Hamlet's uncle ... and stepfather ... and is the person responsible for the death of Hamlet's father. There were three poses of Anderson, and this one -- which in a way reminds me of his character's critical prayerful scene before intermission in the play -- seems appropriate.
We also did two poses of the "Hamlet" newlyweds, Claudius and Gertrude. In my opinion, this was the better, although I don't like the shadows on Ericka Becker's face.
Benjamin Mathis as Horatio, Hamlet's friend and confidante.
We did two poses for Tom Weingartner, who plays Polonius, father of Laertes, one with and without a hat. I liked both, so ... here you have them.
Scott Stockton as Marcellus and an extra.
Andy Barnett as the ghost of Hamlet's father, King Hamlet. It seemed appropriate to use the monochrome version for the ghost.
Missy Rump as Bernardo and as a performer in the play within the play. Rump and Gross had similar costumes, and the color version of Rump's photo was just fine. I just like how the monochrome conversion came out.
Chris Burton has several roles, actually. Here he's dressed for a scene early in the play as an extra for the reception of Gertrude and Claudius' wedding. He also performs as the lead player in the play within a play ... and as the gravedigger.
Fred Margison plays Osric and an extra.
Kevin Caraher has dual roles as a priest and an extra.
As always, click any individual images to view a larger and sharper version, which is particularly beneficial if viewing this post in a mobile device.
"Hamlet" has its final shows at Ben Davis High School in Indianapolis this weekend -- 7:30 p.m. Friday and Saturday (June 3-4) and 3:30 p.m . Sunday, June 5. Follow
the link in this sentence to learn more about how to get tickets, which cost $12 (seniors get a $2 discount, students a $4 discount).
Photo geek stuff: I used a Canon 6D equipped with a Sigma 85mm f/1.4 lens for all of the individual shots. I shot using ISO 1600, with the aperture varying from f/1.4 (wide open) to 1.8 and the shutter at around 1/125.
The trolley system of transportation -- also known as streetcars and, especially in Indianapolis, the interurban -- had its halycon era in the United States between the two world wars. They fell into disfavor and eventually disappeared as individual automobile ownership became increasingly prevalent. The shelter in Garfield Park was near one stop on an old interurban route along Southern Avenue.
