Learning Center
Theatre Photography

Available light in the theatre is unlike light that is available anywhere else. It constantly varies in color, intensity, direction, and location. The challenges of effectively capturing images, however, are the rewards as well.

The easiest – and sometimes most rewarding – scenes are backstage, where the photographer has an opportunity to express his own creativity. In the make-up room it is possible to use bounce flash without disturbing the actors or make-up personnel, who are concentrating on the task at hand. There’s usually a lot going on at once; capturing the interaction of make-up application can carry a sense of urgency, intensity, and focus. A low ISO and a large aperture are a good combination for a short depth-of-field, emphasizing individuals in a crowded room.

The dressing room also provides opportunities to convey the activity of the theatre, as contrasted to the drama of the performance. Obviously care must be taken not to embarrass the actors, nor disturb them. As the dressing rooms are usually extensively mirrored, multiple images and off-guard expressions are possible. Again, bounce flash can be used without creating a problem for the performers. Because of the mirrors, however, the angle of shooting is critical in order to avoid reflected flash.

Shooting from the wings can capture the most intense expressions of the actors as they relate to one another. Being a relatively short distance from the center of the stage, it is possible to zoom in very close and isolate individual performers. Because of the bright lighting I choose to set the ISO to a speed of 1,000, which is fast enough to capture the moderate action on stage and minimize camera shake - I’ve not found it necessary to use a higher ISO.

Steadiness when using a long lens is always crucial. The use of a tripod is out of the question; it is important to be able to quickly re-position the camera and avoid blocking the actors access to the stage. A monopod can be useful, but is awkward to use from the wings; it can be helpful, however, when shooting from audience positions. The best support is a bi-pod – your own body. There’s usually something to lean against, and resting your left elbow on your hip gives a great deal of support while affording focusing flexibility. When shooting from a balcony position there’s always a rail to brace upon, and the angle to the stage can be very effective.

Tamron’s 18-200 lens is ideal for theatre photography. It has all the zoom range needed to capture any stage image, is light and easily handled, and is fast enough for the combination of lighting and action. The photographer doesn’t usually have a second chance to do the shoot, so must be quick of feet, analytical of action, and ready to move at any time. Having no equipment other than the camera and one lens is extremely helpful, given these parameters.

In preparation for the shoot, I strongly recommend reading, or seeing, the play before hand. Like a sporting event, it pays to know how things will develop, and be prepared accordingly.

All images shot with Nikon D70, Tamron 18-200mm lens. All images hand-held.

The Gondoliers by Gilbert & Sullivan.
Production by the Savoy Company, Philadelphia, May 26, 2005.