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09PhotosfromEdge RollingStones 9/19/10 6:15 PM Page 51Rolling Stones:Shootingthe VoodooLounge KickoffJust prior to the Rolling Stones announcing their worldwideVoodoo Lounge tour, I got a call from a colleague of mine asking whether I would mind shooting during the DC show atRFK Stadium. The tour was to kick off in DC in August of 1994,and this show was important. Although I’ve never been a hugeRolling Stones fan per se, I recognized the historical importanceof the band, and since it had been widely suspected that theprevious Steel Wheels tour might have been their last, I jumpedat the opportunity to have full access to cover the entire show.51
09PhotosfromEdge RollingStones 9/19/10 6:15 PM Page 52Photographs from the Edge of RealityWhen shooting concerts, we often are limited to the first threesongs, so the opportunity to shoot the entire show arises only onoccasion. The beauty of being able to shoot the entire show isthat you have the opportunity to make images of multiplewardrobe changes and light and effects changes, and you’re ableto really move around the venue and work the entire scene. Insituations like this, I’ve always preferred to use fixed focallength lenses because of the purity of the glass, and my lensesof choice have always been 35mm f/1.4 and 85mm f/1.4,along with a 135mm and/or a 180mm f/2. I’ve found that theselenses—often referred to as fast glass—are the most optically pureand provide a clarity that far surpasses any zoom lens. PerhapsI’m being a stickler, but when I’m also shooting on Kodachromefilm, I am trying to arrive as close to technical visual perfectionas possible, in the hope that it will carry me if I don’t quite makea “creatively perfect” image.I arrived at the stadium by way of the crew entrance tunnel inthe back—for sound check, not necessarily to make great images.I have covered many an all-day festival, and I have often foundthat the images made during the daylight hours lacked the moodand feel that I wanted to convey in my images. It was always theact that performed during the evening portion of these all-dayfestivals that benefitted from an amazing mix of shadow and lightthat really made the images come to life. Because of this I optednot to shoot much during the sound check; instead, I wantedthe various members of the road crew to become familiar withme and comfortable with my presence.During the actual show, with crazy fans and deafeningly loudmusic, any questions posed by a crew member or an overzealous security guard unfamiliar with me could not be rapidlyaddressed by those who had blessed me as an authorized photographer for the entire show. Thus, as I encountered crew Iwould make eye contact with them and nod or say “Hey” so thatthey would be aware that I was authorized and approved (sinceno one else would be in the venue during a sound check).52
09PhotosfromEdge RollingStones 9/19/10 6:15 PM Page 53Rolling Stones: Shooting the Voodoo LoungeKickoffIn addition, when the lead security for the event held theirmuster meeting for all the yellow-shirted “Event Staff” guardswho seemed to be posted every 20 or so feet, I made a point ofbeing nearby, organizing my gear and otherwise silently demonstrating my authorization to be there. Even though I wore a“Working Crew” credential that was lime green and visible toall, doing these preliminary demonstrations wherever possibleserves me well and helps me avoid headaches, questions, and aloss of shooting time when peak action is occurring. I cannot stressenough the importance of knowing everyone you can before thehigh stress and adrenaline kicks in as the concert starts, causingmany of the crew to make split decisions that don’t go your way.As the last rays of sun slipped past the top of the stadium rimand dusk settled, I knew that the lights would be coming onsoon, and I relished the opportunity to cover the show. I couldfeel my creative juices begin to flow as I started to see some ofthe stage lights coming on.The Counting Crows did the honors as the opening act for thetour. They were rotating with Tori Amos for various dates, butfor the first show, they were the openers. The two-and-a-halfhour show was to be a tour de force aurally, and I wanted to capture that essence in camera.After a brief changeover, the Rolling Stones took the stage witha light show and oversized screen as a backdrop to their performance. The light was amazing, and I was literally standing atthe feet of the master, Keith Richards, as he worked his magicwith guitar licks that roared out of the sound system. Much ofwhat I did from the photo pit, I did with my 35mm f/1.4, andthe clarity shows. The photo pit is the steel fencing that is thebuffer between the front-row fans and the stage. This is the areawhere the Event Staff security works, as well as any TV camerasrecording the show for future use or as IMAG—image magnification—so that the fans in the “cheap seats” can see a largerthan-life version of the performers on the big screens.53
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09PhotosfromEdge RollingStones 9/19/10 6:15 PM Page 56Photographs from the Edge of RealityFor the first three songs, I was amidst my colleagues, who werefuriously working to make their images before getting the boot.As the Stones neared the end of their third song, I left the pitand decided to roam in the audience. This allowed me to avoidbeing swept up by the publicists corralling all my colleagues andshepherding them out the door.My earlier efforts paid off, as all of the crew and security Iencountered as I walked the path that was about 20 rows backrecognized me and let me do my work uninterrupted. I switchedto a longer lens and one that wouldn’t be so “up the nose” so Icould get some other really interesting angles.Mick Jagger on stage during the show.The show wound down close to 11:00 as the band came out tothe front of the stage and took a bow. Although reviews wereless than favorable for this particular show in the days followingthe event, I, for one, remember the show as one I’ve had the mostfun at—being free to make great images, unencumbered by thetypical restraints of an increasingly constrictive PR machine.56
length lenses because of the purity of the glass, and my lenses of choice have always been 35mm f/1.4 and 85mm f/1.4, along with a 135mm and/or a 180mm f/2. I’ve found that these lenses—often referred to as fast glass—are the most optically pure and pr
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