Grace Potter “Daylight 2020” with special guest Devon Gilfillian at The Ritz in Raleigh, NC.
Every so often, but more not then often, stumbling into the pit to shoot just another show I come face to face with a real talent, and Devon Gilfillian is most definitely one of these musical anomalies.
What joy it is to witness a true artist. I feel like I’m in on a little secret. It’s so obvious to me that Devon Gilfillian is on his way to going very, very far.
Grace Potter pummeled us all. What a star she was this night. I was worried that she’d be dressed sorta plain tucked behind the keyboard and I’d have to jockey for a headshot. I did note that chances were she might come out to stand at a mic, so I decided to commit to the mic position rather than the headshot. Maybe losing a chance for a decent picture completely in the gamble. But whoa, holy smokes, she blew us up! What an outstanding performance! I did not expect such a wild woman, (can I say she strikes me as a “real” woman? -Is that ok? ) but I must admit, my shutter speed was a tad too slow! This (real) woman moves!
Wearing a glamorous silver outfit to boot and rocking a Gibson Flying Guitar, Grace Potter busted our socks off. She is great.
About her Flying V:
Two Canon 5D Mk IV bodies
Canon 16-35mm 2.8, 1/250 sec; f/5.0; ISO 5000
Canon 24-70mm 2.8, 1/250 sec; f/5.0; ISO 5000
Settings were fine for Devon Gilfillian, and I kept the same for Grace Potter, but not knowing that Grace was going to rip our faces off, my shutter speed was a little too slow as I have quite a few images with burred hands and bit too much blur in the hair. I got by, but I had to edit a few nice ones out because of this.
Then still, I had too much noise. The question is, error on underexposing then bringing up the exposure in post and wiping out detail by smudging noise or error in overexposing but building in more noise when not needed. These are concerns when shooting manual in a live music setting with unpredictable concert lighting.
In anycase, each shoot requires understanding post processing. And you don’t want to over-edit and kill the dynamics of the image, technically as well as the “emotional” quality of the moment captured.
Using Adobe Lightroom Classic, I most often start by color correcting by sampling the head of a mic, if I’m lucky enough to find one near the face of the artist, thus under the same mix of light. After running through all menus making adjustments, I’ve found that making decisions about adding grain back into the image after I’ve finished sharpness and noise is looking like the perfect final adjustment. For now.