BEHIND THE LENS
WITH
LINDA CARLSON
~~~
CINCINNATI, OHIO
LINDA CARLSON
~~~
CINCINNATI, OHIO
METAL PULP AND PAPER: Hello Linda. Thank you for taking the time to answer some questions for Metal Pulp And Paper’s feature called Behind The Lens. We appreciate it.
Before we go any further, let’s first tell everyone what Behind The Lens is all about. This feature is about the person that’s behind the camera lens. All about that individual that captures that perfect fiery orange of the setting sun, finds a child jumping in a mud puddle in the pouring rain, or catches the moons glow in the water next to some snowcapped mountains. Or captures the rock guitarist jumping in the air during mid solo. It’s about finding that beauty in something that some might not take notice of in their everyday busy lifestyles. Behind The Lens will be a way to get to know a little more about the photographer and the work that they bring to everyone. A full 360 degrees around the camera.
So, let’s take off the lens cap, and go behind the click of the shutter and get to know more about you and your photography, shall we?
How long have you been a photographer and taking pictures?
LINDA CARLSON: I have been photographing professionally for more than 30 years, but an avid photography enthusiast for much longer.
MPAP: What first drew you to it? Was there an inspiration for picking up the camera and beginning that journey into the art of photography?
LINDA: I was first drawn to photography when I was about 10 years old. Armed with a Kodak Instamatic camera with a fixed plastic lens, C110 cartridge film and flash cubes, I photographed everything around me. When I was 13, my uncle recognized my interest in photography and gave me my first 35mm film camera for my birthday. A Vivitar 450SLD. From there, I couldn’t get enough. I would take pictures, bring the unprocessed film to the FotoMat kiosk in the parking lot of the local strip mall, pick up the processed prints four days later, and bring them to my uncle for a critique. Throughout the years, my camera was always by my side. I took occasional classes and workshops, and started doing side photography jobs, mostly of people. I have always been drawn to photographing people. I spent many years shooting events for local high school yearbooks (sports action of all kinds, play rehearsals, dance candids, etc.) and weddings, all of which honed my skills for a photojournalistic style of capturing the moment.
It was just a few years ago that I merged my interest in concerts with photography.
MPAP: Now that you’ve been doing it for a while, what interests you the most about it? Is there a passion behind it for you at all?
LINDA: There is most certainly a passion behind my concert work! Capturing the chaos and spectacle of a concert is exciting, challenging and artistically rewarding. I find myself attracted to metal and rock performances, where the energy is raw, and so is the drama unfolding on stage.
MPAP: Can you describe that moment, the experience, or even the emotion you felt when you knew that photography was something you just had to do?
LINDA: I don’t think there was an “ah-ha moment” for photography. It just grew in me.
MPAP: What do you like to photograph the most of? Do you have a favorite setting, scene, landscape, or any items that you like to capture? Or do you like to just take pictures of people, or perhaps a live music concert now and then?
LINDA: Clearly, I enjoy photographing concerts – the unpredictability of it, the excitement of it. Remember, there are frequently many photographers in the photo pit taking pictures of the same scene unfolding. There is a certain rush when I nail a shot, yes. But it doesn’t end there. There is a thrill when I open images on the computer - now, the second stage of the journey begins. A conversation with the image begins, one that is very personal. The result? The final image is my interpretation of that moment of capture. Do I like photographing other subjects? Well, yes. I am intrigued by photographing buildings and structures in decay - the textures of peeling paint or fading wood, the feeling that lives were lived there, stories told and shared, and now, the quiet. Most often, I photograph these places and think…I should photograph a band here.
MPAP: Is there anything out there that you try to avoid taking pictures of?
LINDA: Probably pictures of me.
MPAP: When picking up the camera, it obviously took some time, along with some practice, to get the feel and hang of it of what you wanted to do or go with it? Maybe even a class or two was taken to learn more about it. Tell us what were some of the challenges you’ve encountered with taking pictures? What have been some of the difficulties you’ve experienced since first began, and maybe still happens to this day?
LINDA: I firmly believe that understanding your equipment is fundamental to making images rise to a level that satisfies you as a photographer. It is certainly possible to pick up a camera, which these days are incredibly sophisticated, set it on AUTO, and take fine pictures. Many people do it! But when you understand the intricate relationship between the choices available to you as a photographer (ISO, lens choice, aperture, shutter speed, in-camera composition, flash if used, etc., then post processing) to bring your image to life, everything is possible. As a concert photographer, there is always the challenge of lighting. Often, poor lighting. There are times when I feel that I am photographing in a dark closet, and bringing life to those images takes time, patience, experience, and a willingness to commit to making it work. There’s also colored lighting – so many concerts are lit by red or green lights, and it takes some commitment to tease interesting color depth out of those images. Many times, the temptation is to convert the image to black-and-white, which can certainly be effective, but I often prefer the challenge of making the image work in color.
MPAP: On the other side of it having some difficulties, what are some of your favorite things about being a photographer you can tell us about? What have been some of your camera highlights so far that you can share with us also?
LINDA: Concert photography is not unlike traditional wildlife photography – the type of “wildlife” is different, that’s all. There is the same thrill of “the hunt” for that perfect image: capturing that one “moment.” There are certainly the classic images to capture during a concert – the steadied stance of the lead guitarist, or the lead singer in mid-scream. However, it’s those “caught moments” that are fleeting and unrehearsed, that are the most rewarding for me – a brief, knowing smile from one performer to another that belies a friendship, or a passing instant when a performer “goes away” inside his/her head. Capturing those moments are highlights.
MPAP: When someone sees the picture you’ve taken for the first time, whether it’s the new bride and groom, or a family member that just had a baby, what do you want someone to get out of it? Is there ever anything you’re trying to say within your pictures, a message deep in the pixels that makes it up?
LINDA: When people see my concert images, I want them to feel the concert. I want them to understand the power of the performance, whether that power is sheer cacophony or quiet stillness, because either or both can be felt during a single show. Although many of my concert images are, essentially, portraits, I seek to show the power of the concerts through those isolated portraits…the facial expressions, the body language, the personal exchanges between performers.
MPAP: Is there an artist or another photographer out there that you admire and might have influenced you at all? What about their work do you love the most?
LINDA: Because I believe that my concert photography is photojournalistic in image capture, but taken to a different place through the artistic interpretations in post processing, I have been influenced by the pioneers of photojournalism, documentary photography and street photography. And since my concert photos often have the feel of portraits, this expands the list of photographers who have inspired me. Masters like Henri Cartier Bresson, Robert Capa, Elliott Erwitt, Dorothea Lange, Mary Ellen Mark, Richard Avedon, Annie Leibovitz, Cindy Sherman, Diane Arbus, Philippe Halsman, etc.
MPAP: Before we move on to talking about the pictures that you shared with us, are there any tips or advice that you would want to give yourself if you had to pick up the camera and start photography all over again?
LINDA: Learn something from every picture you take.
MPAP: Now on to the pictures that you took and have shared with us here? Take us into each one of the pictures and tell us what they are about, and which one is your most favorite and why?
LINDA: Korn is heavy metal royalty. A Korn performance is a powerful experience for fans and photographers. Lead singer Jonathan Davis belts out vocals that are as visually powerful as they are vocally intense, and Brian Welch delivers some of the best dread-swings that I have witnessed.
In This Moment. I cannot put to words the visual panoply of photographic opportunity that Maria Brink brings to every performance. She is stunning, dramatic and dynamic. She is aware of her every move, and her every move is scintillating. These images were taken outdoors in direct late afternoon sun. The band was lit by a dazzling mix of daylight and stage lighting. The sun acted as a brilliant spotlight.
Gojira is a heavy-hitting French heavy metal band that packs a powerful musical and visual punch. I have photographed them indoors with strictly stage lighting, as well as outdoors with a mix of daylight and stage lighting. Each presents its challenges, but the drama is always intense. Both of these images were taken outside.
Joyous Wolf. This young band from California is making waves, in no small part due to their exhilarating onstage showmanship and musicianship. Lead singer Nick Reese works the stage with unpredictable chaos…he’s a bit tricky to nail down in an image (consider focusing manually – he outsmarts predictive autofocus), but when you do, it’s gold. Bassist Blake Allard has a “look” that photographs beautifully. I liked isolating them visually in black-and-white.
The visual pageantry of Motionless In White is undeniably spectacular, truly a cornucopia of opportunity for a concert photographer. The drama extends throughout the performance. I edited to make the colors explode…to bring the sense of drama from their performance to the images.
For any concert, there is unpredictable movement – movement of performer and movement of light. Remember that performers constantly step in and out of light, and background lighting shifts by the moment. A photographer must be adept at assessing the ever-changing lighting landscape. Every photographer chooses his/her shooting regimen and set-up. I prefer manual exposure, and my fingers are incessantly flitting over the controls to adjust shutter speed, ISO and aperture on the fly. You develop a second nature on how much to adjust as lighting changes, and which parameter to adjust for the impact you are seeking. Know your equipment and the effects of each adjustment choice. You have to act quickly.
MPAP: Everyone has a different style or taste, whether it’s street photography, modeling, black & white, or nature, from your point of view what do you think makes a good picture?
LINDA: A good picture, to me, makes you feel something. It makes you stop and take a second look.
MPAP: After the camera is put down for the moment, for the day, or for the night, whether it’s for a day or a week at a time, what else do you like to do in your free time?
LINDA: My day job as an engineer keeps me busy. My children are grown, so my free time is now more available to my own pursuits. Most evenings, I am parked on my couch editing pictures. But I also have a vegetable garden that reminds me of my mom, though she had a greener thumb than I do. I also dabble in making jewelry.
MPAP: Before we bring Behind The Lens to a close, just one last question and we’ll wrap things up and put the lens cap back on. What would you want to say to someone that’s interested in taking pictures for the very first time?
LINDA: Learn your camera and gear, take some classes, experiment and…enjoy the ride. If you’re interested in concert photography, shoot local bands! It is so win-win. You will gain valuable experience, and the bands will appreciate the photos.
MPAP: On behalf of myself and Metal Pulp And Paper, I’d like to thank you, Linda, for being a part of this Behind The Lens feature. It was great getting to know you and your photos. We look forward to seeing what you will capture in the future and beyond. Please tell us where we can find your work or your photo galleries on the internet, and any social media that the readers can follow you on?
LINDA: My Instagram-(www.instagram.com/lindacarlsonphotography) is a constantly evolving portfolio of my concert work. It is updated daily with new concert images. For contact information, check my website (www.ConcertsAndCrowds.com), which also has a portfolio of concert work.
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©metalpulpandpaper
Before we go any further, let’s first tell everyone what Behind The Lens is all about. This feature is about the person that’s behind the camera lens. All about that individual that captures that perfect fiery orange of the setting sun, finds a child jumping in a mud puddle in the pouring rain, or catches the moons glow in the water next to some snowcapped mountains. Or captures the rock guitarist jumping in the air during mid solo. It’s about finding that beauty in something that some might not take notice of in their everyday busy lifestyles. Behind The Lens will be a way to get to know a little more about the photographer and the work that they bring to everyone. A full 360 degrees around the camera.
So, let’s take off the lens cap, and go behind the click of the shutter and get to know more about you and your photography, shall we?
How long have you been a photographer and taking pictures?
LINDA CARLSON: I have been photographing professionally for more than 30 years, but an avid photography enthusiast for much longer.
MPAP: What first drew you to it? Was there an inspiration for picking up the camera and beginning that journey into the art of photography?
LINDA: I was first drawn to photography when I was about 10 years old. Armed with a Kodak Instamatic camera with a fixed plastic lens, C110 cartridge film and flash cubes, I photographed everything around me. When I was 13, my uncle recognized my interest in photography and gave me my first 35mm film camera for my birthday. A Vivitar 450SLD. From there, I couldn’t get enough. I would take pictures, bring the unprocessed film to the FotoMat kiosk in the parking lot of the local strip mall, pick up the processed prints four days later, and bring them to my uncle for a critique. Throughout the years, my camera was always by my side. I took occasional classes and workshops, and started doing side photography jobs, mostly of people. I have always been drawn to photographing people. I spent many years shooting events for local high school yearbooks (sports action of all kinds, play rehearsals, dance candids, etc.) and weddings, all of which honed my skills for a photojournalistic style of capturing the moment.
It was just a few years ago that I merged my interest in concerts with photography.
MPAP: Now that you’ve been doing it for a while, what interests you the most about it? Is there a passion behind it for you at all?
LINDA: There is most certainly a passion behind my concert work! Capturing the chaos and spectacle of a concert is exciting, challenging and artistically rewarding. I find myself attracted to metal and rock performances, where the energy is raw, and so is the drama unfolding on stage.
MPAP: Can you describe that moment, the experience, or even the emotion you felt when you knew that photography was something you just had to do?
LINDA: I don’t think there was an “ah-ha moment” for photography. It just grew in me.
MPAP: What do you like to photograph the most of? Do you have a favorite setting, scene, landscape, or any items that you like to capture? Or do you like to just take pictures of people, or perhaps a live music concert now and then?
LINDA: Clearly, I enjoy photographing concerts – the unpredictability of it, the excitement of it. Remember, there are frequently many photographers in the photo pit taking pictures of the same scene unfolding. There is a certain rush when I nail a shot, yes. But it doesn’t end there. There is a thrill when I open images on the computer - now, the second stage of the journey begins. A conversation with the image begins, one that is very personal. The result? The final image is my interpretation of that moment of capture. Do I like photographing other subjects? Well, yes. I am intrigued by photographing buildings and structures in decay - the textures of peeling paint or fading wood, the feeling that lives were lived there, stories told and shared, and now, the quiet. Most often, I photograph these places and think…I should photograph a band here.
MPAP: Is there anything out there that you try to avoid taking pictures of?
LINDA: Probably pictures of me.
MPAP: When picking up the camera, it obviously took some time, along with some practice, to get the feel and hang of it of what you wanted to do or go with it? Maybe even a class or two was taken to learn more about it. Tell us what were some of the challenges you’ve encountered with taking pictures? What have been some of the difficulties you’ve experienced since first began, and maybe still happens to this day?
LINDA: I firmly believe that understanding your equipment is fundamental to making images rise to a level that satisfies you as a photographer. It is certainly possible to pick up a camera, which these days are incredibly sophisticated, set it on AUTO, and take fine pictures. Many people do it! But when you understand the intricate relationship between the choices available to you as a photographer (ISO, lens choice, aperture, shutter speed, in-camera composition, flash if used, etc., then post processing) to bring your image to life, everything is possible. As a concert photographer, there is always the challenge of lighting. Often, poor lighting. There are times when I feel that I am photographing in a dark closet, and bringing life to those images takes time, patience, experience, and a willingness to commit to making it work. There’s also colored lighting – so many concerts are lit by red or green lights, and it takes some commitment to tease interesting color depth out of those images. Many times, the temptation is to convert the image to black-and-white, which can certainly be effective, but I often prefer the challenge of making the image work in color.
MPAP: On the other side of it having some difficulties, what are some of your favorite things about being a photographer you can tell us about? What have been some of your camera highlights so far that you can share with us also?
LINDA: Concert photography is not unlike traditional wildlife photography – the type of “wildlife” is different, that’s all. There is the same thrill of “the hunt” for that perfect image: capturing that one “moment.” There are certainly the classic images to capture during a concert – the steadied stance of the lead guitarist, or the lead singer in mid-scream. However, it’s those “caught moments” that are fleeting and unrehearsed, that are the most rewarding for me – a brief, knowing smile from one performer to another that belies a friendship, or a passing instant when a performer “goes away” inside his/her head. Capturing those moments are highlights.
MPAP: When someone sees the picture you’ve taken for the first time, whether it’s the new bride and groom, or a family member that just had a baby, what do you want someone to get out of it? Is there ever anything you’re trying to say within your pictures, a message deep in the pixels that makes it up?
LINDA: When people see my concert images, I want them to feel the concert. I want them to understand the power of the performance, whether that power is sheer cacophony or quiet stillness, because either or both can be felt during a single show. Although many of my concert images are, essentially, portraits, I seek to show the power of the concerts through those isolated portraits…the facial expressions, the body language, the personal exchanges between performers.
MPAP: Is there an artist or another photographer out there that you admire and might have influenced you at all? What about their work do you love the most?
LINDA: Because I believe that my concert photography is photojournalistic in image capture, but taken to a different place through the artistic interpretations in post processing, I have been influenced by the pioneers of photojournalism, documentary photography and street photography. And since my concert photos often have the feel of portraits, this expands the list of photographers who have inspired me. Masters like Henri Cartier Bresson, Robert Capa, Elliott Erwitt, Dorothea Lange, Mary Ellen Mark, Richard Avedon, Annie Leibovitz, Cindy Sherman, Diane Arbus, Philippe Halsman, etc.
MPAP: Before we move on to talking about the pictures that you shared with us, are there any tips or advice that you would want to give yourself if you had to pick up the camera and start photography all over again?
LINDA: Learn something from every picture you take.
MPAP: Now on to the pictures that you took and have shared with us here? Take us into each one of the pictures and tell us what they are about, and which one is your most favorite and why?
LINDA: Korn is heavy metal royalty. A Korn performance is a powerful experience for fans and photographers. Lead singer Jonathan Davis belts out vocals that are as visually powerful as they are vocally intense, and Brian Welch delivers some of the best dread-swings that I have witnessed.
In This Moment. I cannot put to words the visual panoply of photographic opportunity that Maria Brink brings to every performance. She is stunning, dramatic and dynamic. She is aware of her every move, and her every move is scintillating. These images were taken outdoors in direct late afternoon sun. The band was lit by a dazzling mix of daylight and stage lighting. The sun acted as a brilliant spotlight.
Gojira is a heavy-hitting French heavy metal band that packs a powerful musical and visual punch. I have photographed them indoors with strictly stage lighting, as well as outdoors with a mix of daylight and stage lighting. Each presents its challenges, but the drama is always intense. Both of these images were taken outside.Joyous Wolf. This young band from California is making waves, in no small part due to their exhilarating onstage showmanship and musicianship. Lead singer Nick Reese works the stage with unpredictable chaos…he’s a bit tricky to nail down in an image (consider focusing manually – he outsmarts predictive autofocus), but when you do, it’s gold. Bassist Blake Allard has a “look” that photographs beautifully. I liked isolating them visually in black-and-white.
The visual pageantry of Motionless In White is undeniably spectacular, truly a cornucopia of opportunity for a concert photographer. The drama extends throughout the performance. I edited to make the colors explode…to bring the sense of drama from their performance to the images.
For any concert, there is unpredictable movement – movement of performer and movement of light. Remember that performers constantly step in and out of light, and background lighting shifts by the moment. A photographer must be adept at assessing the ever-changing lighting landscape. Every photographer chooses his/her shooting regimen and set-up. I prefer manual exposure, and my fingers are incessantly flitting over the controls to adjust shutter speed, ISO and aperture on the fly. You develop a second nature on how much to adjust as lighting changes, and which parameter to adjust for the impact you are seeking. Know your equipment and the effects of each adjustment choice. You have to act quickly.
MPAP: Everyone has a different style or taste, whether it’s street photography, modeling, black & white, or nature, from your point of view what do you think makes a good picture?
LINDA: A good picture, to me, makes you feel something. It makes you stop and take a second look.
MPAP: After the camera is put down for the moment, for the day, or for the night, whether it’s for a day or a week at a time, what else do you like to do in your free time?
LINDA: My day job as an engineer keeps me busy. My children are grown, so my free time is now more available to my own pursuits. Most evenings, I am parked on my couch editing pictures. But I also have a vegetable garden that reminds me of my mom, though she had a greener thumb than I do. I also dabble in making jewelry.
MPAP: Before we bring Behind The Lens to a close, just one last question and we’ll wrap things up and put the lens cap back on. What would you want to say to someone that’s interested in taking pictures for the very first time?
LINDA: Learn your camera and gear, take some classes, experiment and…enjoy the ride. If you’re interested in concert photography, shoot local bands! It is so win-win. You will gain valuable experience, and the bands will appreciate the photos.
MPAP: On behalf of myself and Metal Pulp And Paper, I’d like to thank you, Linda, for being a part of this Behind The Lens feature. It was great getting to know you and your photos. We look forward to seeing what you will capture in the future and beyond. Please tell us where we can find your work or your photo galleries on the internet, and any social media that the readers can follow you on?
LINDA: My Instagram-(www.instagram.com/lindacarlsonphotography) is a constantly evolving portfolio of my concert work. It is updated daily with new concert images. For contact information, check my website (www.ConcertsAndCrowds.com), which also has a portfolio of concert work.
©metalpulpandpaper