This was my first trip to the Fillmore and the first time
to photograph a show entirely with a digital SLR. The Old 97's played two
shows at the Fillmore, on Friday and Saturday. I usually shoot with a 35
mm Nikon N-70, but decided that this would be a perfect chance to try out
the Canon EOS
1D Mark II. I paired the body with an external flash (directly mounted
to the hot shoe) and a 24-70
mm f/2.8 L USM lens. This allowed me to shoot mostly in the 1/30
range. I used very point specific focusing and generally let the camera
work on automatic first before making adjustments. The main surprise was
the massive weight of this set-up. My Nikon is much easier to hold for
three hours than a Canon whose body alone weighs 1.2 kg. That said, however,
the Canon was a fine machine to work with both nights. The crowd was exceptionally
generous in allowing me space to work and the freedom to meander through
the front rows. Thanks to everyone who held a place for me or who just
smiled and said hello. But thanks, as always, to the Old 97's and their
crew. I shot over 600 photos each night. Here are some of my favorites.
The radiant Grey DeLisle. She was the first performer of the night and easily enchanted the crowd.
Murry wore a sharp suit to perform with Grey and her band.
Jon Rauhouse and his band also opened both nights. That's Jon on the
far right.
Rhett Miller and Philip Peeples. The Fillmore likes to blow fog onto the stage and let it interact with the powerful ventilation and lighting system.
I just love the effective combination of Rhett's thrashing rock motions and the stage fans.
I'm including this one to show both the effect of the powerful flash and the enormous monitors blocking the stage views. Shooting around montiors is never easy.
Murry Hammond changed into Old 97's apparel and proceeded to make every song sound incredible.
Watching Philip drum always makes me glad he's in the band. Sometimes I just set down my camera and watch everyone play together on Philip's lead.
The real difficulty of the night was for me to photograph Ken Bethea. But I love this shot.
THIS is the kind of shot, taken without flash, that made me fall in love with the appeal of an f/2.8 lens with crisp focus.
And other times, I'd play with the settings and try to capture ultra low light shots. This is more of the quiet, haunted characters series in my mind.
Similarly, Rhett would sing some of the songs from "Drag It Up" with a ghostly resolve.
And other times everyone would just goof around ...
... and make the crowd holler in appreciation.
Ah, the Rhett Windmill. Such a good move.
One of the best things about the Old 97's is their consistently amazing crew. Here, Ken double checks the set list as Jeff hands him the correct guitar, ready to make any changes needed.
Jon Rauhouse (the fifth old 97) came onstage and played several songs with the band.
Later, Rhett and everyone made sure to thank the opening bands, directing the praise to the balcony seating where everyone was hanging out.
Murry did a great version of "Smokers", which might be my favorite song of his, second only to the rare "Lost at Sea".
"The New Kid" also has a good place in my heart. Plus, you can Lindy Hop to it, which would really be an amazing music video, if Rhett were the busboy in a swank 1920's nightclub, surrounded by an elegant crowd and someone like the Deathray Davies or Slobberbone as the club band. The rest of the band could either work in the club too or could be wealthy patrons served by Rhett. I have many ideas. But the heart of it is the sexy Lindy Hop dancers on the floor, picking up the downbeat.
Not technically perfect, but I'm violating my blurred concert photography rule because I like the motion in some of these.
This one I equally adore.
Rhett came out to sing some songs solo between encores.
Acoustic does not mean lack of energy, thankfully.
Look at the pattern of Philip's drum sticks! That and the curve of Rhett's body endear this shot to me.
I like the way the focus blurred almost everything but Rhett's smile.
Watching Rhett watch the crowd.
Now then, what's so great about the Barrier Reef?
Doreen scream TM
Fillmore lighting. And red velvet wall curtain.
Rhett harmonized on "Valentine". It was even better the next night when Murry played bass during "Question".
Once they hit the final encore, it was time to just break out all the moves and plow through the fast ones.
I love this photo so much. Rhett jumped backwards off the drum riser and Philip just kept the entire crowd going.
The look on Ken's face is the best. As always, thanks for letting me photograph the show! See you next time!