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| 'The Grace Project' dancer: Joy Isabella Brown Leica M (Typ 240) | Leica Summicron-M 35毫米F2 ASPH. | F11 | 1/750 sec | ISO 400照片: Josh S. Rose |
Josh S. Rose自20世纪70年代以来一直在捕捉内脏反应，当时他还是个孩子的时候在一个赛马场公园里闲逛，探索这一事件。他发现自己在照相亭闲逛，喜欢在每场比赛后观看团队冲片，将获胜者召集到楼上的播音员那里，然后听到人群的疯狂反应。他的职业生涯使他对在电影中捕捉场景的早期时刻感兴趣。
我们实际上与Josh坐下来，看看早期的赛道经历将他带到哪里。他的经历和照片收集在下面。
本故事是“你的包里有什么？”系列的一部分。社区聚焦系列。该系列展示了我们社区丰富多彩的摄影器材与作品，并分享了摄影师们如何借助这些装备拍下完美瞬间的故事。
让您的摄影作品登上DPReview首页！了解如何做到。
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| 'LA Dance Project' Dancer: Anthony Bryant Leica M (Typ 240) | Leica Super-elmar-m 21毫米F3.4 ASPH. | F3.5 | 1/180 sec | ISO 100照片: Josh S. Rose |
认识Josh S. Rose
基地: 美国
最喜欢的相机和镜头: Josh的主要设置围绕哈苏X2D，带有25毫米，38毫米和90毫米f/2.5镜头，以进行更多的艺术和环境工作。在拍摄现场表演和舞蹈时，他切换到尼康Z9搭配14-24毫米，24-70毫米和70-200毫米变焦的速度和灵活性。尼康Zf留在包里作为他的日常和备用相机。
Josh的包里有什么
- 主相机: 哈苏X2D，尼康Z9和尼康Zf
- 镜头： 哈苏25毫米F2.5、38毫米F2.5和90毫米F2.5 尼康14 24毫米F2.8，24 70毫米F2.8和70 200毫米F2.8缩放性能工作 Josh还携带并收集老式镜头，包括Leica Summicron和Super Elmar primes，Helios和他最喜欢的oddball镜头，老式Nikkor 43-86毫米F3.5 pre-ai zoom
- Support gear: ND and polarizing filters, prism and glass filters and Loop earplugs and AirPods to stay focused and comfortable during long shoots and performances.
- Camera bags: Josh rotates between several bags depending on the assignment, including the Nomatic Luma Camera Sling 12L, Domke F2, LowePro BP 300 backpack, Tenba Roadie Air Case and an SKB iSeries hard case with Think Tank dividers. He tailors each setup to the specific shoot, travel schedule or creative mood.
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| Josh's camera bag
Photo: Josh S. Rose |
"My set-ups are generally based on the physical ins and outs of the shoot. I do 100–200 shoots a year, so I’m always trying to streamline without sacrificing options. If I’m parking next to a venue and starting quickly, I’ll bring a bigger hard case. If I’m flying, I pack chargers, extra batteries and other essentials. For a recent shoot with Esa-Pekka Salonen at Disney Concert Hall, the small Nomatic bag was ideal, since we were moving fast and had little time to experiment. The process is to understand the shoot first, then rely on memory of similar shoots to decide what will help most."
A lot of great equipment! What's your absolute one-pick favorite?
"My Tanner Goods Cognac SLR Camera Strap that goes on my Nikon Z9 is probably my favorite thing in my bag. In photography, as in life, there are very few things that get better over time. That strap has been with me for so many years. Like a country singer's guitar, it has been the constant companion for me. Camera bodies come and go, lenses are a bit of a commodity, even the vintage ones. But that strap only gets more and more personalized, more and more beautiful and more and more comfortable as the years pile on."
What other equipment propels your photography forward?
"For me, photography is about creative flow. I feel like I have to be on, with energy and positivity, so that I can both generate ideas and not forget anything or screw anything up. So, all non-photography things in my kit are around keeping me energized and positive, starting with food and energy drinks (I admit a bit of an addiction to C4 and Bang, which I'm quite certain are poison, but they bring me joy and focus. Also, my partner hates energy drinks, so it's sort of my little rebellion, too – shh, don't tell her)."
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| Ate 9 Dance Company Leica M (Typ 240) | Leica Noctilux-M 50mm F0.95 ASPH. | F1.0 | 1/750 sec | ISO 1000 |
You mentioned to us you have 10 different camera bags...
"Okay, so don't judge me, but I have at least that many bags. I like to pack specifically for any event, trip or shoot. The bag is sort of an expression of how I'm feeling that day."
"For a minimal set-up, I'll use the Luma Camera Sling 12L. When I'm feeling my inner photojournalist, I'll throw the Domke F2 over my shoulder. When I'm in a bit more creative mood, I'll throw everything into a vintage black patent leather Coast S-1 shoulder bag that I borrowed/stole from my producer. For long travel assignments, I usually go with the LowePro BP 300 backpack or, if I need more space, the Tenba Roadie Air Case. For performances, when I need the full arsenal, I go with the SKB iSeries hard case with Think Tank dividers and a lid organizer. And we haven't even gotten into my cinema cases..."
"A little travel hack I have learned over the years is to always bring a small satellite bag and stuff it inside a bigger bag. The smaller bag is great for little day trips or side quests."
A little travel hack I have learned over the years is to always bring a small satellite bag inside a bigger bag. The smaller bag is great for side trips.
How has your photography changed since you started?
"In the beginning, I tried to minimize mistakes. Because I shoot dance and movement a lot, this is exacting work, especially when you're inside – low light and fast movement is a nightmare for a camera. So, I kind of treated dance as one would sports, reaching first and foremost for clarity, focus and split-second timing. It isn't all that hard, honestly. It just takes a certain number of reps."
"What helped far more was learning how to embrace the elements of the camera in ways that break the normal image-capturing techniques, in pursuit of something less ordinary and more evocative. I use a lot of double exposure, slow shutter and dragged shutter techniques in my work. Also, I use glass filters, found framing and just about anything else to make the images feel less technical and more creative, alluring, beautiful or evocative."
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| Photo from 'The Grace Project' Leica M10-P | Leica Noctilux-M 50mm F0.95 ASPH. | F4.0 | 1/500 sec | ISO 100 |
What excites you most about capturing dance performance?
"My most well-known work is in dance and performance. I have traveled the world as a photographer, often with dance groups and artists. Many times, I am inside shooting a performance, but it is the most special to me when art intertwines with art."
"For example, when I get to shoot dancers and a choreography among works of art, often with live music, something special occurs in this blend of art forms that is unlike anything else. To be an artist, working in and among other artists, to me, is the dream. I just love art so much. I feel like I am always and forever a student of art."
When capturing that perfect shot, what techniques come to mind?
"The 'perfect shot' is, of course, a loaded question. I've shot what I consider three perfect shots in my life, and they were all different from each other."
"One was with the Japanese rockstar, Yoshiki. We were high up in a hotel room with a bunch of people around. It was tense as we were awaiting some kind of press event to happen. Suddenly, a window washer came rappelling down, recognized Yoshiki through the window, and they had a funny moment. I had the presence of mind to see it occurring and move myself in real time to get the shot. The complexity of the shot is insane when you consider everything that had to happen for that to play out the way it did."
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| 'The Window, with Yoshiki' Leica M10-P | Leica Super-Elmar-M 21mm F3.4 ASPH. | F3.5 | 1/180 sec | ISO 400 |
"Another was in Qatar, in and around probably the most beautiful sculpture I've ever seen in my life: Shadows Traveling on the Sea of the Day, by Olafur Eliasson. A dance group led by Bouchra Ouizguen, for her piece Corbeaux, entered the space. It was absolutely overwhelming to me how much geometric beauty was happening all at once. It's the kind of thing that often overwhelms me, but I had gotten to the location early and spent two hours walking around and finding a composition I felt was really special. One of the dancers walked alone into the space, which I had no idea was going to happen. I happened to be present enough to remember where I had stood for that composition, and ran over to it just in time to get a shot that's still among my absolute favorites."
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| Photo from 'Festival In Motion, Qatar' Leica M11 | Leica Summicron-M 50mm F2 | F5.6 | 1/2000 sec | ISO 400 |
"And the other one I'm thinking of is a shot I got on stage, looking out toward the house at the famed Koch Theater with the New York City Ballet. This was just one image in a set of many that I had planned for a giant mural for The Lincoln Center. We placed the bodies in the locations and composed them perfectly. I took the shot, and then I had this incredible moment I'll never forget. It is always my instinct to keep shooting until the bell rings. I just can't turn off. I keep pushing and pushing to see if there's a better angle or a different physical shape a dancer might try. But not on this day. I had already visited this place twice before. This, to my eye, was the best shot there was. I was done. There was no more to get. I have never felt that at a shoot before. It moved me."
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| 'NYC Tableau' for The Lincoln Center, NYC Hasselblad X2D 100C | Hasselblad XCD 25mm F2.5 V | F8.0 | 1/20 sec | ISO 1600 |
What would you say to a struggling photographer looking to break in?
"The biggest job of my life came from doing years and years of unpaid work in the field of dance. A lot of people (including family) didn't really get why I would keep shooting things without it being an official shoot where I was getting paid. Nonetheless, I stayed at it for years. Eventually, I got an artist residency, then another one, and suddenly these dominoes started falling for me."
"Find your weird, singular little passion first. And fight off the self-doubts and the disbelievers. Protect the passion like a butterfly. Don't be surprised if even your closest people don't quite get you."
Josh really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Josh, for being featured!
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Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.
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