Carmina

In July 2009, Labayendance/SF premiered Enrico Labayen’s “Carmina Burana: Revisited”, a work inspired by a Philippine matriarchal ritual called “tadtarin” (Tagalog, lit. chopped/minced) and set to Carl Orff’s iconic score Carmina Burana.

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Carmina Burana was composed by Carl Orff in 1935 and 1936. It is based on 24 of the poems found in the medieval collection Carmina Burana (from Latin, means “Songs of Beuem). This collection was mostly written in 11th and 12th century, found in 1803 from a monastery.

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Excerpt from some reviews from the show:

From Catherine Pawlick of CityDance: “In all, the troupe’s warmth and emotion were palpable from stage to audience. That Labayan has put considerable time and thought into this production is readily apparent. Feminine strength is highlighted here,
and what better vehicle for it than generous, truthful movement that expresses the range of gifts on offer from the fair gender. “Carmina” is powerful, gritty, and inspirational, a true gift to Bay Area audiences.”

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From Stark Silver Creek: “But by far the real highlight of the performance was the lead dancer for the piece, Brazilian-born Daiane Lopes. Her movements were powerfully dramatic but controlled and crisp, her lines were evocative and well-suited to the music,
and her eye contact and facial expressions were intensely dramatic, engaging, and powerfully evocative. Her various solos were real tours de force, especially “Circa Mea Pectora”. ”

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From SF Bay Guardian: “The women’s physical stamina was as impressive as their contagious energy. They moved through everything from extremely fast-paced jumps and leaps to slower, more lyrical, classical ballet poses with zest and playful charisma. Nothing seemed too difficult or too grand. Incorporating classical ballet, folkloric dance forms, and more sensual modern movement, Labayen’s elegant and exciting choreography emphasized the women’s versatile strength, but it was the all-female cast of badass dancers that not only brought Carmina Burana to life, but ultimately brought the admiring audience — screaming and stomping — to their feet.”

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For more photos of the event, see the Facebook Album.

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Letting go of control, random photos from Market St, 2010-10-09

(To see more photos related to this blog, watch my Flash post cards, or the Album on Facebook)

While I was documenting Sailing away on market St, I was fascinated by the people walking by on street. Who are they? Where are they here? What do they want? Where are they from?… Questions are endless.

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Once you start looking, each person is so unique and interesting. And each corner of the street is filled with stories. I decided to document them. Not to cause attention, I mostly “shoot from hip”, and not worry too much about technical controls like composition, exposure, etc. The result is a set of photos that surprises me almost in every shot. It shows me how much I didn’t see while walking around the street, and how much I would have missed had I shot in a controlled manner, i.e., using my “sounding judgment” in taking photos. Each unplanned lighting and angle reveals some story behind. To preserve that sense of surprise and discovery, I choose to not processing and not weeding out much on those photos. They are presented like a mirror ball with many small facets, each reflects it’s own angle of the reality.

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This post might not seem to be directly related to dance photography, but it  is reflects my thinking about how to break boundaries in making image of  dancing, those boundaries imposed by our own knowledge, experience, and  aesthetic preference.

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Some thoughts,

Can we really make right choice for our future in life? Some research has indicated that the best choice is actually made by ask people who is old and has had a lot of life experience.

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We want to think that we can make right choice if we just think hard enough. But the situation is such that we rarely have all the necessary information to help us making decision, not to mention that future is highly uncertain. Some study in project development shows that, as you spend more time to plan ahead, the quality of planning initially will improve, but levels off at certain point. After that, surprisingly, the quality of planning goes down as you spend more time. The reason? Giving the uncertain nature of the future, there is probably not enough information available for making a more detailed plan. So insisting on more planning is just fooling yourself.

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The software industry discovered this in a painful way. At first, engineers thought they had full control of the future. The process choice for software development at the time was called “water-fall-model”. First, you do all the background research, then decide what you want to build, then make a perfect plan, then assemble, then test, then deploy. It all sounded very good except that you can never really know enough to make that perfect plan, unless, if you are the engineer god, Apple cofounder, Steve Wozniak. What happened to most of the project was that major risks were discovered late in the development, and the whole thing has to start over again.

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Engineers are quick learner. So the industrial process standard of today is called “Agile Process”. In this process, you no longer need to make that perfect plan to get started, you just need to have a OK plan, then you go, constantly re-evaluate and adjust your plan as soon as you have any major new information. This process acknowledges the fact that software making is a creative  activity, so its process is as much an art process as an engineering process.  When you make a piece of art, you usually don’t have a clear idea of what you  are making, often you don’t have any idea at all. The piece you are making  slowly takes on it’s own life, and you are there to help it grow. Engineering  process, on the other hand, appears to have a clear goal as well  as functionality requirement. This has been proven to be an illusion in modern  software development.

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So, letting some control go during a creative process allows room for newly available information to be incorporated. How about making itself. Do we really know everything to make every choices? We are probably limited more by what we know than what we don’t know. It took revolutionary thinking for physicists trained in classical physics to accept quantum physics. We usually see what we are looking and hear what we intend to hear. Much of the communication difficulty among people is not because we don’t
speak the same language, rather because our brain is highly selective in processing the information. MarketSFtemp (27 of 33)

So, is there a way to help us to break this limitation imposed by our own intelligence? This experiment suggests that if we let our control go, we might actually see more than we normally can. The world is full of fresh and interesting things. It’s just we always wear strongly colored filter glasses and only allow us to see certain spectrum.

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Sailing away

San Francisco based Zaccho Dance Theatre is currently showing a project, Sailing Away, on Market St between Powell and Battery, from Oct 7 to 10, 2010. The project reenact a painful page in San Francisco history. (Quote from the free newspaper distributed during the show) In 1858, hundreds of African Americans migrated from the “free state” of California where they faced discrimination, to British Columbia, Canada, for new life and opportunities.

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Several of my friends are dancing/acting in this performance. Market St has changed a lot over the one and half centuries. And people walking on the street has changed too. This fabulous site-specific performance pull the viewers right back to 150 years ago. To see more photos from this project, go to my facebook album:

Sailing Away

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Limitation is the mother of creativity, who is the father?

Hmmm, Limitation is the mother of creativity. That sounds strange. Isn’t creativity about being free?

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(Copious Dance Theater)

Yes and no. Creativity is about discovering patterns that previously haven’t been noticed. It means breaking the rule. So it is about creating freedom. And yet this freedom can not exist if it is too free. Complexity theory tells us that a system that is totally random is as complex as a rigid system. For example, imaging you have a bunch of sands in a box in a 0 gravity space. The free flowing sands represents a total randomness. Naively, we will think this is the most complex condition. But because each sand has no relation with the other, the total complexity (entropy) is the same as fixing them on a regular grid pattern, which is them simplest configuration.

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Now, imagining each sand particle starts to interact with it’s neighbor in certain way. Suddenly emergent pattern will occur, and the whole system will display high order behavior that is not possible if it is totally random. We see those effect in life all the time. Snow flake, flower, water wave, sound wave, or ultimately life and human being.

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(Labayen Dance/SF)

Those interactions between sand particles is a limitation on how the sand can move. Without those limitations sand particle will just move on it’s own mind. Those limitations made higher order behaviors (wave, wind, life) possible. So that is a very good hint on our human creativity. Our creativity can not exist in total randomness, or total freedom, it’s own possible when there is some sort of limitation.

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(Paco Gomes and Dancers)

When I shoot dance in a dark theatre, I found the own lens works well for me is 50mm 1.4. I have tried other lenses, like 24-70mm 2.8L. 35mm 2.0. 85mm 1.8. Somehow I always come back to 50mm 1.4 + EOS 5d. This has became a game for me. In how many different way can I use a 50mm standard lens? It turned out I benefit greatly from this process, a self imposed limitation.

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(Paco Gomes and Dancers)

50mm gives the most normal perspective on a full-frame body. The image it produce is the most natural to eye and thus least dramatic. It forces you to find drama and story from composition, angle and light. This has been a great exercise for me every time I take it to a theatre. How can I find the essence of dance through a 50mm lens.

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(Labayen Dance/SF)

There are some unexpected benefit of limiting myself to a single focal length. Since I don’t have to (can’t, really) zoom to change composition, I can easily pre-visualize the scene before picking up the camera. Which allows me to react to dance much faster. Dance usually happens very fast. 1/10th of second often determines a good photo from a useless one. Know when, where the action going to happen, and how the composition will be like before looking through the lens is a huge advantage in dance photography.

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(Paco Gomes)

Of cause with the modern camera technology you can shoot 8 frame/sec with a good camera. Which means as long as you keep shutter pressed you won’t miss a shoot. Well, imagining the time spent going through all the photos. Also consider the fact that a good (and unique) moment in dance performance comes often as a surprise, unless you are very familiar with the dance, or, are satisfied with common dance leaps, arabesque, attitude, etc.

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(Dance Wright Project)

So who is the father of creativity. I think it’s the desire to create. With out the drive to create, a limitation is just a limitation that frustrate you.

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(Paco Gomes and Dancers)

On a side note, limitation is a important part of creative process, it also make a strong influence on the baby created. Imagine driving a race car on desert bed, or racing a hummer against race cars on race track. Or, just imagine having a ballerina doing a funky hip hop move, or asking a fantastic street hip hop dancer to do a triple pirouette.

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(Paco Gomes and Dancers)

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Using iphone to photo dance

Can the camera on Iphone 4 be used for photoing dancing?

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Give monkey a camera, it can produce some very interesting image, so give human being a iphone camera, he/she must be able to shoot some interesting dance photos.

Iphone 4 back camera has 5 meg pixels, selective focus, and a large display for you to preview. It even has a tiny flash. The best part is that it is always with you.

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(Daiane and I ran into this huge ink painting outside of Shanghai modern art museum. Thanks to the constant availability of iphone, we were able to quickly snap these shots, the light is very harsh and strong, I don’t think a professional SLR will do much better in this situation. Unless you use flash fill. Daiane, the most beautiful Chinese girl dressed in traditional Qi Pao, was very inspired by this painting. An on-site improv was not unavoidable.)


With iphone camera you can’t adjust aperture, shutter speed, and you can’t prefocus. Also 5 meg pixels is obviously over kill for that tiny lens and sensor. And of cause, the low light performance is no where near adequate, unless the moody motion blur is what you are after. But after seeing every photo displays the same blur, you kind of want to have to an option of getting a clear shot.

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When Paco Gomes & Dancers did a on-site performance in Jao Jou Saloon in Oakland, we need to take some photos, but I didn’t have a “real” camera with me. So again, iphone was there to save the night. With some experiment, I was able to get decent percentage of sharp shorts, at least look sharp at iphone screen resolution.

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I actually appreciate the simplicity of iphone camera. By limiting your technical options, it forces you to compose and plan more creatively. It makes everything more spontaneous.

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Iphone camera is unique because it is always available, produces decent image quality, encourages spontaneity,  and it has a lot of limitations. I think it deserve some serious exploration for using in dance photography.

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Very often, a limitation is also an opportunity for something fresh and creative. You just need to approach it with an playful mind. Like a monkey.

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Give monkey camera

Question: give monkey a typewriter, how along will it take for it to produce a meaningful article?

Answer: you will have to wait couple millions of years for monkey to evolve into next human race.

What if you give monkey a camera? Chances are you will see interesting images pretty soon. You will see images that challenge your perspective and your imagination. So often we settle into a way of “doing things” and it become very hard to see things from different angle.

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To understand means we have to use our language. Language is acquired and is deeply entangled with culture and society. Our language gives our power to understand and connect, but it also is our biggest limitation. We can not even see something that we have no concept over.

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To look from a different angle means to give up what we already know. This letting go is probably more difficult than learning. If you don’t believe it, try to forget what you just read in this blog. The very effort of trying to forget reinforce your knowledge of the existence of this blog. Or, maybe, try to forget your own name.

So, to help us letting go and discover something new, we might need to learn from monkey. We will have to “just playing around”, making all sorts of “mistakes”, and see what happens. This is a scary process since you have no idea what is going to come out.

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Of cause, monkey have no idea what their pictures “mean”. We, on the other hand, monkey around, and “pick” those images that interest us. So are we still bounded by our language and knowledge?

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That is probably why so many great artists had to be recognized long after they are dead. They happened to monkeyed into something that way beyond the understanding of the time.

Related album on Facebook

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Infrared Dance Photography

In the old days, infrared photography implies keeping the films refrigerated, changing the film inside a dark bag, and hoping there is no artificial mark produced by camera. And you never know what will come out (that might be a blessing, come to thinking about it), Digital SLR made infrared photography infinitely easier.

(Dancer: Olivia Eng, from Paco Gomes & Dancers)

Although you can put a infrared filter in front of the lens, this usually results in super long exposure, which is a problem in dance photography. A modified digital SLR serves much better. By putting a infrared filter inside the camera, right before the sensor, you can see what you are shooting, adjust by taking a test shot, and shooting at fast shutter speed.

(Dancers: Nina Fischer, Olivia Eng, from Paco Gomes & Dancers)

For infrared photo, you pretty much want to shoot in RAW format only. Once you bring the image to Photoshop, you will want to do a channel swapping to get rid off the red cast, and make the color close to normal. There is something mysterious about making a photo almost real, but not quite real.

(Dancer: Mari Takahashi)

Infrared turns the sky into deep dark, water into black hole, grass into dreamy white. It creates a perfect stage with dramatic light for dancers.

(Dancer: Mari Takahashi)

Infrared and dance photography seems to work very well together. Both distort or exaggerate the reality. Together they really enhance the surreal feeling. It’s like inside a dream.

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Lines Ballet Training Program at mint

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The kick off event for 24 days of Central Market Arts lasted three days over the weekend of September 26, 2010 at the Mint Plaza in downtown San Francisco. Mint Plaza is a historical location. In the old days the Mint building is the place hosting the gold deposit of San Francisco. Inside the building, you can still see those heavy duty vaults.

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On Sunday, students from Lines Ballet Training Program did a location specific performance using the windows on the Mint building. The students are energetic, out going and expressive. Perfect for my hungry lens.

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It was in the middle of afternoon, high and direct sunlight presents a challenge for lighting. Those windows are under the shade. The light is very flat. Under such light, there is little difference between an infrared shot and a regular BW shot. But infrared adds a touch of dreaminess.

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As sun dropped a bit lower, the shadow from building on the south casted a strong shadow across the wall, and lighting became very dramatic. Now, it’s getting really fun.

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I had a Canon 5D and a Rebel XS with me for the event. Picked up Rebel XS just the day before from craigslist as a back up camera. But I found myself using Rebel XS most of the time because of EF-s 10-22 lens I had with me.

Many photographers like to use long zoom. The most popular lens for sports and wild animal photography seems to be canon 70-200 f2.4L. In fact this is THE lens that converted many photographers from Nikon camp to Canon. What this lens does for a photographer is to pull the subject close to him/her, and gets very personal. The experience amplifies when it’s up close and personal. Well, what if you can physically get up close and personal? That is exactly what 10-22 does for you. I love this lens tremendously for it’s call to get physically up close and personal.

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When you shoot with this lens, you are so close to your subject that you have to be physically part of the action. Things gets very unpredictable when shooting that way. But that is the fun part of a creative process.

To see more photos of this event, go to my Facebook Album.

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Photo-ing environmental dancing

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More often these days, dances are performed in a environmental setting rather than on a stage inside a theatre. We have so used to quietly listening to a concert or watching a ballet inside a magnificently built theatre, and never realize that this is rather a new setting for enjoying music and dance. Traditionally (hundreds or thousands of years ago), there was no boundary between performer and spectators. Everybody is a participant. And professional dancers and musicians didn’t really existed at the time.

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As human society evolves over the past few thousands of years, skills and jobs are becoming more and more specialized, so does music and dance. Slowly dance (or at least part of it) became a profession, and spectators became more and more passive. In fact, jumping up and down to express your joy while watching a dance performance is considered unacceptable behavior.

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So dancing in a environmental setting is kind of going back to it’s tradition, except there is still a clear boundary between performers and spectators. Nevertheless, it pulls the audiences so close to dancers, that they receive a heightened experience that not likely to be possible in a theatre. Unlike in a theatre though, there is not a acceptable code of behavior for audience on the street.

Sometime breaking the boundary is very much the same as going back to the tradition.

(Above photos are from Kunst-Stoff dancing on Market St in San Francisco, August 2010. Dancers in the photos are Daiane, Chin-Chin, Daniel)

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Dance Photography Blog

Welcome to my Dance Photography Blog. The Blog is dedicated to the techniques and artistry involved with Dance Photography.

What made Dance Photography difficult? Well, like sports photography, dancers are usually moving very fast, unlike most sports photography,  dancers changes direction frequently and unexpectedly, and yes, the light is usually very dim, and change very fast.

Difficulties in dance photography includes: hard to focus, long shutter-lag (due to focus time), too many things to think about, auto exposure easily fooled by the background, lighting changes too fast, not enough light to stop the movement, etc.

The more frequent compliant is that the photos are usually come out fuzzy. My solution to that is pre-focus. My equipment of choice is Canon 5D with 50mm f1.4. And I shift focus from shutter to AE lock button using CF. This allow me to anticipate the location of action, pre-focus and fire away without shutter-lag.

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