In time, most photographers turn to video as the next logical step in their careers. Not so with Los Angeles-based Erik Voake. In fact, he did the opposite. At 19 he was already directing and producing indie films and videos about off-road racing, skiing, freestyle motocross, snowmobiling, snowboarding, and other action sports.
Other professional accomplishments he’s amassed include being a co-Producer and Director of Photography on the Lionsgate film “A Day in the Life”, a film dubbed a “hip hopera” staring Mekhi Phifer, Omar Epps, Michael Rapaport, and directed by Sticky Fingaz from ONYX. He was also DP on Larry Clark’s ‘Impaled’, a documentary about the effects of pornography on youths’ sex lives, and he recently produced and filmed a documentary titled “Jonathon” that was screened at the Museum of Modern Art in Paris.
‘Mac Demarco’ – Copyright Erik Voake / Red Bull Content Pool
On TV, Voake created the cable reality series “Crusty’s Dirt Demons” a show about the exploits of motocross riders that aired for two seasons on FUSE Networks. But despite his success in the motion picture and TV universe, something was amiss.
‘Flume’ – Copyright Erik Voake / Red Bull Content Pool
In 2006, not long after seeing the James Nachtwey film documentary – ‘War Photographer’, Voake was offered the opportunity to travel to Bagdad and shoot a documentary on the first deployment of the ‘Band of Brothers’ since World War II (a.k.a. the 506th Parachute Infantry Regiment, 101st Airborne Division, US Army). Sponsored by Sony, it also gave Erik an opportunity to follow the advice of his friend and mentor, photographer Larry Clark, who was urging him to always carry a camera with him because of all of the places he travels and the people he meets. According to Erik, Clark’s advice changed his life.
The still images he captured in Iraq resulted in his first gallery show, which he scrambled to assemble after selling the gallery owner on the idea of a show about the fabled Roxy Theatre. (The gallery owner loved the pictures from Iraq but doubted they were the kinds of images his clientele would want to hang on their walls.)
‘Smashing Pumpkins’ – Copyright Erik Voake / Red Bull Content Pool
It was during this time Voake began appreciating the value of traveling light and nimble. Backstage venues are dark, which means you need light, but too much light can be intimidating when you’re trying to gain the trust and confidence of musicians and the lot.
About a week after posting a picture he shot of a band named ‘Chelsea Girl’ on Flickr, Erik got a call from Spin Magazine. They wanted to buy the picture. One thing led to another and before he knew it, Voake had talked them into an assignment photographing a music festival in nearby Michigan, which in turn led to a gig shooting Lollapalooza and the South-by-Southwest music festival. That was in 2009 and Erik Voake has been a music shooter ever since.
Copyright Erik Voake / Red Bull Content Pool
“I’m a photographer – not a director, not a producer, I’m a photographer – I’m exactly where I’m supposed to be. My mom was an art teacher, and she told me when I started taking pictures, I finally came into my own. When I picked up a camera… I became Erik Voake.”
Voake began shooting portraits of many of the performers he met along the way. His lighting style is of the ‘less is more’ school and he tends to minimize his lights to a ring light or for larger, softer swaths of light, a beauty dish (“Nothing beats a beauty dish”).
Copyright Erik Voake / Red Bull Content Pool
For backstage shooting he relies on Canon Speedlites. And for syncing his cameras and lights, Erik Voake relies on his PocketWizard Plus II radio triggers. “PocketWizards radio triggers are all I use and all I need. They work every time. Period.” (Note: The Plus II has been replaced by the Plus III Transceiver)
One of Voakes niftier gigs these days is being an official photographer for all of the Red Bull Music Concerts, which feature some of the biggest bands around. A particularly cool thing about working directly for Red Bull is that he has the run of the arena, and in particular, a green light to set up lights around the stage pre-show rather than have to deal with on-camera flash, or more troubling stage lighting, which can change quickly, wildly, and flippantly.
By rigging the stage and syncing through his PocketWizard radio triggers, Erik is able to guarantee his results. And that’s not easy to do on the concert circuit.
‘Tapioca and the Flea’ – Copyright Erik Voake / Red Bull Content Pool
Another noteworthy detail about shooting the Red Bull Concerts, is that since Red Bull was a private sponsor and was paying the bills, Voake was able to break the number one rule of concert photography, specifically – ‘No flash for the first three songs!’
As Erik Voake summed it up, “We made music history. We were able to break the ‘first three song rule’, and we got some amazing pictures along the way. At first everybody was ‘Hey, what’s up?’, but it all settled rather quickly and everyone including the musicians notice the difference in lighting quality. And he gives much credit to his PocketWizard wireless triggers for pulling it all off.”
To see more of Erik Voake’s photographic work visit his website.
All images, videos, and quotes in this post are used with permission and © Erik Voake, all rights reserved; story is ©PocketWizard. Please respect and support photographers’ rights. Feel free to link to this blog post, but please do not replicate or repost elsewhere without written permission.