Rick Ross and Orchestra Noir are ready for their big night
To help create imagery that would represent a Black orchestra, and a hip-hop legend made this a no-brainer project to take on.
Your portfolio is amazing. What about this project intrigued you?
Thank you for your kind words. This project was exciting because I resonate with the high-quality cover imagery that I see Red Bull consistently put out in the magazine. So finally being able to share my work with you is a blessing. Additionally, the specifics of this project hold weight for me. To help create imagery that would represent a Black orchestra, and a hip-hop legend made this a no-brainer project to take on.
The solo portraits of Rick Ross are real boss shots. How was he to work with?
He’s 100% a professional. He recognized his role on set just as I did. There was a mutual respect for one another that went without saying. When shooting his solos, I literally had 5 minutes of his time. I’m glad that I pre-lit 4 scenarios anticipating that this would happen. I could tell that both he and Maestro appreciated that as it respected their time. When shooting the BTS and he needed a moment to reset, I took my camera down to offer privacy. And when we were shooting, he provided the same respect through eye contact, smiles, and micro-adjustments to my camera from my simple gestures and guidance on posture.
Rick Ross
© Stephanie Eley
Did he have any creative input on his photos?
We had a unique unspoken exchange of energy that was happening on set. While he did not directly state what he wanted, I felt connected on when to capture a moment. I was looking for opportunities that would present him in the best light possible, but also stay connected to The Boss brand that we all know.
Is it tricky to take photos of people who are in-motion? For example, when Orchestra Noir are playing their instruments?
This does present its own challenges, which is different from the stylized solo shots that I am known for. But this is the challenge that keeps you sharp in photography. It’s like getting back on the court after spraining your ankle. Muscle memory comes into play and it challenges me to read a room's lighting conditions on the fly and adjust accordingly. I love technical challenges, it keeps me engaged. And in the end, I get excited to see the story that was shaped through my lens. I feel that having opportunities to shoot both documentary and stylized imagery offers a well-rounded perspective of what was happening on set for the viewers.
Rick Ross and Orchestra Noir during a photoshoot for Red Bull Symphonic ATL
© Stephanie Eley
How was the energy in the room when you were taking photos?
Chaotic because we were in tight spaces, but light-hearted as we all saw the humor in stumbling over one another. Pride, because we were a predominantly multi-cultural production crew, and more than anything it was professional and respectful. Everyone knew why they were there, what to do, and executed their tasks quite seamlessly.
Was Rick Ross and Orchestra Noir practicing and performing as if it was the actual event?
Leading up to Maestro and Rick coming on set, the orchestra was practicing as usual. When Maestro and Rick arrived on set, they were doing specific scenes for the commercial, but the energy was authentic. There was excitement for those in front of the camera and behind the camera about what we were a part of.
What camera did you use for the photoshoot? And how long did it take?
Nikon Z7 II. I was there for a full day, loading in, scouting the location, testing the lighting, shooting, and breakdown. But with Rick or Maestro in front of my camera for solo portraits, maybe a total of 30 minutes. The rest of the time I spent trailing the talent creating documentary imagery of what they were experiencing.
Jason Ikeem Rodgers, Maestro for Orchestra Noir
© Stephanie Eley
How would you describe your style as a photographer?
Technically stylized with a serendipitous practice. I like to establish a plan, and then leave space for wonder to unfold in front of the camera.
Was there anything challenging about this photoshoot?
Time restrictions with talent. When shooting alongside a film crew you have to make space for them to execute what’s needed and know when to pop in to grab what you also need.
Did the indoor lighting affect much?
Not particularly, this is the benefit of when in tandem with a film crew. Their grip and the electric team are generally already addressing what the practical lighting is doing and they are altering it to their needs. So the challenge when shooting BTS for film is how to get creative angles and how to manipulate your camera settings to convey the mood you want, which may be different than what they have lit for.
Rick Ross
© Stephanie Eley
Do you have a favorite photo from that day?
My favorite shot is the one of Rick Ross sitting on the red velvet couch by himself. I love the detail that you see on his face - the tattoos and the bling on his glasses. I also love the texture and depth that was happening from the fall off from my lights on the environment. It’s definitely one for the portfolio!
