Karma: Under Blue Light

Stage sweat and blue light. Hands on strings, mouth on mic, everything moving. Black and white for grit, color for the wash. Ten frames from the pit where the sound hits your chest. Karma played loud and physical — the kind of show where the singer crouches into the crowd and the guitarist bends over the fretboard like he's trying to crawl inside it. The venue was tight, the lighting was mostly blue and yellow washes with occasional rim light cutting through the haze. No pit pass, no elevated platform — just finding gaps between raised phones and staying on your feet. The set alternates between monochrome and color, and the choice was always about what the frame needed. The B&W shots strip the spectacle back to gesture and shape — the singer mid-scream, the guitarist's hands frozen on the neck. The color shots hold the atmosphere — that specific blue that turns sweat into something cinematic, the way the stage lights painted the drum kit gold. Technically it was all low-key lighting with rim light doing the heavy lifting. Fast shooting, trusting the exposure, moving on. In live settings the moment you stop to chimp is the moment you miss the next shot. The camera stays at eye level and you shoot through the gaps. Fifty-two frames survived the edit from a set that generated thousands of exposures. The ones that hold up are the ones where the energy in the room and the angle of the lens lined up for a fraction of a second. "That blue light really popped when he hit the high notes – I think I got the energy of the whole room in those shots, even with the tight space."