I was leaning on a railing backstage, camera in hand, trying to control my anxiety while waiting for the Rolling Stones to arrive and get some candid shots of them walking to their dressing rooms.
Mark Huckel, a changeover crew co-worker and close friend, stood next to me. The back hallways were illuminated by overhead fluorescent lights, spaced about ten feet apart, creating arc-light patterns of intermittent shadows and brightly lit areas on the cinderblock walls.
The Stones were here. As they approached I raised my camera and started shooting. I got a nice shot (in focus, too) of Jagger dancing up the ramp, but after processing the film, I discovered, unfortunately, that Jagger’s left hand was blocking his face.
This photo was taken several seconds after the “dancing” photo. I was about two feet away from him when I captured this image. My Pentax Spotmeter camera was set at F.28 and 1/15 shutter speed, using Kodak Ecktachrome Daylight film, pushed one stop to 800 ASA. Fluorescent lights and daylight film create a green cast on the walls.
As I was taking pictures, I said, “Great show last night, Mick!” He’s seen here turning toward me when replying: “Thank you.”
This was an extremely challenging photo opportunity. My 50mm was too large, too, slow and I didn’t have much experience using a camera that I had purchased only five months earlier.
After capturing their arrival, and subsequent walk to the stage, I zipped up to the third level for shots of the star-shaped lotus leaf stage, as the Stones began singing “Honky Tonk Women.” The rest of the night, I ran from section to section capturing various views of the show.
Keith Richard’s personal assistant and longtime Rolling Stones photographer, Jane Rose, is seen recording a video of Keith Richards‘ greeting to Cleveland on her iPhone as he boards a plane in Philadelphia. The video captures Richards saying, “Hello Cleveland, we’re on the way.” It was posted on Twitter/X immediately afterward. Click the link below to view the video:
As I was scrolling through my Twitter account, I came across this video. The clip shows Keith boarding the plane from Jane Rose’s perspective with Keith’s upper body filling most of the frame, making it difficult to determine where the video was recorded from. Aside from the clothes he’s wearing, I recognized a bluish/grey building in the background that appeared momentarily. I repeatedly viewed the clip and confirmed it was from Philly and I may have captured this moment.
I looked through the hundreds of photos that I shot at the aviation terminal and found this photo. I enlarged nearly 500-percent and cropped in. I saw a figure in the shadows holding an iPhone. I hit the jackpot! This was the exact moment when Jane Rose recorded the video. I lightened her in a photo editing program and published it as a response to Keith Richards’ original post.
I was surprised the next day when I received a “FOLLOWING YOU” notice from Keith Richards’ management. It was a wonderful week.
NOTES: Mick Jagger and the Rolling Stones at the Spectrum 49 years ago today.. Photo was taken from the first row. I was standing on a red cloth-covered seat, balancing myself on the front edge, so it didn’t collapse on the rear where there was no weight support.
I was next to screaming, clapping and dancing fans, knocking into me all night. I was knocked off the chair several times. Getting good shots was challenging. Getting great shots was a matter of luck. as I had only been using a camera five months. I got five LUCKY pics. Among them, Jagger’s leap with legs extended horizontally, featured in the “God Bless the Spectrum” book. The above photo is one of my clunkers, given life via AI ediing programs.
I used a Pentax single-lens-reflex camera. There was no auto-focus, no auto-advancing, no 20 frames-per second, and no way to judge exposure until the film was developed. I shot about 9 rolls of film during their two nights in Philly (36 shots to a roll). Essentially, I was limited to 1 frame every 3 seconds after advancing and refocusing.
I used both tungsten and daylight-balanced films (kodak ektachrome, pushing them two and one stops respectively). Daylight under red lighting was a washout. Tungsten shot under white lighting created a blueish tint.
I owned two lenses: a 50 mm, 2.8 that came with the camera and a 200mm f4, vivitar lens that was incredible. Sometimes when using the 200mm Jagger was too close to focus about ten-feet away when leaning forward in front of me. What a problem: the subject being TOO CLOSE.
Interesting Tid Bit: Local South Philly resident and Philadelphia policeman, Mike Stermal, led the police escort of the Stones arrival in Philly. They drove in from New York. Ronnie Wood sat in the front seat of the jeep with officer Stermal, and asked for a badge. Stermal found him one. Mike also worked at the Spectrum in security and ushering when not policing.
KEITH RICHARDS BACKSTAGE SPECTRUM ARENA: (June 29, 1975)
PHOTO: This photo was taken nearly 50 years ago. The technology for capturing images was extremely limited by low speed films. I was using a 50mm-2.8 lens, no motor drive, no autofocus, iso 320 tungsten transparancey film. I had only been taking photos a few months before this night. Shutter speed was a 15th of sec. I was also too close to focus, as the picture above illustrates. I have never used this photo previously. It was in my outtakes collection, but I’ve realized the historical significance of the shot makes it worthwhile to post.
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