This story about Paul McCartney begins with one of his old bandmates. "I'm not really Beatle George," the ever-philosophical George Harrison once said. "For me, Beatle George was a suit or a shirt that I once wore. And the only problem is, for the rest of my life, people are going to look at that shirt and mistake it for me."
On one hand, that’s, well, George being George. But his quote does speak to our need to mythologize the Beatles. It’s hard not to! The music is so exquisite, influential and timeless that we look for grand stories to tell about it. We want a stronger connection to it, so we pore over biographies, interviews and documentaries. We seek meaning and purpose in their story.
Still, it must be surreal to be one of the four protagonists of that story. At some point, the narrative takes on a life of its own that may not reflect your experience. McCartney alluded to that in the 2013 song "Early Days." "Now everybody seems to have their own opinion on who did this and who did that," he sang. "But as for me, I don't see how they can remember when they weren't where it was at."
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So, I’ll try not to mythologize the Beatles too much as I describe my experience photographing Sir Paul McCartney last month. I will, of course, fail spectacularly at that mission.
The crowd ranged from seniors to teens in Sgt. Pepper costumes. (Will Shanklin for Engadget)
Months before I watched him play for nearly three hours in front of 15,000 fans (at age 83!) at Albuquerque’s Isleta Amphitheater, I sent a press request to his team. A few days before the concert, I learned that my photography pass had been approved. Once it sank in, I screamed and giggled, not unlike the teenagers in Ed Sullivan's audience. (Don't judge those gals until you've been near a Beatle!)
But there wasn’t much time to soak up the excitement. Without any real cameras on hand — my iPhone 17 Pro certainly wasn’t going to cut it — and only a few days to prepare, some quick decisions were in order. After enough internal debate to make my head spin off its axis, I settled on an oddball combination. For the body, I went with the Canon EOS R50, an ultra-compact mirrorless with a 24-megapixel APS-C sensor.
Was it the best one available? Not at all. But instead of renting a $3,000 camera, I decided to buy something in my budget that I'll enjoy using for years. I'd already eyed it after handling a display model and reading Steve Dent's review. Plus, it created a fun challenge: How can a sub-$800 consumer-facing camera stand up to the unique demands of concert photography?
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