The gear I used to photograph Paul McCartney

This story about Paul McCartney begins with one of his old clothes. “I don’t get beat by George,” the ever-present George Harrison once said. “To me, Beatle George was a taxi or a shirt I wear. And the only problem is, for the rest of my life, people will look at that.”

On the other hand, that’s, of course, George being George. But his measure speaks to our need to discover the Beatles. It’s hard to say! The music is so happy, so impactful and so timeless that we look for good stories to tell. We want a strong connection to it, so we include biographies, interviews and articles. We seek meaning and purpose in their story.

However, it should be sure to be one of the four antagonists of this story. At some point, the narrative takes on a life of its own that may not reflect your knowledge. McCartney referenced that with the 2013 song “Early Days.” “Now everybody seems to have their own opinion about who did this and who did that,” he sang. As for me, I don’t see how they can remember when they weren’t where it was. “

Therefore, I will try to minimize the Beatles as much as I describe my experience photographing Sir Paul McCartney last month. Of course, I can’t watch that job.

Months before I watched him play for almost three hours in front of 15,000 fans (at the age of 83!) at ALLuquerque’s IslaquerQuable, I sent a press request to his team. A few days before the concert, I learned that my photo pass was approved. Once we got in, I screamed and got on board, not unlike young Ed Sulliva viewers. (Don’t judge those gals until you get near the fireplace!)

But there wasn’t much time for happiness. Without real cameras – the iPhone 17 Pro certainly wouldn’t have helped – and with just a few days to prepare, some quick decisions were in order. After enough debate to get my head out of its rut, I settled on an oddball combination. Physically, I went with the Canon EOS R50, an ultra-compact unit with a 24-Megapixel APS-C sensor.

Was it the best thing available? Not at all. But instead of renting a $3,000 camera, I decided to buy something within my budget that I will enjoy using for years. I’m about to see after handling the demo model and reading Steve Dent’s review. And, it created an interesting challenge: How can a camera of 8,800 consumers cope with the unique demands of making concert photos?

On the other hand, the lens is not a place for confusion. So I rented the Canon EF 70-200mm f / 2.8 l by USM, a gargantuan, single telephoto. (It’s the founder of this $2,399 One.) The choice was easy: It was the most suitable lens available for rent. It maintains sharpness and contrast in its long range, its autofocus is fast and the F / 2.8 aperture is essential for the unique demands of stage lighting.

Put a small camera and a large lens together (around $38), and you get the odd couple you see below. To say this to a former sucker would be an understatement.

Camera in hand (and Beatles Hoodie on), I took my position in the press pen. The photo booth was 150 meters from the stage and did not allow for the following movements, so ideas for creative compositions were put aside. My only option was to push that glass out 200mm (or thereabouts) and fire away. Save those ideas for creation when it’s time to burn.

When you photograph someone who likes Sir Paul, you really want a photo that captures the man and the artist, but that’s a bigger problem than life. It should be something beautiful that you would want to hang on your wall. No pressure!

Sor Paul’s first rate was John Lennon – a real help “!” Until this year’s leg of He came back On tour, McCartney hasn’t played a full song since 1990. We can think of his reasons for taking it out of his bag now. But I feel that desperate pleas are gaining a new sensitivity in 2025. I can’t count the times I want to cry at someone – anyone! – To “please help me” after reading the news.

We were immediately driven together that I was glad I was wearing these $16 kneepads under my jeans. When the crowd in front of us settled down a bit, I knelt down and offered my photographer to be thrown into the living room. My right knee bounces with pleasure against the cool leg pillow.

With one track left, the R50’s burst mode went into action. The stock canon battery was still going strong, but I had two of these from the third party packed in this camera bag to swap out if necessary. (I didn’t end up needing them, even though I snapped 600 photos.)

McCartney transitioned into his second number, “Coming,” the first track from 1980 McCartney II. Those ll were ahead of their time, embracing changes, drum machines and other studio tricks before they became commonplace. Modern critics didn’t care much, but later it became a cult. That combination shows something about his solo work: it was constantly tested, sometimes not yet understood, but finally confirmed.

Two songs were over in a flash. Macca faced the crowd, and photo time was over. I left my camera safely, and they said the remote chair I borrowed long before I knew I would get access.

McCartney’s set included a perfect balance of beatles, wings and solo numbers. . But he moved on to Piano, acoustic and electric strings and ukulele. The latter was due to his excellent interpretation of Harrison’s “something.

That number wasn’t the only point that moved me. Most notably where he met Lennon “I have a feeling.” Today’s McCartney sings in 1969 Lennon, who appeared on the big screen above (with the restored roof concert inside go back), it was complicated. “I like that because I also sing with John,” she said.

Sir Paul strikes me as someone who is always looking forward. But He came back Travel is an opportunity to look back. It allows us, the fans of romance, to join him on the long and winding road from Germen to today. The whole production made me feel like a passenger on his journey.

I could go on. But you don’t need to raise Paul McCartney’s legacy any more than you need to explain Michael Jordan’s basketball skills. Listen to the music – and catch his tour if you can – and you’ll hear it.

As for the pictures, my favorite is the one above this article. (I’ve also included a color version in the gallery below.) They are the only ones that (to me) capture this man, Artist and legend as he plays his Höfner Bass. Of the more than 600 photos shot quickly, one that feels good is good enough.

But even if they all suck, who cares! Decades from now, I will tell everyone in the old people’s home that, when I was young (and my heart was an open book), I found pictures of Sir McCartney. The story can grow a lot higher by then, and maybe I’ll create new details. But maybe I can be a little forgiven.