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A different set of rehearsals...
divamum
Registered Users Posts: 9,021 Major grins
This could either go into People or here at Street/PJ, but given my recent postings I decided to put it here - mods, feel free to move if you choose :thumb
Got back into town Monday, and yesterday morning got a message from my friends who started the concert opera company asking if I'd shoot their dress rehearsal Tuesday night. Happy to do so, but whoosh - talk about switching hats on the fly!
Some of you may recall the last time I shot for them, at the dress rehearsal for their inaugral production. They had one (one) lantern, and that had a red gel on it - it was pretty much like shooting in a cave.
So, back I went last night. While the lighting has thankfully been improved, it's still not full stage lighting, and required the xsi to be at 1600 most of the time (have I mentioned recently how much I would love a 5dII for these shoots? Mamma mia what a difference useable 3200 would make....) HOWEVER... some observations on that front:
- better exposure = minimal noise, even at high ISO's. Yes, y'all have been telling me that for ages, but I'm finally figuring out HOW to do it, and it's twue, it's twue!!
- Interestingly, now that I"m shooting manual 80% of the time I find I need to use my spot meter even more - I actually overexposed a few series by not paying attention to WHERE I was metering (and simply assuming that I'd need more light, when in fact I needed to ensure I didn't blow out the hotspots). Live and learn.
Full gallery is here if anybody wants a look, but below are a few. My biggest challenge was actually not so much technical, but that the performers weren't really focusing on communication and expression, thus a lot of the shots are rather dull. I did want to try and get a feel for the surroundings and the WHOLE ambience rather than just them; not sure if I managed it, but it was kinda fun to try (blame the wedding photographers - they've spoiled me for life :rofl)
These were shot mostly with the 135L and 50 1.4; a few were the 100f2.
1. I always try to use those mirrored doors at this venue - I just think they're cool
2. I love the moulding/decor of this place - it's a tiny little jewel of a performance space
3. Could'nt decide whether to crop Maestro's head out or not :scratch
4a The very pregnant soprano
4b
5. More maestro - I'm diggin' the bokeh lights (have no idea what they are!)
6. So much about this one that's "wrong", but I still really like it
Got back into town Monday, and yesterday morning got a message from my friends who started the concert opera company asking if I'd shoot their dress rehearsal Tuesday night. Happy to do so, but whoosh - talk about switching hats on the fly!
Some of you may recall the last time I shot for them, at the dress rehearsal for their inaugral production. They had one (one) lantern, and that had a red gel on it - it was pretty much like shooting in a cave.
So, back I went last night. While the lighting has thankfully been improved, it's still not full stage lighting, and required the xsi to be at 1600 most of the time (have I mentioned recently how much I would love a 5dII for these shoots? Mamma mia what a difference useable 3200 would make....) HOWEVER... some observations on that front:
- better exposure = minimal noise, even at high ISO's. Yes, y'all have been telling me that for ages, but I'm finally figuring out HOW to do it, and it's twue, it's twue!!
- Interestingly, now that I"m shooting manual 80% of the time I find I need to use my spot meter even more - I actually overexposed a few series by not paying attention to WHERE I was metering (and simply assuming that I'd need more light, when in fact I needed to ensure I didn't blow out the hotspots). Live and learn.
Full gallery is here if anybody wants a look, but below are a few. My biggest challenge was actually not so much technical, but that the performers weren't really focusing on communication and expression, thus a lot of the shots are rather dull. I did want to try and get a feel for the surroundings and the WHOLE ambience rather than just them; not sure if I managed it, but it was kinda fun to try (blame the wedding photographers - they've spoiled me for life :rofl)
These were shot mostly with the 135L and 50 1.4; a few were the 100f2.
1. I always try to use those mirrored doors at this venue - I just think they're cool
2. I love the moulding/decor of this place - it's a tiny little jewel of a performance space
3. Could'nt decide whether to crop Maestro's head out or not :scratch
4a The very pregnant soprano
4b
5. More maestro - I'm diggin' the bokeh lights (have no idea what they are!)
6. So much about this one that's "wrong", but I still really like it
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Maybe the lack of response is because the photographs are in color?
4a and 4b are a wonderful set. The expressions are priceless. My absolute favorite is 4b.
I enjoyed seeing the candid portraits: I especially like 5 and 6.
#2 and #3 are the least interesting to me, except as part of a story. I'd be tempted to crop #2 horizontally to get the singer's upper body and facial expression as well as the attractive molding. #3 is just too far away from the people to keep my attention for long. I think that the participants, however, will love it.
On 3, I wouldn't crop out the maetro's head, but I do wish there were more of him in the frame - recognizing that framing to include the sous-titres (how does one say this in English?) dictated the cutoff at the bottom of the photo.
It has been such fun to enter your world. Please keep the pictures coming!!
Virginia
"A photograph is a secret about a secret. The more it tells you, the less you know." Diane Arbus
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Well, here are a couple in BW just to keep the tone of the group ....
(I actually converted ALL the ones of hte pianist, since he was bathed in a blue-gelled light which just wouldn't play ball with any WBing I tried)
Thanks Virginia! #3 isn't really a "photographer's shot", but it IS important to catch those wider views for the company, I think - they can use a shot like that to show the (historic) venue being used as it was designed (instead of for weddings/functions - Blurmore has shot there, I believe, and that is probably the more common use of the room!), and generally helps the production look "complete". Of course, as a 'tog I greatly prefer the expression shots - in this case, the conductor shots, since he was in just the right spot to have interesting light and also to enable me to catch some details around him too.
What's really nice is that they have now asked me to do ALL of their dress rehearsals (my availability permitting), which is pretty neat. Also, having now done this venue twice and several other performance gigs since... it's actually getting "easy" - in that... I knew what to do, how to use the surroundings, and how to tweak my settings. I don't claim to have it mastered yet, but experience sure builds some confidence and a better skillset!
Nice b& white conversions -- but you know I was only teasing, right?
Virginia
"A photograph is a secret about a secret. The more it tells you, the less you know." Diane Arbus
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Well, I know YOU were teasing. Can't vouch for BD, of course (KIDDING!! KIDDING!! Just playing in return!!!!