Concert Opera Redux
(I wasn't sure where to post this initially and went with PJ where it has died a death, so am resurrecting it over here - possibly more fitting since the first gig I did for these folks was also shared here in People. Sorry for those who've already seen them, and apologies if I've breached a no-cross-posting rule somewhere...)
C&C welcomed!
Got back into town Monday, and Tuesday morning got a message from my friends who started the concert opera company asking if I'd come down and 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 (that would be one, singular, uno) 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 on a camera not really known for its stellar noise performance. 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!! I still have to crank up noise reduction in post and when I look at 100% am very aware of the noise and/or noise suppression, but at the sizes they'll be viewed I'm confident they're fine. But Santa, pretty please can I have a better low-light camera soon?????????!!
- 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. Expose to the right but not TOO far to the right.... :rofl
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, esspecially since by definition "concert" opera is in street clothes without set/staging/movement etc. 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
2a. This guy - the title character - was almost always out of the light! Partly where he was standing onstage, partly his height (the lights were focused too low, sadly, hence the bad backshadows). He had some decent facial expressions though, so I tried to do what I could with those despite the shadowing and need to add fill (=noise)
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 red bokeh lights (have no idea what they are!)
6. So much about this one that's "wrong", but I still really like it
C&C welcomed!
Got back into town Monday, and Tuesday morning got a message from my friends who started the concert opera company asking if I'd come down and 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 (that would be one, singular, uno) 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 on a camera not really known for its stellar noise performance. 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!! I still have to crank up noise reduction in post and when I look at 100% am very aware of the noise and/or noise suppression, but at the sizes they'll be viewed I'm confident they're fine. But Santa, pretty please can I have a better low-light camera soon?????????!!
- 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. Expose to the right but not TOO far to the right.... :rofl
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, esspecially since by definition "concert" opera is in street clothes without set/staging/movement etc. 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
2a. This guy - the title character - was almost always out of the light! Partly where he was standing onstage, partly his height (the lights were focused too low, sadly, hence the bad backshadows). He had some decent facial expressions though, so I tried to do what I could with those despite the shadowing and need to add fill (=noise)
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 red 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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My favorites are of the pregnant soprano. I like her interplay with the tenor in 4b. The last is my favorite of the series.
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Thanks Mitchell! The conditions at this place are definitely less than photographically ideal, but I like the challenge. I'd agree with you about those two - the sop was definitely offering some more facial expressions as was the bass, who you see here (the tenor is actually the gent in the suit).
They're very happy with them (and it's now a paying gig
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Kris, I think the ones of the conductor were all my favorites - between the flare, the "drama lighting" that fell on him just right... got really lucky with those
Melissa, it was Don Pasquale by Donizetti, a somewhat convoluted and almost slapstick comedy wherein the soprano and baritone manipulate the bass into letting the tenor marry her.
Kelly
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Houston Portrait Photographer
Children's Illustrator
Of all the shots, I like 5 best. The contrast is sweet!
The last one is my second-favorite. Just a content look.
I personally find it hard to get shots of people singing, but you captured some really nice angles and moments here.
Who is wise? He who learns from everyone.
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In reality, I think the expression has grown from thinking of the histogram picture with most of it piled up to the right (I believe planetneil - sorry, too late and too tired to look up the spelling of his name - suggests exposing so that the right-most information is on the 5th line of the histo). HOWEVER... I find now I'm shooting manual if I just make sure that my exposure meter is a tick or two to the right of center, that works quite nicely. With the ones I blew out in this shoot I was at least 3-4 to the right - I can see how that would work in less contrasty light (ie, a portrait taken in natural even light), but when dealing with the high contrast of stage lighting, there's a bit less latitude. HTH!
Thanks, Andrew. I think I have an advantage in that I know the pieces, and know how I wish people would photograph me! Plus, I realise that my fascination with the wedding togs means I'm trying to apply some of that style and look to the very NON wedding stuff I shoot. But I like the look, so am drawn towards reflections, tilts, unusual angles and interesting processing. In this setting - no sets/costumes - it's working well, I think (especially since this particular venue is purty!)
Btw, this bunch just looked good with their mouths open - not always the case!!