Lens for shooting a dance troupe

<p>Hi,<br>

I have to shoot a dance troupe (indoors) in a few weeks - I've never done this before, I usually shoot architecture. I have a Canon EOS 400D and the kit 18-55, 10-22 and 55-250 lenses.<br>

I'm not sure if the 10- 22 is a good lens for dance, I don't use the kit 18-55 anymore. I can rent a lens for a few days - which one should I be looking at ?<br>

Thanks</p>

<p> </p>

How close will you be?

Will you shoot ensembles or individuals?

Are you allowed to use flash? Will you be using available light an -if so- how is the dance lit?

Is it slow moving or fast moving?

Will you be able to practice during rehearsels?

 

Etc etc etc.

<p>I will be quite close during practice, flash is allowed, dances are slow moving - for example, slow turkish dances. I will have to use the light available indoors as well as my flash ( I have 2 slave flashes as well).</p>

<p>Thanks</p>

<p>The obvious choice is a lens with a wide aperture. 50 f1.8, 85mm f1.8, 135mm f2, 200mm f2.8 etc depending on your subject distance. The EF-S 17-55mm f2.8 IS would be good on your camera, as would the Sigma 30mm f1.4.<br>

Shoot in Av at maximum aperture and use your flash to fill in.</p>

<p>If you use flashes for all shots the need for fast lenses is less.<br>

I'd guess however that you'll also want available light pictures.</p>

<p>If the action is slow moving you can probably drop to a shutter of 1/100.<br>

Lighting in theatres is probably pretty low plus the 400D is limited in high ISO's.</p>

<p>If you print 8x12" you can get away with ISO 1600 but if you crop heavily or you pixel peep the maximum usable ISO drops to 400.</p>

<p>Maybe you can experiment during the rehearsals with several borrowed or rented lenses to find which works for you. Jamie has some good suggestions. (He missed the 50/1.4 and a longer zoom. Considering you'll be close by you probably won't need a longer zoom.)</p>

<p>Hope this helps, Matthijs.</p>

 

<p>Vale,<br>

I've done hobby shooting at the Joinville Dance Festival in Santa Catarina Brasil for a couple of years now. I'm usually a decent distance off stage, but sometimes can be closer. I shoot with an XSi/450D. I've shot with my 85 1.8 and my 55-250 IS.<br>

I like the flexibility of a zoom as distances can vary given the size of the stage and sometimes I want to frame multiple dancers.<br>

I have often thought the Tamron 28-75 2.8 or the Sigma 50-150 2.8 would be good for me as a hobbyist.<br>

If you can rent a lens, you may want to look at the Canon 24-70 2.8 if you'll be close enough to the stage to frame well with it. If you'll be further from the stage the 70-200 2.8 IS might be a good choice. If you prefer primes, which you didn't list among your lenses, then a couple of fast primes might work for you. Otherwise, a f/2.8 zoom in the appropriate focal length would be my advice.<br>

For what its worth, the ballet shot in my portfolio was taken with the 55-250 IS. The light was pretty good that day though.<br>

I hope this helps.<br>

DS Meador</p>

<p>Thanks, guys.<br>

Do you use a tripod when you shoot dancers? I have a monopod too and am thinking of using that especially when I need to be mobile between dancers.<br>

Appreciate any suggestions. Thanks.</p>

<blockquote>Do you use a tripod when you shoot dancers?</blockquote>

<p>Not much point in using a tripod or monopod when shooting a moving subject such as dancers. All it will do is make it more awkward and slow you down. The only time a tripod should be considered in that situation is if you're using a long focal length and a relatively slow shutter speed. e.g. 300m lens 1/125 sec.</p>

<p>I've shot a lot of dance and theater productions, from professional stage and dance to local amateurs. Light levels will vary most in dance, where light designers set mood with lighting. In theater, the action must be seen, even if using specials. Anyway, my general outline for shooting such events.<br>

I think equipment is less important than overall approach to the production, but here are some equipment notes.<br>

Faster lens - I use Canon L series 2.8 70-200; sometimes a 28-135; If you are stuck in the house or have to shoot during a performance (ugh) I've used 100-400 zoom and higher ISO.<br>

Two cameras work pretty well. I use a 5D, which has a slower motor drive but great low light capabilities, and then a 20-30-50D whichever I have available for the faster multiple exposures.<br>

Two photographers works really well.<br>

Moderate to high ISO: I start at 800 and will go as high as 2500 <br>

No tripod - per above. <br>

If shooting from the wings, you'll have plenty of side light in dance but watch out for dancers exiting. They tend not to look (they're supposed to know where they are going but they crash into light trees still.) Side light blinds a dancer so you have to watch out for them. <br>

If you can get on the apron (front of stage in front of grande drape) you' have to be careful of casting shadows in FOH lower light. If you're limited to in-house, longer lens and higher ISO will be needed for the softer lighting effects. I hope you have a steady hand. You won't have any problems during well-lit scenes. You shouldn't need filters, modern theater lighting is halogen and LED<br>

See a rehearsal if possible, and make notes before the shoot. Get familiar with the show, the backstage, entrances and access to the stage from the house. Take a ladder and set it in the house about 10 rows back at center. If you have free reign, get into the balcony and side coves for interesting perspectives. Better yet, if you can get on the catwalk or the grid (above the stage floor) there are sometimes interesting shot to be had.<br>

If possible shoot more than one dress rehearsal/performance. Be sure the company knows you are shooting, especially during dress rehearsals. Everyone needs to be in full costume or you're wasting your time. Don't forget to shoot candids back stage. It's good PR and every performer likes to be photographed.<br>

Don't use flash except backstage. There are enough challenges for the performers without having a strobe blasting away unexpectedly in the performer's line of sight.<br>

Have fun.</p>

<p>I've shot a lot of dance and theater productions, from professional stage and dance to local amateurs. Light levels will vary most in dance, where light designers set mood with lighting. In theater, the action must be seen, even if using specials. Anyway, my general outline for shooting such events.<br>

I think equipment is less important than overall approach to the production, but here are some equipment notes.<br>

Faster lens - I use Canon L series 2.8 70-200; sometimes a 28-135; If you are stuck in the house or have to shoot during a performance (ugh) I've used 100-400 zoom and higher ISO.<br>

Two cameras work pretty well. I use a 5D, which has a slower motor drive but great low light capabilities, and then a 20-30-50D whichever I have available for the faster multiple exposures.<br>

Two photographers works really well.<br>

Moderate to high ISO: I start at 800 and will go as high as 2500 <br>

No tripod - per above. <br>

If shooting from the wings, you'll have plenty of side light in dance but watch out for dancers exiting. They tend not to look (they're supposed to know where they are going but they crash into light trees still.) Side light blinds a dancer so you have to watch out for them. <br>

If you can get on the apron (front of stage in front of grande drape) you' have to be careful of casting shadows in FOH lower light. If you're limited to in-house, longer lens and higher ISO will be needed for the softer lighting effects. I hope you have a steady hand. You won't have any problems during well-lit scenes. You shouldn't need filters, modern theater lighting is halogen and LED<br>

See a rehearsal if possible, and make notes before the shoot. Get familiar with the show, the backstage, entrances and access to the stage from the house. Take a ladder and set it in the house about 10 rows back at center. If you have free reign, get into the balcony and side coves for interesting perspectives. Better yet, if you can get on the catwalk or the grid (above the stage floor) there are sometimes interesting shot to be had.<br>

If possible shoot more than one dress rehearsal/performance. Be sure the company knows you are shooting, especially during dress rehearsals. Everyone needs to be in full costume or you're wasting your time. Don't forget to shoot candids back stage. It's good PR and every performer likes to be photographed.<br>

Don't use flash except backstage. There are enough challenges for the performers without having a strobe blasting away unexpectedly in the performer's line of sight.<br>

Have fun.</p>

<p>I agree.</p>

<p>The fundamental issue is the light level of the production. I have shot belly dancers. . not fast ones, but still, I have found that with shutter speeds less than 1/150, I end up with subject induced motion blur.</p>

<p>So, being forced to shoot 1/150 or above, that REALLY proves challenging. And if you have multiple dancers, DOF issues will make you want to use something other than F1.2 as a F-stop.</p>

<p>The easy solution is to use flash, but I have not always found that flash photography is welcomed. So the end results are hit and miss. When I can use flash: I get decent results using a 1/160 type shutter speed. When I can't use flash: I pump up the ISO as high as it goes, and (still using the high shutter speed to freeze dancer motion) hope for the best.</p>

<p>It may be worth talking to the lighting person. There will be some points in space and time where the light is bright, and concentrating on them may help.</p>

<p>Larry & Jim have it right. I'd add a couple of things though:</p>

<p>Don't bother trying to change lenses - beg borrow or steal a 50 f1.8 and use it exclusively, if you can walk around the house during the dress rehearsals. Don't use flash - apart from the obvious problem of putting performers off, you probably won't be able to bounce it and you'll end up with washed out photos that don't reflect the lighting guy's intent. </p>

<p>Use one lens which will cover the width you need from the back of the hall. You can crop afterwards if you need more zoom than feet alone can manage. </p>

<p>Going to a couple of rehearsals when the troupe are on the stage is worth a lot. Going to rehearsals can be a faff - the director does not aways rehearse in order of scenes. Go to later rehearsals - the cast tend to have their positions on stage for each element worked out by then - there's nothing more annoying than setting up for a great shot you know is there and then missing it because the director changed their approach a couple of weeks back!</p>

<p>Take a lot of shots. That way you can be ruthless (see below) without crying over missed opportunities.</p>

<p>Ruthlessly discard EVERYTHING that isn't perfectly in focus - if you keep one because it's so good otherwise and will just about stand up at 6x4 then you can bet that's the shot that people will want blown up later on.</p>

<p>There's an art in selecting shots for display - directors don't like to give the game away too much (or at all). I do mainly theatre; if I display the dramatic scene of the guy hanging himself, I don't expect to be asked to do it again! I don't know if this is likely to be an issue for a dance troupe though. </p>

<p>Work out what turn around time you have for any display prints that are requested if that's an issue. If I shoot a dress rehearsal on Sunday night and then need to get display prints up on the wall in the theatre by the Monday evening it's a challenge! Personally I make sure I have those prints in my hand before I turn in on Sunday night. The alternative is pretty much unthinkable... Although you can get them printed in the high street if you have the extra few hours available.</p>

<p>Good luck and enjoy it.</p>

<p>great forum subject and answers. My daughter does both ballet and modern dance. My biggest issues have been low light and being too close in some cases (at ballet studio or small stage) or a big venue. Unfortunately I am always in-house. I have found shooting with my 50mm 1.8 works well at the smaller venues. My 24 2.8 is a bit slow. In the large venues I rented a 2.8 70-200mm IS lens and used it with a monopod from about 1/3 back in the venue standing up in the side. I am glad I shot in RAW because there was terrible color shifts but they were really easily correctable in Aperture 3. </p>