Theatre Photography Lens Suggestions?

<p>Hi all,</p>

<p>I'm doing lots of theatre photography at the moment and am looking for suggestions of the next lens I could get to help me with this.</p>

<p>I shoot on my Nikon D90 and always use my 24 to 70 f2.8. I have my 30mm f1.4 with me but I don't use it as I never feel it's versatile enough for me... plus I'm nervous about missing something in swapping over!</p>

<p>On the whole I'm happy with what I'm getting but I'd love any of your suggestions to see where I can go to next lens-wise.</p>

<p>Thanks in advance!</p>

<p>Ellie xx</p>

<p>Why do you need a new lens if you're happy with what you're getting? The only reason to get another lens is if you aren't getting good enough results. I shoot theater primarily with a 24-70/2.8, but have also been shooting from the sound booth more recently, where I need a 70-200. However, without that special seat, I wouldn't need the longer lens.</p>

<p>Thanks Jeff. Good point! I'm just wondering if there is something else people are using that might work well in addition, something that might help me improve my hit rate! Good to know you also use the 24-70/2.8.</p>

<p>No, the f2.8 zoom lenses are the best compromise for versitility plus speed, though I normally use the 70-200 since I tend to sit farther back. I also use a Sigma 50-150 f2.8 if I need a wider view, but it lacks a dedicated tripod mount so it's slower to turn from vertical to horizontal.</p>

<p>It depends a lot on the size of the theatre, whether it's live performance, where you're positioned, and what kind of pictures you want to take. I find a 35mm, a 50mm and occastionally a 105mm pretty much cover it. If you're wanting to crop on the expressions on people's faces during live performance though you might need something longer.</p>

<p>For performances when an audience was present, I usually shot from the tech booth or behind the audience (using a sound muffling blimp) and found either a fast 70-200mm or 180/2.8 to be about right for 35mm film. With an APS sensor dSLR the 180/2.8 might be a bit long from that distance, depending on the theater.</p>

<p>The only time I've ever used a shorter lens was for rehearsals or, if from the audience seating area, when I used a virtually silent camera like a P&S digicam. From that perspective a fast midrange zoom (in 35mm film equivalence) would be handy.</p>

<p>Take a 70-200/2.8 along. I cannot do any worthwhile theatre work without it, even though I don't always zoom to 200mm. But that is just my experience and my POV.</p>

<p>In fact I'm considering the Sigma 120-300/2.8. But if the D800 is 36Mpx and I do buy one, the pixel count will still allow 12Mpx+ crops from 200mm to emulate 300mm. But then again, what's the point of all those pixels if I'm wasting them?</p>

<p>If I'm shooting at a rehearsal and am allowed up on stage among the actors, I'll often use my 16-35 to produce a view of the performance rarely seen. </p>

<p>If I'm not allowed up on stage, but can approach it, say, during a dress rehearsal, with the OK of the director/producer/etc., I try to stake out a front row center seat for easy access to my gear. I usually have two bodies at the ready, one with my 28-70/2.8 and one with my 80-200/2.8. </p>

<p>Since common photographic problems for shooting theatrical productions are excessive contrast and wildly gelled lights, when I'm shooting rehearsals, I almost always use a hotshoe flash, gelled for tungsten to lightly fill in the deep shadows and add a low level of broad spectrum fill light in scenes using strong gels.</p>

<p>Occasionally, I will be called upon to supply in-costume shots of individuals. In these cases, during a dress rehearsal, I will set up an area (nearby, but out of the main flow of traffic) with strobes, reflectors, etc. and grab these individuals when they have a free moment.</p>

<p>During regular performances, I really dislike telephoto views from the back of the house, and rarely shoot these. However, I will use the same bodies/lenses/flash mentioned above to capture end-of-play events such as curtain calls, recognition of the director / producer / choreographer / etc., backstage and lobby conversations and other action during intermission, etc. During regular performances, if I am allowed, and if there are some shots that I didn't get at rehearsals (eg, an understudy is unexpectedly called into action), I might take some shots from the wings. I try to synchronize such shots with peaks in action/sound and never have had a complaint from anyone so I don't have to use a blimp.</p>

<p>HTH,</p>

<p>Tom M</p>

<blockquote>

<p>when I'm shooting rehearsals, I almost always use a hotshoe flash</p>

</blockquote>

<p>I forgot to comment on this. We all work differently of course, but I have never used a flash (I work as if I'm on a film set, minus the blimp). As it happens the theatre company I shoot for does not allow flash photography. But even if it did I wouldn't use it. That is not a recommendation to anyone - that's just how I shoot.</p>