Indoor Stage Photography (What can i expect?)

[Carl Stone]

Next week, I want to shoot in a high school auditorium. The seating area will be dark,

with the stage area providing the only light. They don't want strobes. At this point,

I've no idea of just where I will be in relation to the stage. So, I'm taking a 70-200 VR,

and waffling between ISO 400 and ISO 800 film. I will want to do a few group shots of

the performers, but I also want to be able to catch my granddaughter and niece large

enough for them to be to be recognizable. Does anybody have any idea of what I may

expect? Am I going to have to shoot wide open, or can I stop down, and let the

VR do it's magic? I've never shot a VR lens, so I don't have a clue as to what to expect.

[steve_levine]

I got three letters for you "NPZ".This stuff rocks for available light.Use a tri or mono pod if you can to steady things even more.

[robert_ardinger]

I think you can expect good things. I have found myself in this situation many times. Depending on the play, and it's director the lighting may be very bright or overall appear dim. However the light on a individual actor will usually be good and can be quite bright. A spot meter will help, averaging metering can try to compensate too much for the dark background if there is one. The VR should be great. I use a 180 /2.8 and find myself at the 1/60 end of things with asa 400 film much of the time (at f/2.8)and have to use a lot of body control to try to get a sharp enough image (a monopod might work, a tripod will be too hard to deal with from a seat). I have the VR 80-400 as I wanted the 400 in a lens that compact but it is likely not the best choice for theater work. The 150 to 200 range should be fine if you are not too far away from the stage (but do not get too close unless you can be on the stage or stand up in front of the play or you will be looking up at the actors). If the theater has the usual two isles (i.e. three blocks of seats, one on each side and one in the middle) then try for the row end (or beginning) seat, on the isle, of either the side seating blocks. You will be shooting either slightly from the left or from the right of the stage but will not have a person in front of you as you will be shooting somewhat across the isle. Asa 400 should work, 800 would be better but BE CAREFUL in you metering as it is VERY EASY to blow out the actors face. I would use color print film (or B&W ) as slides have less latitude. My comments here are specifically for shooting from the audience, without flash, without being able to move around or change seats. Obviously if you can go during dress rehersal and move around you will have different options. Another thing I have done is to go to the play twice (My son's school usually gives at least 2 or 3 performances of a big play). I would try my best the first time but also find out where he is going to be during different scenes and then go back to the next performance and sit in the most advantagous place. (my ideas on seating are only useful when you can choose a seat) Lastly, even without flash the SLR with its mirror clunk and motor drive is fairly noticable in a quiet room but not much can be done about it (shoot during the loud parts?). If your play is like ours usually are, a parent or two will take a snap with flash and a point and shoot so I would not feel to inhibited by the camera noise.

 

Robert

[EricM]

I have the same three letters as Steve. and it pushes one stop really well. you didn't mention camera body, if you have center weight, use it. Asa settings, 500asa develope normal, or 1250asa and push one. piece of cake, you'll be a star! another great thing about npz is that it converts easy to b&w via photoshop

[Carl Stone]

Steve,

 

Yeah I've shot NPZ, but not in a darkened theater atmosphere. The results were way

better than

I thought they would be during daylight in a room that used window light, although

I'm by no means the local NPZ guru. Whatever the choice, it will either be NPZ or NPH.

 

Robert,

 

Now that's also "news I can use." The activity is going to be a Christmas show dance

recital. I'm guessing that it will be evenly lit. Tomorrow, I plan to call the school and

see if I can get into the auditorium prior to the show, like even before the event day.

That will allow an opportunity to check out a spot to shoot from. Beyond that, I just

need to be early enough to insure my choice of location. I'm aware that then front row

may net me a persepective that all but guarantees bad shots, that's why I'm gonna try

to wangle my way in ahead of time. I can bring along a monopod, is that OK with that

VR lens? I know that the use of a tripod in conjunction with VR is akin to witchcraft,

and bound to create bad mojo for the shots. :o)

[robert_ardinger]

Carl, I am a bit new to VR also but from what I can tell from my "research" a monopod would be fine. The vr mechanism needs to sense some repetitive motion to let it figure out how to compensate for the moovement (so I have been told). For Nikon's system (at least with the 80-400) it sems that a tripod is too stable and the lens might try to compensate for infrequent slight movement and mess things up rather than help. A monopod on the other hand will still have some movement and should be OK with VR (and help support the weight of the lens). I plan to try it out soon as I got a bit tired in the arm trying to carry and hand hold the 80-400 during a recent lengthy trip to a zoo. Again, this is my understanding from what I have read/learned. It may not work out that way.

[al_tan]

Hi Carl,

 

About 2 weeks ago, I used Fuji Superia 800 for my son's concert. It wasn't a spotlit kind of gig but was rather evenly lit. The results were rather good (compared with the Kodak 800 one I used last year).

 

I was lucky though to be seated about 15 metres from the stage and I mainly used my 135/2.8 on the F100 for most shots. Where I wanted more of the background, I used my 85/1.8, which was marvellously bright. The shutter speeds used were between 1/100 and 1/125, handheld.

 

So depending on where you will be, you may not need the VR lens. And beside, you've mentioned that you've never shot a VR lens, I'd recommend you stick with something you're best familiar with.

 

Oh yes, by the way, outdoors, the Superia is very constrasty and has very good skin tones too. Then again, maybe it's the lab I use.

 

Cheers,

Al

[mskovacs]

Another thing to consider is that VR is not going to cancel the motion of your subjects. I'm guessing that you need enough light to have 1/60 minimum. With the f/2.8 lens you're probably OK but don't try this with the 80-400VR racked out to 400/5.6!

[Carl Stone]

Good info all, thanks.

 

I think I'll go for NPZ, and that will let me stop down a bit more for more DOF. I'll find

out what all the VR hype is about. If the monopod, NPZ, and VR can't get good results,

I'll be very surprised. Naturally, I won't blame my technique, if things go south, LOL.

Seriously, I just don't know a better way to shoot this, and I hope the the VR will give

me the edge. The place that I rent from has a special rate for weekends. Normally, the

70-200 goes for $25.00 a day, but on the weekends, I can pick it up Friday morning,

and return it by 5PM on Monday. all for $37.50. As long as I have it for 4 days I may

as well shoot other stuff too.

 

As for packing that outfit around, not unless it was at gunpoint. :o)

 

I hooked up my F100 to an AFS 80-200 & monopod for a hike a couple of months

ago, and learned rather fast that isn't exactly fun. I'm glad that I didn't use an F5! It's

probably fine for the younger, bullet proof generation, but for an old fart, it's another

story.

 

How times change, it wasn't that long ago that folks wouldn't dream of ISO 800 film,

unless they were desparate, or wanted some sandpaper. Today NPH is usually my first

choice if I don't know what I'm going to run into. Actually, I like Velvia 50, but not for

people. Film has certainly improved. Aside from the odd roll, I haven't shot Kodak in a

very long time.

 

I'm very open to suggestions for using that 70-200 VR to it's full potential.

[david_chananie]

If you can, get a center aisle seat. That allows you to lean out to get a shot, or to get out of your seat and kneel in the aisle for a moment. Spot meter off the face of the actor and open up a stop. Focus on they eyes and remember that depth of field with a long lens close up is very narrow indeed. Really surprised me when I shot from the front row with a 200mm lens only to discover part of a head would be in focus and part not.