sprouty

I hate to disagree with people that may do this on a professional

level, but my experience (all in small clubs) is that going there

early is a good idea only to pick perspective. Unless you're dealing

with a pro-level band there just won't be that much pre-show

organization. Maybe it's just me but I've never been able to get the

band under stage-lighting prior to a show. Sound check is almost

always done with the house lights up and half the time no one is

around who cares about dimming them while they're setting up. Beside

if the club is small enough chances are the lighting will be set once

and not changed for the entire show. Better just to think about where

you might like to be during the set. Be creative, get them coming on

stage, shoot from on top of a table or behind the bar, Hell crawl on

stage (with permission) and shoot through the band. You'll want to

get a few of the out in front "mixed in with the crowd" shots but you

certainly don't want to be out done by some lucky bastard with a P&S

standing next to you. I happened to find an unlocked door that led

to a balcony in an old theater for a local band I once shot and got

some interesting elevated shots that no one else had.

As for film I primarily shoot fast (for maximizing depth of field)

B&W , lately it's been Ilford Delta 3200. For color, even though

this might seem unwise I used to shoot Fuji N?? 1600 slide. It was

pretty fast and I really liked the results, though I did bracket, it

was expensive and it may be discontinued. I only mention it because

I can still get it locally, so maybe you can.

<p>

Good Luck,

sprouty

When I was deciding on which way to go (6 or 7) I pretty much had

myself convinced the 7 was what I wanted. I found one locally and

went over to the shop to see how they compared. Truthfully I

expected very little difference. But I was immediately bothered by

several things, most really small, but the one thing that I found

unbelievably annoying was that the LED's for the light meter were

lower in the viewfinder on the 7 than the 6. And for me ( a glasses

wearer) I couldn't comfortably see both the LED's and the top of the

50mm framelines. And that plus some other minor things swayed me

towards the 6. I only mention it because after all the comments I

heard about the 7 and 6 I don't remember anyone noting this

difference.

<p>

sprouty

Andrew,

I have never tried Mr. Konermann's shade (though I have read good

things about it) and have been using my shiny new M6 few less than a

month so perhaps I'm not the most qualified to answer this but...the

very first day I spent shooting with it I had few shots that I wanted

to get from a certain perspective when suddenly the focussing

patch "whited out" and the double image dissapeared completely. Well

having read enough about the flare issue to know what was causing it

I simply repositioned my focussing hand (palm facing away, fingers

pointing up) and after contorting my wrist a bit I managed to block

the offending light and was able to focus. This was easier and

faster than I may have described it and may certainly not be easier

than the shade but it seems to work so I thought I might mention it.

<p>

sprouty

Hey Marc,

Thanks for the review, I'm just about about to make the plunge and

am on the fence about whether to go with the 6 or 7. The one big

thing I'm still considering is the the flare issue. Any thoughts?

You mentioned back lit situations, and I was wondering if you noticed

any difference.

<p>

Thanks,

sprouty

<p>

P.S. By the way I just checked with a local dealer (Boston area) and

was quoted a price of $2900(!) for an M6. His rational was that

they're out of production now and so that's what they're going for...