Chaso wrote:
> I normally shoot still life (broadly defined) and, one
> might say, post-Modern architectural landscapes
> (including such favorite subjects as dilapidated
> industrial structures and transit vehicles), but I
> have the opportunity to take some shots of a live
> music performance as a favor to a friend who is a
> semi-pro drummer in a local band; I write this post to
> solicit pointers from anyone more familiar with this
> type of shooting. Mainly, my own approach has
> typically been highly methodical and controlled, and
> incorporates primarily an available-light methodology
> - so I have fears about my ability to perform in this
> very different sort of environment.
>
> The conditions will be under rather strong and direct
> stage spot lighting on the musicians from low-hung
> rigging. I will have the opportunity to shoot from
> the edge of the 4'-high stage (perhaps 7 to 15 feet
> from the musicians) at various angles, and from the
> back of the room (perhaps 30 to 45 feet from the
> musicians) at various angles. I will bring a monopod,
> but I don't anticipate being able to utilize a tripod
> in the crowded environment. I will be using a PZ-1p
> and ZX-50 with FA 28-105 Powerzoom, FA 24mm/f2.0, FA
> 50mm/f1.4, FA 135mm/f2.8, and one AF-500FTZ flash
> between the two cameras.
>
> Is there any general advice one might suggest? (I
> understand, of course, that such a question is
> preceded, however, by the question of what I am
> attempting to achieve!) I suppose, in particular, I
> am wondering about the effects of the brightness of
> the stage lighting, something I've never dealt with.
> For instance, ought I rely heavily on spot-metering of
> bright areas with little supplemental light, or ought
> I meter more broadly and/or fill non-spotted areas
> with significant flash (perhaps bounced - I haven't
> checked the ceiling yet)? Should I attempt to utilize
> a depth of field that includes all the musicians
> (which seems daunting, at least in closer shots, given
> the great distance between musicians in relation to
> their distance from me)? Also, what film speeds might
> be most effective?
>
> I suppose I will use the coward's method and shoot an
> excessive quantity of film in a variety of ways. The
> auto-bracketing will get a workout. Sorry about the
> long post, and thanks in advance for any tips.
Hi Chaso,
>From what you're saying it sounds as if you have a good chance of returning with a
>bunch of good pictures. What you call the "coward's" method is in fact a
>"professional" approach under these circumstances. There will be this show only, and
>you won't ever be able to go back and reshoot (this particular show). So, fire away
>those rolls and have fun.
Although I don't regard myself as a specialist, I have shot quite a few music shows of
various types (rock, jazz, classical etc.) and I usually get a fair number of good
shots (depending on what I'm aiming for).
You didn't mention the type of band or instrumentation (rock, heavy metal, pop etc.)
which may be of some importance.
I always bring at least two bodies, one for flash pictures, one for available light.
(For local news paper assignments, covering minor events I may use one "flash-body"
only, because that's what they want and works for smaller news paper printing.)
For available light I almost exclusively use Fuji 800 (don't remember the present
designation), for flash I have mostly been using any 100 or 200 that's been in my bag.
(Lately I've been rethinking, because I have slightly changed my use of the flash.
From mostly having been shooting close ups or "portraits" of single performers of the
band, I have started to try to carefully fill flash wider motives, and in this I can
make use of whatever increased depth of field that a faster film can give me. I will
be trying out 400 or 800 films for this purpose).
At big concerts there will be sufficient light for available shots, at small clubs you
may run into trouble shooting colour. (If possible you could ask someone in charge of
the lighting to increase the light for you.)
You've got great prime lenses that should be able to handle the various light sources
as well as can be. (Usually at a concert venue, there will be lights of different
intensities and colors from almost any angles.) Also at big concerts, there will be
light shows that will throw lights of different colors during the show. If you have
the time you could just check what the typical light changes will be.
(My usual approach is to make sure I get 1) good "portrait" pictures of the
performers, 2) a few good whole-of-the-stage pictures + other typical and/or
documentary shots for that particular event and 3) then go for the creative shots,
depending on what's expected from me.)
Anyway, here are some general suggestions in no particular order:
Get good classic "portrait" pictures of the performers. You check their positions on
stage, what typical movements they make, and decide on a shooting position that will
hopefully let you catch the performer from a clear view. If a guitar/bass player,
frame him either so that you also get the head of his guitar in the picture, or frame
it just outside the guitar body (not cutting off at the middle of the neck - compare
how you normally (and vertically) shoot people standing up).
Singers: of course you try to catch them in a singing position by the microphone. Pay
attention to his/her way with his/her hands and body, usually everyone will have their
own way of holding or moving them, and this may be repeated so that you will be able
to wait out some striking poses (The same goes for any musicians really.)
If using flash, particularly in vertical position, be careful from what angle you
point the flash. It may throw an unwanted shadow on the face. Also check for
microphone stands, fellow players or instruments that may cause similar shadowing
problems. Also remember that anything in the foreground that's hardly noticed in the
viewfinder may be disturbingly lit up by a flash. Clear your view from those kind of
things.
Keyboard players are difficult because the often will be blocked by their instruments.
Try to get a picture with hands and the actual keyboard in view.
Drummers: No matter how hard they work, when you freeze him he may look like someone
just sitting there with a funny face. Try to catch him when he is doing some fills
working over his drumkit, like streching out for his cymbals or toms. This is also
where you successfully may apply the "second curtain sync" of your 500-flash (just
like on any movements really).
Apart from the above suggestions, use your creative mind for anything that pops into
your mind. Go for shots that are atypical, or opposite to what I have been suggesting.
The singer with his back to the audience, the guitar players adjusting their guitars,
the drummer pulling back his bass drum.... shoot their hands only, or their feet...or
a piece of equipment on the stage floor.. shoot some shadow only, silhouettes against
a spotlight etc.
Take the opportunity to try out your own ideas as far as your budget allows.
For available light shooting, spot metering is a good idea (provided you know what you
are metering and where to point it). Often, if the background is dark and the stage is
illuminated with only single strong light sources, your regular meter will get fooled,
and you will get burned out faces etc.
One thing about autofocus: If lighting is low, you may run into difficulties locking
the AF. Aim for bright, maybe metallic objects, or tilt the camera (sensor) slightly,
or simply AF as close as you can get and switch to manual for fine focusing.
Usually, if DOF is shallow, be careful about what you leave in the blur between you
and the focused subject. In general it's not a good idea to have a blurred face, or
any other easily recognized or detailed blurred object around the subject in focus.
However blurred "abstract" objects may serve well for framing (within the picture)
your main subject.
If there are other people working around the stage, it may be useful to get there in
good time, introduce yourself and ask them if there is anything in particular that you
should pay attention to as far as their own jobs go etc.
Also, depending on the band, their nerves :) and the show - if you are going to get
close to them on stage, you may want to ask them whether there will be any particular
songs where they will be more comfortable with you moving around. (In difficult parts
they might get disturbed, while in others they might just lay back and jell, giving
you funny faces to work with :) ).
Stop down as much as possible for DOF and quality. I'd say get rid of all your
possible UV-filters too, they will only catch and cause too much straylights.
Hope there was something of interest in there. Sorry it got so long.
Lasse
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