Archived posting to the Leica Users Group, 1998/02/06
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]I would: Check out the clubs beforehand and meter how much light is there and see if they can turn up the stage lights if they use a dimmer system. I would also check out various shooting angles, see if there is anything scattered around the stage, like extra mike stands and other distracting junk that can be removed. I would take a good look at the table layout and how the waiters move around the floor for possible traffic problems. I would look to see if there are any problem lights that need to be re-directed or removed or if there are some bulbs that need to be replaced. I would try to get a hold of a 135 f/2 or 180 f/2.8 for tight closeups. But it really depends on how close you can get to the performer. I would take shots with everything from a 21 on up. A monopod would be helpful and you can use your large ball head to get the camera vertical. You might be able to use a tripod for a few shots if you can find a place to work from. Forget about using flash. If it were me, I would bring enough people to occupy an entire table so they can watch your gear and save your chair. But as others have said, you need to make sure the club owner is OK with your presence. Obviously, if you are obnoxious with your presence and blocking the waiters path around the floor and disrupting the performers and guests, he won't be very cooperative. I've had great results with T-max, My suggestion, shoot a roll of Fuji and Tmax at one of the clubs at a performance prior than those you've been asked to cover. Not only will you see which works better with your development system, but you'll discover if there is any problems with your choice of ASA, shutter speeds, composition, flare and internal reflections, lighting etc. and you'll have a bit more confidence once you do it for real. Duane Birkey HCJB World Radio Quito Ecuador