Archived posting to the Leica Users Group, 2000/12/11
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]For all, When photographing stage performances in a high school or a major concert hall, the primary light source, which illuminates the main performers on the stage, comes from the guy in the back manning the spotlight, NOT the overhead colored lights. That is the guy you want to check with before the production begins, to see what kind of spotlight he is using. His spotlight is usually on during most of the performance, and provides the photographer with the usable shutter speeds needed for the majority of the images he will make. If his spotlight is turned off during certain portions of the performance - the overhead, color-gelled, tungsten stage lighting will be the dominant light source, but is often too dim for the best images. Major concert and performance halls all have carbon-arc or similar daylight-balanced spotlights which will photograph best when using daylight balanced color film. Some small high school venues may have tungsten spotlights, which would necessitate the use of tungsten film for the closest match of film to light. Of course the processing lab can correct for a vast majority of color differences when printing color negatives, but having the closest film to the existing light is always the best starting point, especially if you are required to shoot transparencies. Fuji's CZ135-36 800 ASA daylight color neg. film has been the staple for most pros since it came out five or ten years ago. Kodak is finally catching up with their 800 speed color neg. films. Available-light performance photography can be extremely rewarding, especially if you own long, fast, glass that is optimized for performance wide open. Use your monopod or tripod for any long lenses and don't be afraid of 1/30th of a second. Good Luck, Rob McElroy Buffalo, NY