Concert photos

Dudley Hanks wrote:

But, flashes tend to ruin all the hard work put into planning and executing
the light show. When you can integrate the light show into your photos, you
know you're getting there.

Your typical pub/nightclub barely HAS lights, let alone a light SHOW.
At best most will have a dozen or so cans with three different colors of
gels set on some kind of automatic pattern.

"Matt Ion" wrote in message
...
Dudley Hanks wrote:

But, flashes tend to ruin all the hard work put into planning and
executing the light show. When you can integrate the light show into
your photos, you know you're getting there.

Your typical pub/nightclub barely HAS lights, let alone a light SHOW. At
best most will have a dozen or so cans with three different colors of gels
set on some kind of automatic pattern.

Sounds like more of a challenge than a single flash to me...

Dudley Hanks wrote:
"Matt Ion" wrote in message
...
Dudley Hanks wrote:

But, flashes tend to ruin all the hard work put into planning and
executing the light show. When you can integrate the light show into
your photos, you know you're getting there.
Your typical pub/nightclub barely HAS lights, let alone a light SHOW. At
best most will have a dozen or so cans with three different colors of gels
set on some kind of automatic pattern.

Sounds like more of a challenge than a single flash to me...

Someone actually posted videos from the show. This is the lighting. (And
no, those aren't all my flashes going off. Other people had them too -
you can tell which ones are doing the red-eye pre-flash.

http://ca.youtube.com/watch?v=gKBkvle8BSQ

"Rita Berkowitz" wrote in message
...
Cynicor wrote:

But, flashes tend to ruin all the hard work put into planning and
executing the light show. When you can integrate the light show
into your photos, you know you're getting there.
Your typical pub/nightclub barely HAS lights, let alone a light
SHOW. At best most will have a dozen or so cans with three
different colors of gels set on some kind of automatic pattern.

Sounds like more of a challenge than a single flash to me...

Someone actually posted videos from the show. This is the lighting.
(And no, those aren't all my flashes going off. Other people had them
too - you can tell which ones are doing the red-eye pre-flash.

http://ca.youtube.com/watch?v=gKBkvle8BSQ

Hell, that's bright! You need to take a pair of sunglasses to that
concert.
That said, the lighting is beautiful and really adds to the emotion of the
concert. Any type of flash detracts from this immensely and totally
destroys the aura you would demand. Oh well, I'd leave the flash home.




Rita


I learnt concert photography back in the days when film was either daylight,
tungsten or flourescent. Lighting sources didn't mix as well as they do
with digital. Flashes shot at a different temp than the light show, so you
either had to go with film that was balanced for your flash and then try to
overpower the stage lighting, or use film balanced for the show and leave
the flash at home.

I chose the latter because it gave more colourful results, and it didn't
interfere with the show. Besides, if you ever want to shoot in a stadium
that is holding 20,000++ fans in addition to yourself, you're going to have
to learn to shoot without a flash. The big bands don't like you messing
around with their effects.

Why not start small and get used to it.

Dudley

"Cynicor" wrote in message
t...
Dudley Hanks wrote:
"Matt Ion" wrote in message
...
Dudley Hanks wrote:

But, flashes tend to ruin all the hard work put into planning and
executing the light show. When you can integrate the light show into
your photos, you know you're getting there.
Your typical pub/nightclub barely HAS lights, let alone a light SHOW. At
best most will have a dozen or so cans with three different colors of
gels set on some kind of automatic pattern.

Sounds like more of a challenge than a single flash to me...

Someone actually posted videos from the show. This is the lighting. (And
no, those aren't all my flashes going off. Other people had them too - you
can tell which ones are doing the red-eye pre-flash.

http://ca.youtube.com/watch?v=gKBkvle8BSQ


I'm sure red-eye is a real problem when you're shooting from the back corner
with a 200mm lens after consuming six or eight shooters...

"Rita Berkowitz" wrote in message
...
Dudley Hanks wrote:

Dudley Hanks wrote:

But, flashes tend to ruin all the hard work put into planning and
executing the light show. When you can integrate the light show
into your photos, you know you're getting there.

Your typical pub/nightclub barely HAS lights, let alone a light
SHOW. At best most will have a dozen or so cans with three different
colors of gels set on some kind of automatic pattern.

Sounds like more of a challenge than a single flash to me...

Yep, that is what I told him earlier. His biggest challenge at the moment
is getting the flash off the camera. If he must use flash he would be
better suited to use several strategically placed SB800s/Pocket Wizards
with
a Larry Thong LightBottle attached. Or his other option is to simply get
a
D3. With the D3's insanely high ISO performance he could even get himself
an LED type flashlight that randomly generates different colors and bring
his own lightshow to the band. It all comes down to bringing the right
tools to the job. The D3 is that amazing!




Rita


Well, I don't have a D3 to play with, so I can't comment on that. However,
I do agree that one needs to take the right tools to the job.

Also, as I've pointed out in other threads, concert photography is about
patience, timing and positioning. If all you are prepared to do is go to a
club, plop yourself at a table, pull out your camera and start shooting,
then bring along a flash if you must, but you aren't going to sell many
shots, nor are you going to impress many real photogs.

On the other hand, if you are prepared to put a bit of time, thought and
creative energy into the above noted criteria, then there is no limit to
possible results.

Dudley

Rita Berkowitz wrote:
Dudley Hanks wrote:

Yep, that is what I told him earlier. His biggest challenge at the
moment is getting the flash off the camera. If he must use flash he
would be better suited to use several strategically placed
SB800s/Pocket Wizards with
a Larry Thong LightBottle attached. Or his other option is to
simply get a
D3. With the D3's insanely high ISO performance he could even get
himself an LED type flashlight that randomly generates different
colors and bring his own lightshow to the band. It all comes down
to bringing the right tools to the job. The D3 is that amazing!

Well, I don't have a D3 to play with, so I can't comment on that.
However,
I do agree that one needs to take the right tools to the job.

Oh, it is a blast for these events! Been loving every minute of mine.

You haven't gone to any club concerts with a D3.

Dudley Hanks wrote:

I chose the latter because it gave more colourful results, and it didn't
interfere with the show. Besides, if you ever want to shoot in a stadium
that is holding 20,000++ fans in addition to yourself, you're going to have
to learn to shoot without a flash. The big bands don't like you messing
around with their effects.

Yeah, but those shows also have 20-50 times the lighting at about 1000
times the brightness of a typical nightclub show. Shooting without a
flash is a piece of cake in those circumstances.

"Matt Ion" wrote in message
...
Dudley Hanks wrote:

I chose the latter because it gave more colourful results, and it didn't
interfere with the show. Besides, if you ever want to shoot in a stadium
that is holding 20,000++ fans in addition to yourself, you're going to
have to learn to shoot without a flash. The big bands don't like you
messing around with their effects.

Yeah, but those shows also have 20-50 times the lighting at about 1000
times the brightness of a typical nightclub show. Shooting without a
flash is a piece of cake in those circumstances.

Not necessarily. The venue is bigger, the lights more spread out and
farther away. The stage is bigger. Often, you can't get as close to your
subject as you could in a club, even if you are standing in the wings. The
lights are not actually much brighter than the ones used in clubs. When you
take into consideration the reciprical effect of the distance being haved
every time you double the measurement between the subject and the light
source, you often have less light to work with in a big concert situation
than in a nice, tight little club.

Also, while there are a lot more lights, a lot more is going on, and not all
the lights point at your subject. If you want a shot of the bass player,
the keyboardist, or the drummer, chances are he / she only has one or two,
lights tracking them at any moment. More than enough to get the picture,
but not much better than your typical club -- maybe less.

When was the last time you brought a pair of sunglasses to a rock concert?
In most cases, the lightshow establishes a basic level of light with a
variety of colours -- fading back and forth between darkness and that level.
Then, at the highlight of a musical movement, the big flash of light which
only last for a brief moment (in real terms) because the burst would lose
its effect if the whole show was lit at that level. Unless you REALLY want
to limit the time you are shooting, you'll need to shoot in the dark periods
as well as the bright.

Besides, as I pointed out above, if you really want to shoot concerts, you
need to start somewhere. Get yourself into good habits and learn how to
shoot without flashing everybody.

Good Luck,
Dudley

"Cynicor" wrote in message
t...
Rita Berkowitz wrote:
Dudley Hanks wrote:

Yep, that is what I told him earlier. His biggest challenge at the
moment is getting the flash off the camera. If he must use flash he
would be better suited to use several strategically placed
SB800s/Pocket Wizards with
a Larry Thong LightBottle attached. Or his other option is to
simply get a
D3. With the D3's insanely high ISO performance he could even get
himself an LED type flashlight that randomly generates different
colors and bring his own lightshow to the band. It all comes down
to bringing the right tools to the job. The D3 is that amazing!

Well, I don't have a D3 to play with, so I can't comment on that.
However,
I do agree that one needs to take the right tools to the job.

Oh, it is a blast for these events! Been loving every minute of mine.

You haven't gone to any club concerts with a D3.

At the moment, every shot I take is a gift. If I can work myself back into
a commercially viable situation, I'll upgrade to something like the D3 or
the EOS-1D Mark III.

But, for now, I have a lot of strategies to work out, and a lot of
practicing to do.

I doubt any of the major manufacturers are about to drop a megabuck system
into the hands of a blind shooter -- even if he can shoot a good shot or
two.

Grin,
Dudley