Lens for Lowlight Situations Question

[handicap18]

Those are pretty good as well. I was also just reinforcing what you mentioned about f/2.8 at ISO800. Even with mine being f/2.8 at ISO1600, there is still some blurriness. I definitely like yours using the f/1.4 lens. Although it can be done using an f/2.8 lens, it takes a very steady hand and also some luck from the moving boat and characters. The technique that ducklite mentioned earlier definitely works for me and is good advice.

I think the OP made the right decision in purchasing the 30mm f/1.4 lens. Have fun!

Agreed

 

[MICKEY88]

I'd like to see photos taken from the same camera/lens at 800 and 1600 on that ride. I think it's going to depend on the camera, lens, and photographer. I do 99% of my work in low-light under less than perfect conditions, maybe it's a matter of practice.

Next time I'm at WDW I"m going to give this a try and I'll post the results.

lens and photographer yes , camera shouldn't be much of a factor if we're only talking slrs,

the photographer plays a large part, I've been teaching a friend photography, and she kept complaining that she had a high percentage of blurred photos..

I watched her for 2 minutes and saw the problem, she was supporting her camera with her right hand, and holding the lens from the top, to focus, rather than cradling the camera and lens in her left hand for support..


but isn't 99% of your work with stage lights and you are stationary , rather than in a moving boat..??

 

[ducklite]

lens and photographer yes , camera shouldn't be much of a factor if we're only talking slrs,

the photographer plays a large part, I've been teaching a friend photography, and she kept complaining that she had a high percentage of blurred photos..

I watched her for 2 minutes and saw the problem, she was supporting her camera with her right hand, and holding the lens from the top, to focus, rather than cradling the camera and lens in her left hand for support..


but isn't 99% of your work with stage lights and you are stationary , rather than in a moving boat..??

That is 99% of my work, but sometimes those "stage lights" are a couple of coffee cans with floodlights and I'm moving to either anticipate a jump or get out of the way of a crowd surfer coming over the barricade feet first at my head while I shoot that jump.

The worst is a fairly stationary band on a stage lit with all red lighting. :::::heavy sigh:::::

 

[MICKEY88]

The worst is a fairly stationary band on a stage lit with all red lighting. :::::heavy sigh:::::

why is that..??

 

[ducklite]

why is that..??

Keep in mind that we aren't allowed to use flash.

Two problems, First is that red gels, especially a Roscoe 90 Red which seems to be very popular with a lot of LD's lately, cut out up to three full stops of light.

Next, the camera is looking for a spectrum of lighting, and won't meter well when it only finds red. The result is photos that look flat and have blown out highlights. You basically have two choices. Either shoot in RAW and Photoshop the white balance and saturation--which still won't always work, or convert to B&W, which is what most people do.

I have yet to meet a concert photographer who doesn't groan when the LD is using nothing but red lights.