>> ... images on The Nutcracker
>> (dance photos web pages) are a mix of film and D60, indoor
>> theatre-stage lighting.
>
>The stage pictures are excellent - colour wise and composition,
>as someone who used to do this kind of work ... well, Im yet again
>jealous. (3200 ASA/B&W)
>
>With film, what lens/exposure/film rating are you working at,
>what film? And how the hell do you get the colour out so effectively!!
Most recently Fuji NPZ 800 film. Before that, Fuji NHG-II 800; 1999 and
earlier Kodak PMZ (1000) and Royal Gold 1000. Lenses are 2.8, 70-200 and
28-70; sometimes 50mm 1.8. People and action change so rapidly on stage that I
usually use camera auto; I'll underexpose half a stop, even a full stop if
needed in very low light scenes. I like to get 1/125 or faster but sometimes
have to settle for as slow as 1/30. (I do discard a lot of frames when I do
that!) Color from film comes from Vuescan and Photoshop -- and a lot of
learning curve on how to work with color -- to know what is feasible and what
is not, and to use the tools (which was the point I wanted to emphasize in my
earlier post).
>Of course, being there and having memory of the scene must help.
Yes, it does indeed. I really think it's a case of "know your subject." I was
familiar with dance and technical theatre before I did any serious photography,
so the process was in part how to apply photo equipment and processes to
realize what I wanted to capture in images.
>And if its negative film, do the prints do the negatives justice?
>Or is it the scanning that gets the full effect?
Prints are OK; but prints can never reflect all that is in the negs. Negative
scans (Nikon LS-30/Vuescan) yield much more -- more than can be printed, of
course; but this lets me be the lab tech and decide color balance and where to
make the necessary compromises when producing prints.
--
Bob Shomler
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