I don’t choose lenses just for focal length and speed. Oh no. Each lens has its own character. Technically, a Nikon 85mm f/1.4 lens is at its best stopped down to f/5.6. But you don’t buy a 1.4 lens to shoot it at f/5.6. So for July, my assignment is to shoot the 85mm f/1.4 wide open, in black and white.
Category Archives: Low Light
Last December I shot a dance concert with the D610, and while I got some very nice shots, I was disappointed with the focusing system and made a note to try the D7100 next time. Well, next time happened earlier this month.
These concerts are always both stressful and fun. I’m not sure there’s any focusing system that would be optimal in these circumstances, but the D7100 definitely did a better job than the D610, and I got well over 150 keepers from the first performance. But you know what? I just couldn’t leave well enough alone.
While I was over-processing, pixel-peeping, and over-analyzing images from night one, I decided that I had sacrificed dynamic range and low-light capability by choosing the D7100. I resolved to shoot night two with the D610. It’s a good thing I got most of what I needed on night one.
Now don’t get me wrong. I got some good shots with the D610, but it was more of a crap shoot, focus wise. I knew that I was trading focus acuity for lower noise at higher ISOs, but I was surprised at what a bad trade it turned out to be. There are several factors at work here: 1) the D610 doesn’t focus as well as the D7100 in low light, 2) the full frame sensor produces less depth of field at the same aperture, 3) the full frame sensor also required me to use the lens at its extreme end of 200mm, where it is less likely to be sharp than in the middle of its range. (I haven’t tested this, but it’s a plausible hypothesis). Whatever the reason, the images were not as sharp as often, and that was a shame, because the dynamic range and high ISO were visibly better.
As I say, I got most of what I needed at the first performance, and the teacher is happy with the 198 images I delivered. This experience reminds me to carefully choose the right tool for the task at hand. One week after the dance concerts I did a studio shoot with the D610 and cannot imagine a better camera for the job (blog to come).
So the very good news is that I got to see these magnificent dance performances, make some very nice photos, and learn something important about my cameras. Win, win, win.
I’ve attended sixteen Ojai Storytelling Festivals, and I’ve photographed at least twelve of them. Every year there are new challenges. Oh, he’s going to juggle flaming torches? Okay. Oh, she’s going to spin and twirl all over the stage? Okay. Oh, they’re going to wear black clothes and bright white makeup? Okay. I attend nearly every event over the weekend, so if at first I don’t get the shot, I usually get another chance.
This year threw some unknown unknowns my way. The past two years, I’d gotten quite used to taking up a position behind or up against giant speakers at stage-right, which allowed me to get close to the performers without distracting the audience. But those speakers weren’t used this year. Nor was there seating in the “orchestra pit” area, so any attempt to get close to the stage put me out in the open, between performer and audience.
I found a relatively unobtrusive spot stage-left, where I faced a busy background and obstacles (music and microphone stands) in the foreground. Unsightly backgrounds and cluttered foregrounds became a bit of a theme because most of the daytime performances previously held in Libby Bowl were staged this year at the Ojai Center for the Arts. On a makeshift stage, under a canopy. A small canopy.
But wait, there’s more! Two of the tellers were accompanied by musicians. So I’ve got busy backgrounds, cluttered foregrounds, and I’m looking for compositions that accommodate a standing teller and a seated musician.
On top of all this, I faced the ever-present gels of doom – purple and green and maroon and blue; not the most flattering replacements for skin tones.
But you know what? I told myself the same thing I told a visiting German photographer who didn’t like the light in Monument Valley last month: I play the cards I’m dealt. And I found two techniques that mitigated most of my challenges: tighten the frame, and narrow the color palette.
It only has to work a few times to deliver what the tellers and the promoter need. And I think it did.
Next week I return to shooting dance. I wonder what cards I will draw…
It’s confession time. After the frustrations of the December dance concert, I traded in one of my D7000 bodies for a D610, believing a full-frame camera would finally deliver the high ISO performance needed for dance.
Like many of my recent purchase decisions, this one turned out to be the right horse in the wrong race. The D610 is a marvelous camera that improves many of my images, but it does not solve my dance performance problems. Continue reading