Originally posted by dms I would suggest:
1. you set the lenses to manual exposure, and after initial shots you will know what the exposure setting should be--likely they will not be changing the lighting.
2. shoot at iso 400 and intend to underexpose 1 ~ 2e.v. The lower iso increases DR, and your problem otherwise is you likely will blow out the brightest areas. (The longer the FL the lens, usually the less problem w/DR--but long lens and dancers is tough--certainly so until you develop the knack.)
3. You can shoot at lower shutter speed than you might expect--you don't want to freeze the motion!! Blurred feet and hands suggest motion--which is good. And you want a slower shutter speed so you get DOF.
4. Flash is generally unacceptable for the performers--and anyway does not usually do as well as natural lighting as likely the flash will be frontal--and add to the DR problem.
5. Use either the 31mm, or the wide sigma zoom and set the FL to capture what seems to take in most/all of the dancers. As a guess--maybe 1/60~125s sec (depends on the dance number--if fast then go up some), iso 400, f/4~5.6. If possible set the lens at about 15 feet focus and tape it there. Actually 31mm may be too narrow FL and too little DOF--I would think about 24 mm is about right.
6. The other camera needs a lens you are most comfortable with. I would think a 50mm or a bit longer, and again about f/5.6, iso 400, etc.
7. Take a bag with few other lenses and perhaps a bag in which you can set the camera you are not using--but they should stand open all the time. If possible ask that the seats next to you be reserved/not used. WilI help to set the bags there--and less problems with worrying about annoying person next to you. As you are the company photographer they likely will do this--unless it is a full house. If they sit someone next to you explain to them who you are and that the shutter noise may be present--and if they mind they need to move.
8. Oh--about where to sit--I actually prefer the side of the house--but also in a way that no one is in front of me. So maybe the reserved (empty) seats need to be in front of you. Angled shots can be are more interesting--but you may have more problems w/ audience in front of you. Also if you are too close to the stage you may be getting too much of the frontal edge of the stage. You cannot stand/draw attention to yourself so you are stuck to your seat till intermission.
9. I agree w/ above post about being at back of hall, if you are using telephoto--but not if you are more into wider angle/more of the stage and dancers. With two cameras you likely should work out what your primary mission is--and then bias everything to that.
Obviously you will get conflicting opinions from people who do this--as myself and above post.You need to figure out what is your comfort zone--no matter that it is not what you usually do--it still will strongly relate to what you normally do--and this is not the time to do stuff totally new.
All of this has focused my thinking in terms of what I will actually be seeing and how to respond. This is all new to me - so I'll print this out to take with me for a quick reference - particular while things are being set up and I can make some adjustments and figure out what is going on and how to capture it. Mary said, I can shoot from the back, side or up in the balcony - they would make whatever accommodations.
I just said - don't expect the normal miracles - this is my first rodeo. I am just hoping to survive with a modicum of amateur dignity intact - and not be a total embarrassment.
---------- Post added 03-31-17 at 11:43 PM ----------
Originally posted by Brooke Meyer All I've shot is DNG's since 2007, never had to worry about PS versions. Makes using XRite customer profiles easier. Nothing wrong with PEF though.
That is what I was thinking, but I have no shame in asking...
Quote: Don't do the machine gun burst mode. Spray and pray is all guess and pointless. I've never done it. Plus you give up choices when the buffer is full and you can't shoot
I'm walking all of this through my mind, and this was becoming a large question. I am so use to static scenes, that I was trying to figure out what the best approach would be. Your reasoning is sound and makes sense. You just saved me from being dumb for not thinking things through and figuring it out before hand.
Quote: Listen to the music and watch the dancers, you want the top of move. Go into Zen mode and be one with them, really. The music is giving them their cadence.
Again, this makes perfect sense. Never been to a ballet - only the choreography of the flight deck.
Quote: Typically, moves will be repeated 3 times and if they move to a stage corner and the music is building, anticipate a jete ( jump). Fill the frame but shoot a little wide, easy to clip limbs. Especially older male dancers.
I am now starting to get the sense of what I will be shooting. This is excellent knowledge. To me, the 3 repeat is golden, watch the first and don't worry about missing it - then be ready to shoot the 2nd and 3rd. I would not have realized this until I got home and started sorting through all of my mistakes.
Quote: Anticipate a little. I don't know the level of performance or what they're doing but work as hard as they do.
The kids are 5 to 15-18 as I understand. Absolute novice to going into college. There are also lots of moms who have been in ballet that do everything (help in the practices - to stay in shape) but do not perform in the stage productions. The productions are all kids.
Quote: 40ft is close but they probably have another 20 feet of stage depth. That close, you can alternate to the 18-35. 35 at that distance will likely cover the whole stage & final bows.
Mary painted me a mental image of the facility - have never been there, so it will all be new to me. My wife dragged me to folk dancing up in Seattle for a couple of years. I was terrible. That is all I know. We have 2 sons, no daughters, so no ballet background.
Quote: Shoot the whole stage when the corps ( large groups are on) and then zoom in to divide in half or thirds. If time allows, zoom to individuals.
I'm told that the parents are into the photographer at the events - very supportive (so they can watch and enjoy the performance).
I am really starting to get sense of what will be going on. We'll just see how it all turns out.