You can shoot shows with slow lenses and low-end cameras and still get away with a no-flash situation.
Getting up close helps, because at wider angles, your handheld shutter speed threshold drops. The camera doesn't have to be a fancy new single-digit or triple-digit D, but it if it's new enough to have higher ISO performance, then it's good enough that you can shoot with less hesitation at 1600/3200 and even the dreaded Hi-1.
Lower-end bodies means less robust autofocus, and conversely, you're less able to take advantage of the outer sensors to drive the spot-meter to off-set locations for convenient meter-and-frame in one move. But with slower moving scenes with good contrast, a center-cross only system can keep up.
Finally, getting close means your spot meter actually sees more of the mid-tone you're relying on, and you can confidently set a white balance to match the dominant lighting source, knowing you'll need to do very little color correction in post.
These were shot with an 18-70 DX f3.5-4.5 and a D3100 at various ISOs, mostly 1600 and some 3200. When you have even lighting like this, consider taking advantage of your slower lenses which have a wider zoom range.
Getting up close helps, because at wider angles, your handheld shutter speed threshold drops. The camera doesn't have to be a fancy new single-digit or triple-digit D, but it if it's new enough to have higher ISO performance, then it's good enough that you can shoot with less hesitation at 1600/3200 and even the dreaded Hi-1.
Lower-end bodies means less robust autofocus, and conversely, you're less able to take advantage of the outer sensors to drive the spot-meter to off-set locations for convenient meter-and-frame in one move. But with slower moving scenes with good contrast, a center-cross only system can keep up.
Finally, getting close means your spot meter actually sees more of the mid-tone you're relying on, and you can confidently set a white balance to match the dominant lighting source, knowing you'll need to do very little color correction in post.
These were shot with an 18-70 DX f3.5-4.5 and a D3100 at various ISOs, mostly 1600 and some 3200. When you have even lighting like this, consider taking advantage of your slower lenses which have a wider zoom range.
Continue reading Shoot Stage with Slow Lenses? Yes, It's Possible..