1/160s @ F4 - there were 3 LED light sorces - the rest of the images either have blur - moving people or were under exposed by a further stop ish to try and freeze the movement - I think I may need to have a faster lens - or wait until the slow bit in the music - alought I dont mind the bluring - would prefer to have a choice is you ken what I mean.
any comments / suggestions most welcome !
This is really a hunter's job! You have done well for a start! So pat yourself on the back!
This is not the kind of laid back contemplative work of Sandrine Bascouert's
French countryside, Jim Collum's beaches with rolling surf or meticulous
architectural compositions or portraits of neglected industrial structures , or the peaceful woodlands and meadows
Dwayne Oakes prefers or
Jim Galli's pensive B&W stidies of anything within reach or else
Ken Tanaka's brilliantly planned, created and selected snaps of architecture, form, theme and people with the parts playing off each other.
This is much more aggressive work! You will have to be nimble and be prepared to stand on chairs, crouch on the floor, climb in a ledge, whatever it takes to find a vantage point that works. So at the outset, you have got access to the target and that's the most important first step! At least in a wedding, folk cooperate to a degree. Here, however, it's your wits and planning that count the most.
Like the lion waiting in the grass, you must know where your subject will be and how it will be moving and what will be obstacles to that instant, explosive move for the kill. One cannot just enjoy the music fully. Interest has to be shifted to spaces and shapes and predicting cycles of movement. What is interesting to discover, is even the most improvisational artists repeat themselves in their movements on stage. So if you mist a composition, next time around you will be prepared to frame and catch it in that fleeting moment. All the time, you are sketching. Thousands of snaps in your mind and maybe 50-100 in your camera.
Watch the lights and the obstacles like the microphone. How can you get the musician as a person and then as part of what's happening. How can one compose when the performers are spread out. This is a work of a tactician.
Lighting is another matter. You are almost there. What you need now is working at it. You have stripped the EXIF shot details. So what was the ISO used here?
Asher
