Tom, I have shot ballet as well, the San Francisco Ballet. Post processing depends on the lighting, so it's difficult to outline what to do specifically for each shot. Timing is EVERYTHING on dance imagery, with ANTICIPATION being the most critical part of your timing. In ballet, you're almost always looking for full extension, unless there is something very specific you are trying to convey.
Originally Posted by alexniedra
Too late! He used the 85 L. Now you need it!
It's been on my "To Buy List" for some time now. I almost had a melt down during the last Victoria Secret show when they showed a photo shoot clip and the photog was using it exclusively.
Pathetic isn't? All those beautiful women scantily clad and I'm salivating over a hunk of glass.
Thanks for the EXIF / lens data. Those are some amazing shots! I didn't realize the 1d3 had such good high ISO capability. I guess it's been out long enough that nobody really talks about it much anymore.
LOL, most people like to focus on the negative much like the news. The 1D Mark III has served me very well.
Keith, I fully understand about drooling over glass. I affectionately refer to the 85 as "The best piece of glass I've ever had." Each and every time I put her on the camera body, I worry about scratching the inner lens surface. It's flush with the mount and changing it quickly to get a shot in a dark theatre makes me nervous each time.
I'm not a glamor photographer, so I cannot attest to becoming jaded over beauty all around in the fashion world. I can say that I never tire of the stunningly beautiful and equally talented women in the dance world!
I know I need a little more shutter speed (left foot) but I also found out that my 50D front/backfocuses, therefore it is soft.
50D 1600ISO 70-200 2.8 IS @ 115mm wide open, cropped about 50%
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I think your speed is fine. My only suggestion is to have captured her on her way up so that her tutu is not above her waist, which is not as flattering.
The #5 that is an impressive shot.Untill now i still respect the 1D series forindoor joband it's LOW light capabilitieshence it produce good outcome.
Thank you. Keep in mind that the outcome of an image and its use is the most important part for me. I am NOT one who pixel peeps to prove that "I" am right, what is in technical terms the BEST camera, blah blah blah. It doesn't matter to me what equipment one uses in their pursuit of art, only that the vision one creates exhibits imagination, skill and adept timing. All of that is truly subjective and not as easy to define as are the technical aspects of gear which so many people seem to focus upon. In so many ways it's easier because there are measurements, yet those using the equipment had little to nothing to do with its development, yet feel so proud to have purchased to simply say, "I have the best because the noise/pixel count/ISO performance/etc." I have seen MANY talented photographers use what what many people would consider to be "inferior" equipment produce stunning imagery, remarkable beyond measure.
For me and many like myself, the MOMENT is the most important part of an image, the story and the conveyance of a story. These shots were taken with a Canon Rebel XT during live public performances of Forever Tango in January of 2007 shot at ISO 1600. It was my camera prior to purchasing my Mark III when I first started out shooting professional theatre. One can look down their noses at the XT, but it was and still is a brilliant piece of equipment used properly, as well as an excellent value. My choice of black and white was not due to the noise, but to convey the mood and atmosphere of the performance, which in the end is all that matters in my own work.
Yes the 1D series allows me to venture further into areas where using the XT would not be possible. But for me the largest improvements come not with new gear, but with experimentation and improving my own skills. Making opportunities to shoot subject matter that is compelling and interesting is as valuable a skill to learn and acquire as knowing which ISO to use, or aperture setting.
When I look upon images from staff photographers at National Geographic, I marvel not only at the shot, but how they managed to place themselves in a position to have access to their subject matter. And when I write to a photographer I admire, I never ask about their equipment, but about things that cannot be measured or purchased.
My participation here is in hopes of finding like minded photographers to focus on non technical aspects of this craft. I respect what Bryan has built with this site and want to support his efforts.
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kitaoka, thank's for sharing these photos, they are awesome! The second photo really draws me in, and I'm having a hard time moving on from it. I love how the man in it is... almost not really even in the photo, but only hinted at. Excellent work. Do you take these for the theater? I've never been to a professional theater performance (more of a football guy), but I can't imagine that they want amateur photographers walking the isleways during a performance.
Lewis
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