Shooting against a bright stage background

I’ve written about shooting outdoor productions as the daylight gives way to stage light, but here the set walls were painted with light colors, adding the challenge of shooting the actors against very light-colored walls. (The stage design reminded me of an Escher print, with its real and imaginary, black and white stair cases.)

The opening ballroom scene in daylight.

As the stage lighting takes over.

And with an opening night audience.

The performance is The Comedy of Errors, by the Sonoma County Repertory Theatre in Sebastopol, California, this month.

153mm, 1/125 sec, f/5.6, Mode: Av, Metering: Evaluative, Exp comp: -2/3, ISO: 640.

The sequence of un-edited frames shows the need for an on-the-fly exposure adjustments when shooting with a light-colored background and using aperture-priority exposure mode (Av). Above, a telephoto shot is underexposed, but detailed enough to be saved by a photo editor.

70mm, 1/250 sec, f/5.6, Mode: Av, Metering: Evaluative, Exp comp: -2/3, ISO 640.

This wide-angle image was taken with the same exposure compensation as the first image. Because more of the stage walls are included, the camera’s light meter read more light and sped up the shutter to compensate resulting in a darker image.

70mm, 1/60 sec, f/5.6, Mode: Av, Metering: Evaluative, ISO: 640.

Then I increased the exposure on this frame (zero compensation) so the camera would lengthen the exposure time to give the actors sufficient light.


Shooting against a light background simply requires overexposing your subject as in these images.

1/160 sec, f/3.5, Mode: Av, ISO: 640.

1/100 sec, f/3.5, Mode: Av, Exp comp: +1/3, ISO: 640.

How can you avoid constantly re-adjusting the exposure compensation? Use the camera’s program mode (P), and let the exposure automatically adjust for speed and aperture. In P mode you won’t be able to manually set the depth of field.

My shadow among the redwoods in Ive’s Park just before the shooting began.

And here is one of my favorites from the production.

Underexposed

The Taming of the Shrew with pirates was shot from dusk to evening, so the light available changed dramatically from start to finish. It was no surprise that I had to increase dramatically (pardon the term) the ISO over the course of the show, from 250 to 2000 (and more for action).  Early on there was sun shining on the set, which made for some tricky exposures, such as this, where the bright sun in the back could easily darken the foreground. In fact, I should have been using a + compensation to brighten the actor and wash out the sunny part of the set:

Settings: 200mm, 1/320 sec, f/4, Mode: Av, Metering: Multi-segment, ISO: 250.

But the daylight provided so much light that I could shoot fast at an ISO of 250. Next, the whole stage was in the shade from buildings across the street. The the sky was clear, so there was plenty of diffused light.

Settings: 150mm, 1/320 sec, f/4, Mode: Av, Metering: Multi-segment, ISO: 1000.

As the dusky light faded, stage lighting came on, providing a different color palette and less light. My position, about 25 feet from the stage just behind the lights, allowed me to use the 200mm zoom lens for medium and close-ups. Since the lights were at about shoulder height, I couldn’t move closer to the actors or I would have cast shadows on the cast. Not a good idea.

Settings: 150mm, 1/125 sec, f/2.8, Mode: Av, Metering: Multi-segment, Exp comp: -2/3, ISO: 1600.

Even with the increase of ISO to 1600, I  had to use a low f-stop, resulting in the narrow depth of field you see here. (OK, the picture turned out artistic because even though the guy in the back is out of focus, you can still see his grin.) Moving around in front of the stage, as I do in other theater rehearsals, would have given me more points of view to compose my pictures. But sitting comfortably in one spot wasn’t bad either.

Settings: 85mm, 1/60 sec, f/2.8. Mode: Av, Metering: Multi-segment, Exp comp: -1 1/3, ISO: 2000.

At the end of the show, the sky was dark and the stage lighting was boosted slightly by the park lighting. I had to boost the ISO to 2000 to get up to 1/60th second exposure; about the slowest shutter speed required to prevent casual movement from blurring.

Overexposed

It’s not often that I shoot performances outdoors, especially where there is no shade, such as this rehearsal of Taming of the Shrew with pirate theme, by the Napa Valley College. Here’s the scene:

This was an early rehearsal and the set was complete enough for close-up and medium shots. For the first act, the stage was in direct, low-angle sun from behind, so I thought my exposures at low ISOs would be just fine, until I got this washout:

Settings: 145mm, Subject dist: 12.7m, 1/60 sec, f/4, Mode: Av, Metering: Evaluative, Exp comp: +1/3, ISO: 250.

The sky had enough glare to bounce back into the camera’s sensor and saturate the exposure. I’d left the lens hood at home, so my sunlit shots had to be framed to exclude the sky’s glare, like this one:

Settings: 200mm, Subject dist: 16.8m, 1/160 sec, f/4, Mode: Av, Metering: Evaluative, ISO: 250.

A look at the preview screen when shooting against the sky had me cranking up the exposure compensation.

Settings: 145mm, Subject dist: 16.8m, 1/1000 sec, f/3.5, Mode: Av, Metering: Evaluative, ISO: 400.

Even so, when shooting at a wider angle in the evaluative mode, the glare can’t be avoided so some fading of the main subject is to be expected. PhotoShop to the rescue.

Settings: 200mm, Subject dist: 25m, 1/800 sec, f/2.8, Mode: Av, Metering: Evaluative, Exp comp: +1, ISO: 1600.

I recovered most of the colors by adjusting the levels after cropping, sacrificing some detail.

The lesson: bring the lens hood when shooting daylight performances.

My favorites from Summer Rep 2010 (Continued)

Forever Plaid by Stuart Ross was performed in the same theater space as Dangerous Liaisons. I wanted to get a good group shot of the quartet, but all four of them weren’t bunched up like this too often.


Settings: 57mm, 1/100 sec, f/5.6, Mode: Av, Metering: Multi-segment, Exp comp: -1 1/3, ISO: 2000.

The only thing wrong with the picture is clutter of the microphones in the background. If the image were to be used for promotion, Photoshop could eliminate the background. In shooting, I could have reduced the clutter by shooting with a much narrower depth of field so that the background would be out of focus.


Settings: 17mm, 1/250 sec, f/5, Mode: Av, Metering: Multi-segment, Exp comp: -1 1/3, ISO: 2500.

The vaudeville antics are caught by cranking up the ISO so the shutter speed can freeze the flying objects and dance steps. With bright light, the high ISO also permits a wide depth of field so all the cast are in focus.

Here are the shots from the end of the show. I was so busy setting up the camera and moving my position in the house for the curtain call, that I failed to capture one the best lighting effects of the show.



In the final scene the cast sings their farewell as the background becomes all starry. Then the moon fades in and their silhouettes appear and it all fades to black. I missed the whole moon and silhouette business, the whole point of all the great projections. But I did get the curtain call.
I had images of the moon and silhouette from the previous rehearsal, so I used good ol’ Photoshop to strip them into my final shot. The boys’ positions didn’t change as they would have in a real shot, but at least the effect was shown. The lighting designer appreciated the effort.

My favorites from Summer Rep 2010 (Continued)

Dangerous Liaisons with Vampires adapted by James Newman, provides some of the most sensual scenes I’ve shot. Here, the two leading vampires conspire. Whether intentional or not, the Count appears to be looking at the camera, heightening the intensity. (Perhaps he was compelled to look at the camera because I was shooting with a 200mm telephoto just a few feet away. Or it was just happenstance.) Either way, it’s one of my favorites.


Settings: 195mm, 1/200 sec, f/2.8, Mode: Av, Metering: Multi-segment, Exp comp: -1 2/3, ISO: 1600.

Here, the vampire is in mid-seduction in shadow while his victim is illuminated. Even though she is not facing the camera the lighting behind the camera provides a sparkle in her eye, a catch light, that brings energy and life to her expression.


Settings: 70mm, 1/25 sec, f/2.8, Mode: Av, Metering: Multi-segment, Exp comp: -1, ISO: 2500.

The overall darkness of the scene required a high ISO, but the relatively long shutter speed helped minimize the image noise.


Settings: 55mm, 1/80 sec, f/3.2, Mode: Av, Metering: Multi-segment, Exp comp: -2, ISO: 2000.

OK, it’s not just the flesh that makes a sensual image, but the expressions and the setting. Light was low but the action was slow enough to get clear shots even with some noise at 2000 ISO. At the other side of the stage was a trio busy with their own seduction scene, but in much more clothing and lighting. How do you shoot such a set of scenes between high and low light? Make quick exposure compensation adjustments, and if there is time, ISO adjustments as well. When this scene became too risqué to shoot, I moved to the other part of the stage, then back here when the bloodletting began.

(To Be Continued)

My favorites from Summer Rep 2010 (Continued)

The 25th Annual Putnam Counting Spelling Bee by William Finn was presented on a shallow, wide stage. An audience on stage provided lots of opportunities to get shots of some performers in front of others.


Settings: 32mm, 1/80 sec, f/5.6, Mode: Av, Metering: Multi-segment, Exp comp: -2/3, ISO: 1600.

I didn’t want the folks in the back out of focus, so I set the f-stop to f/5.6. Since I was in the Av mode, that is, the aperture priority mode, the f-stop wouldn’t change no matter how I changed the exposure compensation. Since no one was moving fast, the shutter speed was fast enough to freeze the action. I used a center point to focus on the gal in the front by pressing the shutter part way down, then reframed before I pressed the shutter all the way down. (With the Mark III and the Canon 24-70mm L-series lens, I’ve had a lot of trouble getting consistent focus in scenes like this using the multipoint automatic focus. I’ve learned to use a single center point for accurate and consistent focus points even though it often means re-framing before pulling the trigger.)

With an intimate stage, only about 9 feet deep, I could get up close and personal with the actors.

Settings: 27mm, 1/160 sec, f/2.8, Mode: Av. Metering: Multi-segment, Exp comp: -2 1/3, ISO: 1600.

Even though this image is cropped from a wide-angle shot, the camera’s pixel resolution is high enough to provide sufficient resolution. (Oh oh, here’s another plug for buying the Mark IV, higher resolution.) The original image was 3888 pixels wide. This crop is about 1700 pixels wide.

In almost every performance I shoot, I’m drawn to one or two actors because they have an irresistable look, or as it’s said, the camera loves them. The actor playing Olive had such a winning joyful expression, I took a lot of shots with her in the frame.

Many plays put the actors in the audience. I saw an on-stage rehearsal before shooting, so I knew when and where the cast was going out into the house.


Settings: 190mm, 1/160 sec, f/4.5, Mode: Av, Metering: Multi-segment, Exp comp: -1/3, ISO: 1600.

Even though I thought I was ready, there are a few things wrong with this picture. 1) My shadow lies on the actor in the foreground. OK, I could crop that part off. 2) The second person in the shot is in dark shadow. I could have waited for her to reach the light. 3) There is a coiled power cable off on the left, not your typical audience member. I could use Photoshop to eliminate the distraction. Here is an edited image that fixes these complaints, although alone, it takes the actor out of the environment.




(To Be Coninued)

My favorites from Summer Rep 2010

Settings: 85mm, 1/160 sec, f/2.8, Mode: Av, Metering: Multi-segment, Exp comp: -1 2/3, ISO: 1600. J. M. Barrie’s Peter Pan at Summer Repertory Theatre, Santa Rosa California, James Newman, Artistic Director. Check out the site at: www.summerrep.com

My viewfinder sought out Tinker Bell in this show. She was all in black, and I mean all black, so she either disappeared or became a silhouette.

One of the Lost Boys fires off an arrow at poor Tink.

Settings: 165mm, 1/160 sec, f/4 Mode: Av, Metering: Multi-segment, Exp comp: -2/3, ISO: 1600.

I was surprised to catch the bow string vibrating even though I hadn’t been using drive mode for firing the shutter. Luckily the background was a night scene.


Settings: 200mm, 1/1000 sec, f/2.8, Mode: Av, Metering: Multi-segment, Exp comp: -2/3, ISO: 2500.

The tension and action of Capt. Hook and Peter arm wrestling is strong, but I regretted missing Hook’s hook in the frame. The action is frozen well because shutter speed was 1/1000 second. Because I knew the was coming for this well-lit scene, I set the ISO very high to ensure fast speeds with a low f-stop (f/2.8) for a shallow depth of field. I often use a shallow depth of field with the telephoto lens to make foreground subjects stand out against their background, however distracting.

And speaking of speed, here is a dance scene from The Full Monty by Terrence McNalley.

Settings: 70mm, 1/125 sec, f/2.8, Mode: Av, Metering: Multi-segment, Exp comp: -2/3, ISO: 3200.

The dancer gets a lot of air and I was fortunate enough to have the Monty crew in the background. The dancer is the focal point, and the boys are a bit out of focus because of the low f-stop. The light available required the 3200 ISO to even get 1/125 sec speed, so I was lucky to get this clear a shot. Usually I like to shoot at 1/250 sec or faster for dance numbers.


Settings: 62mm, 1/320 sec, f/3.2, Mode: Av, Metering: Multi-segment, Exp comp: -1 2/3, ISO: 2000.

The Monty women song and dance number ended with a great pose that let me shoot seven frames, allowing me to pick the best, that is, the one with everyone’s eyes open and great expressions.

(To Be Continued)

Can noise help me justify a new camera?

Photos from Santa Rosa Junior College (California) 2010 dance recital,
105mm, 1/250 sec, f/4, Mode: Av, ISO: 1250.

Sometimes I’m too analytical when making decisions. Oh well, engineering background, can’t help it. So I’m considering the pros and cons of buying my next Canon pro camera , the 1D Mark IV. I have the Mark III and an older Mark II. Love ‘em both. With the purchase, Celeste can trade her Mark II for the Mark III.
The main technical considerations are noise performance and resolution. Resolution (pixel count) is no contest. More is better. The Mark III image is 3888 pixels horizontally. The IV has a thousand more pixels at 4896. This is great for image clarity, especially with close cropping. Memory is cheap, so the larger file sizes of the IV won’t be a problem.

Above is a crop of the original dance image was shot with an ISO of 1250 through a telephoto lens.

The close-up of the dancer is fuzzy due to noise, but there is no pixilation which can be seen in a further close-up of the eye.


The increased resolution of the Mark IV would add 25% more pixels in each dimension, so I would get four times higher resolution for the same-size image area.

With ISO settings of 1600 and higher, noise causes even bright images to blur as if they were out of focus, as shown in these images from the same dance recital.


Above is a telephoto image shot in bright light. Little noise is present. Below, the noise with an ISO of 2500 in low light, shows up as random texturing of the dancer’s skin.


The image below is blurred by noise in very low light.


Performance shooting is often in low stage lighting, so I need improved resolution, noise, and sensitivity at 1600 to 2500 ISO. The improved noise of the Canon 1D Mark IV over the III, combined with its better resolution and sensitivity will greatly improve the clarity of my images, whether for large prints or cropping an image down.

For a full discussion of the noise performance of the Canon 1D mark IV, and many more models, see the excellent non-partisan review at
http://www.dpreview.com/reviews/CanonEOS1DMarkIV/page17.asp

Is this all wishful thinking to justify the purchase of another expensive camera body?

You bet!

Shooting more than hoops

A promotional photo shoot for Reed Martin and Austin Tichenor’s The Complete World of Sports (abridged) a middle school gym was picked to provide an authentic athletic background. I was early, and since the stage manager had brought in some equipment, including a semi-flat basketball, hey, why not take a few shots?

It had only been 40 years since I shot hoops. The brain said I could do it, the body followed the motions, the ball swished every time, far short of the hoop. Dodds did better, above.

Pictured from left are actors Benjamin Stowe, Chad Yarish,

and Dodds Delzell of Sonoma County Repertory Theatre, or The Rep.

But the promo shooting didn’t get any points. The background of the folded, built-in bleachers didn’t identify themselves well enough for the photo’s purpose. And I didn’t have powerful enough lighting equipment to include other easily identifiable sports background, like the hoops. We still had fun.

The final promo image, shot with studio flash, was given a custom-designed background logo by The Rep’s managing director, Amber Wallen.