Random bits of photographic trivia:
White balance is important. I stupidly had mine set to “Flash.” It’s not a problem, since I shoot RAW and can adjust it in post without worry. But, man, did all the pictures come out orange/yellow. In some cases, the light was just so bad it couldn’t be fixed, but that would have been true no matter the color temperature. When opposite colored lights hit the same subject, there’s no saving it without going to black and white. If your guitarist has a yellow side of his face and a blue side of his face, you can correct for one with a simple click, but the other side then becomes more garish. So it’s black and white or nothing at all there.
I used back button focus lock a lot. Holding that down while going at full burst speed on the shutter kept the camera moving quickly during key moments. It worked so long as my subject didn’t move forward and backwards. At f/1.8 even at 10 feet out, it doesn’t take much movement to have your subject drop out of the range of acceoptable focus very quickly. The thing I had to be careful of was that I’d often hit the wrong button by mistake and push the button to adjust the focus spot instead of locking the focus. Lost a few pics from that, but nothing major. I realized the error right away.
Rim light, paying customers, better angles, and more after the break!
I love rim light. We had plenty of it in this concert. It was very noticeable with Ferreira, in particular. There’s nothing better to separate a subject from his or her background than that thin outline of light around their body.
Use different angles. I shot from a kneeling position inside of a doorframe at one point. I realized that I was able to stabilize my camera by holding the side of the lens up against the door frame and pushing slightly up against it. I didn’t take full advantage of it with a slower shutter speed or anything, but I certainly think the move helped me get a more stabile image on a lens without IS built in.
Paying customers come first. The one worry I had standing up against the side wall was that I was annoying the people around me, specifically the people eating dinner in front of me. The camera’s mirrorbox makes a very loud clapping noise every time you take a picture. During the quieter moments of a song, it sounded to me as if that slap echoed throughout the room. I know it wasn’t really that bad, but I did worry about it. That’s one of the other things that spurred me on to move to the side of the stage — I’d be away from the patrons of the restaurant. The camera would be quieter if it was further away from them, and that would free me up to click the shutter more. No more waiting for the loud parts of the music to fire away like a madman.
The Troubles with Buffers. I did hit up against one limitation of my camera on a couple of occasions: I filled the buffer with high speed shooting. The wait is an eternity for there to be room to take your next picture, and it always happens that the most photogenic moments of the night will happen while you’re impatiently waiting for that “0” in the right corner of the viewfinder to hit “1” again and for the shutter to work once more. It happened to me the one time of the entire concert that Shimakuburo played ukulele in my direction at the side of the stage, directly at me. (Earlier in the night with the opener, I saw the saxophonist motion to the other photographer to get ready to take a shot, then played directly at him. That was nice.) I got a couple good pics out of that, but I could feel my anxiousness level rise.
Tomorrow: The End