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Do I Need A Noctilux Or Faster Film?


kwpatlaw

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I have a son who is in a really popular local southern rock band. They play several times a week in various bars and clubs where the lighting is always different AND USUALLY LOW. When photographing them, I have been using a 75 lux with standard kodak or fuji 400 speed film. I use aperture priority on my M7 at 1.4 and the shutter speed is often 1/15, 1/30 or 1/60. The pictures are frequently blurry due to lack of shutter speed, their on stage movement, and to a lesser degree my movement.What are you all doing in this type of setting to get acceptable renderings?

 

KEN

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For similar work, (bands outdoors at night, adhoc lighting) I have shot Fuji Provia 400X, exposing it as 1600asa, then having it push processed as such (+2). I was ecstatic with the results. Sharp, nice colour, low noise. I used a (non Leica SLR) F1.2 lens, no filters, no compensation for tungsten lighting. Previously I shot in similar conditions with 400F at box speed, and the quality of the slides were worse, some a little blurred, the lens wide open can be tricky to focus, plus moving subjects. I also shot print film at 400 (Kodak 400VC), but the noise levels looked a little worse than 400F, perhaps it needed more compensation for Tungsten than slide film? Don't let me stop you buying a Noctilux though!

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You can't shoot a moving subject in low light at ISO 400 with any degree of sharpness. As a minimum, use either additional flash to freeze the subject, or shoot with a faster film speed. The noctilux alone won't be enough - I have one, so can tell you from direct experience. Far cheaper (and just as efficient) to start pushing your film, or even better, try 3200 rated at 1600.

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I have a Noctilux, and it's perfect for that sort of work. But before you spend a ton of money on one, try faster film---Fuji's and Kodak's 800 color neg films are quite good, and there are lots of choices available in b&w. With most clubs, I get away with HP5+ pushed a stop to 800, shot with a Summicron (35 or 90, depending on how close I can get to the stage). The performer looks good, and the background drops off into black pretty abrubtly due to the reduced shadow detail. If the light is dimmer, try TMZ at 1600 or 3200. And blur is good--my best shots have movement in them. Too high a shutter speed, and everything is static, like an airplane's props frozen in flight.

 

And don't forget your earplugs!

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I also never shoot aperture priority. So much darkness in stage areas will fool your meter and and cause a too slow shutter speed. Shoot manual (you set aperture & shutter). Set aperture wide open. You will eventually figure out what works.

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I have got to tell you guys ; I just love this forum!!! Thanks to all for your good and timely advise. The first thing i am going to try is faster film followed by ditching the aperture priority.I am not sure that I would have figured that out on my own.Perhaps the nocti can wait after all.I will report back to you next weekend with my new and hopefully improved results.....and as for earplugs...........who needs em?.......

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I have to agree with the comments concerning using manual and not apeture priority. Expose for the subject in the photo, not the stage generally. My typical kit for this assignment would be 35/1.4A, Nocti and 75/1.4. The Noctilux would get the least camera time.

 

M

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I also never shoot aperture priority. So much darkness in stage areas will fool your meter and and cause a too slow shutter speed. Shoot manual (you set aperture & shutter). Set aperture wide open. You will eventually figure out what works.
Completely agree with Peyton here. Place the patch on what you want to expose for then set the shutter speed. I use a 90/2 AA and Neopan 1600 to shoot classical music rehearsals in dark(ish) halls. NP1600 gives an interesting noir type of look, see how it looks in this PN thread.

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When I shoot concerts with my M, it's HP5 uprated to ASA 800 in my M2 or M6TTL. 75 lux is my standard concert lens, although I have used a 90/2.8 tele-elmarit. With that set-up, 1/60th sec at f2.8 normally works fine - there's a fair bit of latitude in B/W film emulsion. Personally, I think the 50 focal length is too short unless you are right bang up in front or to the side of the band. As a paying punter, I don't get that privilege. Also at f1, the depth of field is minimal.

 

If I'm further back, I take my R9/DMR and my 80-200/4 ROM rated at ASA400 -2EV on f4 at 1/60th - that works fine too.

 

In concerts, the light can change very quickly. I tend to watch the light and shoot when the band are lit up. That way I can concentrate on shooting and not metering. Metering can be really difficult due to the uneven and rapidly changing light.

 

Charlie

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  • 2 weeks later...

I've never shot with my M, but I do with my 1V. Tri-X at 1250 in Diafine seems to work. Sometimes I use TMZ, which I love, but it really does look better at 1600 instead of 3200. And if I'm going to shoot TMZ at 1600 for a bunch of rolls, I might as well just do Tri-X at 1250 - 6 mins in Diafine beats 15 in XTOL at the end of the night.

 

I've only shot one show where I was able to get away with running Tri-X at 400. And most of the other guys who shoot digital are almost always running at 1600-3200 ISO. So try faster film :)

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As promised, I wanted to share with you all my latest attempt at shooting my sons band in a bar with difficult and ever changing lights. Last night ( it soon turned into today ) I used Fuji 400 ( i forgot to buy faster film ) without aperture priority, as suggested by Peyton , and the results were MUCH MUCH BETTER!!! Next weekend I will shoot faster film and I fully expect additional improvements. Focusing the 75 lux is easy once you wait for the lights to peak..........AGAIN, THANKS TO EVERYONE FOR YOUR HELP!!!!

 

Ken

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