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FORUMS Photography Talk by Genre Performing Arts Talk 
Thread started 24 Jul 2015 (Friday) 00:11
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Shooting from the soundboard, what do you use??

 
the ­ flying ­ moose
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Jul 24, 2015 00:11 |  #1

Seems that more and more concerts that come to town are from the soundboard only. My longest lens is only 200mm and the last show I did, I had to crop significantly to have any kind of close up image. What lens/body combo do you guys/gals use to get the best results?




  
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Echo63
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Jul 26, 2015 08:07 |  #2

I always ring the promoter and ask how far back the soundesk is.

Normally a 400f2.8, sometimes with a 1.4xTC (which i always take, just in case)

I have used the 500 and 600f4 too - but for most places they are a bit long.

(I should add, that work owns these big guns, and i just grab them from the pool lens cupboard - if i had to buy/rent them - it would be a 400f2.8 - in conjunction with a 70-200 and 1.4 you can easily get 200mm 280mm 400mm and 560mm)


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the ­ flying ­ moose
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Jul 26, 2015 14:16 |  #3

Echo63 wrote in post #17644815 (external link)
I always ring the promoter and ask how far back the soundesk is.

Normally a 400f2.8, sometimes with a 1.4xTC (which i always take, just in case)

I have used the 500 and 600f4 too - but for most places they are a bit long.

(I should add, that work owns these big guns, and i just grab them from the pool lens cupboard - if i had to buy/rent them - it would be a 400f2.8 - in conjunction with a 70-200 and 1.4 you can easily get 200mm 280mm 400mm and 560mm)

Thanks for the reply. I would call the promoter but the soundboard is in the same location for every show. My problem, I guess, is that us photographers are basically not told where we are shooting from until we are walked to the floor. Last show I shot, I had an email from the management company of the artist, saying 3 songs from the pit. I get walked to the floor and all of a sudden, its 1 song from the soundboard. I am lucky as I had all my gear as I was coming from a pervious shoot, but if I brought my normal concert gear, I would have only had 70mm at the longest.

The lens rentals would be out of my pocket but I could speak to the boss about getting the costs covered. 200mm is too short. There needs to be a fair bit of cropping for something usable. I am on a budget so dropping thousands isn't in the cards but I have been looking at the 300 f4L IS and that could be doable.




  
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Echo63
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Jul 27, 2015 07:20 |  #4

the flying moose wrote in post #17645108 (external link)
Thanks for the reply. I would call the promoter but the soundboard is in the same location for every show.

I shoot a few different venues, (8 that i can think of) and in one of them, the sound desk can be in one of 3 locations, depending on the size of the gig and how much floor space is open.

(Kings Park and Sandalford both need a 600mm, Challenge Stadium and the Arena really need a 500, but 400 works pretty well too, i take a 400 for the Arena, as its sometimes a shorter setup, I haven't shot from the sounddesk at the Motorplex, Subi Oval or Metros, NIB really needs a 500, and a box to stand on, or you are handholding a long lens, standing on the crowd barrier steps.)

the flying moose wrote in post #17645108 (external link)
My problem, I guess, is that us photographers are basically not told where we are shooting from until we are walked to the floor. Last show I shot, I had an email from the management company of the artist, saying 3 songs from the pit. I get walked to the floor and all of a sudden, its 1 song from the soundboard. I am lucky as I had all my gear as I was coming from a pervious shoot, but if I brought my normal concert gear, I would have only had 70mm at the longest.

the other part of the call to the promoter is to double check the shooting location - pit or sounddesk.
I normally call 2-3 hours before the gig - by that point in time they should know what is going on.

the flying moose wrote in post #17645108 (external link)
The lens rentals would be out of my pocket but I could speak to the boss about getting the costs covered. 200mm is too short. There needs to be a fair bit of cropping for something usable. I am on a budget so dropping thousands isn't in the cards but I have been looking at the 300 f4L IS and that could be doable.

300f4 can be had with a 70-200 and 1.4x converter, for a lot cheaper than the cost of the new lens (although the 300f4 will be a bit sharper, and focus quicker)

I am lucky, working for a newspaper that has a bunch of big lenses - i would probably be stuck with the 70-200 too if i couldn't just walk to the cupboard for a big lens.


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skifurthur
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Jul 28, 2015 18:51 |  #5

Echo63 has pretty much covered the bases on this one. I agree that a 1.4 TC is invaluable and should be in your kit. With the higher ISO these days, shooting at f/4 isn't impossible.

Another thing that makes a difference is having a crop body available. I've shot many a concert at the soundboard with a Canon crop, 200mm f/2 and a 1.4TC.


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the ­ flying ­ moose
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Jul 28, 2015 18:59 |  #6

Echo63 wrote in post #17645940 (external link)
I shoot a few different venues, (8 that i can think of) and in one of them, the sound desk can be in one of 3 locations, depending on the size of the gig and how much floor space is open.

(Kings Park and Sandalford both need a 600mm, Challenge Stadium and the Arena really need a 500, but 400 works pretty well too, i take a 400 for the Arena, as its sometimes a shorter setup, I haven't shot from the sounddesk at the Motorplex, Subi Oval or Metros, NIB really needs a 500, and a box to stand on, or you are handholding a long lens, standing on the crowd barrier steps.)

the other part of the call to the promoter is to double check the shooting location - pit or sounddesk.
I normally call 2-3 hours before the gig - by that point in time they should know what is going on.


300f4 can be had with a 70-200 and 1.4x converter, for a lot cheaper than the cost of the new lens (although the 300f4 will be a bit sharper, and focus quicker)

I am lucky, working for a newspaper that has a bunch of big lenses - i would probably be stuck with the 70-200 too if i couldn't just walk to the cupboard for a big lens.

Thanks for your replies. I will definitely take them all into consideration moving forward. I do have the ability to crop with the 5d3 but I would like to take the best photos possible.

skifurthur wrote in post #17647958 (external link)
Echo63 has pretty much covered the bases on this one. I agree that a 1.4 TC is invaluable and should be in your kit. With the higher ISO these days, shooting at f/4 isn't impossible.

Another thing that makes a difference is having a crop body available. I've shot many a concert at the soundboard with a Canon crop, 200mm f/2 and a 1.4TC.

Thanks for your reply as well. I will definitely be looking into the TC. I have read so many things on both sides of the argument but if I buy from a place with an excellent return policy, I will try it out and if its not for me, then I will return it and start saving up for a lens. I do have the 135L too and I have been intrigued by what the bokeh would look like with that on a TC.




  
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Shooting from the soundboard, what do you use??
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