Bruce Springsteen at Gelredome, Arnhem, Netherlands

Steve Parr wrote in post #4557634
Rene, that's some great stuff, man. Talk about a great opportunity!

I've got Tony's phone number saved in my cell, just in case Springsteen makes it to southern California and Tony doesn't!

Thanks, and yeah, nice opportunity for sure... \
Wish I'd know the distance was about 40m instead of 30; I might have rented a 400mm or 300 with IS. Lots of images aren't as sharp as I'd like them to be now because of camera shake (1/160s at 280mm is do-able from monopod, but not if combined with unsure footing and stress apparently)

Great shots! I love #4 and #7. I goingto try get a press pass for the orange county fair in july 2008.

I see Max isn't worrying about the strike. LOL

40m? Geez, someone's a little worried about a wrinkle showing up in a magazine.

If you get to shoot under similar circumstances again, this lens might be good to have in the camera bag.

Hahahaha. Might be a *bit* on the long side...
Wouldn't fit the bag either

Actually, a while back a couple of Dutch Music Photographers decided to ban shooting from distances like this. They felt they couldn't get any 'individual' shots.

I understand very much what they mean now

René Damkot wrote in post #4608927
Hahahaha. Might be a *bit* on the long side...
Wouldn't fit the bag either

Actually, a while back a couple of Dutch Music Photographers decided to ban shooting from distances like this. They felt they couldn't get any 'individual' shots.

I understand very much what they mean now

I never shoot from more than 100' or so ... use the 400mm f/2.8 with 1.4TC (the 2.0 TC wide open isn't very sharp). I don't like it so rarely would do it, even for young Bruce! I do, how ever, have a tripod that would hold that beauty!

shesgotthepic wrote in post #4482464
#8 - interesting way to stack Marshalls. I like it.

you stack marshal's that way to control the direction of the sound and the stage volume. the less sound on stage, the better an artist can hear themselves, and the better the show as a whole will sound, regardless of what kind of room it is (club/theatre/arena/st​adium/central park). It's all about control of sound into each microphone. if you can limit sound from giant marshal stacks from entering into the lead singer's mic, then you will have a better vocal track for both speakers, and for the ever important end of tour live album
some artists even go so far as to have tons of marshal's on stage, yet none of them plugged into anything. everything gets patched into little expensive amps backstage in small mobile quiet rooms(road cases with tons of towels and pillows) with $1000 mics on them. DropKick Murphys does something similar. They have some of the Marshal's hooked up, but not all. the majority of the guitars are going into nice fender hot rod's and vox amps behind the marshal stacks.

anyway, it's all about sound control and stage volume.