Focusing on the eyes

400dabuser wrote in post #10200888
But he doesn't do live music photography

The physics of photography don't change with the subject.

You need to stop down or stop looking at 100% views.

toxic wrote in post #10200911
The physics of photography don't change with the subject.

You need to stop down or stop looking at 100% views.

What do you mean by that? Do you mean that I have to come in closer towards the subject?

What he is suggesting is that when viewed on a computer screen, any minor lack of sharpness will be exagerrated at 100%. Stopping down (use f4 or f5.6) will ensure a larger DOF.

Viewing at 100% all the time is just obsessing over something that isnt really an issue in real life. How many shots are viewed at an effective distance of 12" while blown up to 4ftx3ft?

400dabuser wrote in post #10200888
But he doesn't do live music photography

But he DOES explain how aperture affects depth-of-field, which is the concept that you are not getting, as evidenced by the existence of this post

Seriously, if you don't know how to get MORE than one eye in focus, you should pick up and read "Understanding Exposure"

neilwood32 wrote in post #10201615
What he is suggesting is that when viewed on a computer screen, any minor lack of sharpness will be exagerrated at 100%. Stopping down (use f4 or f5.6) will ensure a larger DOF.

Viewing at 100% all the time is just obsessing over something that isnt really an issue in real life. How many shots are viewed at an effective distance of 12" while blown up to 4ftx3ft?

Oh I see what you and the other poster means, thanks

In a concert setting with minimal light, stopping down is usually out of the question.

Unfortunately, that's what you have to work with. Or time your shots with the stage lighting to stop down a bit.

Cesium wrote in post #10204187
In a concert setting with minimal light, stopping down is usually out of the question.

Unfortunately, that's what you have to work with. Or time your shots with the stage lighting to stop down a bit.

Yeah, I know it is good to have excellent timing

The small dingy venues I am doing at the moment, just don't have the professional set ups they do in big concert venues

Well not much to add to what has been said. You are shooting in low light and are trying to get the whole band in the DOF right? Which lens are you using? Your 50mm f1.8? That's a great low light lens, but at 1.8 (as others have said) you DOF will be too narrow. I also see you have a 430EXII and a off shoe transmitter. Will the let you do flash at the venue? If so, that could help. Also try setting your camaera to AV mode and see how high you can set your f-stop while keeping your shutter at around 1/60.

dwarrenr wrote in post #10208422
Well not much to add to what has been said. You are shooting in low light and are trying to get the whole band in the DOF right? Which lens are you using? Your 50mm f1.8? That's a great low light lens, but at 1.8 (as others have said) you DOF will be too narrow. I also see you have a 430EXII and a off shoe transmitter. Will the let you do flash at the venue? If so, that could help. Also try setting your camaera to AV mode and see how high you can set your f-stop while keeping your shutter at around 1/60.

I have a 85mm f/1.8 usm now, they will allow for flash in the venue, would you want to leave the flash, where it could get stolen/kicked around by musicians or the audience? I would be able to do that at big venues but not at small dingy venues

There are some situations where you just have to admit better gear IS actually a requirement and not just spending for the sake of it.

A camera more capable of clean shots at higher ISO's might be your only solution assuming you cant add light (with the flash).

Your other option might be to use higher ISO's, accept the noise (as shot) and use a noise reduction programme to reduce it. You can even "hack" your camera with firmware to allow shooting at ISO 3200 with spot metering - linky

Concert photography is reknown for being difficult due to the lighting so don't be afraid to blame the gear!

neilwood32 wrote in post #10208458
There are some situations where you just have to admit better gear IS actually a requirement and not just spending for the sake of it.

A camera more capable of clean shots at higher ISO's might be your only solution assuming you cant add light (with the flash).

Your other option might be to use higher ISO's, accept the noise (as shot) and use a noise reduction programme to reduce it. You can even "hack" your camera with firmware to allow shooting at ISO 3200 with spot metering - linky

Concert photography is reknown for being difficult due to the lighting so don't be afraid to blame the gear!

*cough* my 50D allows for ISO3200 already without the need for a hack, or are you referring to the 400D? If so, I don't want to do that, because I wanna try sell it. referring to the 50D: I just that I don't want to over do it with the noise etc...

400dabuser wrote in post #10208455
I have a 85mm f/1.8 usm now, they will allow for flash in the venue, would you want to leave the flash, where it could get stolen/kicked around by musicians or the audience? I would be able to do that at big venues but not at small dingy venues

That's easy, have a friend stand next to it.

400dabuser wrote in post #10208472
*cough* my 50D allows for ISO3200 already without the need for a hack, or are you referring to the 400D? If so, I don't want to do that, because I wanna try sell it. referring to the 50D: I just that I don't want to over do it with the noise etc...

I was talikng about the 400D.

Your only real choice is to up the ISO and live with the noise (at least untill PP when you can remove it with Noise Ninja, Noiseware or any of the other NR programmes). All of the current crop of NR programmes are very effective at reducing even heavy intrusive noise.