Stage Photography 101

Quite often on forums I see people asking for some hints about stage photography.  I normally try to reply, if time permits, but this time I thought it might make sense to write my thoughts down once and point people to this blog entry.  So here goes.

I'm going to be shooting when they are on stage next week.  What Hints Can You give Me?

1. If Possible, shoot the dress rehearsal.  If at all possible, shoot the dress rehearsal and not a performance.  By shooting the latter, you're just going to annoy the people sitting beside you.
   
   

   Be aware, however, that at dress rehearsal a theatre is a potentially dangerous workplace. There may be actors walking around the auditorium and people panicking about ill-fitting or damaged costumes. There may be lighting or sound equipment all over the floor, there may be steps leading up to the stage or any number of other hazards. Be careful.
   

2. Don't shoot flash.  I used to use flash, and now have loads of very dull-looking photographs of people walking around in front of 80% grey backgrounds.

   This applies doubly so if you are shooting a performance - use of flash is likely to get you lynched!
    

3. Plan to shoot RAW. Lighting will be changing rapidly as you shoot the show. What looks good to the eye can look awful in camera, so shoot RAW and plan to take the time you'll need to post-process your pictures. Something like Adobe Lightroom can be very useful for processing large numbers of RAW files.
   
4. Shoot at High ISO. Don't worry too much about the noise - it's a lot easier to ameliorate the effects of noise in post-processing than it is to reduce the effects of motion blur!
5. Shoot with a wide aperture. Shooting this way allows you to get a high shutter speed, important to freeze the action as dancers dash across the stage in front of you. But use with care... everything in photography is a balancing act... the wider your aperture, the narrower your depth of field
6. Think about the exposure mode you'll be using. A lot of people tell me that I should use M (manual) exposure mode, but I don't quite understand that. By shooting in Av (aperture priority) mode I can keep the lens wide open and get the correct exposure as the light varies rapidly throughout the show. However, I do make use of the exposure correction dial so that I can allow a dark scene on stage to look dark in the photograph, simply be setting to -3 EV exposure correction
7. Don't try too hard to compose in the camera. Clearly you want to get something that's close to what you need, but you're going to be post-processing anyway. You can always recompose the photograph in Photoshop. Just keep the shutter going and don't miss the good stuff!
8. Shoot wider than your final picture. This one is really important. Shoot wider than you want your final picture to be. People - especially dancers - can move fast. It's easier to crop in post processing than it is to create a false hand or foot to replace the one you cut off because you zoomed in too far!
9. Be nice to people. Especially if you want to go back. So if someone's got a horrible expression on their face, or a wardrobe malfunction, bin the picture...

So... does anyone have any further suggestions to add?

Being an extra

So... that's what it's like to be an extra?

I had to get up at stupid o'clock to get myself to The Beehive pub in Edinburgh for 0730.  Luckily the trains were running smoothly and I ended up being first there.

After a short wait, during which time I was joined by around twenty other extras, we were taken for a cup of coffee, after which we walked back to the pub.

We sat around for a while, then a couple of folk came in to choose from us. At first five people were chosen who did not include me, but one of that group was too well-muscled and I was chosen to replace him.

We were to be the ticket sellers. In the plot, the heroine is one of the ticket sellers who sells a ticket to her long-lost love. I was one of her colleagues.  The other extras were variously passers-by and stall holders.  Our ticket seller outfit was red breeches over very long white socks that kept falling down, a white poofy shirt and white jabot under a really, really red coat.

The action centred on a small market that had been set up in the Grassmarket.  Of course, the road and pavement were still open and so our task was repeatedly interrupted by delivery vans and such like.

The first scene had the camera move through the crowd towards an outdoor restaurant table where the hero sat with his mates.  About a second, perhaps?  It took about half an hour to set up, we ran it about five times with a god few minutes between each run and hen were told to relax.

Then for about another half hour, all the vast array of lighting and camera equipment was moved to the other end of the Grassmarket, and we moved on to the next scene.

The lead-up to filming consisted of s sequence of calls and responses - the call coming from the Director and the response, if appropriate, from someone in the crew.  The one I had to listen for was "background action" because that was when I started moving. A fraction of a second later came "action", the cue for the stars to.do their thing.

We were served lunch around 1330, where I opted for the vegetable pasta in preference to the chicken curry.

And after lunch we started again.

When we finally finished around 2045, I reckon that they would have a maximum of 30s of film.

I'll never look at a film the same way again!

It was surprising to see how many people gathered around the filming areas.  We were fairly noticeable, and as the hours crept on on a Friday night in the Grassmarket I wondered if the revellers may cause problems, but everything went smoothly.

So it was a fun and interesting day, and I met loads of really lovely people.  I even was wished "bless you" by the star (Shahid Kapur) when he sneezed - and I understand that hundreds of thousands of Indian girls would kill to be so close to him!  A couple of passing tourist girls were desperate to have their photo taken with me, and watching the onlookers was as much fun as watching the action.

It's not the easiest way to earn £70, but it was fun.  Thank you to everyone who made it such a good day!

(Typed on my phone - apologies for the typos)

A Trip To The Theatre

As I was trying to find the Haymarket Theatre Royal in London this evening, I was stopped by a young lady asking me to sign her petition. She wasn't totally clear about her petition's purpose, but she did talk about "women's rights" and "sex equality".

So I pointed out to her that she was wearing a skirt and her colleague - another girl - was wearing trousers. Was she really wanting me to sign a petition asking for extra rights for women to ensure they became equal with men?

She stared blankly at me, so I put the question a different way. If I signed, would she be willing to promise me she would never wear a skirt, dress, makeup, and so forth ever again, thus achieving equality with men?

Her reply was rather impolite, but I believe that she was declining the deal I had offered her...

Anyone want to be Glee?

We are on the hunt for groups of singers who are open to trying some choreography to enter our competition.

The programme will be going out on Channel Five from mid July for 6 weeks. If successful, once they have filled in the online application form (link below), the group would be needed for one day for a non televised audition in late May (near your hometown). Then successful groups will be needed for two live shows (heat and final) in late July/early August. The live shows involve five acts and the public vote their favourite act through to the grand final each week. After five heats the five acts that won their heats compete against each other in the final. As you can see, it’s not a knock out show so they wouldn’t need to commit each week and would be given dates in advance.

This competition is for singing groups who have more than 5 members per group and our minimum age for the competition is 14. Please go to www.dontstopbelieving.tv to get the application form and apply for the show.

If groups are keen to apply but waiting to get together to film the footage for the application, please fill in the application form ASAP and get that in to us and then send the footage in as soon as it is able via the application form or post. Footage recently shot of the group, but not specifically for Don’t Stop Believing is acceptable. If we have a completed form off the group we can begin the application process and write a note of when to expect the footage.

Footage can be posted to:
Emma Bickers
SHINE TV
Primrose Studios,
109 Regents Park Road,
London,
NW1 8UR

Just to reiterate interest is high and time is running out so fill in the application form at http://www.dontstopbelieving.tv now to register your interest, the footage can then be uploaded or posted after.

A final note is we are looking for a vast range of groups to apply. From young to old, established vocal groups, choirs and musical theatre groups to friends and family with a mutual love of singing and dancing who want to give it a go; we welcome anyone. We will have a fantastic team of experts on hand to come help with vocals and choreography should the group get through to the semi-finals.

Here are some handy hints to help any applicants.

1. Film your group performing your application song ( nb this can be only 1 song and choose this song wisely as we have had lots of interest)
2. Dress to impress
3. If you have any members who are under 18 make sure their parents are aware and have given their consent.

We cannot offer any group an audition until we have received a completed application form and it is accompanied by a video.

Please return your completed form as soon as possible to ensure an audition in your preferred city as audition slots are likely to be filled quickly. Interest in the show is high so don’t delay!
You can contact me directly on 0207 985 7083 or reply to emma.bickers@shine.tv

Jesus Christ Superstar, Dunfermline, 29-Apr to 01-May

Jesus Christ Superstar is coming to Dunfermline's Alhambra theatre for four performances on 29-Apr to 01-May (with Saturday matinee).

The show - which many consider to be Lloyd Webber's most original score - is seldom made available to adult amateur societies. To mark the show's 40th anniversary, two of Scotland's most exciting amateur musical groups - The Melodramatics of Edinburgh and The Limelight Productions of Dunfermline - have joined forces.

The result is a show that is shaping up to be one of the most powerful theatrical events you are ever likely to see on the amateur stage.

With Iain McInnes playing Jesus, Bobby Mitchell in the role of Judas and Kirsty McLaren as Mary Magdalene, together with a top-notch ensemble, this is an event not to be missed.

The Alhambra Theatre is in New Row, Dunfermline, and has ample free parking close by. If you've not seen the theatre it's well worth coming to visit, as it has promise to become one of Scotland's top theatres in the near future.

You can order tickets (£13 for adults or £11 for concessions) from the Alhambra box office on 01383 740384, or from www.ticketmaster.co.uk

Please do come along - I am certain that it will be a night of theatre you will enjoy and remember for along, long time.

/alan

Well done Mr Connarty

Well, high marks indeed to Michael Connarty - he wrote back to me late yesterday evening (after 11pm) to reply to my mail.

His response started off by saying he had been campaigning to protect copyright holders for eighteen years in Parliament and would continue to do so.  

On Clause 43 he believed that copyright holders were protected because they could "claim back" mis-identified orphan works.  My preference would be to put more onus on the prospective user of the copyrighted material.

On Clause 46 he denied that it was a "Henry VIII" clause, which would allow substantial changes to the Bill without Parliamentary approval.  Instead, it requires a Statutory Instrument, which in turn requires a committee of MPs to make changes.  He described that as normal in legislation.

Finally, Mr Connarty said that he did not vote on the Bill as there was no amendment tabled in the House and hence no opportunity to vote.

While I still am uncomfortable about the issue of Orphan Works I am heartened by the speed of response from my MP and the fact it was clearly a direct response to the email I had sent, not some "form" reply.  

I would suggest to any reader that every image you post to the net has your contact data in the EXIF and IPTC data, and anything larger than a size you are willing to lose should have a watermark containing a copyright symbol, date, your name and some means of contacting you.

Letter to Michael Connarty

It does seem pretty underhand of the government to try to sneak through the Digital Economy Bill on the last day of Parliament before the Election is announced. This Bill will make it much harder for photographers to be paid for the work they do, and that seems wrong in a Bill that claims to be working to protect the "Creative Arts" (see http://www.stop43.org.uk/pages/read_more.html for more information)

Anyway, here's the text of a letter I sent to my MP Michael Connarty today. Let's see what response I get:

Dear Mr Connarty,

Even though it is late, and I am sure your mind will be on other things
today, I ask you to vote against the unseemly shoehorning through of
the Digital Economy Bill.

The Bill has clearly been poorly thought through. It claims to be
trying to promote the Creative Arts, yet in Clause 43 it greatly
reduces the rights of photographers to claim payment for the use of
their own works. Someone wanting to use a photograph need make only
the most cursory of searches for the photographer, and they can happily
go away and use the work without compensating the artist who created
it.

Furthermore, Clause 46 - a so-called Henry VIII clause - allows a
future minister to make changes in the scope of the law without that
being approved by Parliament. I thought we were supposed to be a
Parliamentary democracy - why should a single minister be free to make
sweeping changes to a law without consultation with MPs?

And finally, the suggestion that a family's internet connection may be
disabled because of a SUSPICION of misuse, is clearly contrary to any
form of natural justice. You always come across as a fair-minded man,
so I am sure that you would not go along with something as unreasonable
as that.

I hope you will let me know, at your earliest convenience, that you
have voted to delay this Bill for reasonable scrutiny in a future
Parliament.

Yours sincerely,
etc