The forthcoming Pantomime evenings by the
Pattaya Players thespian society means that you will have the opportunity to try
your hand at stage photography. Readers in other parts of Thailand, don’t feel
left out, as you do have similar opportunities, even if it is just for Likay or
similar Thai productions.
As opposed to portraits, with on-stage
photography, you are not in control of the model in any way at all. You also
have some very difficult composition and lighting problems to contend with. You
cannot quite ask someone in the middle of Othello’s death bed scene to hold that
pose and say “Cheese”. Mick Jagger will also not stop for you to focus while
running frenetically from one side of the stage to the other.
The lighting, too, is quite different from that you normally experience. Stage
lighting is generally tungsten based and sharp (what we call “spectral”
lighting). Spots for the performers and floods for the background are the
hallmarks of the usual stage lighting. The use of spots in particular is used to
highlight the principal performer or action on stage.
Successful “stage” photographs have managed to retain that “stagey” lighting
feel to them, so that instantly you look at the image you know it is of a
performer on a stage somewhere. Remember, that as a photographer you are
recording events, people and places as they happen. You are a mirror of the
world!
The secret of retaining that stage feel is in the lighting. Because it tends to
be dark, the first thing the average photographer will do is to bolt on his
million megawatt gerblinden flash gun with enough power to light up the far side
of the moon. While understandable, I do not endorse that approach to stage
photography, but more on that shortly.
Do you use a telephoto lens? No. Because it gets you too far from the light
falling on the performers. Again it is the old adage of “Walk several meters
closer” for this type of photography too. Use a standard lens and get close. If
needs be, find which row seat you need to be able to do this. All part of being
prepared.
Now in the good old ‘film’ days, you got hold of some “fast” film. 800 ASA if
you could, but 400 ASA will do. It was a good all-round film that does not give
too “grainy” an image, yet will allow for handholding the camera in the stage
situation. However, with today’s digital cameras, I have found you can run the
camera on a nominal 100 ASA, or 200 ASA at most. (Anything over this and the
digital image begins to break down.)
So, what about lighting? Pro photographer’s tip - leave the flash in the bag, or
turn it off at the camera. Now I know it is dark, but you are trying to retain
the stage lighting effects. In other words, you are going to let the stage’s
lighting technician be the source of light for your photograph.
Now get a seat as close to the action as you can, and then select a lens that
can allow you to fill the frame with the performers. Funnily enough, that will
be, in most cases, the ‘standard’ 50 mm lens. Shots that show an entire dark
stage with two tiny little people spot lit in front are not good stage shots. In
fact they are not good anything shots! If all you have is a fixed lens point and
shooter, get as close to the front of the stage as you can. You can still get
the scene stopping shot - you have just to get very close. OK?
There is also the ‘problem’ with white balance with digital cameras. The
constantly changing lights with stage performances means that the digital camera
can get very confused, but honestly that is not a problem. You will still get an
image that says “stage performance”, which is what you want.
Next time you are getting shots of people on stages, try turning the flash off,
and you will see the end result is much better.
See you at the next panto!
