41Fast zooms
Whether it’s gigs or other live events
in venues, it’s about making the
most of whatever little light is there,
so I’ll always have at least one lens
with a constant aperture of at least
f/2.8. If I’ve got primes such as an
f/1.4 or f/1.8, that’s a bonus, but
my go-to glass is the f/2.8 zooms.Raw gives you more
In any environment where the light is
changing constantly, it’s sensible to
shoot in raw mode. Knowing that
you’ve got the option to push
shadows or crush highlights is
incredibly valuable, and there can be
so much variation in light colour and
strength that it’s a real lifesaver.Play it by eye
If you’re using live view on a
mirrorless camera, you should be
able to adapt exposure easily on
the y just by looking at the display,
but it’s by no means vital. Don’t
be afraid to do a bit of chimping to
see if it’s working, and bring up a
histogram for some security, too.Shutter speed beats
image stabilisation
Remember that image stabilisation
has nothing to do with stopping
subject movement. IS will do a
great job of increasing sharpness
if your shutter speed is on point,
and it can really help if you’re
shooting wideangle, but if it’s
too slow all you’ll get is a sharp
background and your subject will
just be a blur of motion.Shoot more than
you need
I often shoot repeat images; you just
stand a better chance that way in a
fast-moving environment. You might
catch a moment when the subject
isn’t moving as much and will be
sharper, or be able to pick the best
expression. Get them in the can,
because there aren’t any second
chances at a live event.Ambient hits
Arena shows don’t let you use ash, but smaller gigs sometimes do, and if you’re shooting
a regular low-light portrait, this tip also holds true: don’t let your ash overwhelm the lighting
that’s already there. Any light you use should add to the scene, not detract from it, maybe with
a little kick to expose the subject better, but not kill the atmosphere and bleach out the ambience.
I normally drag the shutter, keeping as much of the ambient light in as possible, and get the
exposure right in camera before I add the ash rather than using the ash to get it right. Then
I’ll have the ash set right down, maybe a couple of stops under the TTL reading, so it’s subtle.
Five more ways to
improve your shots