I have been lucky enough to have been allowed to bring my 15 year old son to a few of his favorite bands; SlipKnot, Shadows Fall, Lamp of God, Unearth, As I Lay Dying, when I was hired to shoot some concerts. The first concert was at the Xcell Center in St Paul Mn. The security was way cool for this one. They let me shoot for the first three songs, but since they laughed that it’s hard to tell when some of their songs are finished, they were relaxed on how long I was there. I also was allowed to take more pictures from around the arena. I use my small built in flash on my Nikon D70 only when the concert lights are in flash mode. Kind of blurs the fact whether I actually used my flash. The same for when I did SlipKnot at the Roy Wilkens Center in St Paul, also. There security was pretty strict. After 3 songs I was out of there and they stopped me when I tried to take more pics around the arena. That’s cool, that’s part of their job. I shoot 1600 ISO using the small flash when needed. Grain is not a problem if there is lots of color contrast. Usually for the first three song, they keep the lights down low, kinda sucks, but wait until the light hits your subject and shoot away.
I am using a sony DSC- V1 wich Im sure is similar to the on you are using. When taking pitctures with no flash the slow the shutter speed is the more light you will get in the picture. Practice this at home in a dimly lit room and without a flash change the shutter speed settings on your camera. The manual you got with the camera should explain this more in detail. As an example while at the carlsbad cavers in NM i found that my flash was useless because the cavern walls were so far away it would not reflect off of them. I found that slowing the shutter speed down and playing with my settings a little bit I could adjust the light absorbtion to what ever level I wanted. The only downside to this is that if you move the camera at all the picture is blurred, so it is very important to either use a tripod or rest yourself on something. In a museum the lighting problem is not near as drastic as in a almost pitch dark cavern so you will not need to hold the camera still as long. just remember to light a room in your house as you think a museum would be lit and practice on your favorite wall hanger till you get the settings down. Also remember to write yourself notes for each picture you take. This comes in very handy when trying to remember what settings you used in different light situations. Take a pic, take a note, and so on. It seems like a lot of work but once you get the hang of it you wont need the notes anymore and you will be able to shoot a good picture in any lighting situation, flash or no flash. I hope this helps. Any questions for me feel free to email me at danboy_21@hotmail.com
Another technique to try to get the right exposure is ‘bracketing’ where you look at what the camera suggests you take the picture at and then take a few shots at both under and over that mark. ie if your camera says to shoot at 1/60th of a second at f/8 you would shoot off a shot at 1/60 at f/5.6 and then at f/11. In doing so you end up with a series of shots at different exposures which will all give you slightly different results and colors. Most DSLR’s and some point and shoot digital cameras have a built in bracketing feature so you don’t need to do this manually - learn how to use it!
I inquired about the lighting conditions in the kitchen way ahead of time. My Canon 10D has a nifty White Balance option that will let me adjust for various lighting conditions on the fly, but film users must be aware of the perilous lighting conditions they can encounter on a shoot. In my case, two large rows of fluorescent lights with plastic diffusers were mounted directly overhead, providing plentiful, even illumination. Fluorescent lighting, however, will tint an image an unsightly shade of green. To retain the all-important natural colors in my images, I switched my camera's White Balance setting to fluorescent, activating the 10D's built-in color compensation mode. Film users should use a magenta filter to compensate for fluorescent light, or if shooting with stationary indoor lights, switch to tungsten-balanced film. More information about this topic can be found in ephotozine's
Lenses may or may not be an issue for you. If you're shooting the way I do, they shouldn't be at all. If you get a non-SLR camera you won't have to worry about this at all - if you do have a camera on which you can change the lens just know that for most situations you're only going to need one. A 17.5-45 mm (35-90mm regular camera equivalent) will do just about anything you need for regular shooting, so unless you plan on doing all close-up photography (macro lens) or all wildlife photography (killer zoom lens), you're probably only going to need one lens. Multiple lenses are for people who A. Need them because they shoot a bunch of different things in a bunch of different ranges B. Want to buy a bunch of lenses just because they can and they need to be able to show people that they're professional by being conspicuous consumers or C. Don't realize they really don't need a ton of different lenses or think they do because professional photographers do.
This is the famous Brownie camera from Kodak. The Brownie popularized low-cost photography and introduced the concept of the snapshot (first model dates from 1900)
). During the months of October and November, they gathered thousands of pictures, of which these are only a few examples. Witness the supernatural beauty of Japanese landscape and the sublime quality of Autumn in Japan.
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