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Press call for The Bolshoi Ballet Covent Garden.
Thanks for your input Ed, I was unfortunately/ fortunately in HM,s box off at the side looking down and only had a 70/200 at the time as your man from the Evening Standard gets the prime spot usually so I thought go upstairs and try a high angle as there were quite a few photographers there but it does need more as it isn't saying anything, I will take this advice on board and put it into practice, thanks again for your time.
Thanks for your award Dave, cheers.
Quote: Thanks for your input Ed, I was unfortunately/ fortunately in HM,s box off at the side looking down and only had a 70/200 at the time as your man from the Evening Standard gets the prime spot usually so I thought go upstairs and try a high angle as there were quite a few photographers there but it does need more as it isn't saying anything, I will take this advice on board and put it into practice, thanks again for your time.
I donít think that this bloke needs some help with his photography - this shot instantly got an award from me. An excellent piece of work captured under difficult lighting conditions.
Dave: Paul certainly took a nice picture - its sharp, well-exposed, and very useable for a wide variety of end uses. However, I believe that there is no one who does not benefit from an occasional reminder that the ready-meal of picture taking (the photo-call) is not as healthy as its home-cooked counterpart: Paul has the ingredients for an especially endearing shot, yet often photographers are so busy munching though a hefty daily schedule that its all too easy to rely on the fast-food of the photo business. You turn up, a press-officer gets the performers into position, you snap away, and then leave. But by going a little further, why not make the most of the luxury of a controlled environment that is usually elusive to news photographers. Telling Paul what he already knows is pointless "sharp, exposed, etc, etc...", but with any luck there is nutritional value to be had from my comments that will get recipients of it to not overlook the truly creative variables of the seemingly straightforward, and to look beyond the 'picture-on-a-plate' scenrio that photocalls frequently are, something I have had to be reminded of on countless occasions. Paul's shot is okay, but he could have come away with more, and I daresay that is why he offered his picture for critique. Contrary to what you might think, Pauls lighting conditions were probably ok: after all, I'm sure that Covent Garden has much to offer by way of lighting up the boards upon which such established acts are expected to perform. Try telling the good folk who make up the dancers of the worlds most pretigious ballet how to pose, and you'll find that its more likely this, rather than what illuminates it, that presents the challenge of Paul's picture. It is easy to become preoccupied with the basic specifics of capturing a picture, when often, if not always, at Pauls level the one that gets published is the one no one else got. And that dosen't happen in a theatre auditorium under such sterile conditions unless the photographer is able to take the aforementioned ingredients and create something different. For the difficult lighting conditions that you mention Dave, are not the preserve of high-power stage lights, but of squeezing a 650th/sec out of poorly-lit local sports stadiums on a dark night. Surely Paul "...needs some help with his photography", because we all do. Ed
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