Originally posted by clive
the standard formula for all kinds of events is:
(1) ISO 400. there is no need for ISO800/1600 etc. if u need ISO 800&faster it means the place is too dark. if so then the best way to expose for a dark surrounding is to meter and then put -1 to -1.5 stop for background and if there is a main subject, use direct flash with flash on -1/3 or -1/2 stop.
I would propose that the "standard" suggested by Clive by used as a possible guideline only, and one of several to be borne in mind. I couldn't honestly pretend that there is a "standard" way of shooting a lot of things, particularly something as diverse as event work (not even a specific type of event work has been specified).
With events, usually the plan goes out the window after 10s.
Only needing ISO400 is one of those luxuries afforded to photographers who lead sheltered lives. I shoot
outdoors and need ISO1600. I stress the word *need*. There are plenty of good reasons to use ISO800 or 1600 even if it's not absolutely necessary. For starters, shooting on the limit with flash with ISO400 means that by switching to ISO800, you get twice as many flashes with your set of batteries, and your flash recycles
more than twice as fast as with the slower film speed.
"If u need ISO 800&faster it means the place is too dark". Okay, so the place is too dark. As an event photographer you can't go, "the place is to dark", pack up and go home. You have to get the pictures regardless. ISO 800 is one stop difference in ambient lighting compared to ISO 400. If you feel up to shooting ISO 400 and delivering dark backgrounds, so be it.
Another very good reason to shoot ISO800 is that ISO800 emulsions these days are absolutely stunning. Why cripple yourself if your target output size is well within reach of the faster emulsions? Compare the films at your disposal and make your tradeoffs. I would stick to EI400 with the D1 because the EI800 setting was poor. I have no problems whatsoever going to EI800 with the D1x or D100.
Another brilliant reason is depth of field. One stop more can make a perceptible difference. There's no point getting a high quality ISO400 shot that doesn't have the subjects in focus.
(2) u only need the 28-70/2.8 (or 17-35/2.8 for digital body)& the 80-200/2.8 & 2X extender
Next, I personally wouldn't hazard to recommend "only" needing two lenses to do a job. And if I had to recommend two, I would recommend a 17-35 and 80-200, regardless of film or dig, contrary to Clive's recommendation of the 28-70.
I personally have no idea where a 2x converter would fit into the scheme of things, certainly not indoors anyway, I struggle to see how a 1.4x would be useful let alone a 2x.
(3) optional items: 50/1.4, 300/2.8 (with monopod), second body
Optional to whom? Each photographer must be allowed to develop their own style and requirements. This goes for the "needed" lenses as well as the optionals. Personally, I would find an 85/1.4 more useful than either of those two lenses. And probably a 28/1.4 or 35/1.4 over the 50/1.4 as well, but any f1.4 lens is an asset indoors. Aside from that at events I have used, and I say this so oft it gets a bit benign with use, 14mm through to 500/4 indoors. No doubt there are perfectly valid ways to go even shorter and longer.
(4) no need tripod
(5) shoot the "standard" wide-angle shots and telephoto shots 1st to cover your requirement, then later can shoot those " funky/experimental/creative shots
Agree on these points.
Just to furnish my own shooting style (emphasis on my, and style). As in, you copy at your own risk, it's not guaranteed to work for you.
17-35 and 80-200 class lenses, the faster the better. One camera, two preferable. Flash on each camera. ISO 400-1600, the slower the better but don't go slower than you need to (as opposed to, don't go faster than you need to). This is a minimum setup.
The alternative which I prefer is to have one camera with flash with the zoom mounted, and the second body with no flash with a fast prime. Obviously the lenses should be complementary, for example a 28/1.4 to substitute the 17-35, or an 85/1.4 or 135/2 to substitute the 80-200.
