G9 vs. Z6 @ 2.8 in low light

Started 1 month ago | Questions thread
MOD Tom Caldwell Forum Pro • Posts: 43,200
Re: While I'm not an expert ...
2

My defence is that I have been doing this "stuff" for years.

Professionally lit theatre with considerable lights set up by professional engineers do a whole lot better than school stage productions (with all due respect).

As well as serious amateur productions I have had my share of school nights and I have had the same issues with light. Most of my big kit would have turned a school production were I was the star turn.  At least capturing via dress rehearsal does not turn the photographer into the person of interest.

I did get some reasonable shots with a NEX6 coupled by an EF-E focal reduction adapter and the EF 200/2.0 which is (just) capable of being hand-held.

I quickly realised that if I were to get the best angle of view I needed to be up higher.  That to stop motion and keep the ISO reasonable I needed a higher viewpoint to that needed further back in a tiered seating arrangement.  To get further back I needed longer lenses.  The EF 135/2.0 up a ladder to get close and high was tiring even for my then younger self.

So to do justice an EF 200/2.0 and 400/2.8 were the bees knees (even with the FF 5D), but they were hugely expensive.  Hey but I liked what great lenses could do!

I cannot get those lenses in equivalent for M4/3.  But I am of the opinion that there is quite a lot to be said for the very best lenses.

I have found that M4/3 kit can do the job with the best lenses for purpose, I don't think that I am losing that much by using it.

As can be seen I am more interested in getting the results that I need rather than pursuing the theory that I might (needlessly) get even better than I wanted.

Maybe I have developed some personal skills that help but I am not quite sure what they are.

But such things as turning down the ISO and taking exposure off the face of your subject tens to keep the metering working correctly.  Nothing worse than the metering picking up a dark costume or the dark background and blowing the image away by over-exposure.

What surprised even myself was the performance of the WofOz where the GM5 and 35-100/2.8 did a credible job at such a huge distance - this was a huge stadium designed for a massive audience.  I would surely have done better with the 400/2.8 whichever camera body it was attached to - but that lens is huge 5.35Kg and needs a heavy gimbal head tripod - just like a birder.  I think that I might have had trouble finding a place to set it up let alone get it into the place.

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Tom Caldwell

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