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andyoneilphotography
3rd November 2010, 11:20 AM
Just a quick request for some advice. We have an event coming up at the end of the month,
My sigma 70-200 zoom is not quite up to the task, but the budget is tight.

The floodlights aren't the best in the world, I have attached a couple of shots from the last time I had to rely on the floods to give you an idea of how things came out shot at iso3200 f5.6

As I said budget is tight well non existent really so need to get the best solution.

Thanks
http://e-group.uk.net/gallery/data/500/thumbs/vjets186.JPG (http://e-group.uk.net/gallery/showphoto.php?photo=28188)
http://e-group.uk.net/gallery/data/500/thumbs/vjets183.JPG (http://e-group.uk.net/gallery/showphoto.php?photo=28187)

shenstone
3rd November 2010, 11:58 AM
have you looked at the olympus hire section on this forum where you can hire some of the top lenses

http://e-group.uk.net/hire/hire_info.php

regards
Andy

Ian
5th November 2010, 05:34 PM
Andy, if anything, I think your shots are over exposed as the highlights are burned out. When it's dark there is a tendency to overexpose because the main subject you're interested in can be dominated by dark backgrounds, fooling the meter. So you could try using exposure compensation - try -0.6 or even -1.0 EV, and that would boost your shutter speed up from 1/50th to as much as 1/100th. Do you need to shoot at f/5.6 when you have an f/2.8 maximum aperture? Try f/4 or even 3.5.

I can offer you the ZD 150mm f/2 - super bright and can be used at f/2 with no worry about sharpness, only perhaps limited depth of field. If you want a zoom, the 90-250 f/2.8 can also be used wide open. It really needs to be used on a monopod or tripod, though.

Ian

andyoneilphotography
5th November 2010, 06:22 PM
Thank you for the info Ian.

the reason for me shooting at 5.6 is that the sigma zoom will only open that far at 200mm. I would love to give the 150mm f2 a go but I fear that is a little out of my range for the weekend. It's a charity do so I won't be getting anything from it (I'm even going to pay to get in!) I could probably go to the 50 - 200mm and play with the exposure compensation. And hope for the best:eek:

Ian
5th November 2010, 06:40 PM
I see - I got a little confused as I thought you had a 70-200 f/2.8 Sigma (f/2.8 constant aperture through the zoom range).

A 150mm f/2 for minimum three day hire (three full days of use) is 44.96 inc.VAT but not shipping.

The 50-200 SWD is very much worth considering (f/3.5 at 200mm) and that would be 29.63.

I can also offer you the Mark 1 version of the 50-200 (non-SWD) for 23.70.

Ian

Radar
5th November 2010, 11:20 PM
50-200SWD is good for sports. Used it for Athletics and indoor Gymnastics with good results (me thinks, anyway :))

shenstone
6th November 2010, 07:12 AM
50-200SWD is good for sports. Used it for Athletics and indoor Gymnastics with good results (me thinks, anyway :))

Couldn't agree more - I used mine on my recent horseriding shoot and given the speeds those things can move it was very nice to use and I got some decent results

Regards
Andy

Bikie John
6th November 2010, 08:48 AM
If there's enough light, the 50-200 with the 1.4 times converter is a great combo. I use it for rugby until the afternoons get murky. Good focal length range and flexible because when it gets dark you can gain a stop by taking the converter off.

150 f/2 is a superb lens and also works well with the converter. Less flexible due to fixed focal length - very frustrating when someone scores right in front of you and their ear fills the frame! f/2 is useful on really horrible days.

For both of these, I support the lens with a shoulder pod designed for video cameras. Even a monopod is a bit cumbersome for sport if your style is to move around following the action, the shoulder pod is great for that.

If your event will be under floodlights at least the lighting will be constant so you should be able to work out a fixed exposure. Unfortunately good floodlights are very expensive so only the very biggest clubs can afford them. The ones you get at more domestic level are patchy, and can be pretty contrasty as your examples show. As Ian said, the trick is to expose to avoid burning out the highlights. This may make the images look dark but you can bring up the midtones in post processing. Fortunately sports photography is relatively tolerant of noise/grain.

There is somebody - Zuiko (another John) I think, apologies if it was someone else - who posted some floodlit rugby shots a while back. They might be able to offer some more advice.

Good luck ... John

theMusicMan
6th November 2010, 09:15 AM
I've posted many rugby shots, in varying light conditions... all taken with the awesome Oly 70-300mm and my E3.

Knowing the lens, how to get the best out of it with your combo of lens/body is what I've found is a huge help in creating better images. I sold the Bigma because I get better images from the 70-300mm, and though I have tried the 50-200mm, I still was able to get the same quality images from my 70-300mm as I did from the 50-200mm.

Radar
6th November 2010, 01:52 PM
Never tried the 70-300 but it's a tad too slow on the aperture for my taste of sports. 50-200 is good but would've liked constant f2.8 but SHG is in my buying list so I hope to get f2 on my lenses. Wasn't really happy using the 1.4EX on the 50-200 for sports. Would probably be a better combo with the 35-100. I'll try that when the outdoor season starts again.

Was considering the Sigma's prime f1.4 for indoor sports but I find them too soft wide open so I have to stop them down so I gain nothing. That's where Olympus is brilliant! Good quality wide open on their f2-lenses.

Got some examples in my sport sets on Flickr

andyoneilphotography
6th November 2010, 06:33 PM
Thanks everyone for the advice
I shall be on the phone to Ian on Monday morning to discuss the either of the 50-200 options

Incidentally while here I am drawn to the 150mm f2, American football is slightly different from rugby in that you know pretty much how the particular play is going to pan out as soon as the ball is snapped, in fact some people can tell just by the way the feild lines up at start of a down. That allows you to get yourself in a position where you wouldn't get the ear shot (although I have done that once or twice;)

Gazza_DJ
10th November 2010, 03:33 PM
I would go for the 50-200 for flexibility. If you own one of the bigger E-series cameras its fine to use handheld if you wish to - I found it to be too unbalanced on the little E420 though.

andyoneilphotography
10th November 2010, 07:02 PM
I'm using the 620 with battery grip I do find the smaller cameras a little awkward to hold, the grip is a great help ;)