Peter,
> I have an OM3 and an OM4T. There's a chance that I can do concert
photography for some friends in the future. I was >considering HP5 pushed
to 1600/3200 for the OM3,
Good idea. I would also consider Fuji 1600 or delta 3200, as the grain with
these faster films should at least equal and perhaps better a pushed 4000
film.
>and Provia 400 with a flash in the OM4T.
Not such a good idea. see below.
> But what I really feel an urgent need for, is to learn flash photography.
Not a bad idea, but not for this use.
> Is it possible to use a 3rd party flashes in full-synchro on the OM4T ?
If not, would it be a bad thing to not have full-synchro, except for
fill-flash ?
There are no other full synchro flashes for the OM. I suspect the reason is
at the time that aftermarket flashes had this feature, the decline of the OM
as a commercial venture was obvious.
I've done some concert photography. Here's my take.
Don't use flash. It will look unnatural. People have certain expectations
from concert photos, and the ambient light is it. I have seen some concert
photos the used flash effectively, but they have involved lower power
flashes with slow shutter speeds. For this, the Oly flash should be fine.
Also, the daylight balanced flash will not mix well with the lower color
temperatures of the ambient lighting.
Concerts are often better lit than you might imagine. Quartz lights are more
and more a part of the regular business, and even in clubs, sound people
often have simple lighting as well. If you are a person that simply cannot
tolerate any grain, and there are more and more of these people than ever,
then you do have a problem. Again, I would consider some grain as a part of
the package. I would use one of the previously mentioned black and white
films, and a Fuji color negative film, either the 800 (quite acceptable
grain to most anyone), and the newest version of the 1600 film with the
fourth emulsion layer. I frequently use the four layer Fuji's when I
anticipate mixed light, as they handle that situation quite well. The newest
version is really not that grainy, more like the 400 films of just a few
years ago. This is a situation where it is important to not underexpose. For
example, the 1600 shot at 1000 or 1200 will probably look less grainy than
the 800 shot as rated.
It would be best to get some incident readings on the stage, but this might
be impossible, so bias your reflected readings accordingly.
Bill Pearce
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