About a week and a half ago I posted a blog about photographing actors for an upcoming Zach Scott Theatre play. Here's the link: http://visualsciencelab.blogspot.com/2011/03/cant-get-enough-of-those-crazy-leds.html. I showed you the "behind the scenes" raw images that I shot of each actor. Some were accented from one side and some on the other. They were all shot against white.
I thought it would be fun and instructive (and a good way to procrastinate) to show you how the designer, Rona, put all the photos together for the promotional postcard. The combination is much more powerful that the photos individually. Having a client that does good design work and uses photography well is especially good when they add in two other things: A big bold credit line coupled with distribution to 20,000 carefully selected trend makers in the community.
You'll probably remember that I shot all the images with the antiquated Canon 1dmk2n cameras and a Zeiss 50mm lens. You can see that, given the size this will ultimately be used, that we didn't need any more pixels than what we had and that the workflow was quicker and smoother with the smaller files.
Tonight I'm going over to the theater to photograph the dress rehearsal. It's a long play. Nearly 3 hours. There are two intermissions. There's a lot to shoot. I'm told that the set is pretty cool and I already know the cast is great.
Tonight I'm thinking of shooting a one lens/one camera system. Make it as easy on myself as possible, commensurate with good results....
So I'm leaning toward the Canon 5Dmk2 with the 24-105mm f4 L lens. I'm taking the 7D along as well and if the play is such that I need more reach I'll go with that body instead. For documentation, where expression and timing is more important than ultimate technical quality, I trust both cameras up to 3200 ISO. The reach will be the determiner. Just to hedge my bets I'll stick the 70-200 f4L in the bag, as well. You never know when you might really want to "reach out and touch someone" with your lens..."