And an additional $.01
If you're comfortable using a zoom, and can work its focal length and focus
rings relatively quickly indoors, use it. The trade-off is a somewhat
dimmer viewfinder compared to a faster prime. If you can get into where
the event will be held and have the level of lighting set to what you will
encounter, wander around and spend a little time composing and focusing on
various objects at various distances. It will validate the focal length
range you will need and tell you whether or not you're likely to have
problems working zoom on the Big Day. I was very, very glad I did this once.
Using the gear you listed, I've found the following setup effective
shooting similar events: OM-2n with winder, and the BG-2 to its right with
the BG-2 shutter release button cabled to the winder. Run the OM-2n and
T-32 TTL-Auto (assuming you can cable the OM-2n to the BG-2 for
this). Many will take the neck strap off the body in this configuration if
there's one normally on it. From a neck strap, the whole affair wants to
droop to the right and it can be uncomfortable. Left dangling freely it
can end up in front of the lens. If you have the winder/BG-2 wrist strap
and your hand isn't too big for it, try putting it on the BG-2. If it
feels reasonably comfortable, it's much easier to hang on to the BG-2
handle securely for long periods. You don't have to keep as tight a grip
on the BG-2 handle when you're not shooting.
Given a single T-32, I concur with the ISO 400 recommendations already
made. ISO 400 should work unless you need very long distances or near
instantaneous flash recharge. Your advantage is the T-32 in a BG-2. I
don't recommend trying to use the Wide Angle Diffuser on the T-32 (if you
have one). You'll lose too much flash power. You should be able to work
it at f/5.6 with ISO 400 film and not have to wait very long for the flash
ready light to come back up again. You'll also get more ambient light. My
charts (a film speed, distance, and flash GN "cheat sheet") show you should
have a working range of over 25 feet at f/5.6 using ISO 400 film and a T-32
before you feel the effects of waiting very long for flash recharge. Don't
open up to f/4 unless you must from lack of light, and if you do, focus as
carefully as possible.
If you don't have any rechargeables, consider investing in some NiMH cells
and an NiMH charger for the T-32 and BG-2. I didn't think it would make
that much difference compared to alkalines, but it does. It's all I use
now in the flash units. Recharge them the day before and have two sets
(one in flash gear and one spare), plus another extra set of alkalines. If
you have extra flash gear, take it as backup! Take the OM-1 as a backup
body. Preset it to your film speed and 1/60th second the night before.
If you deliberately pose people, try to keep them at least several feet in
front of walls or other vertical backdrops. The object is to let shadows
fall down behind people. If they're up against a wall, the shadow(s) will
be nearly as tall as the person casting it.
Several things I look for during a "recon mission" on a reception hall:
(a) Look for mirrors, large windows, pictures or other artwork covered in
glass, and anything else that's similar (flat, smooth and highly
reflective). Make note of these and avoid shooting directly at them! The
flash reflection will cause an enormous, horrible looking flare. If any
windows have curtains or blnds, see if you can find the mechanism to close
them and figure out how to work it. I do this if at all possible, often
without asking any permission. [Had a running battle one time during an
afternoon reception; someone there was a "sun lover" and kept insisting on
opening them; direct sun kept throwing horrid, very harsh shadows all over
the hall.] Look at the finish on the wall. High gloss smooth wood
paneling can also flare a flash back into a lens; not much you can do about
it except avoid shooting straight at it.
(b) Look for "Exit" signs and other objects on walls or hanging from
ceilings that can be very distracting in a photograph. Think about how to
position yourself to avoid having them in the background. Even a light
switch on a light colored wall, or the brushed aluminum bar on an emergency
exit door can be distracting.
(c) If there's a stage, dias, platform and/or podium, look for where to
position yourself and what distance you would like to use from where a
speaker would stand.
(d) If at all possible, get there early, verify the setup has not changed
for the day of the event and look for anything that might not have been
there before, or that you might have missed. Look for a *secure,* out of
the way place you can stash your camera bag where snoopy people won't get
into it or try to steal it. Never has been a problem for me, but I've been
living and doing this around places where people routinely leave their cars
running with the doors unlocked in bank and post office parking lots.
-- John
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