hrblaine

Years ago, I shot a lot of dance, both rehearsals and concerts. (I sold many pictures to dancers and several of my shots graced magazine covers.) I was using a Nikon F, shooting Tri-X at 400 (and sometimes pushing it to 800 or higher, depending on the lighting) with a Nikon 85mm 1.8 lens. As I recall, my recovery rate was bases more on timing than anything else. The combination of 400 and 1.8 was more than adequate. And the 85mm provided an aspect that I liked, much better than a 50mm. With a digital camera, I would recommend starting with an 85 or 100 mm lens, at least an F 2.0. I would start at 400/4.0 and see if that suits you and go up or down from there. Oh...and iirc, I found that 1/125 stopped most action, even jumps if timed properly. I say "most" because a fast swinging hand, for example, would often blur somewhat at 1/125 iirc. (Those are my recollections, it was some 50 years ago that I started shooting dance, continuing for 20 or so years. I'm older than dirt now and shoot mostly stationary objects. <g>)

Good luck, I hope this helps.

imagemeister Loc: mid east Florida

The Nikon sensor will have better low light performance ( slightly). For what you describe, I think I would be using the Sigma 50-100 f1.8 (new) or the Sigma 50-150 2.8 version II only available used.

mikeroetex Loc: Lafayette, LA

Best suggestion!

tomcat

Two points here. I do a lot of low-light photography. You have to use as a minimum an f/2.8 lens. From your distance, a 50mm should be ok. Secondly, set your Nikon to the AF/C focus mode so that you are continuously focusing on your daughter as she moves ( not sure what Canon calls this). Also set the focus area to 21 points area coverage. You have to initially focus on her and keeping your shutter release button pressed halfway, you can move your camera to follow her across the stage and the camera will continuously track focus on her regardless of where she goes, so long as she remains within that 21-point grid. Also make certain that your ISO is high enough to give you a shutter speed of not less than 1/1,000 sec. I do this all the time for soccer photography. As far as the luge, the same principles apply for focusing and shutter speed. If you can, position yourself at a distance from the sleds that will give the AF system a chance to lock on the sleds as they come down the track and you will be able to freeze the action. Practice this with cars and you'll get it soon.

gvarner Loc: Central Oregon Coast

Some big "IF's" here. If you're close enough, the Nikon 35mm 1.8 would be a good choice if you can then make enlargements by cropping in PP and if you can use a very high ISO like 3000+ and if you can de-noise in PP.

cthahn

You need a fast prime f2.8 or faster. 50 to 100 mm lens.

camerapapi Loc: Miami, Fl.

Actually you have two choices:
1- Raise the ISO speed of the camera and if needed use a noise reduction software.
2- Use a fast lens.

TriX Loc: Raleigh, NC

The suggestions of a 70-200 f2.8L, 135 f2L or 200 f2.8L are all spot on. None of these are cheap, but shooting action in low light is a corner case where it's hard to find an inexpensive solution. As Gene said, a modern FF will allow you to shoot at ISO 6400 and above, something you just can't do with a 7D without some serious noise, but again, not inexpensive. If the luge racing is in daylight, and you can get 5-6 feet away, then panning with a 50 f1.4 or 1.8 or an 85 f1.8 might work well and be considerably less expensive. Btw, if using the Canon, make sure you're in AI Servo mode and pick the appropriate tracking case in your menu setting.

SteveR Loc: Michigan

Since you were shooting with film on a 35mm camera, a 50mm will closely approximate your 85mm on a crop sensor camera. Also, as far as f2.8 vs f1.8, there is no comparison in light gathering between the two. The f1.8 beat the f2.8 hands down. I have both and am blown away by what the f1.8 can do. It can make a low light situation look like it is normal light but the f2.8 cannot match the same performance. Also, the low end of the 70-200mm on a crop camera could actually be too long in the O.P.'s situation. For a zoom, I would recommend the 24-70 f2.8 which would give the field of view of 36-105mm. If this lens could be borrowed or rented it actually might be a good choice. Remember, the O.P. is just 10 rows back.

billnikon Loc: Pennsylvania/Ohio/Florida/Maui/Oregon/Vermont

Nikon 85mm 1.8 lens which becomes a 127.5 mm 1.8 lens.

Paul Buckhiester Loc: Columbus, GA USA

The situation you describe is one of a photographer's most challenging.

While a fast lens is desired, I believe the most critical factor in low light/fast movement situations is ISO--which camera will give you less noise at high (6400+) ISO. I would think the 7d, but that's just a guess.
I assume that flash is prohibited, so raw capture at an ISO that will permit at least 125th to 500th sec shutter coupled with noise reduction in post is you best combination.
Also don't forget that some motion blur can be used creatively to get some interesting results.
Your requirements are similar to what wedding photographers face at receptions. You will find lots of video courses and Hog discussions on that subject. That said, many of them are able to use flash at receptions.
Sooooo, off camera flash will yield the best results. Barring that, a fast lens and high ISO will have to do.
Paul

mjgoulet

If you're close enough I would a Canon 50mm 1.4 lens. It's the fastest lens I own and for about $500, it's well worth it. Canon also makes a 50mm 1.2 but it's expensive.

SteveR Loc: Michigan

Speaking of flash. Perhaps the best time to get photos is dress rehearsal when flash could be allowed and you could roam at will. You'd need more than the popup flash on your camera.

Here's another suggestion, since you not only have low-light needs but action photography needs. Get a Nikon D500 camera. In another thread an O.P. was having issues with getting good photos of her daughter who was a diver. Part of the problem was that the photos were dark if she shot fast enough to stop the action. She rented a D500 which allowed her to use higher ISO than the camera she had been using and it took care of the problem. It would also allow her to pretty well take shots of her daughter's entire dive at 10fps. After renting the camera she's decided to purchase one. My guess is that the D500 would take care of your lighting needs. Put a 24-70mm lens on it and you'd be set to go in the theatre. That combo's a bit expensive, but a 50mm f1.8D on a D500 would only run $134. However, on your D5300 you'd need a G version which has the motor built into the lens.

One other thing about the D500 is its amazing focus abilities. The only reason I haven't upgraded my crop camera from a D7000 to a D500 is because I'm waiting to see what Nikon comes out with this year in the D800 series.

markngolf Loc: Bridgewater, NJ

I had the 7D and upgraded to the 7D MII. I do a great deal of low light photography - sports, concerts, ... I'm just a grandfather who enjoys photography. I have had the Canon 70 - 200 f/2.8 and now the 70 - 200 f/2.8 II. It's expensive, but well worth the money. You can probably get a used one on Ebay or refurbished at Canon for reduced price. Here's a link to a few photos using the 7D MII & the 70 - 200 f/2.8 II.
http://imagesbymarkweiss.shutterfly.com/pictures/1182

Good luck finding the right lens for photographing your kids. Sounds like fun!!
Mark

Clapperboard

Hi Miskates, Of course as ever lots of advice. If you can get close enough the 50mm. f1.4 lens on the 7D would seem a fair bet for the dancing shots. Of course I'm assuming you will be taking RAW images.
The 7D will be right in it's element for the Luge shots. Arguably the 7D Mk.2 focusing system would suit even better, but the 7D will handle it no problem. The 70/200 f2.8 IS Mk.2 lens should be a good bet. The focus speed and sharpness have to be experienced to appreciate. The focus tracking on the 7D can handle the Luge situation easily. Go for the 2.8 lens on the 70/200 as it is sharper all through the range than the f4 series.
Set your 7D to bracket exposures with multiple shot, fast repeat. Set the bracketing steps to two stops. If it is a pre 2012 version you will have three exposures on auto bracketing. A later one will have five exposures. In any case three will be enough. Make sure the 'blinkies' are on to show possible blown out areas on your exposures. Take a few test sets of brackets at the event, in the light level you will be operating within. Check for 'blinkies'.
The default setting for taking the bracketed shots is normal exposure, under exposure, over exposure. You can change this but I recommend you stick with the default. Thus the last exposure in any set is the over exposure shot. The one shown on the back of your camera after exposure will always be the last shot, the over exposed one. Thus when you get the over exposed shot(s) where any lights or white suits are flashing as possible blown out sections in your shot you are in the right area. Use HDR software such as the HDR facility in Photoshop, Nik Software, or Photomatix to give you an HDR image, but process/tonemap it it in RAW not in the HDR software, for superb results.
This method opens up a whole new range of exposure and detail levels. Yes, my friends with recent full frame very expensive camera models have trouble accepting a crop sensor camera can do it. Don't be persuaded by the 'you have to have a full frame' brigade. Exposure latitude and detail capture is not just a matter of buying a new full frame camera.
I have been using a slightly more advanced version of this setup for over two years and the resulting detail and exposure range in the final image are extremely satisfying. I print at A2 from cropped images (yes cropped images -- not just images from a crop sensor).
Please let us know how you get on.
Cheers.