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Tag: high school theater

November 8, 2026

Fast Glass for a Dark Stage: The Gear I Used to Photograph My Son’s School Play

I paired a 75mm f/2 prime lens with my new Fujifilm X-T30 III camera and brought it to opening night, hoping I would get enough reach. (I created the above image with Google Flow for illustrative purposes.) My parental plan was untested and certainly unconventional, but I had high hopes. Here’s how it all went.

Last time, I shared that I had just finished building out a small and stealth camera kit to bring to our son’s high school play. My little rig featured my new compact Fujifilm X-T30 III APS-C camera paired with a fast TTArtisan 75mm f/2 prime lens.

The plan revolved around my desire to wrap a virtual cloaking field around me. Everything was designed to help me remain invisible in the audience when I quietly look a photo or two.

I activated my Fujifilm’s silent electronic shutter (not as good as using manual shutter but without the clicking sounds). I had also turned on ‘burst mode’ to rapidly capture multiple photos of a moment on stage.

For a month, I had practiced with my new camera in the outdoors. Now, it was time to find out whether any of it worked in the dark.

I sat down in my audience seat. Showtime.

TTArtisan 75mm f.2 Prime Lens Gets It Done!

The key question was whether my 75mm f/2 lens (112mm equivalent) was the right choice.

I also had my new 18-50mm f/2.8 Sigma. But there wouldn’t be an intermission in this show, and I wouldn’t get an opportunity to switch lenses. And no, I wasn’t going to try the swap in the dark. (Maybe next time.)

Happily, the TTArtisan performed like a champ.

As I sat five rows back in the audience, its reach offered me a head-to-toe shot of our son with one or two actors standing nearby.

That said, when the actors were positioned farther downstage, reducing their distance to my lens, the 112mm equivalent framing (due to the 1.5x APS-C crop factor) became a little tighter than I preferred.

And remember, the TTArtisan is a prime lens. So, there’s no zooming out.

But I found the lens’ 75mm focal length successfully worked for most of the shots I took.

On closing night after I had already gathered enough tighter shots from previous performances with the TTArtisan, I came in with my 18-50mm Sigma to get some wider establishing stage shots.

Happy ending, right? Well, not yet…

Look Past the Noise

At this point, I have some caveats to admit to.

I set my Fujifilm to Aperture Priority mode, allowing the max ISO to reach 12,800. (And many photographers will say that’s asking for trouble due to potential noise in the images.)

I also chose to shoot with a shutter speed of 1/250 second to freeze the stage action.

But my camera sensors wanted to slow down the shutter to bring in more light. I ignored that recommendation and forced the shutter to stick to my plan.
(I know that’s also asking for trouble.)

My results… not surprisingly, underexposed photos, even at ISO 12,800. And yes, there was some noticeable noise in the background.

Time to Move to Adobe Lightroom

So, my stage photos directly out of my camera looked… dark and noisy. (Plus, it didn’t help that the show’s moody lighting was particularly dim.)

But my photos had one big advantage going for them. They weren’t blurry. I had, in fact, successfully frozen the action (fight sequences) using the TTArtisan lens’ f/2 aperture.

But that’s not the end of the story. It’s just the beginning…

Next, I brought my photos into Adobe Lightroom. Because I had shot in RAW mode, I was able to perform some impressive magic on my photos.

Lightroom’s ‘denoise’ button instantly erased most of the noise from the dark background, and there was plenty room to brighten up the shots and regain details.

Suddenly, my muddy stage photos looked remarkably… good. (In fact, I think they looked pretty-darned great.)

After months of research, planning and some practice, I brought home some respectable shots of our son in the high school play.

You may ask if the juice was worth the squeeze, and I would say… 100% yes! Plus, I know this exercise was invaluable training for my future creative projects.

How Long a Focal Length Did I Need?

So, I had spent a lot of time in my lens research phase ruminating over the focal length I needed to get the stage shots I wanted. I knew I would be sitting 4-5 rows back, but of course, I didn’t have the exact details on how many feet away my glass would be from the actors.

I expected that my Sigma’s 75mm equivalent reach wouldn’t be quite enough for the tighter shots I wanted, and I was right.

But I was worried that the TTArtisan’s 112mm equivalent fixed focal length wouldn’t be enough either. Happily, that concern was unfounded.

As I’ve mentioned, the TTArtisan successfully framed in one actor at a time or a few standing close together.

For the future, I feel no need to buy a lens with a bigger zoom factor. If I want to get a closer medium shot of an actor (waist up), I can achieve that by cropping in a bit during my photo editing process in Lightroom. (My Fujifilm gives me plenty of pixels to work with.)

Never Forget the Beauty of the Smaller Form Factor

And even if I wanted to consider a more powerful zoom lens for my Fujifilm X-T30 III in future situations, I hope I never forget the original value proposition of the X-mount form factor.

Fujifilm X-mount cameras are small. And generally, the bigger the zoom, the bigger the lens.

It doesn’t make sense to pop on a massive lens on a tiny camera. Sure, you can do it, but then you’re defeating the original goal.

I want to keep things compact and inconspicuous… for both my stage photography and when I’m out and about in the world.

Time to Applaud

So, I’m happy to report… mission accomplished. I was pleased with my theater shots, and I’m pretty sure I didn’t bother anyone along the way.

If anyone really knew the extent of my carefully laid out plan, I might get a standing ovation (yes, only in my imagination).

All my precautionary steps worked. Plus, I was mindful not to take too many photos. (Even raising your camera to your face can be annoying to someone sitting next to you.)

Again, preparation was key. Through that process, I found a few other camera settings I absolutely had to turn off, including all camera sounds and that nasty auto focus illuminator that tries to bounce a bit of light off your subjects.)

And yes, I used certain unconventional photography techniques that some may scoff at:

  • The inferior electronic shutter mode to ensure silent operation
  • Fast prime glass to reduce my fiddling with zoom choices
  • Denoising to fix my pics using Adobe Lightroom

But my creative process worked exactly as I had hoped. (If there are other thoughts on how to best address this type of photography challenge, please share!)

And now that this parent’s theater work is done (for now), I can turn my Fujifilm camera’s attention to the rest of my life and journeys.

How exciting!

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November 1, 2026

Photographing My Son’s High School Play: A Parent’s Journey

Here’s my research, purchases and ultimate journey that led me to bring this camera to my seat at the closing night of our son’s school play.

The high school theater lights dim. The play begins. And yes, I’m in the audience. What does this father do next? Well, he wants to somehow get a few photos of his son on stage.

Do Not Disturb

But I don’t really want to be one of those parents who pull out the phone to snap a few photos of their kid during the school play. A phone’s bright screen will annoy everyone sitting around you.

Sure, if you quickly raise and tap your screen and then put it down, maybe it’s not that bad, but really… it’s only slightly less disruptive. Still, I see people in the audience doing it.

Perhaps it’s unavoidable in our phone-centric reality. But there’s got to be a better solution.

Plus, as amazing as our phones are, they have limits on the images they can capture in the challenging lighting conditions that often exist on stage.

Sometimes, you need an actual mirrorless camera to do the job.

Cameras have Larger Sensors

Whether you use an APS-C camera or Micro Four Thirds model (not to mention more professional camera formats), these cameras’ larger sensors will always be able to suck in more light and provide you better photos than any phone.

Even more importantly, a camera with an old-school viewfinder will enable you to snap a photo without emitting any disruptive screen light. Remember, the goal is to remain invisible in the audience.

That said, these camera models require separate lenses, which can dramatically increase the overall size of the camera in your hand.

And though you might not be glowing, you’re not exactly unnoticeable in your audience seat when you pull out a camera with a giant lens.

So, what are you supposed to do?

APS-C Cameras

This is the conundrum I’ve been facing over the past several months. I had realized that I didn’t have the right gear to handle the job.

My older Panasonic Lumix GH5 II (a Micro Four Thirds camera designed more for video) was just too big and bulky. (And don’t forget the mounted lens.) Over the past few years, I’ve found my GH5 II cumbersome to use on vacations and as a street camera. Bigger was not better.

It was clear that my creative life required a smaller camera system.

I know most folks have already faced some version of this question but simply stuck with the ever-improving camera skills offered by their phones. (The best camera is usually the one you carry with you.)

People have abandoned their old pocketable point-and-shoot cameras, which is why it’s essentially a dead format today. Everyone stopped buying them years ago, and though you can still buy some, the models are ancient.

But for camera ‘enthusiasts’ and some professionals, there are cutting-edge camera formats out there today thriving with a small footprint. However, they’re more expensive than you may remember paying for your last camera. They start at around the $1,000 price point (plus a lens).

Specifically, I turned my attention to APS-C mirrorless cameras. (They use a larger sensor than Micro Four Thirds cameras, which usually translates to better image quality.)

No, APS-C cameras are not as small as a phone or your old compact camera, but they also don’t scream to everyone around you, “Hey, look at my big professional camera!” You can often maintain the demeanor of an amateur, which usually puts people at ease.

And though I was focused on my theatrical photography needs, I also recognized a smaller APS-C system would serve my larger creative interests moving forward.

So, it was time to go shopping for a new camera.

Fujifilm X-T30 III

I did my research and came upon Fujifilm’s line of X-mount cameras.

There are other brands playing in this field, and I wouldn’t even say that Fujifilm is the leader. But I quickly grew enamored with its X-mount system.

  • I liked the more tactile/dial-centric design (Yes, a bit retro).
  • Yes, it has an electronic viewfinder.
  • I felt drawn to the Fujifilm community of users online.
  • The learning curve to use this system also felt less daunting.

I landed on the more entry-level Fujifilm X-T30 III. It has a full auto mode switch, but when you flick it off, the camera offers all the manual control you’d ever want.

Each X-T30 generation has received strong reviews over the years. It seemed like a good bet for me and my needs. So, I happily made my choice to buy this third-generation model.

Click

Plus, it also met other critical requirements for my needs.

Electronic Shutter Mode

The camera offers an electronic shutter mode setting, which circumvents the manual shutter ‘clicking’ sound that we all know. (I certainly can’t try to be unnoticeable in an audience if my camera is emitting loud clicks.)

Now, every camera reviewer out there will remind me that the electronic shutter mode is inferior to a manual shutter in every way… and to never use it. Noted.

Note back – Silence is golden.

So, I’m using it for my high school theater use case. (I’ll revert to manual shutter mode when sound is not a factor.)

Burst Mode/Continuing Shooting

If you’re shooting any kind of action moment, quickly capturing a few photos in a row will better enable you to ‘get the shot.’ My Fujifilm offers advanced Burst Mode options. You press and hold down the shutter button for continuing shooting and hope for the best. (More often than not, there will be a winner in the group.)

Even if the actors on stage are simply standing and talking, catching them mid-sentence can look awkward. A fraction of second later can make all the difference.

The Right Lens: A Small Camera Offers Only Half the Solution

So, I had chosen my camera body. Next, I needed a lens that could handle the stage without undoing the reason I bought a smaller system in the first place.

There are dozens of choices to consider, and many designed for specific use cases.

I knew I would need a fast enough lens to freeze the moment in dark and uneven stage lighting. And I required enough zoom to get close enough to the framing I wanted.

But lens size can quickly become a concern. The best lenses for this kind of work are often bigger (which goes against my plan of being inconspicuous).

And then there’s lens pricing. Good, fast zoom lenses are expensive. They can easily reach or exceed $1,000.

So, I did create some budget boundaries for myself.

With that in mind, I purchased two third-party lenses that received strong reviews:

  • Sigma 18-50mm f/2.8 DC DN (27-75mm equivalent with the APS-C 1.5x crop factor)
  • TTArtisan AF 75mm f/2 prime (112mm equivalent)

The fact that both lenses were really ‘fast’ was a big factor in my decision.
(Plus, the Sigma maintains its f/2.8 aperture throughout its zoom range.)

Note: Fujifilm lenses are a great choice too, but they come at higher price points.

Sigma 18-50mm f/2.8

I planned for the Sigma to serve as my workhorse lens throughout the year. It’s compact and comes at a great price for what it offers.

TTArtisan 75mm f/2

I’m sure you’re scratching your head right about now. Why a prime lens that’s normally used for portraits?

So, I planned to take the TTArtisan with its longer reach into the high school theater. I know it’s an unconventional choice for this use case.

Here’s my thinking:

  • I liked that it’s fast at f/2 and would bring in as much stage lighting as possible.
  • I felt it would give me enough reach to capture two or three actors together on stage from 4-5 rows back.
  • Having a fixed focal length would speed me up by taking that decision out of the equation when I lifted the camera to my eye.
  • It’s relatively compact.
  • The price was quite affordable. (Many prime lenses often are.)

No IBIS

That’s right, my X-T 30 III doesn’t have in-body image stabilization. And neither lens has image stabilization either. I thought long and hard about my choices, and yes, the price points to buy into this upgraded feature were higher for both the camera model and lenses.

While nice to have, my research provided enough confidence that I would be okay without my new camera gear offering image stabilization. I wasn’t planning on taking shots with a super zoom lens. And any videos I recorded could be done with the benefit of a tripod or gimbal. Problem solved.

Showtime!

I had about a month to practice with my new camera system before the show opened. (That said, all my prep work was outdoors.) I know it’s so important to get to know a camera.
And this training time was invaluable.

Ultimately, I unfortunately ended up entering the high school theater on opening night with my Fujifilm and TTArtisan paired but untested in that environment.

I sat down in my seat with my new camera system firmly in hand. I had prepared as much as I could, but I was nervous.

Nothing more I could do. It was showtime!

Next week, I’ll continue my story. Time for a little intermission.

Minor spoiler: Yes, I encountered some challenges. Yes, I found some solutions. But did I successfully blend into the audience?

All will be revealed!

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