Tuck everlasting book online11/18/2023 Nathan ( Funny Girl), James Rose ( Hedwig and the Angry Inch), Sushma Saha ( 1776), Nathan Salstone ( Sweeney Todd), Evie Schuckman ( Indigo), Stephen Tewksbury ( Sweeney Todd), Stephanie Torns ( Waitress), Clyde Voce ( The Play That Goes Wrong), and EJ Zimmerman ( Les Misérables). Performing this year will be Olivia Abiassi ( Eh Dah?: Questions for my Father), Tẹmídayọ Amay ( Black Odyssey), June Angela ( Fresh Off the Boat), Jonathan Arana ( On Your Feet!), Jessie Austrian ( Into the Woods), Ari Axelrod ( Milk and Honey), Noa Luz Barenblat ( Fiddler on the Roof), Iris Beaumier ( The Little Prince), Thani Brant ( Notes from Now), Johanna Carlisle-Zepeda ( Americano! The Musical), Carmen Esperanza Castillo ( Soon), Jenelle Chu ( T he Great Leap), John Clay III ( New York, New York), Benny Elledge ( Waitress), Emily Fink ( Fun Home), Cailen Fu ( Mean Girls), Gabriela Gomez, Alex Joseph Grayson ( Parade), Tymothee Harrell ( FutureFest), Michael Benjamin Hernandez ( Moon Knight),Luke Islam ( America’s Got Talent), David Patrick Kelly ( Into the Woods), Eddie Korbich ( The Music Man), Angel Lin ( Once), Omar Lopez-Cepero ( The Notebook), Tomás Matos ( Hadestown), Easton Michaels ( The Hunchback of Notre Dame), Anne L. The annual offering has become a vital proving ground for new musicals, with past Festival presentations including Come From Away, Lempicka, The Drowsy Chaperone, Lizard Boy, Teeth, Benny & Joon, Darling Grenadine, Ordinary Days, Striking 12, It Shoulda Been You, Interstate, and Thoroughly Modern Millie, among others. Industry members can attend for free, with general access available through a donation to NAMT. The event spotlights eight in-development musicals with 45-minute concert presentations. The National Alliance for Musical Theatre has revealed the complete performing line-up for its upcoming 35th Annual Festival of New Musicals, which will return for in-person performances at New World Stages October 26 and 27.
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Using apsc lens on frame sony11/18/2023 That said, wouldn’t it be nice if we had a 14- 800mm lens with an f/2.8 straight through on a 36 megapixel body that shot 20fps? There is no perfect set-up and there will always be some give and take. I love having to work that struggle out in the field. In closing, there will always be a struggle between ISO, aperture and shutter speed when photographing. I also used a long enough lens so that I wouldn’t have to crop too much. When I was shooting birds in flight, I used the Sony a9 and did not use APS-C or a teleconvertor as I didn’t want to lose any light, autofocus or pixels. When I was in Japan I used I the Sony 7r3 and the in-camera cropping (APS-C mode) so that I could get in tight for portraits. When I am shooting with the Sony a9 I need to be more careful with my megapixels as I don’t have as many to throw around. Having all that depth of field was also a drawback, since I lost that beautiful bokeh that I”m use to getting with the 600mm primes. However, when shooting in Kenya, using the f/9 worked out good as I often had multiple subjects and it almost forced me to stop down my aperture which meant I had enough depth of field for most of my shots. Increasing my aperture to f/9 meant higher ISO’s. This hurt a bit, since I was almost always in a struggle for light. But… and it is a big but- I needed to be at f/9. I also found that because it was more manageable that I didn’t even need to use a beanbag and that helped me with tracking my subjects. I handheld the set-up all day without any shoulder or wrist issues. I was able to get up and down in the safari vehicle with ease. The 200-600mm lens was much smaller and lighter and more manageable than a 600mm prime lens. When shooting with the Sony a9 and the 200-600mm lens for wildlife, I used the 1.4 teleconverter on safari with great success. So how do I apply all of this in the field: Another thing to consider when cropping, whether in post or in-camera is how many megapixels does your camera have? The Sony a9 has 24.2-megapixel where the Sony 7r3 has 42.4-megapixels and the Sony 7r4 has over 60!! You can make a heavily cropped image still look good for the web, but do you want to? That is an individual choice. If you are only using it for web viewing, than you have much more flexibility with cropping. If you are going to make a large print than you really should’’t count on cropping much. First, what are you going to do with the image. For example, if you add a 2x converter to a 300mm lens that focuses down to five feet, you get a 600mm lens that focuses down to five feet.Ĭropping in post-well that it self explanatory but many ask “How much can I crop without losing quality”. However, adding a teleconverter doesn’t change the lens’ minimum focusing distance. Adding a teleconverter will also reduce the light by 1 stop for a 1.4x converter and by 2 stops for a 2x. By using a teleconverter you will gain some reach but you may sacrifice some sharpness and autofocus (same is true with using the APS-C mode). When using this feature you are essentially cutting your megapixels in half.Ī teleconverter is a short tube that fits between the lens and camera body and increases the focal length of the lens. This feature offers a 1.5 x magnification. I have assigned mine to C3 so that I can access it very easily while shooting. The setting is in the menu and where it is located varies according to your camera model, but you will most likely find it in the first menu group. For shooting still images, the camera uses only part of the full-frame sensor, effectively shooting with a cropped sensor rather than a full-frame sensor. The APS-C/Super 35mm setting - aka “crop mode” on the camera effectively chooses which sensor size you want to use. Since I started using Sony, there have been load of folks asking me which is better, using the APS-C setting, a teleconverter or cropping in post? Here are some of my thoughts… AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |