"Pro" photographers shot slide film with ISO/ASA of "only" 800 or 1600 for decades and didn't have much trouble.
Continuing the hijacking of this poor guy's thread . . .
I shot many rolls of slide film back in the 60s and 70s. True, it was all Kodak, but I don't remember anything faster than Ektachrome ASA 160, which my favorite processor could push a stop to 320. Ah, maybe there was some exotic film stock . . . I sort of remember something.
Anyway, I think you're talking about B/W, no? I routinely shot Tri-X at 800 and 1200, developing in Acufine, sure. And the grain wasn't bad.
Fast lenses were common back in the day. F/2.8 was considered pretty slow for anything longer than 135 or wider than 24. Every Nikkor lens I had inside of 24-135 was F/2.0 or faster, except for the Micro-Nikkor. And these weren't considered exotic lenses at all -- well, maybe the 35 f/1.4 was kind of exotic.
Now you get a kit lens or a decent wide-range zoom and you're looking at F/3.5 or 4 and smaller when you zoom out.
And it seems to me that pairs naturally with the ability to crank up that ISO to whatever works. I like that better than film, because with film you had to make the push-or-don't-push decision for the whole roll. Now we can crank it up for a few shots, back it down again. I was doing that two weeks ago inside some abandoned grain elevators.
On that same shoot I was with one guy who had a 5D2 and brought along a 50, a guy with a D40 and 18-135 kit lens, and me with a D300 (the D800 hasn't come yet) and the 14-24 f/2.8. The 5d2 guy made some beautiful images but he couldn't catch the sense of space with what he brought, no matter how good he was. The D40 guy couldn't make it under low light.
I'll join sapporobaby with a 14-24 shot. The non-vertical verticals are deliberate.