I definitely missed that, but I can imagine exactly how it happened. Ben was all about perching on those front monitors, and they were pretty close to the front of the stage.

I think I know the security staff who you and Sandy mentioned, so it’s nice to hear he’s OK. I saw him a Tegan and Sara the next day and he was fine.

Thanks for the good wishes, let’s hope credentials to photograph Radiohead comes in next week.

How’d that go over?

A good portion of these images were made during the third song when there was a good deal of stronger white light from the back.

Thanks again, glad to hear these capture Ben for you.

Personally, I have been loving the Nikon 70-200VR on the D3 for a number of reasons.

1) On the D3’s sensor, the lens is beautifully sharp even at f/2.8 for low light work line concerts. On the D2x, with its very small pixel pitch, the lens was pretty mediocre, but the D3’s larger photo sites are certainly more forgiving.

2) AF fine tuning has allowed this lens to sing. On the D2x, I always had somewhat erratic performance at 200mm with this lens, and often got back-focus. With the D3, I adjusted the AF to be bang on. This isn’t really a DX/FX thing, but it’s worth noting.

3) For PJ type work such as mine, the edges simply don’t matter. The image may suffer at the extremes when shot wide open and we lose the “sweet spot” crop of DX cameras, but for me, points 1+2 above combine to far outweigh any poor performance at the edges of the frame.

Suffice it to say, I’ve never enjoyed the 70-200VR as much as I have on the D3.

Glad to hear you enjoy the work, David – let me know if you have any more questions.