Given the shooting constraints of concert photography, from song limits to bad lighting, the last thing you want to do is show up for a gig lenses that aren’t cut out for the job.
If you’re just starting out with gig photography, here are a few suggestions for lenses that are up to the low-light challenge of concert photography.
Lens Upgrade Path:
Maybe you’ve shot a few shows with the kit lens or perhaps you’ve stuck it out for years and you’re looking for some new glass. Assuming your current lenses don’t cut it, here are a few standard lenses available in the most popular mounts, including Nikon and Canon, that are up to the task.
50mm f/1.4 – The Fast Prime:
The ubiquitous 50mm lens gets around for a few reasons, not the least of which is its fast aperture. At f/1.4, this lens lens is a full two-stops faster than the zooms in this list, an attribute that which can help open up even the darkest venues.
I recommend this lens over the slower and less expensive f/1.8 lens for a few reasons, including better wide open performance, more light gathering ability, and better build quality. Any way you slice it, this is still the cheapest f/1.4 glass you’ll buy.
If your shooting conditions require something a little wider, the Sigma 30mm f/1.4 is also a great low-light solution.
17-55 mm f/2.8 – The Midrange Zoom:
This is my favorite zoom range for cropped-sensor cameras, as it gives you everything from wide-angle to short telephoto in a convenient package. If you’re photographing bands up close at the front of the stage, this lens may just have all the range you need.
Tamron makes a great little 17-50mm lens that gives the OEM lenses from Nikon and Canon a run for their money. Sigma makes a well-regarded 18-50mm f/2.8 lens and Tokina produces a very solid 16-50mm f/2.8 lens as well.
24-70mm f/2.8 – The Other Midrange Zoom:
For APS and “full-frame” sensors alike, the old standby range of the ~24-70mm f/2.8 is a solid bet. Like the newer APS-only 17-55mm range, this lens was designed as the go-to midrange zoom for film. On APS-sensors, this range provides a little more reach than the shorter 17-55mm range, at the expense of the wide-angle.
All the major players produce a lens in this speed and range, with the Sigma 24-70mm f/2.8 and the Tamron 28-75mm f/2.8 being popular third-party options.
70-200mm f/2.8 – The telephoto Zoom:
One of the more expensive options in this short list, the 70-200mm range is a staple for telephoto shooting. I find this range particularly useful for large or high stages, picking up the drummer, and for tight shots of individual performers.
All the major OEM brands produce lenses in this range, and third-party manufacturers like Tamron and Sigma also produce more cost-effective versions of this popular range.
For those who want a little more reach without the size and weight of a telephoto zoom, an 85mm f/1.8 or f/1.4 can help fill out a kit to act as a short telephoto.
End Notes:
Whatever the focal length and application, I would highly recommend going with the fastest lenses you can afford for concert photography. With such demanding conditions as live music, f/2.8 zooms are often a necessity, if not f/1.8 or f/1.4 primes.
Also, overall, I highly advocate buying lenses from the original manufacturer of the system you use, be it Nikon, Canon, Pentax, or Sony. While these lenses are often more expensive than third-party options, you only have to buy it once. Also, these lenses often provide the most reliable performance cameras of the same manufacturer.
That said, there’s also great glass to be found from Sigma, Tamron, and Tokina. Often, it’s a case of diminishing returns with brand-name products, so you should weigh your needs and preferences against cost.
For more information on the above lenses and more, please visit the Gear Guide, where I discuss some more detailed applications for these events.
What do you say?
What was your upgrade path once you ditched the kit lens? What’s your most-used lens? Please feel to have your say in the comments section!
This entry was posted on Wednesday, July 16th, 2008 at 11:45 pm and is filed under Photography Gear, Photography Tutorials and tagged with 17-55mm, 50mm, canon, concert photography, coverage, equipment, lenses, live, low light, music, nikon. You can follow any responses to this entry through the RSS 2.0 feed.
Welcome to ishootshows.com, the premier site for music photography featuring daily concert coverage, portrait features, and photo advice from professional music photographer Todd Owyoung.
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My name is Todd, and I love the rock show. My work has appeared in publications such as Rolling Stone, SPIN, the New York Times, Alternative Press, Metal Hammer, Entertainment Weekly, and Billboard Magazine. I'm available for worldwide travel for editorial and commercial assignments.
Hi Alan,
I started with a D50 and Sigma 18-50/2.8 + 50 mm/1.4 for concerts. I have to say that it’s nearly impossible to get good results in small clubs with a camera like the D50 or D70 (same sensor). The camera is noisy at ISO 400 and above. So I rarely used ISO 800. And tried longer shutter speeds like 1/60 or 1/80 and waited for moments when the artist didn’t move so much ;). The other settings were the same like yours.
I just got better results in larger clubs with better lightning (and not the dimmed red from the smaller ones) or when I bought my D90 :). Now I’m confident. You can see my pictures here: http://www.doreen.es. Sorry, it’s in German. or at flickr: http://www.flickr.com/photos/doreen1082/sets/72157609161168715/
for comparision, this is a photo which I took with my D90 at ISO 2000: http://www.flickr.com/photos/doreen1082/3405513224/in/set-72157609161168715/
unfortunately I don’t have a picture online from the D50 at the same club, but it would be dark and noisy …
So my recommendation: try a better camera (the D80 is also way noisy …)!
Rich,
I have the kit lens 18-55mm, but seeing that its widest is f3.5 I don’t think it would work very well. I am going to a larger venue this Friday than I normally shoot at and they have much better lighting. Should I bring it along or go ahead and get the 35mm f1.8?
Yeah, the 17-55 or 24-70 is what I’d love to have as well, I just don’t see that happening for a few years. I’m a broke college student.
Doreen, I wish I would have known the D80 is noisy when before I bought it, lol! I don’t think I’ll be able to get a new body for 5+ years.
Christi,
The D80 isn’t actually too bad, it’s all about the lighting I think. I shot this with the D80 ISO 640-800 and used the 35mm. Stryper D80
Lots of my pictures end up being fairly noisy because at the local venue the lighting is pretty terrible most of the time. I always use ISO 800 and the shutter speed between 1/50 and 1/80. I’m too scared to do ISO 1000, haha.
Your pictures are really good. Were you right up close to the stage? Do you use manual or auto focus? I think I’m going to go ahead and get the 35mm. It’s about the only thing I can afford right now, and I think I will benefit from it. I can’t wait until the concert on Friday.
Now I need to figure out this RAW stuff…
Thanks :)
Yeah, I was right up on the stage. It was a good and bad thing though as I had to contort myself all sorts of wrong to get some shots when the guys came to the very front but I think it worked out okay. ISO 1000 on the D80 might be asking a bit much, especially if the place you’re shooting as crappy lighting. I just did They Might Be Giants and the club had bad lighting so maybe, and I mean maybe 20 shots are usable. Now if I had my dream D700 I coulda done better, but oh well.
As for my settings I uses auto focus, and started out with AP priority but was unhappy with what it picked so I switched to manual and set it at about 1/40, 1/60. If you mouse over the images you’ll see an ‘i’ and that’ll tell you my settings.
RAW, I’m too afraid to try it!
hi Todd… fantastic website you have, it’s been invaluable! I have a Nikon D60 and a 35mm f/1.8 lens I use for shooting shows. But this doesn’t give me much range and fast telephoto lenses are very pricey!
However I am considering getting the Sigma 50-150mm f/2.8 as it is ‘relatively’ affordable compared to any f/2.8 Nikon! Would this be a good addition… does anyone else have this lens?
Hi Benners,
I think the Sigma 50-150mm f/2.8 is going to provide you with the right range, though if you need reach, I wouldn’t hesitate to look at the standard 70-200mm f/2.8 lenses from third-party manufacturers as well.
I got the 35mm f1.8.
I used that lens and my 50mm for the show I went to last friday. You can view pictures on my flickr.
http://www.flickr.com/photos/wheremysongbegins/sets/72157622958769570/
They’re not that good, but I’m happy with them. I know I uploaded way to many, but I couldn’t bear to delete any of them. I love that band. Haha.
I need to figure out what to do with the red washed photos. I usually just leave them as shot because I never know what to do with them. But that’s for another discussion. Heh, I’m terrible at photoshop.
The 35mm didn’t seem to work as well as the 50mm, but I’m taking it to a show tonight at the tiny venue I usually go to and I’ll see how it does there.
I have a Canon EOS 40D. Ive been looking for a lense so I can start doing some concert photography. The lense that I have at the moment is a Sigma 28-70mm F2.8-4, is this a good lense for concert photography? If not whats should I get(without trying to break the bank)?
Thanks for adding your feedback here, Christi, I really appreciate it.
Chelsea, I think that your Sigma will work as a start for concert photography. The f/4 aperture at the 70mm end is going to slow you down a little, but if you’re just starting out, it’s going to do in a pinch. If you’re starting to shoot very dim shows, even f/2.8 might not be good enough and you may have to invest in some primes.
The 50mm f/1.4 or f/1.8 is always a safe bet for speed.
that’s great, thank you Todd :)
I’ve been trying to work out my next move on Flickr and it’s been suggested that a f/2.8 lens would benefit from a body that is more competent at higher ISO than the D60… maybe the D90. I think I could only afford either the lens or a body at the moment!
I would say lens. No point in having a better body if your lenses aren’t up to par.
thanks Rich :)
but then you could argue there’s no point having a great lens if the body isn’t going to get the best out of it. Even an f/2.8 might struggle a bit in lowlight, so then you would need a body which performs well at high ISO… which the D60 doesn’t particularly, and the D90 would. And so it goes on! ;-)
That’s true, but at ISO 800 with a 2.8 you could probably make due.
I think that depends on the lighting. I have a hard time at ISO 800 and f1.8 sometimes because of the lighting at my (tiny) local venue.
But I’m not sure if that would justify buying a new camera body.
There’s always going to be compromise with live music photography. With the exception of daytime festivals and big arena/amphitheater shows, most of the time we have to choose between noise/grain or motion blur.
And then sometimes there isn’t even a choice!
Todd, this has been the most helpful review I have found on the internet yet! I can’t describe my satisfaction with the information on lenses you’ve provided. After months of trying to find worthy reviews, right f stops and all the prime versus zoom opinions I came upon this.
I’m looking into concert photography as a serious thing and I’m on my way to my first lens specifically for show photography. And I had narrowed it down to about 10 lenses :/ but you’ve narrowed it even more, so thank you so much!
And I just LOVE your photos of band shows and their promos. By far my favorite out of many other photographers I have seen.
Great post.
Hi Chantelle,
Thanks very much for the kind words, very glad if any of the info here has helped in your decision for buying lenses. Cheers!
Todd,
Thanks for quite an informative review and article.
I am considering getting a Canon 7D due to it’s highly improved noise settings at ISO 1600 and up, and I wanted to see your thoughts on a kit lens for such a camera in a concert setting. The kit lens is a f3.5/5.5 28-135mm. Pretty decent for a crop body, not as wide as I’d like (I like to get pretty close), but it’s a good starting point.
Do you think that it would be better for me to invest in a less powerful body (50D or so), and get some faster glass? Personally, I feel that the flexibility I would get from the 7D’s low noise and RAW settings would be sufficent for general purpose (and some concert) work with the kit lens. I dont currently do a lot of concert photography, but I do think I will start once I get my DSLR.
I also have an assortment of vintage primes from the 80s that I am considering using… I’d have to go through an Olympus to EF converter, but already having some 1.8 glass is pretty nice. (although no auto focus, and metering i’d have to do manually…)
What do you think?
Hello Todd,
I have a simple question about 24-70 f2.8 and 70-200 f2.8.
I am dreaming to buy one of these two jewels. Therefore the 70-200 is too expensive for the moment and I wonder if 24-70 is good for portrait.
I imagine it is really good for full portrait (from foot to head) but for rear portrait ? Can we have a good bokeh with a focale about 70 ?
My beauty dish is ready. I am waiting to receive external flash (YN-460) to complete my local studio :-) Thanks for the tutorial !
Best regards, Nicolas