Gear Guide
For anyone interested in pursuing live music photography, AKA “low-light action portraiture,” the issue of the most appropriate equipment is an inevitable question.
Considering the ubiquitous low light of indoor venues, song limits, energetic performances, and the generally frenetic pace of rock shows, the proper gear can ease some of the intimidating constraints of concert photography.
Just starting out? Please see my article Choosing Lenses for Concert Photography first.
Below is the list of gear that I regularly use for concert photography.
Camera Bodies
Nikon D3
Nikon D700
Lenses (zooms)
Nikon 14-24mm f/2.8
Nikon 24-70mm f/2.8
Nikon 70-200mm f/2.8 VRLenses (primes)
Nikon 50mm f/1.4
Nikon 85mm f/1.4Supplementary Gear
SanDisk Extreme 4gb CF Cards
Nexto CF OTG
Kinesis bags
Crumpler 7 Million Dollar HomeRetired Equipment
Nikon D2x
Tokina 12-24mm f/4
Nikon 17-55mm f/2.8
Sigma 30mm f/1.4
Below you’ll find more in-depth descriptions of why this kit works for me and my concert photography. For other thoughts on gear for photographing live music, please check the General Recommendations at the bottom of this page.
Camera Bodies
I love this camera. The D3 is simply an exceptional camera and what I consider to be the closest thing to the perfect live music photography platform that is on the market today.
I acquired this camera to replace the venerable D2x and have been delighted by the quantum leap in performance over the old workhorse. These days, the only camera that trumps the D3 is its successor, the D3s.
The D3 offers incredibly clean files right up to ISO 6400, and even very usable images at ISO 12800, performance that opens up many creative possibilities for low light work.
Combined with fast f/2.8 zooms, the high sensitivities of the D3 have me reaching for fast f/1.4 primes much less often.
One great new feature for event coverage that I love about the D3 is the inclusion of two CF slots in the camera, which effectively doubles one’s shooting capacity before having to change cards. For demanding, fast-paced events with a high image-yield, this is a huge boon, especially considering the song limits for music photography.
Nikon D700
I use the Nikon D700 as a backup to my D3, and for this purpose the camera is simply excellent. Both cameras are equipped with what is essentially the same exceptional 12mp sensor, which makes the two interchangeable as far as image quality goes in my mind. The color, response, and just about everything else between the D700 and D3 with regard to image quality is so close that I never have to think about it.
In terms of ergonomics and body design, the D700 is a much smaller and lighter camera than the D3, as it doesn’t feature a built-in vertical grip. For my shooting, I do prefer a vertical grip, and so use the MB-D10 as a nearly permanent attachment for the D700. With the accessory grip, the D700 is nearly as fast as the D3 in terms of frame rate – 8 FPS vs 9 FPS, respectively.
For my live music work, I will D700 as a secondary camera and attach to it the lens which I think will provide the best support to my main lens. In most situations, this means shooting with the 70-200mm or 14-24mm on the D700 while using the 24-70mm on the D3.
Zoom Lenses
I use three zooms as my main lenses: the Nikon 14-24mm f/2.8, Nikon 24-70mm f/2.8, and Nikon 70-200mm f/2.8. These lenses cover 14-200mm in a highly effective manner, all in a fast f/2.8 aperture. While they are heavy and expensive, I consider these three lenses highly effective for concert photography, and they always deliver.
The Nikon 14-24mm f/2.8 is a lens that is wrong about 80% of the time for concert photography, but that doesn’t stop me from trying to use it every chance I get. Because when it’s right, it’s so right that you’ll forget about all the heartache it causes when it’s wrong.
The ultra-wide perspective of this lens can bring a hugely dynamic feel to a concert scene, stretching out limbs, exaggerating distance, and generally kicking it up a notch.
I love using this lens up close and personal at the front of the stage. In fact, the closer, the better. The 14-24mm excels with low stages and in any situation where there’s a good opportunity to get in tight.
When used on a full-frame sensor, the dramatic perspective of this ultra-wide angle zoom is highly addictive and has brought home a very large percentage of my favorite images since I started using it for gigs.
The biggest downside of this lens, aside from the price, is the enormous, bulbous front element, which does not allow for the use of filers on this lens. The lens does feature a built-in hood, but keeping the exposed lens element is a constant struggle, especially when it loves being shoved into the faces of sweaty, headbanging rockers.
The Nikon 24-70mm f/2.8 features a range that is highly useful for stage-front photography. I love the wide-to-short-tele zoom range of the 24-70mm, which provides a highly utilitarian spread of focal lengths on a full-frame sensor.
At 24mm, the lens renders a nicely wide field of view that’s great for stage and full-body shots, while 70mm is tight enough for more isolated captures of individual musicians.
In addition, the lens performs exceedingly well wide open, which makes it highly suitable for concert photography and PJ work in general.
If I don’t know what to expect in the pit, this lens is where I’ll start. And when I do know, this is still the lens I’ll utilize much of the time.
Nikon 70-200mm f/2.8 VR:
The Nikon 70-200mm f/2.8 telephoto lens is perfect for tight shots of individual performers and grabbing the drummer at the back of the stage. For larger venues and arenas, the isolation and reach of the 70-200mm make it indispensable for bringing home high-impact shots of individual musicians.
The addition of Vibration Reduction (VR) makes this telephoto a solid choice for indoor concert photography, especially with less active performers in middling light that might otherwise make such a telephoto an unreasonable choice. The Canon version that features IS is likewise an excellent choice.
I’m most likely to use this lens when there’s a more notable singer on stage or in larger venues where the performers are farther back and/or greatly elevated from the pit. Also, if there are shooting restrictions like shooting from the sound board or from the wings, this telephoto helps close the distance.
At outdoor festivals, where speaker stacks may be placed in the between between the stage and photographers, the range of this 70-200mm lens is also very welcome.
Prime Lenses
Nikon 50mm f/1.4:
As the once-standard lens for 35mm cameras, lenses in the 50mm focal length are abundant and relatively cheap in all mounts, especially the f/1.8 versions. Even the faster f/1.4 models are affordable compared to other primes with this fast aperture.
On a 1.5x crop sensor, the Nikon 50mm f/1.4 is a short telephoto lens that I find more manageable than my 85mm lens, and which works well for front-stage work. While I generally find the lens too narrow in its field of view as a single-lens solution, the fast aperture and acceptable quality at wide apertures make this a clutch lens situations when f/2.8 glass isn’t fast enough.
When used on a cropped sensor, the only hesitation I would have in recommending this lens is that its field of view can force awkward compositions. This factor isn’t so much a mark on the lens so much as it is a consideration when working with primes in general.
For the Nikon D3, 50mm is once again a nice focal length that is wide enough for general use.
Nikon 85mm f/1.4:
The fast aperture and excellent wide-aperture performance of the Nikon 85mm f/1.4 make this lens highly useful for portraits of individual performers. I often find myself reaching for this lens when photographing singer-songwriters, who are not often light with light of much intensity in smaller venues.
Though the fixed focal length demands more care to produce exacting compositions, the excellent low-light performance of this lens secures its place in my gig bag. This is especially true when the slower speed and/or weight of the 70-200mm is inappropriate for a gig.
I find the 85mm particularly well suited as a short telephoto pair to the Nikon 17-55mm or Nikon 24-70mm, as it nicely compliments the general range of the zoom with a nice tele option, all in a relatively small profile.
Supplementary Gear
Kinesis Bags:
I’m a big fan of the Kinesis camera bag system, which is a modular system that is truly as functional as it is a disaster for the fashion conscious. While the bags accept conventional shoulder straps, a modular belt system lies at the core of this product line’s functionality. The company’s myriad line of bags, pouches, and holders all connect interchangeably to the belts. I can carry my D2X, 70-200, 17-55, Nexto drive, and more. Comfortably, all day long. Not something I’d want to try with a shoulder bag.
For long events, I’m not above sacrificing my personal dignity to save myself from some backache, so I’m willing to rock this belt system. Not only is it much more comfortable than an over-the-shoulder camera bag, it’s also highly functional. Everything is close at hand. As my equipment is connected to my waist à la a Batman-esque utility belt, there little that can swing around, get snagged, or otherwise get in the way of shooting. Just my pride. For single concerts, I’m more likely to use the shoulder strap with my Kinesis bags.
Crumpler 7 Million Dollar Home
In addition to the above Kinesis system, I also use Crumpler bags when a single carrying unit is preferable. For me, the best thing about Crumpler products is that they are absolutely bomb-proof. While I might cringe at dropping the very lightly padded Kinesis bags from a height of even a foot, I wouldn’t blink if my Crumplers happened to fall off my shoulder. Not that they would, of course, thanks to big fat shoulder pads that distribute the weight quite well.
The Crumpler 7 Million Dollar Home probably holds more than you should ever bring to a single-headliner event and will house your entire kit of huge f/2.8 zooms with ease. Loading up the messenger-style bag, I can fit the D3 with 24-70mm mounted, along with the 14-24mm, 85mm, and 70-200mm, with enough room left over for the 50mm or an external flash.
For lighter shoots, I also use the Crumpler Bucket in one of the company’s messenger bag, which will fit the D3 with 24-70mm mounted with room for with the 85mm and 50mm. Just like the 7 Million Dollar Home, though I might cry on the inside, I wouldn’t shed any tears if this bag took a dead drop to a cement floor at a show.
SanDisk Extreme IV 4gb CF Cards:
Upgrading to the Nikon D3, which is UDMA-enabled for very fast write/read speeds with compatible CF cards, I decided to pick up four of the SanDisk Extreme IV 4gb cards to replace my Ridata cards. While the new SanDisk cards are the same capacity, the promise of faster transfer speeds was the main reason this upgrade.
I’m very happy to say that the performance of these new cards is excellent, and I have yet to bounce the buffer of the D3 while shooting performances. However, the best part about these new cards is that, when paired with a UDMA-enabled Firewire 800 cardreader, I can suck a full 4gb card to my computer in about two minutes. That’s nice.
It’s very important to note that the best selling point for this line from SanDisk is the high transfer speeds, exclusively made possible by UDMA. For cameras that do not support this feature, I would highly suggest saving your money unless you plan to upgrade to a camera that supports UDMA transfer in the near future. Check out Rob Galbraith’s CF/SD testing guide to find the best option for your camera.
The Nexto CF OTG is a portable storage unit that accepts compact flash cards. The drive can copy or move the entire contents of a memory card, verifies transfers, and offers limited file-browsing for additional verification. Unlike many other similar devices, the Nexto’s tranfer speeds are relatively fast – the unit is capable of moving 1gb of data in a little less than two minutes.
The Nexto case features a small LCD that indicates progress and tasks only; images cannot be displayed or reviewed.The Nexto hardware itself is simply a casing with minimal hardware and firmware, and accepts standard 2.5″ laptop harddrives. I’ll be bringing a Nexto with a 100gb drive installed, which is more than enough for the two days I’ll be shooting the festival.
Retired Gear:
Nikon D2x:
I used this camera extensively for concert photography in the 2006 and 2007 seasons, though it has since been replaced by the Nikon D3.
While the high ISO performance is only fair compared to more recent offerings, lagging behind that of models like the D3 and D300, the D2x still offers very good image quality through ISO 1600. At ISO 800, the files are very clean.
For telephoto work, the 1.5x crop factor of the DX sensor adds some welcome reach, and the high pixel pitch and low-strength AA filter produce great detail overall. For daytime festivals, this camera is simply excellent.
On a cropped-sensor body, this lens lens offers a very dramatic field of view, at the expense of a fast aperture. While the slow f/4 aperture may be prohibitive for indoor concert photography, this lens excels at festivals, in brightly lit arenas, and when used with flash.
If you’re looking at this lens, you might also consider the new Tokina 11-16mm f/2.8 lens, which offers a more narrow zoom range, slightly wider field of view, and a brighter constant aperture.
Aside from range, I like these Tokina lenses because the build is rock-solid. In addition, the full-time manual focus override is nice when using the lens for other applications besides concert photography.
On the Nikon D2x, the Nikon 17-55mm f/2.8 DX lens was my bread and butter optic for indoor concert photography shooting from the pit.
Just like the Nikon 24-70mm f/2.8 that I replaced it with, this Nikkor offers a great wide-to-short-tele range that is perfect for front-stage action
“Standard” zoom lenses like this are my preferred lens for shooting from the pit, and pair very well with either an ultra-wide or telephoto zoom.
Replacing the standard 50mm field of view for 1.5x crop sensors, the Sigma 30mm f/1.4 performs admirably well in low light in a focal length that’s very well suited for work in the pit at the front of the stage.
With a fast f/1.4 aperture and a performance curve biased toward wide-aperture shooting, the Sigma delivers great flexibility for those dark venues when f/2.8 zooms are stops too slow. As a bonus, this lens is surprisingly flare resistant compared to its 50mm counterparts.
I find the 30mm best for waist-up shots of performers and catching slightly more environmental shots, while I’ll switch to the below 50mm or 85mm primes for tighter framing.
While this lens was designed for the DX frame, I’ve found that the lens is surprisingly useful on the FX sensor of the Nikon D3. There is severe corner shading, as one might expect, but the actual area of the usable image circle is actually quite large, making this fast, “wide” lens a nice option in failing light.
General Recommendations:
My specific kit is a set of tools that works well for me and the venues in which I shoot. Aside from a few borrowed pieces of gear for specific shows, the above items were used for the entirety of my portfolio.
Cameras:
In both the consumer and professional lines, just about any current DSLR on the market is capable of producing very usable results at ISO 1600 and should make a reasonable fine base for exploring concert photography.
While various details of performance will vary from model to model, for the most part, lenses will often have a more dramatic affect on one’s ability to make images in low light. Even a relatively inexpensive DSLR can produce excellent quality images with good glass in front of it.
For Nikon shooters, it’s important to note that the Nikon D40x and D60 do not feature built-in focusing motors, and can only use newer lenses with their own AF motors.
Starter Lenses:
Throw away your 18-55 f/8-32 kit lens. The range is great. But, as they say, speed kills.
If you’re just starting off with concert photography or are looking to upgrade lenses, please see my article Choosing Lenses for Concert Photography for a list of recommended equipment.
In general, I would recommend buying lenses with wide apertures – as fast as you can afford. Though often a stop or two slower than prime lenses, zoom lenses offer unparalleled flexibility, which can be essential for the quick pace of concert photography.
More?
If you’d like other recommendations on gear beyond the gear I use, I’d be happy to give you suggestions and advice as I’m able. Just leave a comment here or on any of the relevant posts.
Hi Todd – thanks for the great info – I have given a link to your site for students I teach. Are you coming to Glastonbury next year – if so we have a warm house close to rather than a muddy tent. See you there.
Gareth
Hey Gareth, thanks very much for the offer. Glad to hear you enjoy the site, I hope your students find it useful as well. We’ll see about Glastonbury, I’d love to cover that event.
Hey man,
I was just wondering should I upgrade to a D700 from my D40 first or buy my lenses first? I currently only have a 17-55mm standard zoom and a 50mm f1.4 Nikon prime lens at the moment so I don’t know if buying a D700 would be waste of money with the lack of lenses?
x
Hi Jord,
I think the best thing to do would be to layout an upgrade path and see what best suits your needs. If you go up to a D700, not only will the body be a large expense, but you’d need to upgrade your standard zoom as well.
I actually prefer the 50/1.4 on FX, and of course that lens will work just fine.
All that said, going from the D40 to the D700 is going to be a huge jump in image quality and features.
Bob:
I do not plan to offer guides on composition.
The closest thing to your request might be the “shooting with telephoto lenses” write-up I did, which addresses some technique in approaching subjects with tele lenses.
J:
To be honest, I wouldn’t worry about your gear too much in the pit as far as other photographers’ opinion goes. That said, I will say that kit lenses don’t get too much love in the pit, for the sole reason that they are the wrong tool for the job in many cases.
Hey Dana,
I do like B+W filters, but I generally go with Nikon’s own filters for my gear, since the multi-coatings will match those of my lenses. If Canon makes filters, I’d just go with those.
I do find that the B+W filters are very easy to clean – something I cannot say about some Hoya filters.
Thanks for the kind words, please accept my apologies for the late reply to your comment.
Kurt: In terms of high ISO, the D90 is going to beat even the D2x. Going by the test samples I’ve seen, I think that the D90 looks like it has the best high ISO performance of all the APS-sized sensors out there right now.
The D2x, however, will have other benefits, like ergonomics, speed, and more robust AF.
Sorrow:
I’d take a look a the new Tamron 17-50mm f/2.8, with the built-in focusing motor, which will work with your D40. Hope this helps!
Todd,
Can you provide a link to the Tamron 17-50 f/2.8 WITH built in focusing motor?
I see a 17-50 on the tamron site but nothing about a focusing motor.
Thanks!
-Zach
I shoot with the Nikon D700 w/ the Nikon 50mm 1.4 and love it.
Just wanted to share the love for such a simple setup!
Zach:
“Nikon with Built-In Motor”
http://www.tamron.com/lenses/prod/1750_diII_a016.asp
Hey Peter, thanks for the input. Sometimes simple setups are the best!
I’ve heard its just a micro motor, like on the nikkor AF-S 18-55.
Hey Todd,
From your experience what would you say is the best way to go about cleaning your lenses (with filters)? I’ve read all kinds of things about cleaning with a cloth, a brush, just air, etc.
Thank you,
Jordan
Different cleaning methods are suited for different types of problems. If it’s just dust, a blower or a brush is fine. A lens cloth or lens pen might be good for cleaning off specks. Formula MC or Eclipse for more nasty stuff.
Of course, it’s just a filter, so I won’t worry about being too gentle, and if you mess it up, you can always buy another one. For me, the whole point of a protective filter is not having to worry as much while shooting and while cleaning. If it’s just your filter, you could clean it with a t-shirt, too.
Hi Todd. Great site and work man. Big fan. Anyway, a friend asked me to shoot his show this weekend. I’m of course going to bring my 50mm 1.4. But do you think using a 17-40mm f/4 as well will be a waste? My gut is telling me to leave it at home, but I don’t want to be stuck in a situation where there is a great well-lit wide shot available and I don’t have it.
Hell, this is my first time shooting a show, so I don’t even know if I’ll even be quick enough to switch lenses if the opportunity presents itself, lol.
Hi Chris,
I think you should bring the 17-40mm. Even though the aperture is a bit slow, it’s going to allow you to get a lot more variety in your shots than just the 50mm.
Unless the lighting is truly bad, you can always drop the shutter speed for the wider shots without much loss in quality.
If I were you, I’d be less concerned with swapping as you see a single shot and plan to alternate between the lenses for longer periods of time. This will free you up to “see” more in one focal length and let you concentrate on making images instead of scrambling for them (which is not to say you won’t have to hussle!).
Hope this helps.
Ah, good point! Thanks man. I appreciate the advice.
Hi,
Todd I really appreciate all you do with this site, especially for those just getting into this business. I have 1 band that it looks like I will be starting to work with them on a regular basis. How do you begin charging for your services? How do you determine when you have enough experience o start charging people for the photos you’re taking. Thanks for your help.
Hi Josh,
Quite simply, I think you can start to charge when there is a demand for your work. To some extent, experience has nothing to do with it; it’s all about the value of the images to the interested party.
You’re providing a service and deliverables, and you should be compensated. Whether this is payment is cash or the band playing your private parties, that’s up to you.
If you don’t feel comfortable with charging money due to your own perception of your experience, you can request that the band provide opportunities and access to you that will allow you to grow as a photog.
For example, you might agree to shoot their promos in exchange for their agreement to serve as models for other projects/shoots of your choosing.
Before you start working with the band, clearly establish what the expectations are for the shoot, both for you and for the band. Do they want web images, full-res files? Are you being paid, and what what rights are you granting them for usage? Etc.
Good luck.
Hey Todd,
Maybe this isn’t gear related but I wanted to ask whether you edit your photos (a lot)? Compared to mine (who look more like those you posted on flickr from page 110 onwards), your current pictures are so much brighter and crisper – they simply look real! Is this because of the great light shows on bigger gigs, combined with top gear (full-format noise-free high-dynamic-range cams, razor-sharp high-res lenses etc.) and the know-how of the photographer (obviously), or does the post process play an important role nevertheless?
Regards,
Cedric
Hi Todd,
I recently purchased a sigma 28-70mm f2.8 lens but i see a lot of use of 24-70mm f2.8. Have you any advice as to whether the focal length of lens i bought will be adequate enough seeing that im compromising on about 4mm on the wide end!
Thanks
Just ordered my 70-200VR today, I can’t wait for it to get here!
Todd;
Just found your website. I love shooting concerts, having to produce whatever the performers or spotlight gods choose to do. My most valuable lens is 300 2.8. I am a Canon shooter and most of what I shoot (Sweet Honey in the Rock, Preservation Hall Jazz Band, Martin Sexton, Brett Dennen, etc.) are first 3 songs/no flash and shooting from the perimeter only. I noticed that you didn’t mention any longer primes. Is this more of a reflection of the type of band you shoot?
[...] Read his gear guide page to get a good idea of the equipment and lenses he uses to shoot gigs with. [...]
[...] Read his gear guide page to get a good idea of the equipment and lenses he uses to shoot gigs with. [...]
[...] main cameras are the Nikon D3 and Nikon D700 – head over to his concert photography equipment guide for more tips on gear selection for this genre of [...]
[...] shoots concerts professionally, and according to comment #18 on his concert photography equipment guide page, his first ever concert shoot (see the images at his BR-549 @ Off Broadway gallery) was done with [...]
Hey Todd – love your site. Have an upcoming chance to shoot my first Photo Pass show…Queensryche. New venue in Flagstaff, so no idea of what I’m getting into up there.
I have seats in 2nd section, maybe 50 feet off stage, center. I believe in front of me is GA – so I can probably fight my way to the front since I can’t see any pit from their venue photos.
Not knowing leads me to the following dilemma. I have my only lens for my 20D a 28-135 f3.5/4.6 and can only afford to rent one lens. Do I go 70-200 so I can shoot from my seat or wide and pray for front access? 24-70 or 50-150?
What are your thoughts?
Hi Jim,
It sounds like this is a fairly large venue, so I’d be surprised if they didn’t have some sort of dedicated area for security and press. I would only assume that they have a pit, so I would say that the 24-70mm would be fine for you.
Since you have a photo pass arranged, ask your contact what the ground rules and setup for the show. That will inform the lens choices. Also, find out how tall the stage is, which should help inform your lens choice.
Hi Todd,
I use almost the same gear you do. How do you consider the quality of the 70-200 compared to the 24-70?
I have the idea that a follow-up of the 70-200 is needed. The nano coating makes a big difference.
I also use a 300mm 2.8VR and it is much faster and accurate than my 70-200. Strange cause they both have a SWM.
Thx, Dennis
Hi Dennis,
Overall, I’d say that the 70-200mm is in the same league as the 24-70mm. The latter has a slight edge in terms of clarity for me, but the telephoto is still a great lens.
I didn’t care for the 70-200mm on the Nikon D2x, but on the D3, I think the lens is a joy to use. While I was really hoping for an update to the 70-200mm before the D3 was released, I’m not really all that anxious for its revision right now.
However, I can see that with the D3x, just like the D2x, the failings of the 70-200mm might begin to be more pronounced.
Hey Todd,
Thanks much for the site and good advise. I just purchased a Nikon D40 (not the x), and I’m going to shoot a small venue show; bar replete with shoddy, weak lighting, and small stage. So I’m looking to take a lot of gritty shots–as opposed to many of your sharp, big-venue pictures. Any advice on equipment or otherwise? For background, I have the standard D40 kit (18-55, f/3.5 and 55-200, f/3.5). I rented out faster glass, the 55mm, f/1.4.
Thanks much,
Justin
Hi Todd- Just looking through your site today and I’ve found it very useful. I’ll definitely be checking back for more tips. And excellent shots – you give me something to strive for in the future :0)
I’d like to know if you feel there is a distinct difference in working with a 50mm f/1.8 and a f/1.4, besides the extra f-stop? My friend lent me her Canon 50mm f/1.8 right now and is willing to sell it to me at a affordable price, but I’m wondering if I should just wait until I get more cash and get the f/1.4 instead. (Price difference is quite a lot..) Also, if you could give me some links to examples, that would be great.
Thanks in advance.
Hi Kera,
Thanks for the kind words.
You can read the full article “Choosing Lenses for Concert Photography“, but here’s an excerpt with my thoughts on the 50mm f/1.4:
One show where I recently used the 50/1.4 quite a bit was for the Plain White Ts.
[...] Gear Guide [...]
Hi Todd,
Do you use any earplugs during concerts? Have had particularly bad bouts of ringing ears a couple of times and am seriously looking to get some earplugs. Would you have any recommendations?
Thanks,
Bobin
Hi Bobin, please see this thread:
Wear Earplugs
[...] Gear Guide [...]
hey! I want to buy a new camera, i’m using a canon rebel Xti, what’s your opinion about the Canon 50d? or the canon 500d?
Hey Todd,
I’m just getting into concert photography and I need to purchase a new lens for my Nikon D5000. I was considering about getting a prime lens with out auto focus to get a large maximum aperture, faster shutter speed, and generally higher quality photos with out breaking the bank. I don’t have photo passes so I figure I’ll be sneaking my camera in to clubs and other larger venues. I was considering the Nikon 85mm f/1.4. How close do i have to be to the stage to get a decent photo. I figure I can snake my way up to the first couple rows in large venues and get right up front in smaller venues. Any advices would be appreciated.
How much did you have to re-invest for lenses for the D700 or do you just shoot with your DX lenses at only 6MP?
Hi, Todd,
I don’t have a specific question – just wanted to thank you for all the info you put out there. After seeing you in action at the Pageant (especially Truckers and Big Head Todd) and probably elsewhere a few times, I ran across a story or profile of you somewhere a couple of years ago – probably the IT – and came here to see your pics. not to sound like a stalker, but there’s so much info and it’s so interesting that I’m now following you on twitter and checking out flickr from time to time.
I’m a beginning amateur recently upgraded to a sony H50 P&S. My husband’s a guitarist, and I shoot most of his band’s shows and do some promo shots for them. I love taking pictures at concerts as a hobby and am just about to do my first promo shoot for a local band my husband is NOT in. :) anyway, again, much gratitude for all the tips, info, and conversation.
Hey Occula, thanks very much for writing and for the kind words. I’m very glad if any of the info here at http://www.ishootshows.com is useful to you as a concert photographer. Good luck with all your photography!
Todd,
I am in the market for a new gear bag. I shoot concerts/sports. I am currently using a Lowepro slingshot 200 and find i do not have the room. I was wondering if the: Crumpler 7 Million Dollar Home would fit the bill? I currently lug around:
Canon 1d mkii Body
Canon XS Body
Canon 24-70L 2.8
Canon 70-200L 2.8
Canon 1.4exii extender
Canon 580ex flash
plus minor accessories
may add another small lens in the future?
So the Crumpler 7 Million Dollar Home (which i want, but dont know if it will hold all my gear) or what do you recommend?
Thanks for help with this and all things concert related on your blog!
Michael Stein
Hi Todd,
I currently have a D60 and do a lot of indoor/small venue gigs with a local band. I used the nikon 50mm f/1.8 AF which, as you know, does not autofocus on the D60. I cranked up the ISO to 1600 and shot wide open. My problem is that many of the pics came out blurry. Yes, it’s a rock band and the guys are fast moving, so I feel as though the manual focus is a liability(and I’m blind as a bat in dark settings). I just purchased the 35mm f/1.8 AF-S so I could get the auto focus AND a wider angle of view. Any thoughts on this lens’ performance in low light with FAST moving subjects? Any tips or advice? I’m fairly new to photography, so give it to me in laymen’s terms, please! Thank you so much for your time!!!
Libby
Hey, I was just wondering if you can help me. If been researching DSLR’s for a few months now, and im having a rough time deciding. I’m down to 3 camera’s as of right now. Its the Canon EOS Rebel T1i, Nikon D5000, and Nikon D90. Which one would be the best choice for me to choose, because im looking for the best camera but not that costly, for concert photography. If you have anyother camera suggestions please let me know!
hey! I want to buy a new camera, i’m using a canon rebel Xti, what’s your opinion about the Canon 50d? or the canon 500d?
Nicole, If you can afford it go for the 50D, I work P/T in a camera shop and the 500D isnt really that much of an upgrade from the 400D (Rebel XTI) a few extra mega-pixies and Video but the 50D is much more solid and gives you much greater control.
Hope that helps!
Hi Todd,
Great website – informative and entertaining! I was wondering if you have had the chance to try out the Panasonic LX3 in a concert setting yet. I am lucky enough to be going to see Nine Inch Nails in Los Angeles and am bringing my LX3 but am not sure what the optimum setting would be for a dark indoor show. Thanks!
Great guide. Although, I have to put in my 2 cents regarding the Tokina 12-24 f/4. As you stated, it’s a quality lens, built rock solid and quite useful, however using this lens frustrated me to no end – to the point that I sold it less than a year after buying it – because of the insane amount of flare I got when shooting at nighttime, coming from lampposts and the like. I assume you’ll find the same nuisance coming from concert spotlighting.
Or maybe I just had a defective unit, I don’t know.
just found your site, it’s great. trying to crack in to this type of work. about to upgrade my d100, what in your opinion would be the maximum iso for clean files with the d300, as compared to the more expensive options, if you can help, thanks in advance. john
Hi there, Like you r blog. Have a question about how you use the autofocus on the d3/d700 while at concerts? Do you really have the time to move the focus point using the thumb joystick or do you just lock it down to center position and move the camera instead? Also, does auto.iso really work in practice? What iso settings do you generally use for say the 24-70 at f2.8? If you have some time, please share your insights on autofocus in general while at concerts. //Johan
i just wanted to know in what characteristic manner you usually work in?
Thanks so much, A.Sheikh