As I always say, music photography is all about “low light, fast action and high ISO.” All these challenges mean that your camera gear can matter a lot more than in other genres of photography. This especially includes the right lenses for concert photography. At the very least, having the right gear makes the task of music photography much, much easier.

Do you have the right lenses for concert photography? Here's my recommendation on the essential lenses to photograph live music.

Choosing the right lenses for concert photography can seem like a daunting task. In this article, we'll cover the main lenses used by professional live music photographers. With this focus, this does exclude faster prime lenses, which can be extremely useful if not necessary for small, dimly lit clubs.

This list of lenses covers zooms exclusively, due to the fact that the utilitarian nature of a zoom lens has massive benefits for music photography, where the photographing positions, access and time are often extremely limited.

As such, the utility and convenience of zoom lenses is almost universally embraced by professional music photographers. If you're interested in seeing my full kit for music photography, visit my Concert Photography Gear Guide.

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Now, with that out of the way, let's get to the lens recommendations!

The Holy Trinity of f/2.8 Zooms

For professional music photographers, there's really only three main lenses that everyone seems to agree on: the “holy trinity” of f/2.8 zooms. An ultra-wide zoom, a midrange zoom, and a telephoto zoom.

In my kit, this set includes:

• Nikon Z 14-24mm f/2.8
• Nikon Z 24-70mm f/2.8
• Nikon Z 70-200mm f/2.8

You have everything from ultra-wide at 14mm to telephoto at 200mm covered in three lenses in a constant f/2.8 aperture. This three-lens kit covers nearly everything you could reasonably be expected to photograph as a live music photographer.

For professional music photographers, these three lenses are the ones you'll find in everyone's kits, almost without exception.

Now, let's look at these individual lenses and their uses in music photography, but slightly out of order. Instead, I'll cover these lenses in the order that I recommend you buy them as you build your photography kit.

24-70mm f/2.8 — The Midrange Zoom

A 24-70mm f/2.8 is called a midrange zoom because it covers the middle range of focal lengths, from wide angle to short telephoto. For most general concert photography from a photo pit, where you're not very close or very far from your subjects, this lens is often the most used. The 24mm to 70mm range is simply super useful for general music photography.

While a 24-70mm lens may not have the visual impact of an ultra-wide or a tighter telephoto lens, its often a single “do it all” kind of zoom range. The exceptions to this are for very large festivals where you have photo pit access, but when the stages are so tall that a 70-200mm f/2.8 becomes more useful.

For most photographers, the 24-70mm f/2.8 is the first zoom lens you should buy. It will excel in all but the very smallest venues right up to arenas and amphitheaters.

70-200mm f/2.8 — The Telephoto Zoom

After the midrange, a 70-200mm f/2.8 is an essential lens for live music photography. For most music photographers, this is the second zoom lens you should buy to round out your kit.

The telephoto range here lets you easily close the distance between you and performers, allowing for isolation and beautiful close-ups.

A 70-200mm is most useful for larger venues such as arenas, amphitheaters and festival setups. In addition, a telephoto zoom will be perfect for photographing individual performers and especially members of the band who may be further back, such as drummers. Remember: Don't forget the drummer!

14-24mm f/2.8 — The Ultra-wide Zoom

Lastly, the 14-24mm f/2.8 is the final zoom lens that most concert photographers will want to add to their bag. This is an extreme wide angle lens that gives dramatic perspective distortion.

An ultra-wide lens like the 14-24mm is ideal when you can get very close to a subject or the front of the stage, as well as for capturing atmosphere of a venue and the scale of a crowd at concerts.

My Nikon 14-24mm f/2.8S is the perfect lens for photographing a massive crowd in an arena or amphitheater. It's also one of my favorite lenses to use to photograph drummers when I have stage access.

The reason I recommend buying an ultra-wide lens last is that due the extremely wide perspective, the ideal situations for using such a lens are more limited than the midrange and telephoto zooms we've detailed above. In addition, the look of an ultra-wide lens is very particular and even with the ideal circumstances, the effect can come off as more one note

Summary of Essential Lenses for Concert Photography

These are my recommendations for the essential lenses for concert photography. Almost every single image of my photography portfolio has been made with one of these three lenses.

Of course, there are exceptions to these recommendations. Read by article on the Best Lenses for Live Music Photography for more options including prime lenses, as well as a lot of examples of images made with each lens!

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The eternal dichotomies. Good vs Evil. Night vs Day. Nikon vs Canon. Primes vs Zooms.

When it comes to available light event photography, the photographer is often pulled between constraints – the two biggest of which are limited access and limited lighting. As a result, we're also often split between the solutions to these problems as well – the flexible framing of zoom lenses and the raw, low-light speed of prime lenses.

Whether you're shooting weddings, concerts or any other situation where shooting position and light are constrained, here's a look at the benefits and limitations of primes and zooms for event photography.

Prime Lenses

Pros:

In the contemporary landscape of computer-designed optics, where even consumer zooms can deliver some amazing results, the chief advantage of prime lenses for is their speed. All but super telephoto primes are at least one if not two times faster than zoom lenses covering the same focal range. Even with the best DSLRs, the difference of two stops can mean the difference between shooting at a camera's high ISO sweet spot and looking at a sea of digital noise.

Moreover, prime lenses give photographers the flexibility to use lower ISO sensitivities, high shutter speeds, or shoot in lower light than their variable focal length peers – sometimes all three at once. In the lowest light, a prime shooter can happily click away in conditions that has zooms users crying in the dark.

Moreover, a prime lens like the ubiquitous 50mm f/1.8 available for all systems is often one of the most inexpensive lenses one can buy, offering image quality and speed at a fraction of a f/2.8 zoom's price.

On the other end of the price spectrum, it's also worth noting that super telephoto primes also offer reach in addition to speed that zooms just can't touch. For situations like sports where extreme distances necessitate teleconverters for maximum effect, the benefit of a fast prime lens is even more evident.

Cons:

The major downside of prime lenses for event photography is that their fixed focal length nature directly compounds the limited access and/or viable shooting positions for any given event and moment. This is particularly true for live music photography, with shooting often limited to the front of the stage for credentialed press in potentially crowded photo pits, but is essentially true for weddings and other event shooting as well.

At best, the inflexibility of prime lenses present limitations that foster creative solutions. At worst, the result is awkward and ineffective compositions.

In addition, for anyone shooting a single DSLR body, prime lenses may feel especially limiting for fast movement and situations where the positions of the performers changes rapidly. Using prime lenses may necessitate more frequent lens changes as well.

Zoom Lenses

Pros:

Zoom lenses are all about flexibility. With the already heavy constraints of live music photography, the ability to fluidly frame and execute compositions and different perspectives is a huge asset to the event shooter. This point is especially true when one is shooting in a crowded photo pit, when multiple photographers jockeying for position limits available angles even more, or at a crowded event with limited options for clean sight lines.

For event photography in general, zoom lenses can allow for the precise framing even in non-ideal shooting situations where the luxury to choose one's precise position is not always an option.

Aside from exact composition, the sheer ability to dramatically change perspectives with a zoom lens – going from wide-angle to telephoto in the case of a midrange zoom – is a huge asset for quickly-moving action.

A perfect example for the flexibility of a zoom is shooting a performer who may be behind a mic stand or monitors who then quickly comes to front of the stage. A midrange zoom transitions effortlessly in this situation that would otherwise leave a prime lens floundering.

Cons:

For concert photography, the downside to zoom lenses comes in their relatively slow maximum apertures, which clock in at f/2.8 at the fastest for most manufacturers. This limitation puts them two-stops a good f/1.4 prime, which is capable of letting in four times as much light. Needless to say, when the light levels drop, zooms are at a huge disadvantage against faster primes even with the excellent high ISO performance of current DSLRs.

To a lesser degree, optical quality can be an issue with non-pro grade zooms as well.

The Solution

A Mixed Bag

The obvious solution to the speed of primes and the flexibility of zoom lenses? Use them both. My kit includes a core set of zoom lenses covering 14mm to 200mm at f/2.8, as well as 50mm f/1.4 and 85mm f/1.4 primes for the lowest light.

My Kit

Primes:

• Nikon 50mm f/1.4
• Nikon 85mm f/1.4

Between the 50mm f/1.4 and 85mm f/1.4, there's a lot of super usable range. I always find the 50mm f/1.4 especially nice for waist-up shots of guitarists, where it's often the perfect frame for including the entire guitar. Add a Nikon 24mm f/1.4 or Nikon 35mm f/1.4 to this kit and you're set.

Zooms:

• Nikon 14-24mm f/2.8
• Nikon 24-70mm f/2.8
• Nikon 70-200mm f/2.8

In terms of range, these three lenses cover just about anything and everything, from the ultra-wide at 14mm to drummer shots at 200mm. The Nikon 24-70mm f/2.8 and 70-200mm f/2.8 are especially utilitarian for live music and general event photography.

Summary

For me, the utility of zooms is undeniable, and with modern formulas and optics, the performance is never in question. In fact, I prefer my f/2.8 zooms for AF precision and speed. However, the ability of my f/1.4 primes to shoot in even the poorest light secures their place in my bag.

By mixing primes and zooms, the music photographer is covered for everything from blazing arena shows to small, dimly lit clubs. Unless you get a profound sense of satisfaction by shooting exclusively with one set of lenses or another, a mixed bag provides the best of both worlds.

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Nikon has just announced two new lenses – the Nikon 24mm f/1.4 and Nikon 16-35mm f/4 VR. With the new 24mm f/1.4, Nikon has finally offered an update to fill the niche left by the discontinued Nikon 28mm f/1.4, but is it too little, too late?

What do these lenses mean for music photography?

Nikon 24mm f/1.4

With Nikon's new and now-standard-for-pro-lenses Nano coating, ED glass, and all the goodness one now expects from Nikon's new releases. I expect that the new lens should have nothing but excellent performance, if Nikon's recent track record is any indication. The MTF charts of the new lens look promising, to say the least, especially for such a wide-aperture lens.

For live music photography, I think this lens is going to be an excellent performer, but still relegated to specialty use for my needs. Simply put, I very rarely use primes any more. More often than not, f/2.8 glass is fast enough when combined with the excellent high ISO performance of modern DSLRs. Events where this lens will excel are more “creative” lighting treatments at smaller, club-level venues. For arenas and amphitheaters, I'm going to stick to my f/2.8 glass.

More importantly, this lens signals a commitment from Nikon to developing and refining their lens offerings. After discontinuing the 28mm f/1.4 AF-D, their fastest wide prime, several years ago, Nikon has been lacking a low light beast to match Canon's 24mm f/1.4, especially with the latter's Mark II update in 2008. Now what I'd love to see is a 35mm f/1.4 from Nikon to match this and the recent 50mm f/1.4.

Outside of the fast-paced world of rock photography, where the limitations of a prime – even a fast prime – can be considerable, I think this lens will find a very excited market. For travel, wedding, and low-light photojournalist applications, this lens is going to be killer, with the price to match – $2199.95/€2149.00/£1949.99.

Nikon 16-35mm f/4

For full-frame users, things just got interesting in the 16-35mm f/4 VR. At first glance, the lens roughly fills the same gap in Nikon's lineup as the Canon 17-40mm f/4. However, the most interesting aspect of this lens is the inclusion of Vibration Reduction, Nikon's in-lens image stabilization.

So while the f/4 aperture looks a little sluggish for live music photography, between the VR and being a lower-priced alternative to the superlative Nikon 14-24mm f/2.8, I think this lens could be a contender. While I'm not in the market for this lens, I think this is a truly interesting option as a wide-angle zoom that should promise excellent IQ in a very nice zoom range.

Aside from live music photography, where I think this lens could really excel is as an excellent band portrait lens. The focal length is perfect for groups, and I have no doubt that, when stopped down, the image quality rendered will be excellent.

In comparison to the Nikon 14-24mm f/2.8, the new 16-35mm f/4 offers a less awkward form factor, a third-less weight, and takes 77mm filters in contrast to the bulbous front end of the f/2.8 zoom. At a listed price of $1259.95/€1199.00/£1049.99, I certainly think there are enough differences between the two ultra-wide zooms to give many general buyers pause for thought.

End Notes:

Want the details? Get them here:

Nikon 24mm f/1.4

Nikon 16-35mm f/4 VR

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Ben Weinman of The Dillinger Escape Plan, and the making of a jump shot.

The band just cranked it to eleven, the floor is heaving, lighting designer is doing his best to recreate the finale of Close Encounters of the Third Kind. Here are five simple tips for better concert photography.

These tips aren't your concert photography 101 tips about ISO, shutter speeds, and lenses, but just a few simple, universal pieces of advice for bringing home more dynamic images, whether you're using a compact P&S or the latest and greatest DSLR.

Underoath's Spencer Chamberlain was rocking out and letting it fly (all over my lens) with this hair whip, and a little careful timing brought it home.

1) Watch for Patterns

Just as music uses the structures of choruses, verses, and other repeating elements, the physical performance of a song will feature analogous expressions that can translate into compelling images.

Whether these events take the form of a well-coordinated jump kick, a point to the audience from the singer, or a blast of glorious light from back of the stage, an awareness to the flow of the performance translates into being able to better anticipate the most compelling moments of a concert.

What's in your portfolio? Got drummers?

2) Don't forget the Drummer

The first piece of concert photography advice I ever received came from a guitarist in a local band. Before their show he casually suggested, “Don't forget the drummer. Photographer's always forget the drummer.”

Nevermind that drummers are often poorly lit and trashing about behind a cage of obtrusive metal. When one can get over preening singers and over-socialized guitarists, some of the most dynamic rock images to be made are of a drummer in full swing, arms a-go-go.

Of course, this advice isn't truly specific to just drummers, but applies to every band member beyond usual suspects. Deep coverage of the band, whether it's a full-band shot or picking up individual members aside from the obvious targets can result in some of the most rewarding concert images.

A quick bit of research let me plan which side of the catwalk I would shoot from for the Jonas Brothers, putting me in perfect position to pick up the younger bros.

3) Do your Homework

Before any big show, I always make sure to research the bands I'm photographing. Unless one is shooting the first few dates on a tour, there are many resources to draw from when it comes to planning for the show.

Between Flickr and YoutTube, there are many ways to get an edge in knowing what to expect at a concert. Add in browsing images from wire agencies and live reviews, and the concert photographer has even more choices for insight into what to expect.

Even simply listening to the music of the band beforehand will help you anticipate what may translate into key moments of the performance.

Whether it's a signature move, special lighting effect, the coveted jump shot, or just telling you whether or not the show will have a photo pit, doing your homework will help you come prepared.

?uestlove's kit was relatively close to the front of the stage, and with a lighting rig three meters back, just a little maneuvering helped line up the perfect rimlight for his signature fro.

4) Work the Angles

For me, composition is one of the most fun parts of photography, and one aspect of your shooting that can set your work apart from the competition in the photo pit.

Working to find the best angle for a given subject and then honing in on a frame that expresses the moment can be one of the most thrilling parts of live music photography. At its best, working the angles to find that killer composition can elevate even a middling subject with unremarkable lighting to something worth looking at.

For any given shot, I try to play with the perspective, focus, and the subject's placement in the frame to best communicate the compelling essence of that moment. While unpredictable elements and technical difficulties of concert photography make up the challenge, making a beautiful composition is one of the joys for me.

Knowing what to exclude and include in the frame – whether its speakers wedges, cables, or stage lights – can push an image from rote documentation to considered craft.

Critiquing the work of others is an excellent way to understand what you want – and don't want – in your own photography.

5) Critique

For photographers of all levels looking to improve – from pros to novices – the best advice I can offer is to critique the work of other photographers.

Understanding the dynamics of an image is one of the most essential elements in improving as a photographer, and evaluating the work of others in an analytical manner is one of the best ways to accomplish this process.

Attention to the composition, technical execution, treatment of the subject, and light in the images of others will make you acutely aware of these aspects in your own work. Just like better photography through editing, you don't even have to pick up your camera to improve in this way.

Recap

1. Watch for Patterns
2. Don't forget the Drummer
3. Research: Do your Homework
4. Work the Angles
5. Critique
   

End Notes:

These are just a few tips for better concert photography that I think are applicable to shooters of every skill level and gear segment.

I'll be working on an expanded set in the future as part of my comprehensive tutorial, from basics and gear to tips on workflow and processing. For everyone wondering about the nitty gritty of technique, we'll be covering that, too.

If you have any of your own tips or suggestions for better concert photography, let 'em rip!

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The 21 megapixel sensor of the 5D Mark II. Beautiful, isn't it?

Does size really matter? A reader asks about photography equipment in relation to professionalism as a concert photographer.

Todd,

I have a D90 and my only concert-capable lens is a 50mm 1.8. My question is, at all the shows you cover on assignment, do you ever see professionals using “crop-sensor” cameras instead of full-frame DSLRs?

I finally started getting some photo passes and I want my equipment to give the proper impression. Any thoughts or experience on this? How much does the camera/lens really matter as far as “professionalism” goes?

Thanks,
Taylor

Hi Taylor,

In my experience as a concert photographer, “professional” shooters are simply the ones who get the job done and deliver the best results. As to the means to that end, that should be a non-issue for all parties concerned.

No one is whipping out the tape measure and looking under your shutter to gauge the size of your skill.

The Role of the Camera

I'm not going to say that the gear doesn't matter; shooting in a photo pit is as demanding a situation as any photog is likely to face, short of a warzone. Low light, strobes, thrashing rockers, and a limited timeframe will put any shooter – and their gear – to the test.

Having cameras that deliver high performance image quality, AF, and speed in low light conditions will always be valuable for concert photographers. Simply, these factors are why I use the cameras and lenses that I do.

That said, having the latest and greatest gear only helps facilitate technical proficiency; it's not a substitute for talent, skill, or vision.

Style vs Substance

At best, the most sophisticated equipment will allow an inexperienced photographer to make technically competent images of perfectly unremarkable subjects. Using the right tool for a job simply makes the task easier. No more, no less.

The most significant reason to upgrade gear is simply when your current equipment starts holding you back and fails to deliver the performance you need to execute the images you want to make.

Regarding “professionalism,” only your conduct with other photogs, your dealings with bands and their representatives, and – most importantly – your images really matter. It's on the basis of your work that photographers will respect you and that clients will hire you.

Now, if you start dancing in the phot pit? That's another story; I'll find you and personally take away your photo pass.

Have your say, concert photographers!

How much does gear matter? Do you judge photographers based on the cameras they use?

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