If you’ve ever tried to photograph musicians in a darkened concert hall, then you know that shooting live concerts can be quite challenging. Low light photography is one of the few areas in photography where being skilled with a camera simply isn’t enough—you need to have the right equipment, too. This article will help you find the best lens for concert photography.
In most cases, concert photography and music photography combine the fast-paced action of sports coverage and the low-light difficulties of night photography. Therefore, to shoot great and properly exposed concert pictures, you’ll need your reliable camera that can easily handle low-light situations and a fast lens that performs well even in the dark.
What Features Do I Look for in a Good Lens for Concert Photography?
The best lens for concert photography is one that has a wide maximum aperture, fast and dynamic focus options, a long reach, and built-in image stabilization. These features are absolutely essential in a good concert lens because they address the common problems you’d often encounter when shooting live musical performances: minimal lighting, perpetually moving musicians, and a crowd of jumping and dancing people who don’t care if you get your shot or not.
1. Large Maximum Aperture
Unless it’s an outdoor music festival, concerts are usually held in dim venues with nothing but spotlights and stage lights to illuminate the performers and the crowd. Due to this, it’s important for any lens for concert photography to have a large maximum aperture that will allow more light to enter the lens.
Apertures in the f/1.2 to f/2.8 range are ideal for low light photography. Anything smaller than that and you’ll need to use slightly slower shutter speeds for even more light (which shouldn’t be too much of an issue if you have a tripod and built-in lens stabilization) or use a higher ISO.
With music photography, it’s important to remember that many lenses experience a loss of sharpness when shooting wide open. To ensure improved concert images, from full-stage shots to tightly cropped performer portraits, shoot images at the maximum aperture for added sharpness and detail.
If your widest aperture photographs look a little soft, you can always stop down to the next available aperture. You won’t lose too much light, but you’ll gain a higher overall image quality. Many modern lenses are designed for consistent sharpness throughout the aperture range, so shoot as wide open as you like.
2. Fast and Intelligent Autofocus
Most photographers would advise you to use manual focus for maximum precision, but when shooting moving subjects, having a lens with a smooth, fast, and highly advanced autofocus system can be more convenient. A good lens for concert photography should have multiple AF points so you can quickly change your focus as your subject moves, but you can also consider getting one that also offers full-time manual override for quick switches from autofocus to manual.
To help improve your success rate at achieving accurate focus, consider taking these key steps:
- Use back-button focus for faster focusing and more consistent focus-locking on your subject.
- Use the smallest possible AF shape. Some AF grids allow for single-point AF. Others use an expanded area that scans the scene for subjects to lock onto. While expanded areas can help your AF handle moving subjects, they can also result in focus misfires.
- If your lens has a focus-range-limiter switch, make sure it’s set to the ideal depth for the subjects in your scene. This will save time in focusing by preventing the AF from scanning the full range from foreground to infinity.
3. Long Telephoto Reach or Zoom Range
If you primarily shoot shows in large venues, the best lens for concert photography is either a fixed lens that offers a long reach or one that offers multiple focal lengths (from wide-angle to telephoto zoom). But if you usually shoot in smaller music venues such as clubs or bars, you may be able to get away with using a fast prime lens with a shorter focal length.
Many zoom lenses with wide maximum apertures can be very expensive, but even the most advanced lenses have limitations. If you know you’ll shoot at the longer end of your focal length range, make sure the maximum aperture at that focal length is sufficient for the available light.
In many cases, it may make more sense to use a dedicated 200mm or 300mm lens with a wider aperture like f/2.8 than to use a zoom lens that only opens to f/5.6 when zoomed in all the way.
4. Built-in Image Stabilization
Concert photography generally involves a lot of handheld shooting. When you’re taking pictures while standing amid a crowd of ecstatic concertgoers, keeping your camera steady can get extremely difficult. This is why a built-in image stabilization feature is extremely helpful. Image stabilization can help you combat the effects of camera shake, and it allows you to shoot at slower shutter speeds at times when you need a bit more light.
Before you photograph a concert, practice engaging your image stabilization ahead of time. If you know you can comfortably shoot handheld with minimal shake at 1/60, then image stabilization can expand that capability by a few stops.
In general, try not to rely too much on image stabilization technology. It’s better to increase your ISO for extra stops of light than to shoot a whole show with image stabilization turned on — only to find all your images are a bit soft.
Even with image stabilization engaged, try setting minimum shutter speeds in your camera so you don’t accidentally shoot with a too-slow shutter speed.
5. Durable, Weather-Sealed Body
Durability isn’t a definitive requirement for concert lenses, but it’s certainly nice to have. Concerts can be chaotic, after all — especially if it’s a high-energy show with plenty of dancing. You don’t want to get in the middle of all of that without some assurance that your equipment can handle it, right?
When an overzealous concert attendee dances too hard or spills a drink on you, you’ll be glad you brought sufficiently weather-sealed equipment.
As an added level of protection, consider keeping a microfiber towel handy to wipe big spills from your camera and lenses, and try not to change lenses in a crowd. The last thing any photographer with expensive gear wants is to have an accident while the inside of their camera body is exposed.
For even more security, store the gear you’re not actively using in a waterproof case.
7 Best Lenses for Concert Photography
Now that we’ve discussed the most desirable lens features for concert photography, let’s move on to lens recommendations (along with some cheaper alternatives to the pricier, high-end lenses).
Nikon NIKKOR Z 85mm f/1.8 S
Starting off this list is this exceptionally fast Nikon lens equipped with a fixed 85mm focal length and a wide f/1.8 aperture.
While any fast lens can perform well with minimal available light, a good concert lens also requires precision autofocusing in dark environments and sharp details at wide apertures. This lens features two AF drive units for faster, more accurate focusing. The impressive glass elements provide edge-to-edge clarity and brightness.
Chromatic aberration is a concern for photographers who work in high-contrast environments, like concerts with theatrical lighting. Fortunately, the 85mm f/1.8 S features two extra-low dispersion elements to prevent color fringing in your shots. A Nano Crystal Coat also reduces flare and ghosting, which will save you time in post processing.
Key features:
- Nikon Z Mount
- Fixed focal length: 85mm
- Maximum aperture: f/1.8
- 9 lens elements
- Super integrated lens coating
- Nano-crystal coat
- 2 Extra-low dispersion elements
- Internal focus (IF) system
- Dust and moisture resistant
- Manual/auto focus mode switch
- Ultra-quiet stepping motor
Why we think this is an excellent lens for concert photography:
85mm is a versatile focal length for concert photography. You’ll find that it’s easier to fill the frame with interest while also keeping you lightweight and nimble in crowds. Whether you’re in the front row photographing the lead singer or looking for wider shots from back-of-house or the wings, a fast 85mm lens will serve you well.
Sony 55-210mm f/4.5-6.3 OSS E-Mount NEX
If you’re looking for an affordable lens that renders vivid, sharp, and life-like concert pictures, this Sony lens is built with superior glass to help you capture clean, blur-free images even at its longest zoom.
Its wide range of focal lengths and compact size comes at the expense of the slightly smaller maximum aperture of f/4.5 (f/6.3 at 210mm). But with its Optical SteadyShot Image Stabilization System and perhaps a matching sturdy tripod for your Sony camera, you’ll have no problem taking winning shots that are both sharp and well-exposed. You can also check out the Sony 55-200mm f/4-5.6 DT, which is almost half the price of this 55-210mm zoom lens.
Key Features:
- E Mount (APS-C Format)
- Focal Range: 55-210mm (35mm Equivalent: 82.5-315mm)
- Maximum Aperture: f/4.5
- Optical SteadyShot Image Stabilization System
- 2 Extra-Low Dispersion (ED) and 2 Aspherical Lens Elements
- Internal Focusing System
- Gyro Sensors
Why we think this is an excellent lens for concert photography:
Most long zoom lenses are tough to maneuver in a crowd. This lens not only provides a solid focal length range, but it doesn’t extend in length as you zoom in. That means you don’t have to worry about getting in anyone’s way or having random concert-goers bumping into your lens.
Canon RF-S 18-45mm f/4.5-6.3 IS STM
The ability to zoom can make a big difference when composing your ideal shot, so when you’re shopping for a wide-angle lens, it’s a good idea to select a lens that has some zoom capabilities.
The 18-45mm f/4.5-6.3 isn’t the fastest lens on the market, but it’s ultra-affordable and extra portable thanks to its compact size and very low weight. Even better, it boasts impressive visual clarity.
Designed for a crop sensor, this lens offers the equivalent focal length of a 29-72mm lens. It’s wide enough to capture full-stage shots while also targeting convenient focal lengths for band member portraits and instrument details.
Whether you’re standing in a mosh pit or just trying to nail your shot in a dark concert hall, you’ll appreciate up to 4.5 stops of shake correction!
Key features:
- RF-S (APS-C format)
- Focal range: 18-45mm (35mm equivalent: 29-72mm)
- Maximum aperture: f/4.5
- 2 Aspherical lens elements
- Lead screw-type stepping motor for smooth, silent focus
- Up to 4.5-stop optical image stabilization (6 stops when used with EOS R5 in body stabilization)
- Super Spectra coating
Why we think this is an excellent lens for concert photography:
If you’re just starting out in concert photography and you need a reliable wide-angle lens with internal image stabilization, the RF-S 18-45mm is hard to beat at the price. At under $300, you’d be hard pressed to find a better beginner concert lens for your R-series camera.
Canon RF 24-70mm f/2.8 L IS USM
Canon’s 24-70mm lens for DSLR cameras set the standard for concerts, portraits, and a range of other photographic styles. The RF 24-70mm f/2.8L IS USM is Canon’s mirrorless version that actually improves on the original.
All of the design features you’d expect from a professional quality L-series lens are accounted for, from a dust- and weather-sealed body, to smoothly operating internal motors and impressive glass elements.
The RF 24-70mm features internal optical image stabilization for up to five stops of shake correction. Plus, the lens barrel is designed for improved vibration shock resistance. When you’re photographing a bass-heavy show from close to the stage, you’ll appreciate the extra shock proofing and stability.
Periodic firmware updates also offer continuous product improvements so your lens will only get better over time.
Key features:
- RF Mount (full-frame format)
- Focal range: 24-70mm
- Maximum aperture: f/2.8
- 5 stops of image stabilization
- 3 aspheric lenses, 3 UD lenses for reduced aberration
- High-speed, smooth and quiet auto focus with Nano USM
- Zoom lock lever
- Dust and water resistant
Why we think this is an excellent lens for concert photography:
No matter how many lenses you carry in your camera bag, you’ll likely find that you keep the 24-70mm on your camera for the majority of your concert shoots. Between the focal-length versatility, the internal stabilization, and the tack-sharp AF results, this will quickly become your favorite concert photography lens.
Canon RF 100-400mm f/5.6-8 IS USM Lens
One of the top new lenses for Canon’s full frame mirrorless camera lineup is the Canon RF 100-400mm.
The maximum aperture for this lens is f/5.6, but concert photographers will appreciate the 5.5 added stops of light available with its built-in image stabilization technology. When combined with one of Canon’s camera bodies featuring in-camera image stabilization, you can shoot faster with even less light.
You’ll be able to focus quickly and silently on subjects near and far thanks to the built in Nano USM autofocusing motors. When you need even more reach than the maximum 400mm focal length will allow, you can pair this lens with either the RF 1.4x or RF 2.0x tele extenders from Canon. Even with an attached telextender, metering and AF are quick and efficient.
Key Features:
- RF Mount (Full Frame Format)
- Focal Range: 100-400mm
- Maximum Aperture: f/5.6
- 9 circular blade aperture
- Image Stabilizer Switch
- Customizable control ring
Why we think this is an excellent lens for concert photography:
With the longest focal length of any lens on this list, the RF 100-400mm is a must have for any concert photographer. When you’re stuck shooting the show from near the sound board or in the wings, you’ll be glad to have this reliable zoom lens for achieving musician close-up shots.
Sigma 50mm f/1.4 DG HSM ART
Zoom lenses are usually the more convenient choice for concert shooters, but prime lenses can be useful in certain scenarios as well—like when you’re shooting in a relatively small, darkened venue. Prime lenses definitely deserve a spot in your concert lens lineup, and you would do well to give this 50mm f/1.4 lens (which offers superior low-light capabilities to help you shoot well-lit images even in the most poorly lit concert halls) a try.
The Sigma 50mm f/1.4 DG HSM ART lens also offers incomparable image quality thanks to its premium glass elements and Super Multi Coating, which help ensure ultra-sharp shots with higher contrast and increased color fidelity, and significantly reduced flare, ghosting, and chromatic aberrations. It also features a Hyper Sonic AF Motor and an optimized AF algorithm for fast AF performance, with full-time manual focusing to help you achieve an even more precise focus.
If you want a significantly cheaper dupe, the Nikon 50mm f/1.4G AF-S is another fan favorite among many photographers.
Key Features:
- Full-Frame Format
- Fixed Focal Length: 50mm
- Maximum Aperture: f/1.4
- 1 Molded Glass Aspherical Element and 3 Special Low Dispersion Elements
- Super Multi-Layer Coating
- Hyper Sonic AF Motor and Full-Time Manual Focus Control
Why we think this is an excellent lens for concert photography:
The Sigma 50mm f/1.4 DG HSM ART lens receives consistently positive reviews for impressive performance in low-light settings. Concert photographers need lenses that auto-focus accurately regardless of the lighting and offer corner-to-corner brightness without vignetting or aberration. This lens by Sigma checks all the boxes effortlessly.
Canon RF 70-200mm f/2.8 L IS USM Lens
Concert photographers who transitioned from DSLRs to mirrorless cameras by Canon will love the RF 70-200mm f/2.8 L series lens. With all of the same impressive benefits of its DSLR equivalent in a smaller, more lightweight package, this lens excels at concert shots.
As a bonus, the widest aperture of f/2.8 extends throughout the zoom range, making this one of the best lenses for concert photography on the market. Like all the L series lenses, this Canon telephoto zoom lens also features a tightly sealed lens body for maximum dust and moisture resistance, so you can comfortably shoot from even the wildest mosh pit and keep your gear safe.
Key Features:
- RF Mount (Full-Frame Format)
- Focal Range: 70-200mm
- Maximum Aperture: f/2.8
- 9 rounded blade aperture
- Dust and water resistant with fluorine coating
- Optical Image Stabilization with up to 5 stops of shake correction
- Dual Nano USM Auto Focusing System
- Minimum focusing distance of 2.3 feet
Why we think this is an excellent lens for concert photography:
This lens is worth the investment if only for the knowledge that you’ll never miss focus again. Between the cutting-edge AF system and the focusing distance adjustment switch on the side of the lens, you can avoid the panic of waiting for your lens to find the subject in time to capture your moment.
How Do You Photograph a Concert?
If you’re new to concert photography, there are a few key considerations to keep in mind. From ideal gear to selecting the best camera settings, these tips will help you capture beautiful and memorable concert photos. And with a bit of preparation and some practice, you should be able to get the hang of concert photography fairly quickly.
For beginners, start by practicing with local shows
You may be experienced with your camera equipment at home, in the park, or in the city, but there can be a significant learning curve for the environmental conditions you’ll experience with concert photography. Between crowded rooms, contrast lighting, haze, and moving subjects, you’ll contend with a host of different elements.
Starting out with small, local concerts and events gives you an opportunity to practice your camera settings, composition, and skill at working effectively with the available lighting in a low-pressure atmosphere.
Another thing to consider is that most large events won’t allow you to bring in camera equipment unless you have a press pass. Smaller events and venues are likely to be more open to the idea of trading access for photos. Reach out to venue managers and small band promoters to gain access.
Gear Considerations
When you’re photographing in a crowded environment, it’s a good idea to minimize the profile of your camera kit. If you can limit yourself to a single cross-body bag with just a few lenses and accessories, you’ll be more mobile and adaptable to changing situations.
Wearing a backpack or carrying a roller bag or case is a bad idea for concert photography — unless you have a secure location where you can leave your gear and access it as needed.
Because you want to keep a smaller profile, more versatile lenses are ideal. Try not to double up on focal lengths or carry lenses you’re unlikely to use. Generally, a single wide angle lens for full-stage shots, a mid-range lens for tighter crops, and a zoom lens for close-ups is all you need.
Use your biggest memory card, and consider using a battery grip to avoid swapping out cards and batteries mid-shoot.
Camera Settings
While Auto White Balance is tempting, colored concert lighting will change frequently, and your images will need plenty of adjustment in post processing. Try to set a single white balance based on the colorless lighting on the stage.
Spot metering is helpful for ensuring that highlights aren’t blown out on your subject. Because stage lights are so bright and contrasty, it’s better to underexpose than accidentally overexpose.
Try to shoot as wide open as possible using the fastest shutter speed you can achieve. In many cases, a higher ISO will help give you more control to achieve your creative goals.
