Music photography

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Phil
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I've just converted to canon and want to add some kit to my 7d Mark ii and 24-105 f4.

Main purpose will be concert photography. I'm booked on a few gigs, the wombats Monday night at Nottingham's Rock City, Wheatus next and then the Kooks back at Nottingham.

Ideally I'd like to get the 70-200 2.8 but I cannot pick one up for the right price right now. So I'm considering either the 50mm 1.4 or 85mm 1.8 for gigs.....what's people's opinions?

Phil
 
If you will regularly be photographing at venues like Rock City and bands of that "status" then I'd say hold out for the 70-200, as the primes (Fabulous as they are and I wouldn't be without mine.) would be too restrictive.
You've got that range covered with your 24-105. Do you sometimes wish you had a f2.8 rather than a f4.0?
With smaller venues like The Rescue Rooms (Next door to Rock City.) and pub gigs, I would say fast primes could be more useful, although I would go for something wider than the 50 given that with whatever the venue you're likely to be pretty close to your subject.
I appreciate the price difference between, say, a 35-1.4 and a 50-1.4 is substantial but you know that your going to need it.



Disclaimer: Every photographer should have a fast 50...It's the law.
 
If you will regularly be photographing at venues like Rock City and bands of that "status" then I'd say hold out for the 70-200, as the primes (Fabulous as they are and I wouldn't be without mine.) would be too restrictive.
You've got that range covered with your 24-105. Do you sometimes wish you had a f2.8 rather than a f4.0?
With smaller venues like The Rescue Rooms (Next door to Rock City.) and pub gigs, I would say fast primes could be more useful, although I would go for something wider than the 50 given that with whatever the venue you're likely to be pretty close to your subject.
I appreciate the price difference between, say, a 35-1.4 and a 50-1.4 is substantial but you know that your going to need it.



Disclaimer: Every photographer should have a fast 50...It's the law.

Hopefully I will be able to land gigs at venues like Rock City more often.

I've not used my 24-105 for any gigs yet, not sure how it will handle in Rock City. Have you shot there before?

I will most likely hold out for the 70-200. May add a 50mm 1.4 whilst I am waiting.

Thanks for your advice!

Phil
 
Tbh, shooting music on a crop body and without fast glass doesn't make that much sense. The lighting is about the most challenging it ever gets, and fast primes with a full frame body seen essential to me.
 
Last time at Rock city was Levellers at the end of last year, obviously the bigger the venue the better the lighting(dependent on the manonthedesk!)
My equivalent of your 24-105 is a 24-70 2.8 (Nikon boy) so that gives me capacity to up the shutter speed a step over an f4.0, the difference between 60th and 125th can be considerable.
 
I do a few gigs in o2 in Bristol and Oxford and the vast majority of my shots are with my 70 - 200 2.8. I have my fast primes on a second body as with just 3 songs there's no time to mess about swapping lenses
 
50mm 1.4
24-70mm 2.8

Apart from festivals I've never used my 70-200mm in an indoor venue apart from if I had to shoot from anywhere other than the pit.
 
The 50mm 1.4 is great but isn't as sharp as the STM 1.8 at 1.8. 1.4 is a bit mushy, it's the 1.2 where the 50mm shines but they are silly money.

I think due to light restrictions etc you may be better finding an 24-70 f2.8 and an 70-200 f2.8 and selling your current lens in the long run. I don't think taking compromises with your lenses so early on will do you any favours as you'll feel like your missing out and constantly swapping kit.

Another option would be the 17-55 f2.8. It's expensive but on an 7D/mkii it's absolutely sensational. The problem you then have is that 15mm gap between zooms.
 
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Ideally I'd like to get the 70-200 2.8 but I cannot pick one up for the right price right now.
l

The sigma 70-200 f2.8 isn't a bad lens and its a lot cheaper (admittedly I know jack s*** about music photography - but i used a sigma 70-200 for weddings for years), WeX have a used non OS version for £350 while the OS version is generally available used for circa 600
 
I've shot a few gigs in my time (over 100 chart artists at the moment).
I'm using 24-70 & 70-200 both 2.8 & 17-40/4.
These lenses are pretty much std for music togs.
Don't get too obsessed wth fast lenses though, just ramp up the ISO a stop, your camera is good at handling noise.
Also, the fast primes aren't that fast at focussing so can be a bit of trouble if the lighting is low.
And don't even talk about the dreaded red light lol.
 
red light is evil!! Had a gig last year and it was red throughout. worst gig ever. it must have been a christmas thing as the light at the venue i shoot at is usually great.

I shot for years using 50m 1.8 and 85mm 1.8 on a 40d and 350d - I think i did pretty well with that i had. Then i got a 5d mark II and stuck with those primes.. Shooting in venue of around 1000-1500 in London. I rented a 24-70m a couple of times (always felt this was the industry standard), and finally got my own last year. Despite having shot with it those few times, i REALLY notice the weight difference now its my standard lens, so i have the 85mm (which i love, so sharp) on the 40d as 2nd body. If i were shooting larger venues where i might get sent to the sound board, or the stage would be deeper then i'd probably want a 70-200m 2.8 but can't justify that. I used a 70-200mm f4 IS on holiday last year and am going to rent one again this year and really want to buy one but feel if its f4 it might be not suitable for gigs - but it looks like opinion here is that i could get away with the f4 (the venue usually has decent lighting) is it has IS so it might be a better buy than i originally thought, i am a bit hestitant at going too high on ISO, even with the 5d II
 
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70-200 is a must for gigs tbh. Smaller venues like the o2’s 24-70 is more than fine. Prime’s can be to restrictive at times especially for fast moving bands. You may find your self stood in the same place for some time waiting for something to happen. If you can cover 24 to 200 you’ll be more than fine. Even at arena size venues.
 
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