When shooting live events, having the right gear for the job is essential. When I get the chance to shoot close to the stage, full-frame gear gives me uncompromised image quality and low-light performance. When I need more range, my smaller Micro Four-Thirds gear gives me longer telephoto without having to lug around massive bazooka lenses.
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Full-Frame Cameras
Full-Frame cameras are ideal for professional photography since they offer great image quality and low light performance. They are especially beneficial when you get the opportunity to shoot up close, since long tele lenses tend to be rather large and heavy. Hence, this is what I would use if I get a photo pass with access to the pit, right in front of the stage.
Sony a7 III
Sony Alpha 7 Mark III, or a7III for short is my latest acquisition. Even though it's an older model from 2018, it's still a very capable full-frame camera sporting a 24-megapixel back-side-illuminated (BSI) sensor that performs great in low light. It also has in-body image stabilisation (IBIS) giving 5.5-stop shutter speed advantage. In plain English, it stabilises any jerky photos due to camera shake, which is great for live shows.
The camera can also shoot in bursts at 10 fps, does 4K video, and has dual card slots for safe, redundant storage in case of a memory card failing during a show (hasn't happened to me yet, knock on wood).
Sony a7R II
Looking for a second body to avoid swapping lenses back and forth mid-show, I once again scouted the used market for a nice deal. The a7 II had the essentials for concert shooting; IBIS and decent enough image quality. I nearly pulled the trigger on one, but changed my mind at the last second, in favour of the more premium R model, from 2015.
Not only does the sensor of the a7R II have a higher resolution of 42 MP, versus the 24 MP of the a7 II. Similar to the a7 III and later models, the sensor of the a7R II is also back-side-illuminated (BSI), which is great for concerts, since it offers a lot better performance in low light than the regular a7 II. Despite its age, the a7R II even has modern niceties like eye-AF and 4K video.
The downsides of the a7R II compared to the a7 III are that it uses a smaller battery, has only a single card slot, a slower auto-focus, and lacks a touch-enabled LCD screen. Bursts are also a tad slower at 5 fps, but considering the file sizes of those huge 42-MP photos, I wouldn't go too crazy with the bursts regardless.
Full-Frame Lenses
Professional concert photographers typically use these three lenses:
- 12-24mm f/2.8 – Ultrawide zoom
- 24-70mm f/2.8 – Wide/midrange zoom
- 70-200mm f/2.8 – Telephoto zoom
That trio of lenses is probably great for the job, but there are a couple of reasons why I wouldn't get those exact lenses. Number 1 – Price: for Sony's own lenses, we're talking about $9,000 worth of lenses. Number 2 – Weight: the 70-200 lens is quite a big boi that weighs over a kilo. Number 3 – Too much lenses: I like to bring one or two camera bodies, each with a lens on, ready to shoot. Therefore, bringing three different lenses is out of the question for me. Since I also don't want to spend nine grand on glass.
My Current FF Lenses
Apart from my Sony 50mm f/1.8 prime, I chose Tamron for my main concert/event photography zooms. Whether you shoot Nikon, Sony or some other brand, the main reasons why you would choose Tamron over first-party lenses, are that their lenses that are usually lighter, more compact, and more affordable. And they manage to do this without sacrificing great image quality.
Tamron 28-75mm f/2.8 Di III RXD
This is the meat-and-potatoes lens for general photography. It doesn't go overly wide, neither does it go very long for close-ups, but it captures everything in between. With a wide max-aperture of f/2.8, it's also great in low-light situations (such as concerts).
There are two versions of the lens; an RXD and a VXD variant using different AF motors. The VXD is the newer "G2" version, but doesn't offer anything that warrants an upgrade since there was nothing wrong with the original RXD motor to begin with. I hence got the older version used and saved a pretty penny.
Tamron 70-180mm F/2.8 VC VXD G2
This is the most obvious complement to the 28-75mm, and Tamron's alterative to the traditional 70-200 f/2.8 lens. While it doesn't quite give you the reach Sony's 70-200 f/2.8, it's just about half as heavy and even less than half as expensive. Why Tamron didn't go 75-200mm, to match the wider zoom I don't know, but there are probably have practical reasons which dictate the size and weight of the lens.
Similar to Tamron's 28-75mm, the 70-180mm also comes in two versions. Unlike the renewed 28-75mm lens, the "G2" version of the 70-180mm is actually a more critical upgrade. That is because the G2 has Tamron's vibration compensation (VC) onboard. The original 70-180 had no stabilisation whatsoever, making it less than ideal for event/concert photography in low light. The G2 also has improved closed focusing, making it a lot more useful for close-ups.
Other Full-Frame Lenses to Consider
Ultimate Long Telezoom: Tamron 50-400mm F/4.5-6.3 Di III VC VXD
This is almost a one-fits-all-situations type of lens. Normally a wildlife zoom is 100-400mm, but since this one starts as wide as 50mm, it's extremely versatile. It's not the fastest at an aperture of f/4.5-6.3, but the range makes it perfect for festivals, the zoo, and all sorts of travel photography in decent light. The lens also has stabilisation onboard, and is not nearly as huge as you'd expect. It really has everything you could ask for from a zoom of this range.
Everyday Super-Zoom: Tamron 28-200mm f/2.8-5.6
This superzoom lens is a pretty decent substitute for both the 24-70 and 70-200mm lenses in one neat little package. Sure, it's f/2.8 only at its widest, but not having to swap lenses during a show still makes is very appealing. It unfortunately lacks stabilisation, though, so for low light photography it's not ideal, at least not at the longer end, where you'll notice camera shake the most. This Tamron lens makes a very reasonable compromise, though, in terms of weight, price, as well convenience. It's also a perfect all-purpose lens, very useful for all kinds of photography, especially for travels, when you want to pack light.
Telephoto on a Budget: Tamron 70-300mm f/4.5-6.3 Di III
The cheapest of all lenses mentioned is this compact 70-300. It's a little slower than the aforementioned 28-200, especially at its widest end, but the range it offers is quite excellent, especially for its size, weight and modest price tag. It's not stabilised, however. And the longer the lens, the more sensitive to camera shake it gets, so for a lens this long it could be a bit tricky to get sharp shots. It might be worth a try for outdoor events, though.
Ultra-wide Zoom: Tamron 17-28mm f/2.8 Di III RXD
For live events, ultra-wide lenses are a niche and a stylistic choice more than an absolute necessity. If I decide to get second full-frame body, I would probably put an ultrawide zoom on it. Again, Tamron has you covered with its 17-28mm f/2.8, which is amongst the more affordable options. It's also a perfect companion to the 28-75mm (and 28-200mm) with no overlap in zoom range. Tamron's ultrawide doesn't go quite as wide as the Sony 12-24mm f/2.8, but again, we're talking $800 vs $2900, so the little Tammy is still a pretty good deal.
Tamron 50-400mm F/4.5-6.3
Long Tele-Zoom with Stabilisation
Tamron 28-200mm F/2.8-5.6
Everyday Super-Zoom
Tamron 70-300mm f/4.5-6.3
Budget Tele-Zoom
Tamron 17-28mm f/2.8
Ultrawide Zoom
Micro Four-Thirds Cameras
My smaller kit of interchangeable lens cameras are equipped with Micro 4/3 sensors, and the puzzling "four thirds" part refers to the sensor size being 4/3 of an inch, or an inch and a third in proper English. For comparison, they are a bit bigger than "1 inch" sensor cameras, but a bit smaller than APS-C cameras and a significantly smaller than full-frame.
Micro Four Thirds is the smallest ILC system currently, with the smallest bodies and lenses available. This makes them a great choice when you need long tele lenses but still need something that's reasonably small and compact. That was one of the determining factors when choosing a system for shooting concerts from the crowd while also performing well for other content.
Panasonic Lumix GX9
My main body is the GX9. It sports a stabilised 20 MP sensor that produces stable shots with long lenses handheld, which is great for crowd shooting. Compared to its little brother, the GX800, the GX9 sensor performs a bit better in low light, both thanks to the newer sensor, but also the in-body image stabilisation (IBIS), allowing you to shoot blur-free at slower shutter speeds.
The GX9 is my preferred camera for video recording as well. The IBIS makes the videos very smooth when filming handheld. The GX9 can record in 4K at 24/25/30 frames per second, or in 1080p at 50 or 60 fps, depending on your region. Both formats are with a slight crop. While the 4K footage looks a bit sharper, I usually shoot concerts in 1080p for smoother motion, less storage consumption and longer battery life.
On shows, the GX9 is my main camera, and I typically pair it with the 14-140 mm stabilised super zoom, which gives a lot of flexibility and range for both stills and videos.
Panasonic Lumix GX800/850/880
This camera has different model names based on your region. In Europe it was originally called GX800 and was later renamed GX880, in the US it's known as the GX850, and in Japan it's called GF9. Mine is called GX800, so that is what I'll be referring to going forward.
Small and inconspicuous as a compact point-and-shoot, the GX800 is a proper mirrorless ILC you can easily fit in a larger pocket. It all depends on what lens you pair it with, of course, but I've actually managed to squeeze the GX800 with the 14-140 mm super zoom in a cargo pocket a few times. Always an option if you don't want to bring a camera bag or have the camera hanging in a strap at a show.
The GX800 is a pretty decent concert camera. Its main drawbacks compared to the GX9 are a slightly older and smaller 16 MP sensor and the lack of IBIS, making it harder to get steady, sharp shots, especially in darker venues.
The GX800 is also less capable in the video department. It struggles with especially 4K, due to heat, so it usually can only record 5 minutes at the most, before having to shut down and cool itself off. The 1080p recordings are decent, but the camera only records the centre portion of the sensor, leading to a significant crop. Without IBIS, handheld videos look a bit shaky as well, unfortunately. Pairing it with a stabilised can help slightly, however.
I typically bring the GX800 as a secondary camera, with the fast 42.5/f1.7 prime lens, which also has OIS onboard. The wide aperture also helps a lot to get nice, sharp images even in low light.
Micro Four-Thirds Lenses
I've gathered quite a collection of lenses since I invested in the Micro Four Thirds system, back in 2019. For concerts and other events, I have a few lenses of choice, however.
Lumix G Vario 14-140/f3.5-5.6
This superzoom is quite ideal for most concerts and other events, ranging from a wide angle similar to most phone cameras, all the way to a long-reaching telephoto. This lets you take nice close-ups of the artists without sacrificing the ability to take wide shots that let you fit the entire stage and the audience if you will.
The "Power OIS" also gives you added stability that is especially useful at the longer end of the zoom range. This helps with camera shake, helping you nail those sharp shots and smooth, less shaky handheld videos.
Its closest focusing distance of just 0.3m/1ft. also lets you take decent close-up pictures of smaller objects, especially at the longer end of the zoom range.
The 14-140 is ridiculously versatile, and I almost always have it on one of my camera bodies. It pretty much covers any focal length you might need in your everyday photography.
Lumix G Vario 45-150/f4-5.6
Before I got my hands on the aforementioned 14-140 mm superzoom, this was my go-to concert photography lens. The obvious benefit the 45-150 mm has over the 14-140 mm is that it reaches a wee bit longer. It's also a bit lighter and significantly cheaper!
In any other regard, the 14-140 trumps it, however. As the 45-150 starts at short telephoto, going to long dito, you won't be able to capture any wide-angle shots with this one, making it a lot less versatile, especially for anything other than concert photography.
The closest focusing distance on this is 0.9m/3ft, which is three times further than the 14-140. This won't make any difference for concert photography, but for photographing close-ups of small objects, the 14-140 does a better job for it.
The version I have uses the older "Mega OIS", which isn't quite as stable as the newer "Power OIS" system, apparently, but still offers some stability, for a better chance nailing those sharp shots and smooth, less shaky handheld videos even the light conditions aren't the best during a concert.
Lumix G 42.5/f1.7
The 42.5/f1.7 is not only one of my favourite lenses for still photography, it's also a perfect prime for concerts and events. The odd focal length of 42.5 mm is a direct translation of 85 mm for full-frame cameras, which is a focal length often used for portrait photography.
Shooting from the audience in a medium-sized venue gives you a pretty nice stage view with the 42.5 mm. If you're close to the stage you can get some nice close-ups of the artists as well.
The wide max-aperture of f/1.7 makes it perform really well in low light as well, and if you can get up close, you can get a nice background separation (so-called bokeh or background blur).
At shows, I typically have the 42.5 mm seated on my second camera, more precisely the GX800.
Bags and Accessories
To be honest, I'm not a big fan of camera straps. I get it, a camera strap can provide some peace of mind if you fear dropping the camera. In reality, they just get in my way and I keep getting tangled up in it. Straps are especially annoying when taking shots in portrait orientation as it always gets in the way, covering the camera display and viewfinder.
I also hate moving around with the camera hanging naked and exposed on my chest. It's not comfortable, and I constantly need to be very careful not to bump the camera into something (or someone). On top of that, I have a hard time relying on a cheap piece of string to hold my equipment.
Instead of a strap, I like using a neat and portable messenger bag with quick access to my gear.
Think Tank Mirrorless Mover 20
I own more camera bags than I would admit, but the one I typically use for my Micro Four-Thirds gear is the Think Tank Mirrorless Mover 20, which happened to fit my core concert photography gear just perfectly. With it, you get two movable compartments, letting you bring a camera and two lenses, for instance.
Swapping lenses at a concert or in the wild isn't ideal, so I choose to have the bag arranged with two compartments instead, perfectly fitted for my GX9 and GX800.
I find the bad extremely convenient. The main storage area has both a zipper and a magnetic flap, so when you're out shooting you can have it unzipped for easy access, since the flap keeps the bag shut. It also comes with a rain cover attached inside the smaller front pocket, which also makes a perfect place to keep the lens covers and other smaller items like batteries and earplugs.
The only thing I'm not too keen on with the bag is the original strap it comes with, which is very thin and unpadded, which made it somewhat uncomfortable to carry. The strap is easily removable, though, and I swapped it out for a slightly thicker one.
Like other bags in the series, the Mirrorless Mover 20 comes in a variety of colours. I personally fancy it in red!
Bodyguard SLR Messenger Bag
It may look quite compact, but this thing is actually quite roomy. It comes with plenty of moveable compartments for bringing lots of lenses and accessories, but it's also good option for bigger cameras. The Sony a7 III with the Tamron 28-75mm fits just fine and you could easily shove another similar sized camera in there as well. It's a single-strap bag, though, so for a lot of heavy equipment, a backpack would be a more ergonomic choice.
The particular bag I own seems to have been replaced by other models, but Bodyguard seems like a decent brand with very affordable camera bags in their lineup.
General Tips on Concert Cameras
I've compiled an extensive guide on cameras for concert photography, covering everything from compact point-and-shoots to professional ILCs/system cameras. Check it out now!
