EVERY NICHE OF PHOTOGRAPHY HAS ITS OWN SET OF CHALLENGES, AND SHOOTING CONCERTS CERTAINLY DOESN’T COME EASY. MOVING SUBJECTS? DARK ROOM? CONSTANTLY CHANGING LIGHTING CONDITIONS? SITUATIONS SUCH AS THESE HAPPEN ALL THE TIME. TAKING GREAT PHOTOS AT CONCERTS IS NOT SIMPLE, BUT HAVING THE RIGHT GEAR PUTS YOU IN THE BEST POSITION TO DO SO.
I am often asked, what concert photography gear do I use? If you're just starting out, it's tough to wade through all the reviews. The following is my response which is based on years of testing and adjusting.
Before we get into this, I’d like to share this exclusive 50% off ‘World To Me’ promo code for the first 10 readers.
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Fun fact - all images in this photobook use this EXACT gear setup.
Now let’s get back into it!
The following is my concert photography kit which has been road tested in over 30 countries in various settings such as clubs, festival stages, and arenas. Here are my recommendations for lenses, lighting, accessories and more.
TABLE OF CONTENTS
CONCERT PHOTOGRAPHY CAMERA BODY
BODY - CANON EOS 5D MARK IV
ULTRA-WIDE CONCERT PHOTOGRAPHY LENSES
FISHEYE LENS - SIGMA 15MM F/2.8 EX DG
ULTRA-WIDE LENS - CANON EF 16-35MM F/2.8L II USM
STANDARD CONCERT PHOTOGRAPHY LENSES
35MM PRIME LENS - SIGMA 35MM F/1.4 DG HSM ART
STANDARD ZOOM LENS - CANON EF 24-70MM F/2.8L II USM
CONCERT PHOTOGRAPHY LIGHTING
EXTERNAL FLASH - CANON SPEEDLITE 430EX III-RT
PORTABLE RGB LIGHT - APUTURE MC
CONCERT PHOTOGRAPHY ACCESSORIES
HOT SHOE EXTENSION - DUAL HOT SHOE EXTENSION BAR
CAMERA STRAP - PEAK DESIGN SL-BK-3
MONOPOD - MANFROTTO 290 ALUMINUM MONOPOD
VARIABLE ND FILTER - POLARPRO 82MM PETER MCKINNON VARIABLE ND FILTER (2 TO 5-STOP)
TRAVEL: TOUR GEAR
DSLR TRAVEL BACKPACK - INCASE DESIGNS DSLR PRO PACK
NOISE CANCELLING HEADPHONES - BOSE QUIETCOMFORT 35 II
CONCERT PHOTOGRAPHY BODY
Making the jump to a full-frame camera is likely the biggest camera advantage you can give yourself as a concert photographer. Moving from a crop sensor into full-frame means better performance in low-light, shallow depth of field, brighter viewfinder, and wider lens options. These camera body features are only present in “pro” full-frame cameras.
CAMERA BODY
This body has a 30.4 MP full-frame CMOS sensor, 4K video recording, as well as a touch-screen LCD monitor, which is great for the average music photographer.
I’ve been using the Canon 5D Mark IV as my main camera since 2018. The photos I took with this camera have been used for album artwork, posters, music videos, magazine features, and more. As expected, Canon delivers fantastic image quality with the 5D Mark IV. Images are deliciously sharp, and colours are well saturated. I’ve been confident shooting concerts at 3200 ISO (if needed) on a regular basis. This ISO performance gives flexibility to your other settings. It allows for faster shutter speeds and the ability to increase your f-stop (stop down) instead of shooting wide open.
In terms of image quality, the extra resolution is certainly noticeable, and provides a much clearer image. For the times you don't need it, the camera can also offer lower resolution RAW modes. 30.4 MP full-frame provides the ideal file size for concert photographers who have to process thousands of photos. The resulting images are large enough to crop out what you want, but not too large to slow down the workflow.
The 5D has a few drawbacks that hold it back from competing against more expensive camera bodies, like the Canon 1DX Mark ii. Because the pixel density on the 5D Mark IV’s sensor results in a smaller pixel, its 4K ‘crop factor’ is equivalent to that of a lens with approximately 1.74x the indicated focal length. The crop factor is a drawback. For example, it prevents me from using my full-frame lenses effectively. At a 1.74x crop factor, we're leaning almost into Micro Four Thirds territory, which is a deal breaker for many people. Also noteworthy, the file sizes use a bloated and outdated file format, increasing the cost of storage significantly. However, there are several redeeming features of this camera that more than make-up for these shortcomings.
Canon allows you to use the physical buttons and the touch-screen simultaneously. This streamlines your workflow when shooting. The touch-screen LCD monitor is an amazing feature. There are certain menus that can be navigated quicker with the dials, but the touch screen is there as well to reduce your dial fiddling. The 5D screen’s resolution is higher than the Mark III, and is as sensitive and accurate as an iPhone. You can also zoom in with the touch-screen, making on camera photo review easy.
Focus. This is the most important feature for concert photography, and it is where Canon shines. The 5D utilizes the same 61-point AF system with 41 cross-type as the Mark III, but with expanded vertical coverage.
Canon EOS 5D Mark IV — Canon 24-70mm F/2.8L II
Canon EOS 5D Mark IV - Sigma 15mm F/2.8
While considering your camera choice, you may want to factor in what camera brand you view yourself growing with. Sony's impressive new cameras and lens options might have some appeal to you, if you're making your first big investment in a system, but at the same time, Canon shooters benefit from a vast array of options for both new & used lenses, bodies, and accessories.
ULTRA-WIDE CONCERT PHOTOGRAPHY LENSES
An ultra-wide lens is one of the first additions you'll want to make to your concert photography lens lineup. Many photographers like to pick one of these up early because of how useful they are for massive crowd shots. These wide angle shots showcase how massive the venue or the show is, which is valuable to most clients.
FISHEYE LENS
This lens presents possibilities you would never have with a standard zoom lens; exaggerated perspectives, up close, and epic atmosphere. Minimum focus distance allows you to exploit the fisheye effect to its fullest.
A fisheye was something I considered buying for quite a while. Although the effect it creates is limiting, I figured it'd be fun to have for special occasions. The lens creates a distortion effect that allows you a new creative viewpoint. I decided to take a chance on the Sigma 15mm F/2.8 after unsuccessfully finding the Canon equivalent lens, which is no longer made and hard to come by. I'm glad I did, because the lens is impressive. Even at f2.8 the sharpness is acceptable. This increases as you stop down. The minimum focus distance allows you to get really close to your subject, which exploits the fisheye effect to its fullest. It gives your subjects those characteristic bulging eyes and faces that I've always loved in fisheye photography. Furthermore, in a concert photography situation, it makes for great shots of the entire stage and light show. The slight fisheye distortion really opens up a new world of photography, forcing you to look at things with a different and more creative perspective.
My only issue with the Sigma 15mm F/2.8 lens is that the focus motor isn't nearly as fast as my Canon lenses. It is unclear to me whether this is due to the nature of fisheye lenses in general, or something specific to this particular lens. Nevertheless, I've thankfully not missed a shot because of the focus motor speed. Overall, I'm satisfied with my purchase and recommend the lens.
Canon EOS 5D Mark IV - Sigma 15mm F/2.8
ULTRA-WIDE LENS
Fantastic image quality and versatile, the Canon 16-35mm F/2.8 II is one of the most useful concert photography lenses on the market and a solid performing ultra-wide to have in your camera bag.
The Canon 16-35mm F/2.8L II is a high performing lens, with an equally high price tag. Sometimes you really do need to stretch all the way out to 16mm, and the Canon 16-35mm F/2.8L II provides that needed range and a result, I often keep the Canon 16-35mm F/2.8L II on my camera during the majority of a show. It's not too wide, as some wide angle lenses can make a subject look like a dinner plate. The Canon 16-35mm F/2.8L II is just right at 16mm, and allows for versatility without compromising image distortion. Specs alone, the Canon 16-35mm F/2.8L II is also a great performer, and the ultimate ultra-wide lens to have in your bag. Version III of this lens is the current generation, and it includes stabilization.
Canon 5D Mark IV - Canon 16-35mm F/2.8L II
Canon 5D Mark IV - Canon 16-35mm F/2.8L II
STANDARD CONCERT PHOTOGRAPHY LENSES
The most important aspect of great live music photography is being close to the action. You want your images to feel like you were on stage, next to the performers, right in the midst of all the action. Zooming in from afar may give a similar look, but at longer focal lengths, camera shake becomes more noticeable. Typically, you end up finding yourself having to get above the heads in front of you, which effectively renders tripods useless. Standard lenses are therefore key to executing concert photography - either from afar or up close.
35MM PRIME LENS
The 35mm is a very appropriate focal length for shooting concerts, and can give you solid full-body shots of performers on stage. It’s a fast prime lens that allows for great photos in low light environments.
Even though my zoom lenses are my real bread and butter, I still use prime lenses when light is extremely low or I want a shallower depth of field than F/2.8 allows. A fast prime lens is definitely a must have in concert photography. The Sigma 35mm F/1.4 Art stacks up as a great lens for concert photography, and is an amazing lens for shooting in low light environments for a solid price. Even wide open, this lens renders excellent sharpness, along with image quality. However, there is no image stabilization, and it is not weather sealed.
Canon 5D Mark IV - Sigma 35mm F/1.4
Canon 5D Mark IV - Sigma 35mm F/1.4
Canon 5D Mark IV - Sigma 35mm F/1.4
The Sigma 35mm F/1.4 Art will work great in small bars and clubs, where you can get close to your subjects and don't have much available light.
STANDARD ZOOM LENS
The 24-70mm F/2.8L II is the jack of all trades when it comes to settings with a wide range of conditions. While it doesn’t offer image stabilization, it still covers the basics.
The Canon 24-70mm F/2.8 II is intended to be a workhorse lens for professional photographers that have to deliver the best possible results in a wide range of conditions. However, one feature this lens doesn't offer is image stabilization. Canon suggests image stabilization would require too great a compromise in either image quality or size. This makes for an interesting comparison with the Tamron SP 24-70mm F/2.8 Di VC USD G2 that was announced at about the same time, and incorporates image stabilization into a lens that's almost exactly the same size but significantly cheaper. Users who need IS and prefer to stick with Canon's own lenses will have to make do with a stop slower aperture, from either the Canon EF 24-70mm F/4L IS USM or the Canon EF 24-105mm F/4L IS USM.
Canon EOS 5D Mark IV — Canon 24-70mm F/2.8L II
Canon EOS 5D Mark IV — Canon 24-70mm F/2.8L II
SHOTGUN MIC
This microphone offers automatic power function with plug-in power, and has an optimized windshield shape. It’s best feature is that it turns on and off with your camera.
This mic does a great job of capturing audio directly in front of the camera while drowning out any background noise. It has an internal rechargeable battery, automatically turns on and off with the camera, and has tons of on-board controls for customization. It’s perfect for the run-and-gun shooter. The great audio this mic captures, combined with the features of turning ON AND OFF with the power of the camera is why I have the Rode VideoMic Pro+ in my kit.
CONCERT PHOTOGRAPHY LIGHTING
Light impacts a photo more than just lighting up your subject. Tones and feelings can be conveyed through proper lighting, which is vital in photographs that are set in naturally dark places.
EXTERNAL FLASH
Compact body for space efficiency and style.
The Speedlite 430EX III-RT is a great starter Speedlite for any photographer who wants a future-proof flash that is easy enough for a novice to use, and yet has enough features to create advanced flash photos with multiple Speedlites. Compact in size, yet powerful in range, the Speedlite 430EX III-RT not only provides a portable light source, it also has easy to manage features that can enhance contrast, colour temperature, brightness, and focus of light for more natural-looking photography. The Speedlite 600EX II-RT recycles extremely fast and is very powerful. The downside is its large size and weight. On paper, the Speedlite 430EX III-RT is slightly smaller and about 100g lighter. A few centimetres in size and 100g of weight might not seem like much, but when mounted on your camera or even when I hold both models in my hands, the size difference is very noticeable. For travel or everyday use, the Speedlite 430EX III-RT makes much more sense to carry around. This flash is the best Canon offers for the price.
Canon EOS 5D Mark IV - Speedlite 430EX III-RT
Canon EOS 5D Mark IV - Speedlite 430EX III-RT
PORTABLE RGB LIGHT
This light offers full HSI Color Control, with hue, saturation, and intensity. It also offers up to 120 Minutes at Max Brightness (2,600mAh Battery).
This is such a handy light that can be used for all kinds of things. It outputs white light at every color temperature, as well as RGB light with variable hue, saturation and intensity. Unlike some other RGB lights, the colors are bright and intense when you want them to be. Overall, it is a fantastic product.
CONCERT PHOTOGRAPHY ACCESSORIES
Here are a few of the accessories that are indispensable in my camera bag.
HOT SHOE EXTENSION
Double hot shoe mounts allow you to mount both LED light and mic at the same time.
What you see is what you get. Made of high quality CNC precision aluminum alloy, this extension bar is durable and lightweight. This allows me to mount my Aputure MC light and Rode shotgun mic to my 5D Mark IV.
CAMERA STRAP
The anchors on this strap can hold 200 lbs (90 kg), and the strap comes with an unique anchor link system.
Finally, a strap I am in love with after all these years. Following tedious and extensive research regarding heavy duty camera straps that also have the option of a slide feature, I landed on Peak Design. After using the standard Canon camera strap, I was annoyed by the weight around my neck and the banging of the camera into my chest with every step. The Peak Design strap doesn’t hurt my shoulders, it actually makes my heavy equipment a bit lighter and can be worn as a sling, neck, or shoulder strap. The strap is smooth on one side and grippy on the other, and instantly reversible depending on your preference. To make it even better, you can quickly release one camera and attach another one with the anchor mounts. Overall, it is the best strap system I have found.
MONOPOD
This monopod offers adjustable aluminum leg locks, rubber leg warmers, and angled wrist strap. Perfect for photographers on the fly.
Monopods are generally associated with video work as they are more portable than tripods, and therefore easier to work with on the fly. However, they should not be underestimated for photography, and if you have one, it isn’t a bad idea to bring it with you to a concert. Typically, you will be shooting in low light and at longer focal lengths. Even if your camera or lens has internal stabilization, it will still be difficult to get a steady shot. Monopods are unobtrusive, easy to carry, and lighter than most tripods.
VARIABLE ND FILTER
This ND filter has pure fused quartz glass, and offers zero vignetting down to 16mm focal length. This is a must-have for photographers that are filming outside.
This variable ND is, in my experience, the best you can get in this price range. Not only is it aesthetically pleasing, but the build quality, image quality and numbered stops are the best in its class. IF YOU ARE FILMING OUTSIDE, YOU NEED THIS! Being able to utilize the nice depth of field from that expensive lens you bought is key. Keep that aperture wide open, and just spin this ND filter on the front of your lens to compensate for the brightness outside. The quartz material is scratch resistant, a definite plus, but the fact that it comes with a filter cap makes it even better.
TRAVEL: TOUR GEAR
Traveling with heavy equipment can be a pain, literally. Make your life easier with the right backpack and headphones - two items that are often overlooked when touring, and in my experience are key elements to my kit.
DSLR BACKPACK
This backpack by Incase Designs offers compatibility with DSLR, 15" MacBook Pro, and iPad. It’s made from durable 840D nylon construction, which wards away holes. The straps are also padded and have a mesh back panel. This backpack can fit everything a photographer needs and more.
I love this backpack! It fits everything in my kit and more. Incase Designs have a very polished product. Before, I was having some issues finding a camera backpack that could fit all my needs. Finally, I landed on this one. For the size, comfort, price, and versatility this backpack can't be beat. I was actually astonished at the quality, comfort, and durability for such a reasonable price. If I had to complain about anything, the water bottle holder does not do well with larger bottles. With all my gear, the backpack gets heavy, but it remains very comfortable to carry during the tours. Overall, I'm very pleased with the backpack and would plan to buy another when my current backpack gets worn out.
NOISE CANCELLING HEADPHONES
Wireless Headphones with Noise Cancellation and Alexa Voice Control.
Headphones always make my ears feel like they were removed, kicked around by World Cup FIFA athletes and placed back in my head. Unlike most brands, the Bose QuietComfort 35 II are actually comfortable. Sometimes, I just wear them on a plane with the noise cancelling on so I don't have to listen to people in the aisle seat laughing away at their in-flight entertainment. I have been traveling for tour photography for many years, and have tried numerous brands - some wore out quickly, others had noise cancelling that failed. I finally settled on the Bose QuietComfort 35 II, a purchase specifically for traveling on tour and have not been disappointed since my first in flight movie. If you go into a busy airport and watch the commuters in London, you’ll quickly notice most people are wearing one brand in particular. You can guess which it is.
CONCLUSION
Cameras and lenses come and go. If a camera breaks we can get a new one, but the photographer can’t be replaced. To do a good job, you need to be comfortable and fresh from the beginning until the end of the day. If you are tired and can barely hold up your camera, you won’t be able to make good images, and you may have challenges getting to where the action is, meaning you may miss out on important moments.
Understand why it is important for you to create the conditions that provide an easier workflow when shooting concert photography. All of these things can help you have a better job completed in a more relaxed way.
Building the right kit to suit your concert photography needs is an ongoing process. I am keen to learn and try new products so if you have any recommendations let me know, I’m always making adjustments.
Happy shooting!
