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Features

The Best Cheap Lenses for Shooting Concerts

Chris Gampat
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07/14/2015
3 Mins read

Chris Gampat The Presidents of the United States Pokemon White and Black The Phoblographer (6 of 15)

What does a photographer need from a lens when it comes to shooting concerts? To be honest, all you need is a fast prime lens with a semi-wide to normal field of view. Many concerts are held indoors (though there are surely a wealth of festivals held outside) and when you’re right up against the stage what you’ll need the most is the ability for your camera to soak up all the light it can and stop fast moving action. At the same time, you sometimes don’t want to spend a whole ton of money because your gear is sure to get banged up.

In a situation like this, you’re best off going with a solid prime lens. We went through out reviews index and scoured for affordable options for the photographer who wants to shoot concerts and eventually get into music shooting.

Here are some great affordable options for an aspiring concert photographer.

Canon 50mm f1.8 STM

Canon 50mm f1.8 III

In our review, we state:

“Canon’s 50mm f1.8 STM is a great lens for the beginner, hobbyist, enthusiast or even the professional who likes to rough and tumble their equipment. But overall, it’s scoring mediocre to good results when you attach it. The image quality is much better than before and Canon has proven once again that they can keep ahead of the curve.”

Buy Now $125: Amazon / B&H Photo

Nikon 50mm f1.8 G

Nikon 50mm f1.8 G

In our review we state:

“This lens has been given more utility for DSLRs than its predecessor. It can be used on all FX and DX Nikon cameras.  While it’s slightly more expensive than its predecessor, it is worth the cost. It’s such a nice lens.”

Buy now $215.95: Amazon | B&H Photo

Panasonic 20mm f1.7 II

Chris Gampat The Phoblographer Panasonic 20mm f1.7 Version II lens (9 of 9)

In our review, we state:

“Panasonic’s 20mm f1.7 II is a lens that is a well-needed upgrade in some ways, but in other ways it is a step back. The lens could have added more saturation and also could have been sharper. But what you get in return is faster focusing and better build quality. For what it’s worth, we’re positive that there were loads of shooters that beat their lens up after years of continued use. Still though, there isn’t anything necessarily wrong with the lens.”

Buy Now $297.99:  Amazon | B&H Photo

Sony 28mm f2

Sony 28mm f2

In our review, we state:

“The Sony 28mm f2 has incredible image quality, and it goes to show that folks who tend to snub their noses at Sony lenses should give them another look. The Sony 28mm f2 is not only sharp, but offers very good color, beautiful bokeh for a lens this wide, and very little in the way of image quality issues. Wide open, it will vignette a bit, but you can creatively embrace this. You’ll also face some distortion which will need to be eliminated in post-production or through camera settings. But that’s what you need to expect with a lens like this.”

Buy Now $448: Amazon | B&H Photo

Fujifilm 35mm f1.4

Fujifilm 35mm f:1.4 XF R Lens

In our review, we state:

“When I made the purchase of the X-Pro1, I was torn between the 18mm f2 and this lens. I think I made the right decision due to the faster aperture, despite the fact that I like shooting wider. Either way, this lens is a wonderful piece of glass that every photographer going into a mirrorless system should consider. Granted, it does have its contenders. Panasonic’s 25mm f1.4 and Voigtlander 25mm f0.95 may keep Micro Four thirds users locked in at the time of this publishing. Sony doesn’t have anything in the equivalent area to step into the arena, though some can argue that the 30mm f3.5 may be a suitable fit.

For me though: I’m actually extremely content with the X-Pro1 and this lens. And every time I pick it up, I get a certain nostalgia come back to me that reminds me of my days shooting with a Leica CL.”

Buy Now:  Amazon | B&H Photo

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Chris Gampat is the Editor in Chief, Founder, and Publisher of the Phoblographer. He provides oversight to all of the daily tasks, including editorial, administrative, and advertising work. Chris's editorial work includes not only editing and scheduling articles but also writing them himself. He's the author of various product guides, educational pieces, product reviews, and interviews with photographers. He's fascinated by how photographers create, considering the fact that he's legally blind./ HIGHLIGHTS: Chris used to work in Men's lifestyle and tech. He's a veteran technology writer, editor, and reviewer with more than 15 years experience. He's also a Photographer that has had his share of bylines and viral projects like "Secret Order of the Slice." PAST BYLINES: Gear Patrol, PC Mag, Geek.com, Digital Photo Pro, Resource Magazine, Yahoo! News, Yahoo! Finance, IGN, PDN, and others. EXPERIENCE: Chris Gampat began working in tech and art journalism both in 2008. He started at PCMag, Magnum Photos, and Geek.com. He founded the Phoblographer in 2009 after working at places like PDN and Photography Bay. He left his day job as the Social Media Content Developer at B&H Photo in the early 2010s. Since then, he's evolved as a publisher using AI ethically, coming up with ethical ways to bring in affiliate income, and preaching the word of diversity in the photo industry. His background and work has spread to non-profits like American Photographic Arts where he's done work to get photographers various benefits. His skills are in SEO, app development, content planning, ethics management, photography, Wordpress, and other things. EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc. FAVORITE SUBJECT TO PHOTOGRAPH: Chris enjoys creating conceptual work that makes people stare at his photos. But he doesn't get to do much of this because of the high demand of photography content. / BEST PHOTOGRAPHY TIP: Don't do it in post-production when you can do it in-camera.
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