Best Lens for Events Photography | 2024

The best lenses for events photography will allow you to capture professional, high-quality images of gigs, concerts and all kinds of occasions. Making the most of available light, and giving you enough reach to clearly capture the stage, these are the lenses that will help you achieve the kinds of images you’re looking for.

Events photography can be challenging — the pressure is on to capture the moment, but you also need to be able to work in the background without getting in the way. In many cases, you won’t be able to use flash, so will have to work with available light, and often you’ll need to use fast shutter speeds to capture your moving subjects.

We’ve focused in particular on lenses that are well suited to gigs and live music events, as these tend to be the most challenging for photographers to capture. However, the lenses on this list will be well-suited to all sorts of events, from corporate retreats to birthday parties. We’ve divided our guide up into different types of lenses according to the types of concert venues they’re best suited for, and provided a few recommendations for different camera systems. So, let’s take a look.

Best lenses for small venues: 50mm primes

These optics are nicknamed “nifty fifties” for a reason: despite being among the most affordable lenses available, they’re the ideal choice for those just starting in music photography and looking to move on from a kit lens.

Pretty much every camera brand has a 50mm f1.8 prime available for under £250, and with their fast apertures, they’ll help you to make the most of the available light in every situation. In dingy pubs where stages have been illuminated by just a few red backlights, a nifty fifty can be a lifesaver.

The shallow depths of field produced by a 50mm lens wide open will mean you’ll have to nail your focus when shooting, but at least you’ll be able to keep your camera’s shutter speed fast enough for sharp shots, and your ISO at a useable level.

If you’re feeling a little more flush with cash, a 50mm f1.4 prime will offer even better light-gathering abilities, albeit with an even shallower depth of field produced. Both these optics also make decent portrait lenses should you be asked to capture any after the show, particularly on crop-sensor devices where their effective full-frame focal length is around 75mms.

Best lenses for small venues: 24mm and 35mm primes

Like their 50mm cousins, these primes offer the bright apertures that are usually essential for coping with low-light shooting situations. While these wider optics tend to be slightly more expensive than nifty fifties, they can help you give an artist room to breathe within the frame, even when you’re standing just a few feet in front of them. Here are a few standout examples.

With the Micro Four Thirds crop factor of 2x, this lens is a 24mm equivalent, making it ideal for getting wide-angle gig shots on an MFT camera. Its maximum aperture of f2 gives you a solid level of flexibility in low light, while the exterior elements have been treated with advanced multi extra-low reflection coatings to reduce reflections for greater light transmission and clarity.

Best lenses for large venues: 24-70mm f2.8 mid-range zooms

Larger dedicated music venues like the O2 Academies found across the UK tend to have far better stage lighting setups than your local pub, with a good technician behind their desk. Getting well-lit images tends therefore to be much easier.

With more light available, you can start to consider using zooms a bit more, although you’ll still want to try and select lenses with a maximum aperture of f2.8. The one that tends to stay attached to the cameras of many music photographers is a 24-70mm f2.8, which allows for quickly switching between wide scene-setting shots of almost the entire stage, to tighter portraits of individual people.

If you’re shooting events and gigs on the full-frame L-mount system, this Lumix S Pro lens should definitely take priority in your kit bag. Its complex construction of 18 elements in 16 groups includes three aspherical elements and four ED (Extra-low Dispersion) elements, which ensure brilliant image detail and clarity across the whole frame, reducing chromatic aberration.

A redux version of one of Sony’s popular G Master lenses, this 24-70mm f2.8 is not the cheapest, but is an absurdly good proposition for events photographers whose budgets can stretch to it. The quality is good enough that you’ve also basically got a 24mm prime lens, and with four XD (Extreme Dynamic) Linear AF Motors, the focusing action is absolutely lightning-fast.

This gorgeous lens gives you a bit more play at the telephoto end of the zoom, working out to an equivalent focal range of 24-84mm. Its constant aperture of f2.8 means you’ve got that low-light flexibility all throughout the zoom range, and its all-metal construction means it can stand up to the rigours of professional use. One of the best lenses for shooting events on Fujifilm X cameras.

Best lenses for large venues: Ultra-wide angle zooms

If you want to capture the scale and spectacle of a show, then sometimes you’ve got to go as wide as possible. This is where ultra-wide zooms come in. While these lenses don’t let in as much light as a prime, the focal flexibility they offer is highly useful should a band member suddenly loom towards you or dive into the crowd.

You’ll want to try and choose one with a large maximum aperture— ideally f2.8 or greater — to make the most of the available light at all times.

Pin-sharp, Nikon’s S-line wide-angle zoom is professionally priced, but makes for an invaluable companion for events photography. You can absolutely fill the frame with this zoom, getting as close as you like to your subject, and it’s also surprisingly lightweight for a lens in its class, weighing in at just 650g. This makes it a lot more practical than similar DSLR lenses for handheld shooting. 

Best lenses for arenas and festivals: 70-200mm f2.8 telephoto zooms

It’s not unusual for larger festivals and arenas to have stages that are between five and ten feet tall, and if you don’t want every one of your images to be looking up band members’ nostrils, you’re going to need a lens with some reach to allow you to step back for a more flattering perspective.

This is where telephoto zooms earn their worth. A 70-200mm f2.8 will pair with a 24-70mm f2.8 zoom nicely, taking over at events where 70mm just doesn’t cut it. While the sun hitting outdoor festival stages and the spotlights illuminating superstars in arenas can mean that sometimes f2.8 is brighter than you’ll need, neither of these things are guaranteed, and as the hour grows later outside, you’ll be grateful for the ability to stop down when required.

Finally, we have a dazzling professional lens that delivers exceptional performance on Canon EOS R mirrorless cameras. The Canon 70-200mm uses Dual Nano USM for fast and silent focusing, and since it’s an L-series lens, it’s kitted out to withstand the worst a busy gig can throw at it. Optical quality is nothing short of jaw-dropping, while handling is intuitive thanks to the integrated control ring. 

How to choose the best lens for events photography

Here are a few key points to keep in mind when you’re picking the best lenses for events photography. 

Image stabilisation has limited value. Unlike in most low-light shooting situations, image stabilisation offers only limited benefits when shooting live music. This is because most subjects will be moving quickly, and to ensure sharp shots you’re already going to be shooting at shutter speeds that minimise the risk of camera-shake. It’s a nice feature to have on a lens, but if you’re specialising in this genre, it probably won’t be a deal-breaker.

Full-frame lenses can make better investments. Full-frame cameras tend to perform better than those with APS-C sensors in low light, and if you dedicate yourself to music photography, you’ll likely end up buying one. With this in mind, buying full-frame compatible lenses from the start, even if you’re currently shooting with a crop-sensor device, can work out to be a better investment in the long-run.

If in doubt, go wide. Not only does a wider image give you the option to crop in later if required, but it helps to maintain the context an artist is in by showing the scene around them.

Consider secondhand optics too. Lenses will get covered in all sorts of things shooting live music – beer, sweat, dust and mud probably being the most common substances. You can expect them to be regularly bashed by crowd surfers, fellow photographers and security in busy photo pits. 

With that in mind, used optics can make an excellent buy. Who cares if a lens has got a few scuffs? You’ll likely end up adding to them anyway. You can sometimes save hundreds by avoiding opting for new, and picking up a great-condition used lens that may only just be less than cosmetically perfect.

FAQs

What are the best camera settings for photographing events?

For event photography, you’re going to want to use a fast shutter speed (1/125th of a second or faster) to clearly capture the motion. Set your ISO to 400-800 for low light and adjust it lower for well-lit scenarios. We’d suggest a wide aperture to help with lighting but also background blur. You should also shoot in RAW format for more flexibility when editing. 

How do I take great candid photos at events?

To take great candid photos, position yourself discreetly and use a zoom lens to capture natural moments from a distance. Keep your camera in burst mode to snap multiple shots quickly which increases your chances of getting a perfect candid moment. Focus on capturing genuine emotions and interactions, such as laughter and surprise, for authentic and memorable photos.

What equipment should I use for event photography?

You will do well with a reliable DSLR or mirrorless camera, a versatile zoom lens like a 24-70mm, and a prime lens with a wide aperture (e.g., 50mm f1.8). Carry spare batteries, memory cards, and consider a tripod or monopod for stability, especially for long shoots or low-light settings.

How do I handle low-light situations in event photography?

Increase your ISO setting but be aware of potential noise. And you can also use a wide aperture (f2.8 or wider) to allow more light and create depth. 

How can I make my event photos look professional?

We’d suggest using the rule of thirds for balanced composition, and carefully editing to enhance brightness, contrast, and colours to keep your images looking natural.