Unfortunately, the internet still lacks quality buying guides to help photographers navigate the market.

With that idea in mind, I have decided to create a tutorial that has the purpose of helping all fellow camera people to get their hands on top-notch optics.

• Lens Type: Wide Angle
• Mounting Type: Nikon
• Focal Length Range: 24-35mm
• Minimum Focus Distance: 28 cm
• Weight: 2 pounds
• Dimensions: 87.6 x 3.4 x 122.7 inches

Sigma’s candidate represents the world’s first full-frame zooming lens with an f/2 aperture. It has an optical design of 18 elements in 13 groups, with nine rounded diaphragm blades. The angle of view is 84.1° to 63.4°, with a minimum focus distance of 11,02 inches and a maximum magnification of 0,23x. Sigma 24-35mm f/2.0 doesn’t have optical image stabilization; the aperture ensures a rock-solid low-light performance.

One of the reasons:

I included it on the best concert photography lens list because of the impeccable image quality when using a zoom option. I like shooting with prime lenses, but Sigma’s focal length and zoom capabilities are excellent. The wide focal length of these optics comes in handy in concert venues since you can easily capture the whole stage or even the crowd without compromising the quality.

In terms of performance, it gives the impression of a triple prime (and not a single zoom) since it delivers stunningly sharp images with many details, even under dim lighting. Another vital point is the color transmission, which is fantastic and renders natural yet vibrant colors.

The fringe and ghosting are negligible, and I am yet to notice serious corner vignetting. Furthermore, the focus option is excellent. It is responsive and accurate, as well as reasonably silent. Construction-wise, the lens feels robust and sturdy, with smooth focus and zoom rings.

>> See the latest pricing for Sigma 24-35mm f/2.0 on Amazon <<

Sony 24-70 mm f/2.8 offers an optical design of 18 elements in 13 groups, with nine rounded diaphragm blades. The angle of view is 84° to 34°, with a minimum focus distance of 1,24 feet and a maximum magnification ratio of 0,24x. It is equipped with two aspherical elements for improved resolution and has a Nano AR coating. Although it doesn’t sport optical image stabilization, it has a fast f/2.8 aperture that ensures good lowlight performance.

The key reason:

I put this Sony on the best concert photography lens list because the nature of the given Sony can come on par with fast primes. During the testing phase, it captured enough lighting even at the bar (no concerts, so I had to work my way in the bar) while retaining overall sharpness. The cherry on top is that I didn’t have to use a high ISO value and could get away with a relatively fast shutter speed.

The overall image sharpness was stunning, with vivid color rendering and many preserved details, with little to no noise under dim lighting. The focus is also rock-solid. It responds pretty well and accurately.

The lens produces a delicate out-of-focus area. It is not a prime category, but the background melts away quite nicely. Design-wise, the lens is built of quality materials and has a customizable button. A compromise for that is the weight, which is significant.

>> See the latest pricing for Sony 24-70mm f/2.8G on Amazon <<

The third candidate has an optical design of 13 elements in 11 groups, with nine rounded diaphragm blades. It has a minimum focus distance of 11,81 inches. Tokina 11-16mm f/2.8 doesn’t have optical image stabilization, but the f/2.8 aperture ensures a high-quality performance under dim lighting.

The main reason I put this Tokina on the concert photography lens list is the incredible night performance, just what one needs for music events.

I captured fantastic night photos in urban areas, and they performed pretty well under artificial strobe lighting, which is precise what concert photographers need. The overall sharpness is excellent at the whole focal range, discounting the vignetting at 11mm (and it is also negligible). The color rendering is another perfect point; it emphasizes warm tones quite well without being overly saturated.

The barrel distortion and chromatic aberrations are present but quickly removed in post-production. The wide aperture does a remarkable job of removing the need for OIS, even under dim light.

Focusing is solid, with casual missed shots, but with more practice, that should also go away. Generally, autofocus is responsive and accurate, and the motor tends to be on the quiet side. In terms of design, it is built with solid and sturdy materials and has a good finish.

>> See the latest pricing for Tokina 11-16mm f/2.8 on Amazon <<

The best Nikon lens for concert photography is constructed with 13 elements in nine groups, with nine rounded diaphragm blades. The closest focus distance sets at 4,9 feet, with a maximum magnification ratio of 0,26x and an angle of view of 34.3 to 8.2 degrees.

Nikon 70-300mm f/4-5.6 doesn’t have optical image stabilization, and it has (at least in theory) a limiting aperture, but it still produces tack-sharp images. One of the reasons why it made its way to the lens for concert photography list is the incredible focal length.

Its range allows one to capture images from wide and portrait angles to the telephoto end. In a real-life scenario, it will enable photographing a whole concert hall, from the main stage and performers to the last row in the crowd.

The overall image quality is quite good, with sharpness and minimal distortion at extreme ends. I have also conducted a few tests on a flat surface; this lens proved quite good for the price.

Using the correct shutter speed and placing it near the light source can produce top-notch results. Focusing is relatively fast, and it does a fair job of capturing moving subjects while remaining silent. In terms of design, it is visible that plastic was the primary material, but it feels solid in the hands and doesn’t give a cheap feel. The only downside is the weight, which is worth considering.

>> See the latest pricing for Nikon 70-300mm f/4.5-5.6G on Amazon <<

The best Canon lens for concert photography has an optical design of 19 elements in 12 groups, with seven rounded diaphragm blades. The angle of view is 78° 30′ to 27° 50′, with a minimum focus distance of 1,15 feet and a maximum magnification of 0,17x.

Canon 17-55mm f/2.8 lens has optical image stabilization, a feature aimed at battling dim light conditions. One of the reasons why it made the best lens for concert photography list is the overall picture quality.

Its focal length, combined with OIS and fast aperture, ensures a maximum photographic quality even under dimmed clubs or concert venues. The pictures the lens renders are filled with vibrant tones and strong contrast, and the overall sharpness is present edge-to-edge. Another excellent point regards the focus system.

Autofocus does a splendid job of being responsive and accurate, and it is also great for producing hand-held videos and shots. A bonus is the motor’s silence, so it is suitable for video production.

Image stabilization is a great feature to have since it does help under difficult shooting conditions. In terms of design, it is relatively heavy, but the material quality and finishing touch make it worth the compromise.

>> See the latest pricing for Canon EF-S 17-55mm f/2.8 on Amazon <<

Verdict

It can take a certain amount of effort and know-how-to when you try to purchase the best camera lenses for concert photography. Although it can be tedious, the article above shines a light on the market, showing that it is possible to get high-end optics, no matter what your manufacturer or brand preferences are.

If you pick any of the lenses I have picked up, your portfolio will never improve.

Now is the time to make the right decision and choose the best lens for your needs. If you are unsure which lens is best for you, we recommend this lens.

You can check out some of our other guides: best lenses for nature photography and moon lens guide.