Despite that, the internet still doesn’t offer many helpful guides, making obtaining high-end optics easier for photographers.

Since I love observing events behind the safety of a viewfinder, I have decided to make a comprehensive guide that would enable fellow photographers to get rock-solid optics tailored to their needs.

Nikon, 24-120mm f/4, has an optical design of 17 elements in 13 groups, with nine rounded diaphragm blades. The angle of view is 84° to 20° 30′, with a minimum focus distance of 1,48 feet and a maximum magnification of 0,24x. The lens also has VR II (i.e., optical image stabilization), which complements a relatively narrow aperture of an f/4 in ensuring good quality in lowlight situations.

The key reason:

I put Nikon on the best event photography lens list because of the incredible sharpness showcased throughout the zoom range. Although it isn’t a prime lens, it has an excellent zooming capability that ensures overall sensitivity at all focal lengths, with many preserved details.

Another critical point regards the focus system. During the testing, I didn’t have problems nailing the shot. A bonus goes to the VR II, which helps in lowlight settings.

The autofocus is smooth and accurate while remaining relatively silent. It comes in handy when you want to capture moving crowds or if you want to use it for video recording. The versatility of focal length is what I like. With the lens, I could capture wide-angle shots at 24mm while retaining the telephoto capability at another end.

The noise control is also well-managed. I raised ISO values for quite a few shots, and the result was clean in all cases. Although it’s relatively heavy, it has a robust and sturdy design worth the compromise.

The best canon lens for event photography offers an optical design of 13 elements in 10 groups, with six rounded diaphragm blades. The angle of view is 107° 30′ to 63° 30′, with a minimum focus distance of 9,45 inches and a maximum magnification of 0,17x.

Unfortunately, Canon 10-22mm f/3.5-4.5 doesn’t have optical image stabilization. Still, the circular aperture works on creating natural-looking highlights as a means of compensation, and the lens has a superior autofocus performance, along with a full-time manual capability.

The main reason:

I included it in the best event photography lens because of its ability to capture wide-angle shots. I was impressed by the number of preserved details and the color vibrance at both focal lengths ends. The next positive point relates to the autofocus system. I didn’t face problems with missed shots or focus hunting. It is silent and entirely accurate. The wide shooting range makes me disregard the lack of OIS or fast aperture.

On the other hand:

I have noticed barrel distortion at 10mm, but it goes away at another focal length. The chromatic aberration is nonexistent and can shoot directly at the light source without causing too much flare. Design-wise, it is relatively heavy, especially when you consider the lack of OIS or if you consider focal length. I didn’t have issues using it for a long time, but I highly recommend getting a hand strap or a tripod.

Sigma 35mm f/1.2 has an optical design of 17 elements in 12 groups, with 11 rounded diaphragm blades. The angle of view is 63.4°, with a minimum focus distance of 11,81 inches, a maximum reproduction ratio of 1:5.1, and a maximum magnification of 0,19x.

The lens doesn’t have optical image stabilization but has a fast aperture that ensures extraordinary performance in low-light situations. The critical factor that has influenced me to put it on the best event photography lens is the fantastic bokeh it creates.

The subject separation, with clear and sharp lines, is nicely isolated from the creamy background blur, making this Sigma an excellent portrait lens. The second vital point is the focus system.

It is incredibly responsive and accurate, without jamming issues. The combination of the fast aperture and fast autofocus guarantees high-quality shots even when the light is scarce or subjects are frequently moving.

The point of focus sharpness is excellent at all focal lengths, and generally, I only used the maximum opening to control the depth of field. You may notice corner distortion if you shoot landscapes or shots that demand the whole frame to be focused. However, the extent of it is easy to mitigate in post-production. The only objection regards the design. It is a relatively heavy and oversized lens, which could be why some photographers will think twice before purchasing.

The Fujinon sports an optical design of 11 elements in eight groups, with seven rounded diaphragm blades. The angle of view is 63.4°, with a maximum magnification of 0,1x and a minimum focus distance of 11,02 inches.

The Fujifilm 23mm f/1.4 lens doesn’t have optical image stabilization, but the fast aperture compromises by delivering excellent results under low light conditions. The main factor that influenced my decision to put it on the best lens for event photography is the optical solution in combination with the design.

The Fujinon has a wide aperture, packed in a small package since it is made for the Fuji X-mount system. Practically, you get a high-grade performance for much less space and weight. Moreover, it is made from glass and metal, which adds to the style and robust design. The image quality is impeccable. It gives sharp results across the frame, with a stunningly realistic representation of colors.

Due to the wide aperture, it is easily possible to create a shallow depth of field, realistic in dreamy bokeh. The focus system is also rock-solid, with excellent response and accuracy. It is relatively silent, so it is possible to use the Fujinon even as a videography lens.

The lack of image stabilization does spoil the impression, but not so much because the already mentioned aperture and fast focus do a phenomenal job even under dim conditions. The only drawback is the price since purchasing this lens requires a solid amount of money.

Sony packs an optical design of 16 elements in 13 groups, with 11 rounded diaphragm blades. It has an angle of view of 107°–63°, a minimum focus distance of 11,02 inches, and a maximum magnification of 0,19x.

Although it lacks optical image stabilization, the fast aperture ensures a solid low-light performance. The first among many reasons that have put this Sony 16-35mm f/2.8 on the best lens for event photography is the outstanding GM design, with top-notch materials used in the making process.

Moreover:

The lens is relatively light, which is impressive when considering the presence of a fast aperture and the weather-sealing option. The bokeh effect is the next outstanding feature. The f/2.8 gap creates a shallow field depth that results in sound subject isolation compared to smooth backgrounds. I didn’t notice any distortion issues during the testing, and they were present exclusively at extreme focal length ends.

The color distribution is quite good, and the colors feel natural yet vibrant with a solid contrast. I also like that the focus system is responsive and precise, with a relatively silent motor. An additional plus is the 82mm filter thread for photographers who want to use filters. However, if you use one, you can notice slight vignetting. Sony 16-35mm f/2.8 is also the best lens for indoor event photography.

Verdict

Buying the lenses for event photography is of utmost importance for commercial success or to captivate the energy of any event and present it to third parties. Since there are many photography styles and preferences, I tried to cover all the bases with my last choice.

No matter your style or brand preferences, if you pick any of the lenses outlined above, your event photography will get due recognition.

Make the best decision now and choose the lens that will work best for your needs. We recommend this lens to you.

I suggest reading our articles for the five best lenses for night photography and the five best lenses for boudoir photography if you want to get better at taking pictures.

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