So it looks like I’m luck enough to be picking up more events including red carpet style, and now podium speeches and if I’m lucky, live action plays in a theater as well as bands in concert in small venues locally.
I’m thinking hard on other solutions. I wish I could snatch all the essential big dollar lenses but I can’t.
I’m contemplating the Tamron 35-150 and 17-28. I’m a prime guy at heart but I think I need to think practical.
I wonder if that combo would be the most flexible and fast enough on my z8/ZF or are there better solutions. With bright well lit stage lights the 24-120 is probably good for a lot of things but a little short. Of course the plena crosses my mind but that’s the whole budget. 70-200 is another. Also the whole budget.
70-200 is the money maker. The 35-150 is also a great lens, and would work extremely well for concerts, events, etc IF you can get very close or shoot in small venues.
I have tried the 100-400 and 180-600 for large venues, but even then they were too long except for shooting from the back of the room/arena.
Primes can work, but are very limiting for dynamic events and concerts. If they work for you, they can offer a nice edge over zooms (especially slower zooms).
ahinesdesign wrote:
70-200 is the money maker. The 35-150 is also a great lens, and would work extremely well for concerts, events, etc IF you can get very close or shoot in small venues.
I have tried the 100-400 and 180-600 for large venues, but even then they were too long except for shooting from the back of the room/arena.
Primes can work, but are very limiting for dynamic events and concerts. If they work for you, they can offer a nice edge over zooms (especially slower zooms).
I think for the most part the 35-150 would work well. if I need wider then maybe 24-120. This theater wants some shots from all different spots including the upper stands. 300 seat venue.
Maybe the 70-200 ensures better that I'll get tight enough. f/2 under 150mm would've been nice. Would be nice having a 17-28, I have to decide whether I'd use that enough.
Most likely the 17-28 and 35-150 would cover me if I weren’t shooting any shots from upper stands. Having said this, if I do a good job, he’s trying to eventually get me a role as head photographer for the theater.
ahinesdesign wrote:
70-200 is the money maker. The 35-150 is also a great lens, and would work extremely well for concerts, events, etc IF you can get very close or shoot in small venues.
I have tried the 100-400 and 180-600 for large venues, but even then they were too long except for shooting from the back of the room/arena.
Primes can work, but are very limiting for dynamic events and concerts. If they work for you, they can offer a nice edge over zooms (especially slower zooms).
ahinesdesign wrote:
70-200 is the money maker. The 35-150 is also a great lens, and would work extremely well for concerts, events, etc IF you can get very close or shoot in small venues.
I have tried the 100-400 and 180-600 for large venues, but even then they were too long except for shooting from the back of the room/arena.
Primes can work, but are very limiting for dynamic events and concerts. If they work for you, they can offer a nice edge over zooms (especially slower zooms).
I second on the 70-200.. its basically prime lens sharp, very useful focal range. The Tamron 35-150 again is a great zoom range. Not sure on IQ, I haven't used it but have owned a few 70-200s and it'll always get my vote
I also agree with the Z 70-200 as first choice if I am shooting with one camera. Usually I’m going to have two cameras on my Blackrapid. The 24-70 2.8 on the Z8 and the 70-200 on the Z6III.
I don’t have experience with it but the 35-150 might be a good 1 lens setup. Personally I would miss the 200 end.
If it's the actual event night of a theater production you're going to need reach. I basically shot the last one I did at the back of the theater using a XF200 F2 on my XH2S and Plena on my Z9. You basically need to not be a distraction to the audience. So have fun with that portion. newyork wrote:
I’m doing the actual event plus the restaurant, red carpet and portraits before the event.
Ok I’ll get the 70-200. I’ll have nothing left for a wide zoom. Guessing I’ll be fine.
Thank you guys.
Yeah the theater said they’d show me the maze of access to get around. Intimidating event doing all that.
JadedWriter wrote:
If it's the actual event night of a theater production you're going to need reach. I basically shot the last one I did at the back of the theater using a XF200 F2 on my XH2S and Plena on my Z9. You basically need to not be a distraction to the audience. So have fun with that portion.
When I was at the back of the theater the plena was my "wide" for the most part. Shot a couple of things with my XF18 1.4, but it wasn't a lot of things to be honest. newyork wrote:
Ok I’ll get the 70-200. I’ll have nothing left for a wide zoom. Guessing I’ll be fine.
Thank you guys.
Yeah the theater said they’d show me the maze of access to get around. Intimidating event doing all that.
If your budget's tight, you can always look at used F mount lenses. I've seen some fantastic deals on the 70-200/2.8 FL. You could pick up that and Tamron's 17-35/2.8-4 plus the adapter and be well under the budget of a new z 70-200, or that and Tamron's z 17-28/2.8, which would still leave cash to spare.
Personally, I like shooting wide or ultrawide angle, either from the stage (during dress rehearsal) or from the back of the concert hall showing the entire venue and crowd, unfortunately my clients rarely use those images. They generally prefer whatever I get with a telephoto, even from the stage… 24mm is usually wide enough, but I do find ~16mm to be great for dramatic venue/crowd images. I wouldn’t give up a great 70-200 just to go wider than 24mm.
I second the F-mount suggestion if your budget doesn’t allow for native Z lenses; there are several good ultrawide and telephoto options, the only problem is that they are much larger and heavier than mirrorless designs, however optically they keep up just fine.
70-200 gets my vote, and I speak as a prime junkie. In fact, I own both the AF-S 70-200/4G and the 70-200/2.8E FL. The G is fine for daylight and just as sharp as the E. The f/2.8 is essential for evening situations, interiors, and the stage:
If stage lighting is desperately low, then 200/2 is my final resort:
rico wrote:
70-200 gets my vote, and I speak as a prime junkie. In fact, I own both the AF-S 70-200/4G and the 70-200/2.8E FL. The G is fine for daylight and just as sharp as the E. The f/2.8 is essential for evening situations, interiors, and the stage:
You’ll love the 70-200mm f/2.8 Z with the Z8! It’s a killer combination! Right now you can probably use the 24-120mm f/4 for the wider shots and raise the ISO up a bit (easy to correct in post processing). Then when you can afford it, pick up the 17-28mm f/2.8 and you should have most of it covered. The Z8’s higher resolution allows you to crop in for closer shots with the wide angle.
Now that I know you're going to work the theatre during the performance itself, the 70-200 is the only way to go. Part of this job involves making yourself invisible, so you have to hide in the corners and nooks around the room. You will likely need long focal lengths to peek out from a hiding spot. Good thinking also on getting acquainted with the "maze of access." That's always on my prep list.
During restaurant and red carpet, chances are high that the 24-120 will do everything you need it to do on the wide end. I think you'll be fine without the ultra wide.
I know we all know this, but it's worth keeping top-of-mind: Pay attention to which photos your client ends up using.
Also.. prepare to be spoiled by the 70-200's autofocus. Paired with the Z8, it'll change your life.
Now to figure out how to afford this before July 12 lol. I’ll get it done.
Oscarsmadness wrote:
Now that I know you're going to work the theatre during the performance itself, the 70-200 is the only way to go. Part of this job involves making yourself invisible, so you have to hide in the corners and nooks around the room. You will likely need long focal lengths to peek out from a hiding spot. Good thinking also on getting acquainted with the "maze of access." That's always on my prep list.
During restaurant and red carpet, chances are high that the 24-120 will do everything you need it to do on the wide end. I think you'll be fine without the ultra wide.
I know we all know this, but it's worth keeping top-of-mind: Pay attention to which photos your client ends up using.
Also.. prepare to be spoiled by the 70-200's autofocus. Paired with the Z8, it'll change your life....Show more →
