16 Best Lens for Event Photography: (2023 Guide & Reviews)

Hey there, my name is Sharon Advik. I’m here today to talk about event photography.

I know it’s one of the most exciting things; it’s something that I shoot and something that you can make your living with.

It’s not as complicated and terrible as you might think.

I will tell you my mindset, what I mean about our events, and how you can shoot events.

What best lens for event photography should you use, and how to prepare for it?

Let’s dive into it.

Which is the Best Lens for Event Photography?

Here are my recommended top 16 best lens for event photography:-

Tamron 28-75mm F/2.8: (Best lens for event photography Sony)

This is the most bang for your buck.

The excellent lens you can get for your Sony system; I’ve been using it for a while now, shooting events.

One of the reasons the lens is a little bit less expensive than your Sony stuff is that it is primarily plastic and suitable for hard plastic.

And I found walking around with just one lens was tremendous and lightweight.

You can zoom in tight to 75 to get details in architecture.

And if you’re far enough back at 28, you can pick up the whole scene, and you’ve got your famous 35-millimeter focal length in there.

And you can go 50 or 75 for portraits and zoom in on things, so this range is pretty good.

It is excellent for a walk-around lens.

This is a lot lighter; the images I got from my trip were sharp, with plenty of beautiful bulk colors. I’m super happy with the lens.

So, it’s great for travel, but I mainly use this lens in my event work.

It’s just great having a zoom lens. I love prime lenses for my portrait work; I prefer prime lenses that open wide 1.2 1.4, So 28 to 75 is a great event lens.

I love the images that come from the lens; they’re super sharp.

The range is excellent because I love shooting at 35, but I also love punching into 75 when I need that extra bowl game.

So, there is enough variety in the zoom range; I wish it went a little wider.

Another huge benefit is the focus is 100% silent.

And this matches up great if you’re shooting an electronic shutter.

No one will hear the shutter because it’s completely silent, and no one will listen to any pull focus or mechanisms inside the lens.

Now, in most of the receptions I shoot, there’s a lot of low or changing light with DJs, and the lens has been fantastic.

The great thing about having the zoom lens is that you can capture the moments I’m looking for. I’m looking for really quick moments, emotional moments.

Now, there are two main negatives with this lens, and you already know the first one is it doesn’t go wide enough, and the remedy for that is simple: you have to get the 17 to 28 lens to pair up with this.

And this lens doesn’t give you that dynamic that the 17 to 28 does.

This is not the lens for you if you need something a little bit wider or like the stuff at 20 or 18 millimeters.

You might even want the 17 to 28 if you like to shoot mostly wide.

The second negative is that there is no manual focus switch between auto and manual focus sometimes on the fly.

You need to switch to manual focus, but the remedy is pretty easy if you set a custom button for manual focus override; you hold it down and change the focus to manual focus.

And what’s great is as soon as you try to focus, it will punch into your subject. You can focus and then let go of the button, and you’re back to autofocus.

So it’s a great way to lowlight a challenging situation; you have manual focus available.

So, although it’s a negative that there is no switch, there’s a remedy.

Now, the lens has an excellent minimum focus distance.

This is great if you want to get details of invitations, shoes, and watches without having a macro lens or getting some extension.

You can take pretty good macro pictures and then crop them in later.

A great bang for your buck to 28 to 75 Tamron; I love the images I’m getting from it.

It’s just good. It’s been my workhorse for months, so I thought I’d share it with those considering getting this lens.

If it’s within your budget, it is a winner.

Tamron 17-28mm F/2.8: (Best Sony lens for indoor event photography)

I was dying to shoot this lens like I’d been going crazy since I saw it released, and I finally got it in my hand.

I want to talk about where it stacks up in the Tamron line because they already haven’t previously released 28-75, a phenomenal lens that’s been loved by many shooters, and it’s super lightweight in its general shooting lens.

If 28 to 75 millimeters, f 2.8, there’s not much more you can ask for except for maybe a little more wide-angle, and Tamron answered that with the 17 to 28.

So they all mesh perfectly, given you if you have both lenses effectively.

17 to 28 fixed 2.8 aperture, but you also have a lightweight wide-angle shooter, so if you want to do some scenery or if you want to do anything like that.

This is the lens to go for; it is much smaller and lighter.

I want to start with the 17 because this thing focuses exceptionally close.

Mainly, I was reading that it says it’s seven and a half inches, and I feel like it’s closer than that because I can get right up on objects, and it’s grabbing perfect focus.

Also, it’s incredibly sharp, and the contrast and colors are beautiful.

So the next point I want to discuss with this lens is that its autofocus is like a champ.

I love it so far and have no complaints about the autofocus.

Tamaron put some time and effort into picking an autofocus drive system that matched up with a wonderfully built lens.

They put in their RST-style stepping motor, and it’s insane.

It’s quick; it’s fast; it’s accurate; it’s everything you want out of an autofocusing system.

That’s because it is their RST drive.

It’s their rapid extra silent stepping drive, so it being a stepping motor means it’s not only silent but also extremely fast.

I have to say the autofocus performance on the lens did well.

But as far as my single point, video shooting did phenomenally.

And as far as the lens goes for video shooting, the contrast is excellent.

There’s little to no chromatic aberration, which I expected, and it performed well.

I like having an ultra-wide ability.

I like it for video.

So, next thing, I want to get a bit technical and talk about the internals of the lens and what makes it so sharp and so much fun to shoot.

And that’s the fact that it has 13 different elements and 11 different groupings, which is pretty average for any zoom lens.

Outside of that, it has your LD glass, which is your low dispersion.

It has x LD elements that are extra-low dispersion, helping with chromatic aberration, and it does that exceptionally well, as I saw in all my shots.

Outside of that, it also has 9 rounded aperture blades, which gives you this super creamy bokeh.

Shooting the bokeh is creamy super sharp, and the close focus blew me away; it looks fantastic.

And it just adds a lot of versatility to the lens.

Also, once you pair it up with the 28 to 75, it just completes that whole system they have going on.

So, I like what Tamron is doing for that Sony setup.

Nikon 85mm F/1.8: (Best lens for event photography Nikon)

This is a sweet Decore lens; it is great in building quality despite being a little plastic game.

It’s a lot lighter than the previous versions of this same lens, and towards everybody who talks to you, it’s a lot sharper.

Overall, I’m very proud of the shots that this lens took off.

The focus quality was tremendous in the shots and photography I took to do the video.

So that was cool.

The autofocusing was pretty smooth on this, and it worked pretty fast.

My only issues with this lens are a little bit of a lack of flexibility.

This is great for when you want to do headshots, but if you’re not doing portraiture, this lens has some limitations.

The minimum focusing distance is about 8 meters, or roughly two points your feet.

So, if you need to get close to a subject, this is not a lead score unless you want to get the close-up shot while standing.

You can get the shot a few feet away, maybe closer to two and a half, three meters away, but if you need to be a bird out.

This is not the lens for you.

So, in tight spots, giving better service with something like the 35-millimeter Nikon F 1.8 for the 50-millimeter f 1.4 or 1.8 will not be very practical.

The advantages of this lens are that you could do well in portraits due to a lack of lens distortion and a lack of compression.

So this takes something the best headshots if you’re looking for something that will be better glass for you to shoot low light situations.

Get tremendous headshots, and you have the room you’re in a long cord or a larger room; even if you’re outdoors, you have plenty of space.

This lens is perfect for that situation.

This can be good.

If you’re a new wedding photographer and have situations where you’re doing your stage shots, you have a little bit of time to set up.

This can be a great portrait lens for weddings and events; I think that’s tremendous if you’re a filmmaker and composing your shots.

This is fantastic for you.

Overall, if you already have a 35-millimeter, this is probably a better investment because the difference between the 35 and 50 is not that much.

Even on a crop body, I would still say that your full-frame crop and this lens will give you another option as far as primes go.

Overall, this is great for video and this is great for photography.

So, I highly recommend you get that flexibility and space in the issue.

I highly recommend this if you want to get the best portrait shot on a budget for a lens under 600 $700.

So, is it worth it?

Ah, yeah, I think I will be investing in the 85-millimeter prime.

Nikon 50mm f/1.8: (Best lens for indoor event photography Nikon)

One of Nikon’s best-selling camera lenses to date.

It’s for Nikon’s digital SLR cameras full frame or APSC, although it will also fit on that youth segment mirrorless cameras if you have the expensive ft Zed adapter.

Everyone loves a fast 50-millimeter lens because a full camera frame gives you a lovely standard field of view.

Neither wide-angle nor telephoto, and with a slight emphasis on your subject for getting out-of-focus backgrounds.

If you’re shooting with an APS C or dx sensor camera, it’s the full-frame equivalent of a 75-millimeter lens with a depth of field that will look much deeper and be useful for portrait photography.

And many Nikon APS C camera owners will have discovered this lens already.

It does not come with image stabilization, but most new cameras are getting it built nowadays anyway.

And that tight maximum aperture of F 1.8 lets you get faster shutter speeds in darker situations.

Its build quality is a cut above average for a lens in this class, and its sizes are just a little bigger.

It’s mostly made of plastic, but it feels pretty tightly constructed.

It’s based on a metal lens mount with a weather-sealing gasket around the edge.

He also gets a switch for changing between auto and manual focus and a rubberized focus ring, which turns averagely smoothly and has a helpful distance scale that focuses swing can be turned at any time.

And to the front glass element does not turn or extend as you change focus.

So that’s pretty useful if you’re using a polarizing or graduated filter; the autofocus motor works quickly, quietly, and accurately.

The lens displays some pretty notable focus breathing, with your image zooming in when you focus more closely.

That’ll help you to get a little closer to your subject, but it’s still a bit of a pain for video shooters; the lens comes with a cloth pouch and a nice little plastic head as standard.

Its filter size is 58 millimeters in diameter, and it weighs only 185 grams.

Overall, it’s a bit nicer to handle than the cheaper Canon and Sony 50-millimeter f 1.8 lenses, which I’ve tasted in the past.

Well, let’s move on and look at its image quality.

So this is as sharp as you’ll get on the full-frame level; that image quality is good enough for the lens’s price but nothing to get excited about.

Straight from F 1.8, the picture quality is pretty sharp in the middle of the image.

The corners are not softer but not too awful; an inexpensive 50-millimeter lens on an APS C camera is excellent quality.

It’s a fairly impressive performance because an inexpensive 50-millimeter lens on APS C will generally struggle a bit more than that; it’s undoubtedly sharper.

The quality of its autofocus backgrounds It’s not perfectly soft in all situations, but to my eye.

It does look a little smoother than the usual fair lens in this class; it will be quite pleasing in most of your pictures and related to his longitudinal chromatic aberration.

It has excellent build quality, decent enough colors, and contrasts with relatively soft Bokeh.

It’s not the sharpest lens in the world on a high-resolution full-frame camera, but if you have a 24-megapixel full-frame camera, you’ll be pretty satisfied.

Its performance on APS C cameras is a little better than average.

So, Nikon will be well-loved by everyone who buys it; I certainly liked it. So it comes recommended.

Nikon 35mm 1.8: (Best prime lens for event photography)

So, if you only had the money for one lens.

Do you think that the Nikon 35mm F1.8 lens is worth it?

I’ve had this lens for around, almost 2 years now.

You should use this lens if you have no money and you only have to pick one lens.

Portable price: many people think you have to spend like us to get some bokeh effect when it comes to Nikon lenses.

But overall, a 35-millimeter prime lens is one of your buck’s fastest bangs.

I think, in my opinion, this is one of the best lenses that you can get.

So my overall pros are that it’s a super darn fast lens, it’s 35 prime, meaning you can’t zoom in and zoom out, is a fixed focal length.

The good news of the lens itself is sharp if you’re considering an upgrade from the kit lens.

Because in my opinion, if you only had, let’s say, $500 and you only had to pick one lens to upgrade, this is your go-to.

So overall, besides having a super shallow depth of field, being super sharp, and having much quieter autofocus than the kit lens.

I would say my overall use of this lens now for my professional clients.

Now the cons of it are that it’s built.

There isn’t a version of this lens with optical stabilization or vibration reduction.

In other words, if you plan on holding this lens and micro jitters, you will notice, but not so much if you are like a photographer and you’re shooting with the D 5000 6000 3000 series.

But if you plan on using videos, that might be an issue. And when I first started, that happened, but I had to use a lot of warp stabilizers, so be aware of that.

That is the only downside again.

So, I would guess my last and final gripe about this lens is that the overall focus ring itself, although it does have stops to ensure you don’t go to infinity, can constantly keep turning the focus length.

So that is more than enough, as well as the shallow depth of field, but you also have to be aware that there’s no vibration reduction and the focus ring.

But overall, this lens is a beast, considering its price is out of the box.

If you’re a budget filmmaker or aspiring filmmaker, I still recommend this lens as something you should keep in your arsenal.

Sigma 85mm 1.4: (Best lens for indoor event photography)

This lens is mostly for portrait photography, so I will mainly talk from the portrait photography perspective.

This lens is a beast, and I genuinely mean it when I say it is a beast.

This lens weighs 1.1 kg.

Let’s get started talking about the specs of this lens. It’s a full-frame lens; the aperture goes from F 1.4 to F 16. The minimum focusing distance is 85 centimeters.

Talking about focusing, this lens is very quick.

The lens has no problem focusing when you’re focusing, even in low-light situations.

The only problem is that’s not the problem with the lens, but when you’re shooting at 85 mm f 1.4, the depth of failure you’re dealing with is much less.

So, what I do is take photos in continuous mode to be on the safer side.

The focusing can be an issue because you’re shooting at F 1.4, but the images are very sharp if you have nailed the focus.

And that brings me to the next point: sharpness, talking sharpness.

This lens is exceptionally sharp, even at F 1.4.

Now, I have used lenses with a wide opening of 1.8 1.4, but very few lenses are as sharp as this lens wide open.

When you switch to 1.8 2.8, the results become stash sharper, but the difference is significantly less.

The subject in focus is sharp, but the background is bookish, blurry, and creamy.

That is why you’re going to buy this lens.

I am talking about the bokeh.

It has a rounded 9-blade diaphragm that gives this circular-looking natural bokeh.

When buying a lens of 85 mm f1.4, you will buy it for that depth of field.

This lens obviously performs nicely when you have enough light, but it also excels in low-light situations, and obviously, the reason is F 1.4.

Since it has a wide opening, it is easier to focus because many lights are coming in.

You don’t have to worry about low light if you get this lens for events, weddings, portraits, or street photography.

As you go to 1.4, the amount of light coming in, compared to 2.8, is huge.

So, when shooting in low light, you don’t have to worry about increasing your ISO to maintain a decent shutter speed because you can shoot wide open at F 1.4.

So overall, this lens is perfect.

The only negative point I would fail is the weight, but I understand that many elements combine to create these results.

So, you have to sacrifice.

But if you’re comfortable with the weight, the lens produces impressive results.

You should ask yourself, do you need that extra sharpness?

Do you need that extra 1.4 for that depth of field?

If you need the budget, then this lens is a beast.

Canon 70-200mm f/2.8: (Best lens for sports photography Canon)

This is the best overall lens and the entire canon lineup.

There are very few weapons in the professional photographer’s arsenal that they arguably couldn’t live without.

The 70 to 200 focal length is the bread and butter for most sports, events, weddings, and portrait photographers.

If you’re a Canon shooter, you have to start with just one lens, and your professional is this that lens.

Let’s start with the build quality.

It’s made out of magnesium, and it is just solid.

Its weather-sealed cannon claims it’s technically dust and moisture-resistant.

To me, it’s just built like a tank and reeks of quality.

The focus in aperture rings is smooth.

The buttons snap nicely, are incredibly well-built, and are solid.

It’s pretty heavy, weighing 3.28 pounds; you’ll get a workout if you have to do shoot sports and weddings with one of these things.

There are 23 elements in 19 groups inside, with eight rounded aperture blades.

This thing is incredible. It’s easily a 10 out of 10 for built quality.

This is fantastic for sports shooters and great for chasing sports actions; really, there isn’t an application this lens couldn’t do.

It’s one of the very best performances I’ve ever used.

And as far as focus speed and accuracy go, I get another perfect 10 out of 10.

Up next is the optical quality and the quality of the results.

It’s one thing for me to tell you just how great these lenses are; it’s another thing for me to show you how great it is.

There has never been out there who would value a lens like this.

It’s built like a tank, the auto quality is top-notch, and the focus speed and accuracy are second to none.

We feel like the Canon is absolutely a superior lens.

We don’t feel like it’s twice as good.

It’s a 10 out of 10; it doesn’t improve.

It’s pro-grade; it’s exceptionally well put together.

It’s perfect, with focus, speed, and accuracy.

It’s blisteringly quick and deadly accurate.

It’s excellent for sports; it, too, is a 10 out of 10 optical quality, and the quality of the results goes hand in hand.

This lens is excellent for portraits; it’s great for weddings, sports, and unforgettable.

It’s a 10 out of 10 for both optical quality and the quality of the result value.

It gets our highly recommended rating.

Finally, to play like a pro, you must pay for quality like this to answer the initial question.

Is this the best all-around lens and the entire Canon lens lineup?

Well, that’s subjective, but from my perspective, I have to say the answer is Yes.

Canon 85mm 1.8: (Best cheap lens for event photography Canon)

So, typically, when shooting portraits, a lot of subject separation is part of the stylistic idea that people are going for, and two things help them. One is having a more telephoto focal length.

So, your background will be a little more compressed sufficiently to stand out.

Another is having a nice wide aperture.

And because of that, 85 millimeters tend to be a go-to orchard photographer because 85, you can have enough telephoto compression to look nice.

But also not enough to be hundreds and hundreds of yards away from your subject trying to yell at them.

It’s one of the cheapest options for a full-frame, 85 millimeters.

The poor quality of this lens is plastic, but it hasn’t been used, and the plastic seems pretty durable.

I mean, this lens design has been around for like 30 years.

I think it’s kind of tried and true, the design, it’s precisely what it needs and nothing else, it’s very minimalistic you have the housing.

It fits precisely the lens elements.

You have an autofocus manual focus switch, a decent-sized manual focus ring, and a built-in distance meter size; weight-wise, it’s relatively small and lightweight.

As far as photography goes, as I said, 85 millimeters is a great focal length to get a decent amount of compression and, therefore, good subject separation from the background.

Many say the distortion you get at 85 millimeters is the most pleasing to the human face.

The F1.8 aperture on this lens allows it to perform well in low light and get an excellent shallow depth of field; the autofocus on this lens is fantastic.

Even though it’s an almost 30-year-old lens, it keeps up with the dual-pixel autofocus on our series cameras, which I use this lens with.

The color rendition of the colors coming out of this lens is good, especially when you look at the price point of this lens. The colors are nice, vibrant, and excellent.

It’s an 85-millimeter focal length, so you’re usually going to want to be further back from your subject anyway, but it does mean that this lens will not be great for detailed shots.

Often, you’re not going to be able to get in really close to your subject because it’s an 85 millimeter again; it’s not going to be a problem all the time, but it can be frustrating sometimes.

Another thing is that the aperture of F 1.8 is fast but also noticeably slower than, say, f 1.4.

But, again, keep in mind that the price here is so low.

This lens is not great for hand-holding without excellent in-body image stabilization or GIMP.

But you get the same excellent subject separation and video with these in photos; they can help you get some fantastic E-roll shots.

It’s excellent for a talking headshot or an interview shot.

Because of the 85-millimeter focal length and the subject separation, it’s easy to direct your viewer’s attention to precisely what you want them to see in the autofocus performance.

So, typically, this lens will be something you will use for a shot that’s further back-locked off on a gimbal on a tripod.

You will probably go for this lens as your first option for video, but when you use it, you will get some fantastic and exciting shots.

So, who is this lens for?

If you were a photographer, this is a great, just a perfect value lens for what you’re getting.

Again, a short telephoto subject separation anytime you need a focal length.

This is an excellent option if you’re looking for a portrait lens or even if just any photographer who doesn’t have an 85-millimeter lens yet for the video.

This lens is an excellent option for someone wanting a lens to get some fantastic bokeh.

But in a situation where they can stabilize it, either on a tripod or gimbal, maybe a monopod or something like that.

This is a minimalistic lens.

There are no frills; there’s no image stabilization.

Nothing is exciting as far as features.

It gives you pretty image quality and an excellent price for that.

Canon 16-35mm F/4: (Best Canon lens for outdoor event photography)

That is a mouthful lens, one of my favorite lenses. I’ve used it for many different things.

And it’s honestly one of my favorite focal lengths.

This review is that this is a very versatile focal length.

You can use this lens for a lot of different things.

You can use it for events and weddings, and you can use it for landscapes, use it for real estate, and use it for walking around the town.

You can use this lens for many different things, and I think every photographer should have this focal range in their camera bag.

This lens is stabilized, and I love a stabilized lens that comes in handy, especially if you need to shoot at slower shutter speeds to achieve the right exposure.

But it’s also great if you’re shooting video; from my video shooters out there, this lens is excellent for adding an extra layer of stabilization.

If you’re doing gimbal work, or if you’re doing handheld, it takes out many micro jitters of your footage.

I love a stabilized lens and can’t recommend it enough.

If you’re an event or wedding photographer for someone who needs to shoot in low-light situations, or maybe you want that extra bokeh to your image, you may want to reconsider and look for a lens that will have that larger aperture.

But be aware you’ll most likely pay more for that lens if it’s stabilized.

This lens looks excellent at f4, but consider the work you do with your photography and choose the gear with the specs you need to achieve the images you want.

Let’s talk about focus speed.

This lens focuses very fast; I haven’t had any issues with this lens being too slow for anything.

Does it hunt from time to time in low-light situations? Yes, it does.

I have had that again with wedding receptions. It’s happened a few times, but does it happen often?

One thing I like about this lens is its size and compact size.

This can fit in my camera bag and not take up a lot of space, and it’s not too heavy, either.

If you’re doing landscape photography, you must take a lot of gear on these long hikes.

You don’t want that to weigh you too much, so having a lighter lens is handy.

This lens is built well.

I have no complaints at all about the building.

Yes, this is on the cheaper end of the Hill series of Canon Glass, but I don’t think they’ve compromised the build quality.

This lens is still built fantastically.

It is a sturdy, excellent grey list in your camera bag.

Many great things are going through this lens, so if you don’t need 2.8 for your field of photography.

This is a great lens to consider for your camera.

But I want to bring up some of the cons of this lens, and first of all, I want to address this vignetting.

And yes, some is vignetting in this lens if you’re shooting at 16 millimeters or some wide aperture such as f4.

It’s nothing crazy to think that will ruin your image, but you must fix some of this in Photoshop or Lightroom later.

Overall, this is a fantastic quality lens; it’s affordable.

It’s a great intro and L series glass. It gets the job done. This lens performs what it needs to.

Fuji 23mm f1.4: (Best Fuji lens for event photography)

I will share 5 reasons why the Fujifilm 23 millimeter 1.4 is my top Fuji film prime lens for event photography.

So, if I were ever put up to a challenge to shoot a whole event, it would be this one.

I will share 5 reasons why this lens is my top lens for event photography.

So, my first reason is pretty straightforward: the 23-millimeter 1.4 is legitimately and statistically my top-performing lens.

When I compiled all the delivered photos I gave clients last year, the 23 millimeters 1.4 came on top of the provided photos.

The 23 millimeters 1.4 coming out on top of delivered images speaks volumes about how good and how much it has in the professional setting.

So, my following reason is that optics is a solid optical performer.

It has that large 1.4 aperture to give you that little light-gathering capability and shallow depth of field, and it’s pretty sharp, wide open at 1.4.

And I like the 23 millimeters 1.4 over its F2 equivalent because it is very sharp at its minimum focus distance.

The 23-millimeter 1.4 lens is lighter, so the motors push around fewer optical elements.

So, I need 23 as my top lens for event photography because it is the ideal wide-angle lens for portrait photography.

And as I mentioned before, I skew toward the wide-angle field of view.

The 23 strikes the perfect balance between the wide field of view and environmental portraiture without having as extreme distortion as other whitening lenses when I’m doing my portraiture.

So, my last reason, and probably the most important reason, is that I think the 23-millimeter 1.4 is the ultimate storytelling lens on the Fujifilm system.

So the 23 millimeters in crop or the 35-millimeter focal length in its full-frame equivalent is unanimously agreed upon as probably the best focal length for telling stories.

It has the perfect field of view to capture the subject and allow you to pull back and capture an entire scene.

Or let you get in real close and get the intimate exchanges between 2 individuals or 3 individuals.

Basically, as opposed to a telephoto lens, which is good at isolating one person, maybe one person laughing or crying.

The 23-millimeter lens will allow you to show that person crying, as well as the person they’re crying about or with.

Or if they’re laughing like you know the person that’s telling you to joke or the funny story,

It’s great for documentary work, it’s great for candidates, and that’s why it works well for event photography.

If I had to pick one lens to shoot in an entire event, I would use the 23-millimeter 1.4 because I can tell the whole story.

And, like my previous reasons, I can shoot in low light and do portraits with it, and it’s the overall package.

So that wraps up the 5 reasons why the 23-millimeter 1.4 is my top Fujifilm lens for event photography.

If you want to add this lens to your event photography arsenal, I assure you you cannot go wrong with it.

Samyang 8mm f3.5: (Best fisheyes lens for event photography)

The first is the Samyang fisheye lens; 3.5 is awesome if you want to photograph.

Very wide crowds, or DJ stages, or if you have to shoot in a small space, small events.

This will make the event look much more significant than real life, which the clients will always appreciate.

So, that’s something I like about Lens; you can use small spaces or capture a really wide crowd.

The downside of the lens is it’s a fully manual lens.

This means your flash will not work with TTL because the camera doesn’t know what the settings are because you have to adjust your aperture on the lens itself.

I’ll tell you why I like it.

Perfect length, not super expensive, I think around $300.

The downsides include that this has manual focus and manual aperture but a perfect length for the rest.

One thing I forgot to tell you about the fisheye lens, like the default, is the distortion.

So that’s something you must keep in mind, if you will.

If you want to capture small clubs, it’s challenging to capture, and there, this lens comes into the game with the fisheye; it looks huge and awesome.

The problem with the fisheye lenses is that they get wacky distortion on the edges, but it’s cool sometimes to photograph people.

Because you can capture one person has to have a lot of surroundings, that’s cool.

I like the fact that you have a bit of distortion because it makes it a bit more lively and dynamic, I would say.

It’s like you have stuff going on from what is crowd surfing.

So, it would be a good beginner lens; showing some of the environments is fantastic.

Canon 24mm F2.8: (Best budget lens for event photography)

All right, we have come to a minimal length, 24 millimeters, F 2.8, and we bought this lens specifically for body photography.

Also, it’s a bit it’s got hide it in a crowded camera and be like, Oh, snap a picture of somebody who didn’t notice you, so it’s like responding picture is a big camera, and with this lens on it.

It’s much more lightweight, and that is great. So that’s an advantage.

Also, the price is an advantage; it’s quite a cheap, good lens.

It is a perfect focus and sharp level.

If you’re on a tight budget or just starting and don’t know if it will be something for you.

This is a great lens to capture the people at a party. It is f 2.8, so if you want, you can get a bit more separation of the background—so overall grade level.

I use this lens for body or event photography, mainly because I shoot inside, and it’s nice too; without people noticing, you capture them like Canvas.

And that’s easier to do when you can be further away from them.

These types of lenses also give excellent compression of the backgrounds.

So, if you’re shooting at the festival, I was just all for getting a lens like this, but for insights into body photography event photography.

I found that I can do everything I want with this lens.

Three suggested if you’re starting or not sure if you want to continue photography or body photography, it’s an excellent lens to get like this kind of portrait, feeling with the people at an event.

With this lens, you will get lovely ported-looking photos of the people at the event.

So yeah, I suggest this lens; I will probably use it If I go to events.

And I want a light camera because I think the quality is fantastic and it’s an excellent lens, especially for the weight and the price.

Sigma 24-70mm f2.8: (Best zoom lens for event photography)

The Sigma 24-70mm f2.8 zoom lens is our top recommendation for event photography like weddings and birthday parties, where you buy photos from vendors.

This lens is ideal for photographing events.

This f2.8 constant aperture zoom lens performs well even in dark conditions.

It delivers high-quality professional images with a single focal length, unlike others offering more versatility but less prestige.

It also offers creative control, which may be necessary in wedding styles.

The Sigma 24-70mm is fantastic for weddings because it allows you to get close without getting too close with its minimum focusing distance of 25 cm from the subject – great if you want to take portraits on the sly!

With an all-new optical design and HD multi-coating, this 24-70mm F2.8 lens provides superb quality and sharpness from edge to edge.

Even at the widest aperture setting of F2.8, that is necessary for outdoor shooting in dusty or adverse light conditions and indoors when ambient lighting is low.

If that’s not enough, this versatile lens has marked zooming capabilities across three different ranges: wide-angle (24 mm), standard (40 mm), and telephoto (70 mm).

This is lightweight for its size and provides incredible optics that will never disappoint you on framing or clarity.

This lens provides fast, quiet AF and improved compatibility with today’s high-megapixel DSLR sensors.

It has a constant aperture of f/2.8 through its zoom range, so your images will always remain sharp, even in lower light settings.

It has an excellent all-around focal length and can be used as a standard lens on many different types of shots with an f2.8 aperture throughout its range for excellent low-light performance.

It also has a short minimum focus distance, perfect for capturing the moments that pass by during events!

The Sigma 24-70mm F2.8 is the pro’s choice for event photography.

No other lens provides the versatility and performance required for this unique professional art of work.

Sony 16-35mm f2.8: (Best lens for night event photography)

Sony 16-35mm f2.8 lens is the perfect companion for any professional searching for unique, creative, quality shots that tell a story at night events.

This lens covers it all, from beautiful landscapes and live music to sunsets on bodies of water or over mountains!

No one knows what you will find coming around the corner when shooting late at night, but your camera is better ready with Sony’s versatile 16-35mm F2.8 zoom lens firmly in place.

They are capturing details of people and places wherever they are found!

This lens delivers consistent high-sharpness pictures from edge-to-edge across the entire surface of the picture plane without flare or ghosting.

Even when shooting against bright lights, as you would experience at night events!

It’s perfect for low-light photography and high-quality image capture, so you can focus closer to your subject to achieve stunning close-up shots at the wide end of the aperture range.

The best G Master lens is weather-sealed by thick synthetic oil in the dust without smearing or fading.

This high-quality piece of equipment will do the job for night event photography.

This piece can be used with Sony’s imaging sensors, such as the full-frame format.

The lens has an angle of view (107°–63°). It contains two XA lenses to enhance image quality and create a fast f2.8 aperture with expensive materials.

This kind of quality glass can maintain exposure and depth of field while allowing you to control bokeh like never before, even in low-light conditions!

This high-quality lens is packed with innovative technology that provides stunning pictures in any lighting situation!

The large aperture allows you to explore the depth of field opportunities without compromising image quality and helps you achieve a fast shutter speed down to 1/8000 sec.

With 10 elements in 8 groups, you’ll capture uncompromising images and video with clarity sharper than most other lenses today!

Canon EF 70-200mm f/2.8: (Best lens for corporate event photography)

Make your shots exactly what you need… the biggest smiles or the tiniest detail.

For corporate event photography, the Canon EF 70-200mm f/2.8 lens is a must-have for up-close detail and distant action shots.

Especially when you need to get close shots of people speaking on stage, at press conferences, or at any event where the speaker is not in front of just a wall.

This is great when you need a lens to blur the background for portraits and get everyone in an event room into your frame.

It’s been called “the best lens of its kind” and has rave reviews from professional photographers worldwide.

The extenders make this a versatile lens because you can go from macro-portraits up to super-wide shots without getting too much distortion!

It offers a constant maximum aperture and built-in USM, allowing it to perform beautifully in low light conditions while letting you create images with an apparent optical zoom of four times that of the lens’s focal length!

You’ll be able to capture attentive moments like kids on Christmas morning without disturbing anyone – or get better close-ups for any detailed shots needed at your big event.

And since we come outfitted with extra lenses and flashlights for every occasion, we’ll ensure that no moment goes undocumented!

This Lens is the best choice for gorgeous shots at a moment’s notice. Indoors or outdoors, this professional zoom can capture it all.

With a sharpness that inspires confidence and a stunning bokeh in your background, you’ll always have crystal-clear images from every angle to show off pridefully.

Capturing the perfect moments at your company’s following function with this versatile lens will be lifesaving for you and your clients.

Keep everyone happy and get ready to grab attention no matter how dark or well-lit your venue is!

Sigma 150-600mm f5-6.3: (Best lens for outdoor event photography)

150-600mm F5-6.3 DG OS HSM /C is in a league of its own: its wide focal range, long zoom capabilities, and powerful optical performance.

This lens is the perfect companion for people who love to shoot outdoor events on their travels or enjoy weekend concerts at sporting venues.

This professional outdoor photo lens is as durable and long-range as sports photographers need for today’s ever-changing environment of sporting events and quality family portraits.

Incredibly lightweight and compact in construction, it’s only 3 pounds!—makes it easy to keep with you at all times.

The lens offers fast autofocus speeds and flare reduction while giving beautiful images across its entire zoom range.

The f5-6.3 provides a bright viewfinder but won’t cost too much light when shooting without flash at the sports stadium or nature preserve.

Say bye-bye to pesky camera shake thanks to our in-house Optical Stabilizer (OS) – so you’ll never miss those magical memories because of unsteady hands again.

The focal length on this lens allows you to take photos with your subject much closer without sacrificing quality!

The perfect addition to any photographer’s kit!

Plus, with this lens, there are no worries about weather conditions up in the air because we provide dust-proofing on the mount and splash-proofing, so you can do whatever your heart desires!

This long preferred range for photography offers subjects always close enough for clarity.

Thanks to this Hyper Sonic Motor II (HSM) AF system, all these light-gathering capabilities are complemented by fast and accurate NanoCam particles & performance that provide reliable, crisp images in low-light situations where zoomed images would be impossible.

The Sigma 150-600mm f5-6.3 lens is your best friend for capturing outdoor events from a distance, leaving you feeling less like an outsider and more part of the event.

CONCLUSION:

Alright, guys, that concludes all the lenses we will discuss today in this article.

Do you guys have any experience with these lenses? What are your thoughts on them?

Which is your best lens for event photography?

Is there a lens I didn’t mention in this article that you love using for event photography?

Please leave your thoughts and comments below.

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