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 the out events, how you can shoot events.
What best lens for event photography should you be using 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:-
|Image||Best lens for||View on Amazon|
|Tamron 28-75mm F/2.8: (Best lens for event photography Sony)||View on Amazon|
|Tamron 17-28mm F/2.8: (Best Sony lens for indoor event photography)||View on Amazon|
|Nikon 85mm F/1.8: (Best lens for event photography Nikon)||View on Amazon|
|Nikon 50mm f/1.8: (Best lens for indoor event photography Nikon)||View on Amazon|
|Nikon 35mm 1.8: (Best prime lens for event photography)||View on Amazon|
|Sigma 85mm 1.4: (Best lens for indoor event photography)||View on Amazon|
|Canon 70-200mm f/2.8: (Best lens for sports photography Canon)||View on Amazon|
|Canon 85mm 1.8: (Best cheap lens for event photography Canon)||View on Amazon|
|Canon 16-35mm F/4: (Best Canon lens for outdoor event photography)||View on Amazon|
|Fuji 23mm f1.4: (Best Fuji lens for event photography)||View on Amazon|
|Samyang 8mm f3.5: (Best fisheyes lens for event photography)||View on Amazon|
|Canon 24mm F2.8: (Best budget lens for event photography)||View on Amazon|
|Sigma 24-70mm f2.8: (Best zoom lens for event photography)||View on Amazon|
|Sony 16-35mm f2.8: (Best lens for night event photography)||View on Amazon|
|Canon EF 70-200mm f/2.8: (Best lens for corporate event photography)||View on Amazon|
|Sigma 150-600mm f5-6.3: (Best lens for outdoor event photography)||View on Amazon|
This is like 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 mostly plastic; it is suitable for hard plastic.
And I found it was just tremendous and lightweight to walk around with just one lens.
You can zoom in tight to 75 to get details in architecture.
And if you’re far enough back at 28, you can pretty much 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, super happy with the lens.
So, great for travel, but where I mainly use this lens is 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 open 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 do 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’s going to listen to any kind of pull focus or any 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.
If you need something a little bit wider or like the stuff at 20 millimeters or 18 millimeters, this is not the lens for you.
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 a low light or kind of a challenging situation, you have manual focus available to you.
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, watches without having a macro lens or getting some extension to down.
You can take pretty good macro pictures and then crop 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 now, so I thought I’d share for those of you thinking about getting this lens.
If it’s in your budget, it is a winner.
I was dying to shoot this lens like I’ve been just going crazy since I saw it released, and I finally got in my hand.
I want to talk about where it kind of stacks up in the Tamron line because they already haven’t previously released 28-75, which is 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 a whole lot more you can really ask for except for maybe a little more wide-angle, and Tamron answered that with the 17 to 28.
So they all mesh up 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, plus it is a fair amount smaller and a fair amount light.
I really want to start with the 17 because that this thing focuses extremely close.
Especially I was reading says it’s seven and a half inches, and I feel like it’s closer than that because I’m able to get right up on objects, and it’s grabbing perfect focus.
And not only that, it’s extremely sharp and the contrast and colors are absolutely beautiful.
So the next point I really want to talk about with this lens is that its autofocus is like a champ.
I absolutely love it so far, and I have no complaints with the autofocus.
I feel like Tamaron really put some time and effort into picking an autofocus drive system that really matched up with a wonderfully build lens.
They put in their RST style stepping motor, and it’s absolutely insane.
It’s quick; it’s fast; it’s accurate; it’s everything you really 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 it’s extremely fast.
I have to say the autofocus performance on the lens did really well.
But as far as in my single point, video shooting it did phenomenally. And as far as the lens goes for video shooting, the contrast is great.
There’s little to no chromatic aberration, which I was really expecting, and all in all, it performed really well. I like having an ultra-wide ability.
I really like it for video.
So this next thing, I want to get a little technical and talk about the internals of the lens and what makes it so sharp and just 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 kind of zoom lens.
Outside of that, it has your LD glass, which is your low dispersion.
And it has x LD elements that are extra-low dispersion helping with chromatic aberration, and it does that extremely 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.
I gotta say it was a blast to shoot the bokeh is creamy, it’s super sharp, and the close focus really blew me away; it looks awesome.
And it just adds a lot of versatility to the lens.
Not only that, but once you pair it up with the 28 to 75, it really just completes that whole system that they have going on.
So I really like what Tamron is doing for that Sony setup.
This is a sweet Decore lens; it is actually 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 that 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 that I to do video and doing still photography.
So that was really cool.
The autofocusing was pretty smooth on this, and it worked pretty fast.
My only issues with this lens are a little bit of the lack of flexibility.
This is great for when you want to do headshots, but if you’re not doing portraiture, there are some limitations to this lens.
The fact that the minimum focusing distance is about point e8 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 you’re standing.
A few feet away, like maybe closer to two and a half, three meters away that you can get the shot, but if you need to be a bird away. This is not the lens for you.
So in tight spots, this will not be very practical for you to give you better service with something like the 35 millimeter Nikon F 1.8 for the 50-millimeter f 1.4, or 1.8, as well.
The advantages of this lens are that you could do really well in terms of portraits due to a lack of lens distortion and a lack of compression.
So this actually takes something 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 actually have the room you’re in a long cord, or you’re in a larger room, even that you’re outdoors, you have plenty of space.
This lens is perfect for that situation.
This can be really 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 you’re 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 this is great for photography.
So, I would highly recommend that you get that flexibility and space in the issue.
If you want to get the best portrait shot you can on a budget in terms of a lens that will be under 600 $700, I would highly recommend this.
So, is it worth it? Ah, yeah, I think that I’m going to be investing in the 85-millimeter prime.
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 just a slight emphasis on your subject for getting out-of-focus backgrounds.
If you’re shooting with an APS C or dx sensor camera, then it’s the full-frame equivalent of a 75-millimeter lens with a depth of field that will look a lot deeper and useful for portrait photography.
And many owners of Nikon’s APS c cameras 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 actually feels quite 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 useful 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 pretty quickly, quietly, and accurately.
The lens displays some pretty notable focus breathing, with your image zooming in a bit 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 sizes 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 a sharp as you’re going to get on the full-frame level that full-frame image quality is good enough for the lens’s price, but nothing to really 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, it’s excellent quality.
It’s a fairly impressive performance because normally, an inexpensive 50-millimeter lens on APS C will struggle a bit more than that; it’s certainly a bit 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 a nice build quality and decent enough colors and contrasts with fairly 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 definitely a little better than average.
So, Nikon is going to be well-loved by everyone who buys it; I certainly liked it. So it definitely comes recommended.
So if you only had the money for one lens. Do you think that Nikon 35 1.8 g AF s Nikkor lens is worth it?
I’ve had this lens for around, almost 2 years now.
You should use this lens if you had no money, and you only had to pick one lens.
Portable price, many people think when it comes to Nikon lenses, you have to spend like and us to get some kind of bokeh effect.
But this overall is one of the fastest bangs for your buck is a 35-millimeter prime lens.
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 really 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, having much quieter autofocus than the kit lens.
I would say my overall use of this lens now for my professional clients.
Now is the cons of it is 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 the hand holding this lens and micro jitters, you will definitely notice, not so much if you are like a photographer and you’re shooting with the D 5000 6000 3000 series.
But if you definitely plan on using videos, that might be an issue, and when for me when I first started, that actually, but I had to use a lot of warp stabilizer, 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 make sure you don’t go to infinity, can constantly just keep turning the focus length, the focus ring.
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.
Like, if you’re a budget filmmaker aspiring filmmaker, I still recommend this lens as something you should keep in your arsenal.
This lens is mostly for portrait photography, so I will mostly talk from the portrait photography perspective.
This lens is a beast, and I truly mean it when I say this lens is a beast.
This lens literally 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 does not have any problem focusing when you’re focusing, even in low-light situations.
The only problem is that’s not actually the problem with the lens, but when you’re shooting at 85 mm f 1.4, the amount of depth of failure you’re dealing with is very less.
So what I do is I take photos in continuous mode, just to be on the safer side.
The focusing can be an issue just 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 that is sharpness, talking about sharpness.
This lens is extremely 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.
Obviously, when you switch to 1.8 2.8, the results become stash sharper, but the difference is very less the subject, that is in focus, obviously is sharp, but that background is the bookish blurry and creamy background.
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 you’re buying a lens of 85 mm f 1.4, obviously, you’re going to 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.
If you’re going to get this lens for event photography, wedding photography, portrait, or even street photography, you don’t have to worry about low light.
As you go to 1.4, the amount of light coming in, compared to 2.8, is huge.
So when you’re 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 so many elements come together to create these results.
So obviously, you have to sacrifice.
But if you’re comfortable with the weight, the lens produces amazing results.
You should ask yourself, do you really need that extra sharpness? Do you really need that extra 1.4 for that depth of field? If you have the budget and if you really need it, then this lens is a beast.
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.
And 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 had 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, just reeks of quality.
The focus in aperture rings is really smooth. The buttons are really they snap really nicely, just extremely well built, and it’s just solid.
It’s pretty heavy weighs 3.28 pounds; you’re going to get a workout if you have to do shoot sports and wedding with one of these things.
There are 23 elements in 19 groups on the inside, and it has eight rounded aperture blades.
This thing is awesome. It’s easily a 10 out of 10 for built quality.
This is fantastic for sport shooters, great for chasing sports actions; really, there isn’t an application that this lens couldn’t do. It’s really one of the very best performances I’ve ever used.
And as far as focus speed and accuracy go, I get this another perfect 10 out of 10.
Up next is optical quality and the quality of the results.
It’s one thing for me to tell you just how great these lenses, it’s another thing for me actually 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 just don’t feel like it’s twice as good.
It’s a 10 out of 10; it simply doesn’t get any better. It’s pro-grade; it’s extremely well put together.
It’s perfect, focus speed and accuracy. It’s blisteringly quick and deadly accurate.
It’s great for sports, it too is a 10 out of 10 optical quality, and the quality of the results sort of go hand in hand.
This lens is great for portraits; it’s great for weddings, great for sports, and amazing. It’s a 10 out of 10 for both optical quality and the quality of the result value.
It gets our highly recommended rating.
The final word, if you want to play like a pro, you have to 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 really subjective, but from my perspective, I have to say the answer is, Yes, it is.
So, typically with 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 is going to be a little more compressed sufficiently to stand out from that.
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.
Towards the poor quality of this lens is plastic, but it hasn’t been amount, 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 really exactly what it needs and nothing else, it’s very minimalistic you have the housing.
Basically, it fits exactly the lens elements.
You have an autofocus manual focus switch, a decent-sized manual focus ring, a built-in distance meter size, and 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 people actually say that the distortion that you get at 85 millimeters is the most pleasing to the human face.
The F 1.8 aperture on this lens allows it to perform well in low light and get a nice shallow depth of field, the autofocus on this lens is actually excellent.
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.
And the color rendition of the colors coming out of this lens are really good, especially when you look at the price point of this lens colors are nice and vibrant and great.
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 is F 1.8 is definitely fast, but it’s 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 having some excellent in-body image stabilization or GIMP or something.
But you do get the same great subject separation and video that you get with these in photos; they can actually help you get some really cool, E-roll shots.
It’s great for a talking headshot or an interview shot.
Because of the 85-millimeter focal length, the subject separation, it’s really easy to direct your viewer’s attention to exactly what you want them to see in the autofocus performance.
So, typically, this lens will be something that you’re going to use for a shot that’s further back locked off on a gimbal on a tripod.
Not really probably going to go for this lens as your first option for video usually, but when you do use it, you will be able to get some really cool and interesting shots.
So, who is this lens for? I think 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 little bit of a telephoto focal length.
This is a great option, definitely if you’re looking for a portrait lens, or even just any photographer doesn’t have an 85-millimeter lens yet for the video.
I would say this lens is a cool option for someone who specifically wants a lens to get some really cool bokeh.
But in a situation where they’re able to have it stabilized, either on a tripod or gimbal, maybe a monopod something like that.
This is kind of a minimalistic lens. There are no frills; there’s no image stabilization. Nothing is exciting as far as features.
It just gives you pretty image quality and at an excellent price for that.
That is a mouthful lens, and this is one of my favorite lenses that I’ve used 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, weddings, 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 really 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’re most likely going to pay more money for that lens, especially if it’s stabilized.
This lens looks great at f4 but consider the line of 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 really like about this lens is how small and compact. 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 need to take a lot of gear on these long hikes.
You don’t want that to be weighing you down too much, so having a lighter lens comes in handy a lot.
This lens is built really 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 at all. This lens is still built fantastically.
It is a really sturdy, excellent grey list to have 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’s going to ruin your image, but you will have to fix some of this in Photoshop or Lightroom later.
Overall, this is an amazing 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.
I’m going to share with you guys 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’m going to share with you guys 5 reasons why this lens is my top lens for event photography.
So, my first reason is pretty straightforward, and it’s that the 23 millimeter 1.4 is legitimately and statistically my top-performing lens.
When I compiled all the delivered photos I gave to clients last year, the 23 millimeters 1.4 came on top as delivered photos.
The 23 millimeters 1.4 coming out on top of delivered images speak volumes about how good and how much it delivers in the professional setting.
So, my next reason is that optics is a solid optical performer all around.
It has that large 1.4 aperture to give you that little light gathering capability, as well as shallow depth of field, and it’s pretty sharp wide open at 1.4.
And one reason why I like the 23 millimeters 1.4 over its F2 equivalent is that it is very sharp at its minimum focus distance.
The 23 millimeter 1.4 is overall a lighter lens, so fewer optical elements are being pushed around by the motors.
So my next reason why I need 23 as my top lens for event photography is that it is the ideal wide-angle lens for portrait photography.
And as I mentioned before, I skew toward the wide-angle field of view.
When I’m doing my portraiture, the 23 really strikes the perfect balance between the wide field of view and environmental portraiture, with not having as extreme distortion as other whitening lenses.
So my last reason and probably the most important reason is that I personally think that 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 kind of 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 that’s laughing or crying.
The 23-millimeter lens is going to be able to allow you to show that person crying, as well as the person that they’re crying about or with or anything like that.
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 really well for event photography.
It’s the reason why that if I had to pick one lens to shoot in an entire event, I would use the 23 millimeters 1.4 because I can tell the entire story.
And like my previous reasons, I can shoot in low light, I can do portraits with it, and it’s just really the entire overall package.
So that kind of wraps up the 5 reasons why the 23 millimeter 1.4 is my top Fujifilm lens for event photography.
If you’re looking to add this lens to your event photography arsenal, I assure you, you cannot go wrong with it.
And the first one is the Samyang fisheye lens; 3.5 is pretty 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 bigger than real life, which the clients will always appreciate.
So, that’s something I really 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.
So what this means is your flash will not work with TTL because the camera doesn’t know what the settings are because you have even 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 about the fisheye lens, like the default, is the distortion.
So that’s something that you have to keep in mind if you will.
If you want to capture small clubs, it’s difficult to capture, and there this lens comes into the game with the fisheye; it looks huge, it’s 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 like one person has to have a lot of surroundings, that’s cool.
I actually 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; it’s awesome to show some of the environments.
All right, now we come to a minimal length, 24 millimeters, F 2.8, and actually bought this lens specifically for body photography.
Also, it’s a bit it’s got really 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 lens, a good thing. It is a perfect focusing 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 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 photography or event photography, mainly because I shoot inside, and it’s really nice too; without people noticing, you capture them like Canvas at the moment.
And that’s easier to do when you can be further away from them.
Now also these types of lenses really give a nice compression of the backgrounds.
So, if you’re shooting at the festival, the stuff that I was just all for getting a lens like this, but for insights 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 awesome lens to get like this kind of portraits, feeling with the people at an event.
With this lens, you will get really nice ported-looking photos of the people at the event.
So yeah, I really, really suggest this lens; I will probably use it If I go to events.
And I want to have a light camera, because I think the quality is awesome and it’s an awesome lens, especially for the weight and the price.
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 that offer more versatility but with less prestige.
It also offers creative control, which, in the world of wedding styles, may be necessary.
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 just 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, 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 are ensured to 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’s an excellent all-around focal length and can be used as a standard lens on many different types of the shoot with an f2.8 aperture throughout its whole range for excellent low light performance.
It also has a short minimum focus distance, perfect for capturing the little 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 lens is the perfect companion for any professional on the hunt 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 affixed 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 that 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 is a high-quality piece of equipment that will get the job done for night event photography.
This piece can be used with Sony’s different 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.
With this kind of quality glass, it 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 on the market today!
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 alike.
Especially when you need to get close shots of people speaking on stage, press conferences, or any event where the speaker is not in front of just a wall.
This is great when you need a lens that can 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 make sure 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 with pride.
Capturing the perfect moments at your company’s following function with this versatile lens will prove to be lifesaving for you and your clients alike.
Keep everyone happy and get ready to grab attention no matter how dark or well-lit your venue is!
150-600mm F5-6.3 DG OS HSM /C is in a league of its own: with its wide focal range, long zoom capabilities, and powerful optical performance.
This lens is the perfect companion for people that love to shoot outdoor events on their travels or enjoy weekend concerts at sporting venues.
This is a professional outdoor photo lens that’s 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 you with 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 as well as 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 that leaves you feeling less like an outsider and more a part of the event itself.
Best lens for indoor photography without flash?
One of the best lenses for indoor photography without flash is the 50mm f/1.8 lens, which also happens to be one of the cheapest lenses on the market. It’s great because it has a wider aperture that allows you to get more light into your camera so you can shoot at lower ISO settings. The faster shutter speed means fewer blurry images too!
What is the best lens for event photography?
There are many different types of lenses that event photographers use. Some popular ones are a 24-70mm f/2.8 or a 70-200mm f/2.8 lens. However, there is no “best” lens, and it depends on what type of photography you do and what your needs are for the event shoot.
Good lens for event photography?
Generally speaking, though, if your events happen indoors or in small spaces, then I would recommend a wide-angle lens like the Canon EF 16-35mm f/2.8L II USM Lens to capture as much of your surroundings as possible while still keeping close to your subject(s).
What is the best lens for outdoor event photography?
The Canon 70-200mm f/4 lens is an excellent zoom for outdoor event photography. It has a very nice focal length, the perfect aperture setting for outdoor events, and it’s sharp enough to capture everything in focus. I have been using this lens for many years without any problems. The only thing that you might find to be an issue with this lens is that it doesn’t have image stabilization which can cause some blurry shots if you are shooting handheld at slower shutter speeds.
What is the best lens for indoor sports photography?
The Canon 70-200mm, f/2.8 L series, is one of the best lenses available for capturing sporting events indoors or outdoors with its versatility and excellent image quality. It’s perfect for getting close shots of players on the field or court without having to get too close and risking camera shake from handholding at full.
What is the best camera for event photography?
The Canon 5D Mark III has become one of my favorite cameras because it is lightweight but high quality in both images capturing and video recording. However, if these two qualities aren’t as essential for you, try out models such as Nikon’s D3400 or Sony’s A6500- they are cheaper options that still have incredible features!
Alright, guys, so that concludes all the lenses we will talk about 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 that I didn’t mention in this article that you love to use for event photography?
Please leave your thoughts and comments below.