The best lenses for concert photography in 2025

Best lenses for concert photography - photographers shooting a music gig
(Image credit: Future)

From small gatherings to large festivals, talented singers and bands know how to entertain. Concert photography has its challenges, with lighting often low, making ‘faster’ lenses with wide apertures essential. Aim for lenses with an f/2.8 aperture or faster to maintain reasonable shutter speeds without raising ISO too high. While fast lenses can be bulky and costly, smaller options provide a good balance of speed and portability.

Consider the scale of the event and your proximity to the stage. For small concerts, an 85mm f/1.8 lens is a great choice for full-frame cameras. For crop-sensor cameras, factor in the crop length. If you prefer a zoom lens, an f/2.8 standard zoom offers versatility, allowing you to capture wide shots and close-ups. Many newer compact and affordable options are available. Lastly, try a fisheye lens for a dramatic all-encompassing view. Here are my recommendations for prime, zoom, and fisheye lenses across various camera mounts.

Best Concert lenses for Canon EF

Best concert lenses for Canon RF

Best Concert lenses for Nikon F

Best Concert lenses for Nikon Z

Best Concert lenses for Sony E

Best Concert lenses for Fujifilm XF

Best Concert lenses for Micro Four Thirds

FAQs

Which lens do I need?

In most cases, the best lenses for concert photography are those that you're already familiar with. As constant lighting changes, moving subjects, and limited time (you can only shoot the first three songs!) will mean that you need to be pretty on the ball - and having a lens that you've used countless times will help you with this. 

Top-end zooms will generally be used if your access limits you to shoot from the soundboards, sometimes referred to as the mixing desk, which can be in the center of the crowd or much further back towards the rear of the venue depending on capacity. If you're after a tightly cropped portrait of a musician then you might even need to invest in a telephoto. 

There are options out there for a range of different mounts, manufacturers, budgets, and sensor sizes. You just need to plan ahead for what kind of images you'd like to get, and where you're allowed to go within the venue to get them, to determine which lenses you'll need to pack. 

What are the rules of the photo pit

With all that in mind, there's just a few extra things you might need to know before diving into gig photography. Firstly, as mentioned above, most venues and shows will implement a 'first three, no flash'  policy which means you cannot use any kind of flash whatsoever unless told otherwise, and you can only shoot the first three songs of a setlist for each band or artist.

There are a few different reasons why this rule exists, but it was primarily introduced in the 1980s to stop photographers from capturing artists once they start to melt and get all sweaty under the stage lights. And it's also to stop you from blocking the front row of the crowd all night and getting in the way of security. 

It's also important to be hyper-aware of your surroundings at all times, that includes not blocking other photographers who are in the pit with you, keeping an eye on crowd surfers, and protecting your gear from air-borne alcohol.
Aside from that, have fun!

How we test lenses

The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

Matthew Richards

Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners! 

His expertise with equipment doesn’t end there, though. He is also an encyclopedia  when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related. 

In an earlier life he was a broadcast engineer at the BBC, as well as a former editor of PC Guide.

With contributions from