[manishved]

Sigma 18-35 f1.8 - whenever its available - and you have front row seats!

[Kerrowdown]

Lots of good advice going on here, I do a bit this work from time to time, me I use fast primes and manually focus or pre focus, it saves on the number of critically sharp mic stand shots I have.

[john5100]

I quit doing most "concerts" because when I picked up my press pass silk, I was having to sign what I saw as Looney Tune restrictions. "Furthur" aka Grateful Dead 2.0 was the last straw for me.

This is so true! I've shot a few shows where I had to send the photos to the artist for approval. What's up with that? I have shot many others where I am there to review the show (as well as photograph) but I have the leave the venue and put my camera in the car after the 3 songs. For large shows this could be all the way across the parking lot. When that happens I just keep walking and I don't review it. It's really fun when my name is somehow left off of the guest list. When I try to clarify with the tour manager, the bouncer acts like he's part of the Presidents Secret Service and gets all tough.

[Woolcott]

This is so true! I've shot a few shows where I had to send the photos to the artist for approval. What's up with that? I have shot many others where I am there to review the show (as well as photograph) but I have the leave the venue and put my camera in the car after the 3 songs. For large shows this could be all the way across the parking lot. When that happens I just keep walking and I don't review it. It's really fun when my name is somehow left off of the guest list. When I try to clarify with the tour manager, the bouncer acts like he's part of the Presidents Secret Service and gets all tough.

Thankfully I've never had to contend with anything quite like that - all thing gigs I've ever done (which have, granted, been relatively small scale affairs) the bands have seemed grateful to have someone there to take photos, or just like as many people as possible looking at them.

I guess once you don't need the initial exposure in the same way anymore it's all about protecting the brand though. Kind of a shame to have to resort to such uptight rules!

[john5100]

Don't get me wrong. Most aren't like that but some are.

[Sandy Hancock]

How much does it cost to repair or fix the motor on the 50-135 I wonder.....if it were to go out.

It costs nothing to convert it to use the inbuilt screw drive mechanism. That is certainly what I will do if the motor fails. Check out THIS THREAD for more information.

[mattb123]

I shoot only in small venues, no stadium shows so keep that in mind. We don't even have a stadium within 200 Miles of here.
My standard music setup where I can move around is a Tamron 28-75/2.8 and Rokinon 8/3.5 FE or DA 15. I can get on stage as needed so bigger lenses aren't necessary. I also recently added the DA 50/1.8 and that's been handy too. My DA 40/2.8 Ltd comes in handy from time to time as well.
When it's a theater performance where I have to stay in my seat I'll bring my $40 Sears 135/2.8 Macro and it does pretty well too.

[Sandy Hancock]

I'm with Matt for small venues. Last night was a local hip-hop outfit with three MC's bouncing around the front of the stage within a few metres of me.
90% of shots were with the DA*16-50. The Fisheye and tele zoom barely got a look in.

[MadMathMind]

This is so true! I've shot a few shows where I had to send the photos to the artist for approval. What's up with that?

How can they enforce that? Some random guy takes photos and then leaves...how does the artist expect to track him down if he doesn't send the photos as promised?

[john5100]

MADMATHMIND - Most of us get photo passes and then we publish our work. I know Sandy does that too. If the promoter sees the artist image without going through the proper process, they can sue. I don't want to entertain that mess. For the fans this isn't an issue. On many of the big shows, the promoter marches us out to the soundboard or the photo pit and then they march us back again. That kind of shoot sucks.

Yeah agreed. For small venues and photo pits I use my DA 12-24mm, DA 35mm F2.4, and/or my DA*16-50mm. I'd like to know more about the DA 50mm F1.8 because my FA 50mm F1.4 crapped out.

Just did Amos Lee at a medium sized theater with the DA* 50-135mm. Still getting used to my K3 coming from a KX.


Looks grainy but it's actually a lot of smoke

[mattb123]

The 50/1.8 is plastic and feels a little cheap but the results are great and it was inexpensive. Worth it for sure.

[john5100]

That looks great Matt! Might have to get it.

[mattb123]

Thanks! I had a A 50/1.7 that I used for music a couple of times but it was too slow/hard to focus, especially at wide apertures. When I saw this 50/1.8 used here on the forum for only slightly more than the A lens, I had to jump on it. Then I gave the A to my son. Win-win!

How can they enforce that? Some random guy takes photos and then leaves...how does the artist expect to track him down if he doesn't send the photos as promised?

You don't get in with your gear until you sign the agreement. If the "random guy" gets by security with any sort of capable camera, he gets the risk of security grabbing him while he's shooting. Another poster was right, you get escorted in, watched the whole time and cameras get put away after 3 songs and you leave. There are some bands who demand approval of any pictures shown and some bands demand the copyright to all your stuff. You can see LOTS of actual photo release contracts from various "Artists' here https://www.facebook.com/MusicPhotographers

Pretty good Rolling Stone article about copyright demands.

[john5100]

When i did Toby Keith they were very strict. For Smashing Pumpkins i had free reign.