Most people assume that shooting massive music festivals means you need a massive zoom lens — or three. And yeah, zooms have their place. But after years of shooting in photo pits and backstage... I still mostly rely on just three prime lenses: 14mm, 35mm, and 85mm — all from the Sigma Art series.
Are they light? Absolutely not. Sigma primes are tanks. But the image quality, light performance, and control they give me are worth every extra gram strapped to my shoulders during a 10-hour day.
Here's why I keep going back to them, and why they might just change how you shoot live music forever:
1. Sharpness That Doesn’t Quit
Prime lenses are built for one thing — and they do it really well. The image quality and sharpness I get from my Sigma Art primes is unbeatable. When you’re shooting in wild lighting, weird angles, and fast movement, that sharpness helps the subject pop.
Zooms are convenient. But primes? They’re clean, crisp, and give me the level of detail that still looks incredible when printed huge or cropped in. I can zoom in on someone’s tattoo, sweat drop, or guitar cable mid-jump — and it’s still tack sharp.
If you’re trying to build a professional concert photography portfolio, lens sharpness makes a huge difference.
2. Better Low-Light Performance
Festivals don’t care about your histogram. Lighting can go from harsh strobes to total darkness in seconds. Prime lenses, especially the ones I use (all f/1.4 or f/1.8), are lifesavers in those moments.
I can shoot with a faster shutter speed, keep ISO lower, and still get well-lit shots even when the stage goes moody or red-only. My 85mm f/1.4 is basically night vision in the right hands.
This is a huge advantage for concert photographers working in venues with unpredictable or difficult lighting setups.
3. Forces Me to Move — and That’s Good
Prime lenses don’t zoom. So I zoom with my feet. At festivals, that means I’m constantly moving, finding angles, repositioning between songs. It makes me more intentional.
Instead of standing in one spot and snapping everything, I’m looking for emotion, light, symmetry — the stuff that makes a photo feel alive. I feel more connected to the moment when I have to chase it.
Moving more also means I see different compositions and catch moments that others might miss.
4. Two Bodies = Double Vision
I always shoot with two camera bodies. One gets the wide-angle shots, full stage, crowd — usually the 14mm or 35mm. The other gets intimacy: close-ups, reactions, backlight flares — usually 85mm.
This way, I don't have to swap lenses during a set, which is huge in tight or fast-paced pit situations. And I can shoot a band from two perspectives in under five seconds.
This setup helps me deliver variety without compromising speed.
5. That Prime Look Is Just… Different
There’s a feel to prime shots. The bokeh. The falloff. The intimacy. Even at huge festivals, that look stands out.
I want my photos to feel cinematic, not like generic live coverage. Prime lenses help with that — especially in high-contrast or backlit situations.
And yes, it’s subtle. But it’s what makes people stop scrolling.
6. Yes, I Still Use a Zoom Sometimes
After three years of shooting only with primes, I recently added the Sigma 28–105mm back into my kit. It’s practical, and honestly sometimes necessary — especially when I can’t get close.
But when I have a choice, and especially when the access is good, I’ll always go back to primes.
Even for massive main stages, if I have room to run or shift position, I don’t miss the zoom.
7. Weight vs. Results? I’ll Take the Results
Let’s be real — Sigma Art lenses are not lightweight. They’re heavy, dense, and feel like bricks in your bag. But if carrying a few extra kilos gives me standout shots I’m proud to deliver to bands, I’ll carry it.
I’d rather be sore from gear than regret missing the shot :)
Final Thoughts
You don’t need all the gear to shoot festivals. You just need the right gear that fits your style.
For me, that means trusting a few prime lenses, getting creative with access, and focusing on emotion.
Want to see how I edit those shots after the show? Check out the presets I use on tour — made exactly for this kind of work.
And if you're thinking about switching to primes — try it. You might move more, but your work will move people more too.