Quote:
Originally Posted by dcstep
I'm worried about the non-IS on your 70-200mm, particularly since you do concerts. You can use them very well for audience perspective shots of the bands. The IS is good for 2 f-stops. Also, even outdoors, when you get to the long end of that zoom, you'll really appreciate the IS. This is a slightly different league, but my 400 f/5.6 L non-IS was only available without IS, but I almost bought a 100-400 zoom instead to get the IS. Even on a monopod, it's hard to keep the center focus-dot centered on the subject.
Having said that, I'd go for the 70-200 f3 L IS with the 50mm 1.4. If the 1.4 is not an L, then I'm worried because it seems like it may end up being your money-lens on stage. If that's true, I take it all back and say you should get the 1.2L before anything else and save to by the 70-200 f4L IS later.
BTW, stage lighting is usually plenty for an f4 in a reasonably fast camera. The trouble is you'll have to make big color balance changes in processing.
Dave
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thats a really good point about the long end of the 70-200mm. I rarely use a tripod and don't even own a monopod. I like using long glass at baseball games and would probably use the lens in the 70-100mm range more for candid portraits from like 15 ft away.
Also, bigger show stage lighting is usually f4 capable but a lot of times I'm shooting in smaller clubs with not as good of lighting so 2.8 is where I'm at most of the time if not lower