I wrote "shooting with the lens hood on backwards" but seems the people replying read it as "never have the lens hood on backwards ever" which is not the same thing.
Storing and walking around? Fine?
Shooting for 10-20 minutes or more with it on backwards? Not a fan.
People shooting with the lens hood on backwards. Take it off or put it on facing the correct way!
Show us your shots!
I'm partial to my f4 24-120mm because it's what I learned on and it has decent range while still being smaller and lighter than my f2.8 24-70mm and 70-200mm lenses.
Mostly shoot concerts so it's my go to when I don't know how close I'll be able to get to the stage or move around too much. It's only when the lighting is super dark that I miss being able to open up past f4.
Base model M1 MBA with 8GB RAM and 256GB SSD? Been looking at that as a potential replacement for my 2013 13" MBP (work computer) to tide me over until the prices of the older MBPs drop so I can upgrade from my 2019 16" MBP.
I was reminded of this (shouty) video by Spectre Sound Studios about what not to do when photographing bands with several hilarious examples.
What are you taking photos of while out riding? What about your phone is limiting?
I don't do much more than some quick snapshots of things I find interesting (for Stories and maybe a hard post somewhere down the line) so my phone is good enough for that.
I do take my DSLR places on my bike to take photos but rarely keep it assembled and ready to shoot something right away.
Thanks for the information! Most of what I know about concert photography is from Todd Owyoung's site and talking with other photographers at venues. Shot for about a year on my f4 24-120mm kit lens that came with my D750 until I could scrape together enough for a Tamron f2.8 70-200mm since it was way less than the Nikon one.
Shot a 3-day festival with multiple stages using just my 70-200mm in the middle of summer and did okay. At least with a daytime outdoor stage, having a wide aperture won't matter as much as it will with an indoor or nighttime performance in my experience.
Not knowing the aperture of either lens nor any details except it's a 3-day festival, I'd go with the 55-200mm since even in the pit you probably won't be close enough to the performers to make the 18-55mm useable.
Is this all outdoor stages from day to night?
Based on my experience shooting live music in "easy mode" for the first few months I had my DSLR, including some festivals, you could get some decent shots but the camera will tend towards slower shutter speeds, resulting in less sharp images if the subjects are moving fast on stage. Trying to keep the camera as steady as possible helps but there's only so much you can do handheld.
Get some earplugs since it's a 3-day festival. Wear comfortable shoes. Take breaks and stay hydrated.
I would advise getting backup batteries and memory cards also but that depends on how much you think you'll be shooting and whether you decide to shoot JPEG or RAW. I've been okay with two 64GB SD cards lasting me through a 8-10 hour day of shooting RAWs.
Be aware of your surroundings and keep in mind that when you're in the pit, there are hundreds/thousands of people behind you that paid to be there so don't block their view any longer than necessary.
I like how OP crossed out "a photographer" since I still don't like using the word after 7+ years of shooting. It strikes me as people who call themselves "entrepreneur" or "artist" or "content creator" or worst yet "guru" in their bio.
Self-taught. Never bought a preset. Still have no clear idea what I'm doing. I've been trying to do less though.
At the very least, it sounds like Amy Shore herself doesn't seem to think she knows what she's doing either?
A 50mm will be better for mostly single person shots. The f4 24-105 would probably be more versatile.
You'll need something wider for groups and have to stop it down to get everyone in focus so good lighting and/or high ISO will be key.
Not bad for your first time. It should get more comfortable as you build up your experience through repetition. By watching how the players move should help you anticipate what they'll do in certain situations and know where to be and when to shoot.
Low-light action photography isn't easy but it can be pretty rewarding when you get some good shots.
If you're going to be shooting an entire game, don't stress over someone getting in the way (unless they're a ref) because another chance will come along soon enough.