Additional Shots to Consider

Benefits of 1st-Party Sony Lenses:

1. Better performance: Since Sony designs the lenses, they usually bring better performance, such as increased frames per second, full compatibility and usually better autofocus, being faster and more accurate in most cases.
2. Build quality: I’m not saying that the other lenses are poorly made, but the Sony lenses have a premium feel, including weather sealing and mostly being very resistant to the conditions they’re put into.

The Best Sony Lenses for Full-Frame Cameras in Concert Photography:

I always try to carry a minimum of 2 lenses for a concert, one covering a wider angle and one covering a tighter angle. For some shows I’ll carry 3, that cover almost the whole range, allowing me to take from full stage shots to face closeups or shots from a very long distance such as from a balcony or front of the house.

Best Sony Zoom Lenses for Full Frame Cameras:

1. Sony FE 16-35mm f/2.8 GM: This lens is perfect for capturing the whole stage and crowd photos on the wider range, and the 35mm allows for a lot of flexibility when needed.
   • Pros: Wide-angle versatility, fast f/2.8 aperture for low-light performance, excellent sharpness and contrast
   • Cons: Expensive, some distortion at the widest focal lengths (easy to fix in Lightroom)
2. Sony FE 24-70mm f/2.8 GM: If I had to take only one camera, this would be it. It does cover some wide-angle capabilities and a good zoom range.
   • Pros: Versatile focal range, constant f/2.8 aperture, fast and accurate autofocus
   • Cons: Heavy and bulky, expensive
3. Sony FE 70-200mm f/2.8 GM OSS: Almost everyone can recognize this lens from a distance due to its white tone. The range is incredible and at 2.8 at 200mm, you can get great close-ups with background separation. And combined the camera stabilization with the lens, it’s perfect for handheld shots.
   • Pros: Excellent reach for distant subjects, fast f/2.8 aperture, built-in optical image stabilization
   • Cons: Heavy and bulky, expensive

Best Sony Prime Lenses for Full Frame Cameras:

Although I prefer using zoom lenses during concerts due to their versatility, sometimes I carry some primes, as they offer two big advantages: size and maximum aperture. They’re usually lighter and allow even more light to get inside the sensor, making it even better for the low-light conditions of most concerts.

1. Sony FE 50mm f/1.2 GM or f/1.4 ZA: Those are must-have lenses, and their aperture are great, enabling very creamy bokeh and low light. I’m giving here two options, as the 1.2 is quite expensive and the 1.4 ZA is considerably more accessible without much compromise.
   • Pros: Excellent low-light performance, beautiful bokeh, sharp and contrasty images
   • Cons: Expensive (especially the f/1.2 version)
2. Sony FE 14mm f/1.8 GM:
   • Pros: Ultra-wide perspective, fast f/1.8 aperture, excellent sharpness and minimal distortion
   • Cons: Expensive
3. Sony FE 135mm f/1.8 GM:
   • Pros: Excellent reach for tight portraits, fast f/1.8 aperture, exceptional sharpness and bokeh
   • Cons: Expensive

The Best Sony Lenses for APS-C Cameras in Concert Photography:

More recently, I’ve been shooting exclusively Full Frame, but I still believe the APS-C cameras are a great alternative for concert photography. They’re lighter, smaller and cheaper, with some compromises during low light compared with a full-frame camera.

The Best Sony Zoom Lenses for APS-C Cameras

1. Sony E 10-18mm f/4 OSS:
   • Pros: Ultra-wide perspective, built-in optical image stabilization, compact and lightweight
   • Cons: Slower f/4 aperture, some distortion at the widest focal lengths
2. Sony E 16-55mm f/2.8 G:
   • Pros: Versatile focal range, fast f/2.8 aperture, excellent sharpness and contrast
   • Cons: Expensive, no built-in optical image stabilization
3. Sony E 70-350mm f/4.5-6.3 G OSS:
   • Pros: Excellent reach for distant subjects, built-in optical image stabilization, compact and lightweight
   • Cons: Slower variable aperture, not as sharp as more expensive telephoto lenses

The Best Sony Prime Lenses for APS-C Cameras

1. Sony E 35mm f/1.8 OSS:
   • Pros: Versatile focal length (52.5mm full-frame equivalent), fast f/1.8 aperture, built-in optical image stabilization
   • Cons: Not as sharp as more expensive prime lenses, some chromatic aberration
2. Sony E 20mm f/2.8:
   • Pros: Wide-angle perspective (30mm full-frame equivalent), compact and lightweight, affordable
   • Cons: Slower f/2.8 aperture, some distortion and vignetting
3. Sony E 50mm f/1.8 OSS:
   • Pros: Short telephoto focal length (75mm full-frame equivalent), fast f/1.8 aperture, built-in optical image stabilization
   • Cons: Not as sharp as more expensive prime lenses, some chromatic aberration

3rd Party Alternatives

As mentioned at the beginning of the article, there are always 3rd party alternatives for every one of those lenses, and I’ll cover them soon.

Keep in mind, that even though using a Sony lens on a Sony camera has benefits, some of the 3rd party lenses are not far behind, with brands such as Tamron and Sigma providing excellent image and build quality and most frequently being more accessible financially.

I have been using mostly a combo of two Tamron Lenses (17-28mm f/2.8 and 35-150mm f/2-2.8) for most of the concerts that I’ve shot. I have used Sony lenses on specific occasions.

As a concert photographer, capturing live performances creates valuable assets that require proper backup to prevent data loss. There’s nothing worse than wanting to revisit or share specific content and not being available anymore due to a data failure. I recommend keeping the  RAW photo files alongside processed versions, as it allows you to revisit and reprocess images with new creative styles or advanced editing tools that may emerge.

Why Backing Up Is Essential

Hard drives fail, files can get deleted from the cloud, you can get some of your devices lost or stolen or even corrupted. To avoid needing to find content and dealing with not having the files anymore, backing up is essential, and usually, I’d recommend more than 1 copy of the backup, so you’re covered in most scenarios.

Top Methods for Backing Up Your Photos

1. External Hard Drives

External hard drives are the easiest solution, as you can copy your photos to them automatically using rsync, Apple’s Time Machine or manually by dragging the content to the new hard drive. They are a (mostly) reliable and cost-effective solution for storing large photo libraries. Consider the following options:

• Hard Disk Drives (HDDs): Ideal for mass storage as they’re getting cheaper and cheaper, but they’re prone to mechanical failure over time.
• Solid State Drives (SSDs): Faster data access and greater reliability due to no moving parts, but more expensive per gigabyte.
• Network Attached Storage (NAS): Mini-servers that allow access across multiple devices and offer redundancy through RAID configurations. This would be more expensive but can create redundancy between drives and enable you to access your files from anywhere.

2. Free Cloud Photo Services

Cloud services provide convenient backup options, with varying storage limits and features:

• Google Photos: Automatic backup from devices, but high-quality uploads consume Google Drive space (15 GB free).
• Google Drive (Free for 15 GB): Unlike Google Photos, you can upload any content to Google Drive, and organize it by folders. Paid versions may offer more storage.
• Amazon Photos: Unlimited photo storage for Amazon Prime members, but RAW files count against the storage limit.
• iCloud Photos: Seamless backup and sync across Apple devices, with paid storage tiers that might add up significantly and don’t offer folder organization.
• Dropbox: Flexible file versioning and sharing capabilities, but not photo-specific.

3. Dedicated Cloud Storage Services

Those are professional backup solutions on the cloud, that will offer you different levels of features, redundancy and of course, different pricing models:

• Backblaze (my recommendation): Unlimited backup space at a fixed price, ideal for large photo libraries.
• IDrive: Comprehensive backup solutions with facial recognition for photo organization.
• CrashPlan: Unlimited storage, continuous backup, and strong encryption for professionals.
• Carbonite: Unlimited cloud storage with automatic or scheduled backup options.
• Acronis True Image: Combines cloud storage with cybersecurity features for added protection.

Creating a Comprehensive Backup Strategy

The best approach is to employ a combination of external hard drives, free cloud photo services, and dedicated cloud storage solutions. Regularly update your backups and utilize multiple methods to ensure your concert photography is safeguarded against data loss, theft, or corruption, allowing you to enjoy and revisit your work for years.

My current backup setup:

• SD Card to External SSD
• 10TB External Hard Drive: I copy all Lightroom catalogues and RAW photos, organized by year, type of photo (landscape, street, concert) and subject (artist, country, city, etc)
• JPG files are copied to Google Drive using the same structure as the external hard drive.
• Backblaze automatically makes a backup of the External Hard Drive and a copy of Google Drive from my hard drive.

By focusing on the key points, using less exaggeration and adjectives, and optimizing the content for the target title, this rewrite aims to provide a clear and informative guide for concert photographers seeking reliable backup solutions for their valuable photo assets

As a concert photographer, I am often close to the speakers, and over the years, I have noticed that it has impacted my hearing. Over the past years, I’ve started using earplugs, and I’d recommend them to anyone attending or shooting a concert.

Why wearing Earplugs is important

Prolonged exposure to loud music can cause significant damage to your hearing over time. According to the National Institute on Deafness and Other Communication Disorders, sounds at or above 85 decibels can cause hearing loss. Concerts often reach noise levels of over 100 decibels. That’s why it’s crucial to protect your ears.

Earplugs can significantly reduce noise levels, protecting your ears from potential damage. They can also improve the sound quality at concerts by reducing the level of background noise.

Types of Earplugs

There are various types of earplugs you might consider using. I’d like to recommend the following:

Foam Earplugs

A foam earplug would be the easiest, and cheapest and can be found almost everywhere, from supermarkets, online or even at the venues. Although they might not be perfect, they’re a step above not wearing any protection.

Pros:

• Widely available and inexpensive.
• Easy to use, simply requiring you to roll them between your fingers, insert them into your ear canal, and wait for them to expand to fit.

Cons:

• May not fit everyone equally well,
• Can be less durable than other types.
• They also tend to muffle sound rather than reduce volume evenly across frequencies.

Loop Earplugs

Pros:

• Designed to reduce volume evenly across frequencies
• Reusable and easy to clean.

Cons:

• More expensive
• Not always a good fit for every type of ear canal

Custom-Made Earplugs

I am currently using custom-made earplugs by the UK company Ultimate Ear. They ask you first to take an ear impression, which will create a mold of your ear canal so that they can build a customized earplug that will fit perfectly your ear. Many custom-made earplugs offer different levels of attenuation, so you can choose the one that suits best your needs. I’m currently using the 15db one.

Pros:

• Designed to fit your ears perfectly
• Very comfortable
• Excellent sound quality

Cons:

• Cost: mine were about £100 plus the ear impression cost.

In conclusion, protecting your ears is crucial when you’re frequently exposed to loud music, whether you’re a concert-goer or a concert photographer. The right earplugs can help you do that while also enhancing your concert experience.

When it comes to concert photography, the choice of camera can make a world of difference. Two common types of cameras used in this field are APS-C and Full-Frame cameras. Before we get into the top five full-frame mirrorless cameras for concert photography, let’s take a quick look at the differences between these two types of cameras.

2024 Update: I've compiled a list of the best cameras for concert photography.

APS-C vs Full Frame Cameras for Concert Photography

• Sensor Size: Full-frame cameras have a larger sensor size compared to APS-C. This means they can capture more light, which is crucial in the typically low-light conditions of a concert.
• Image Quality: Thanks to the larger sensor, full-frame cameras generally offer better image quality, particularly in terms of dynamic range and noise performance. This of course can be subjective, but in technical terms it’s true.
• Depth of Field: Full-frame cameras offer a shallower depth of field, which can be useful for creating a blurred background effect and making the subject stand out.
• Price: APS-C cameras are usually less expensive than Full Frame cameras. However, the latter can be a worthy investment for professional concert photographers due to their superior performance.

Below is a list of suggestions of Full Frame cameras¹ available right now on the market that can be greatly recommended for Concert Photography.

1. Sony Alpha a7 III and A7IV

While they have significant differences, both cameras are still my first recommendation for concert photography. I’ve shot many concerts with the A7III and only upgraded to another Sony (A7RV) as I also do other types of photography, but the A7 IV would be the most direct upgrade, having better low-light capabilities than the A7R series.

Basic Specs: 

• A7III: 24.2MP, 10fps continuous shooting, 4K video
• A7IV: 33MP, 10fps continuous shooting, 4K video

Reasons to Buy:

• A7III: Excellent low-light performance, fast and accurate autofocus, long battery life
• A7 IV: High-resolution sensor, improved autofocus performance, versatile video capabilities

Limitations:

• A7III: Complex menu system, only one SD card slot supports UHS-II
• A7IV: Pricing might be higher compared to some competitors

Recommended Lenses:

• Sony FE 24-70mm f/2.8 GM
• Sony FE 85mm f/1.8
• Sony FE 70-200mm f/2.8 GM OSS

Estimated Cost (UK): £1,700 (A7III) and £2,279.00 (A7IV)

2. Canon EOS R6 Mark II

Basic Specs:

• 20.1MP, 12fps (mechanical shutter) / 20fps (electronic shutter), 4K video

Reasons to Buy:

• Outstanding autofocus system
• In-body image stabilization
• Dual card slots

Limitations:

• Lower resolution compared to competitors

Recommended Lenses:

• Canon RF 24-70mm f/2.8L IS USM
• Canon RF 85mm f/1.2L USM
• Canon RF 70-200mm f/2.8L IS USM

Estimated Cost (UK): £2,500

3. Nikon Z6 II

Basic Specs: 24.5MP, 14fps continuous shooting, 4K video

Reasons to Buy:

• Solid build quality
• Excellent image quality
• Dual card slots

Limitations:

• Limited native lens selection
• Video features are not as strong as competitors

Recommended Lenses:

• Nikon Z 24-70mm f/2.8 S
• Nikon Z 85mm f/1.8 S
• Nikon Z 70-200mm f/2.8 VR S

Estimated Cost (UK): £1,699

4. Panasonic Lumix S1

Basic Specs: 24.2MP, 9fps continuous shooting, 4K video

Reasons to Buy:

• Great image stabilization
• High-resolution viewfinder
• Robust build

Limitations:

• Autofocus is not as fast as competitors
• Heavier than most mirrorless cameras

Recommended Lenses:

• Panasonic Lumix S PRO 24-70mm f/2.8
• Panasonic Lumix S PRO 50mm f/1.4
• Panasonic Lumix S PRO 70-200mm f/4 O.I.S.

Estimated Cost (UK): £1,900

5. Sony Alpha a9 III

Basic Specs: 33MP, 30fps continuous shooting, 8K video

Reasons to Buy:

• Exceptional autofocus
• High-speed continuous shooting
• Excellent low-light capabilities

Limitations:

• Expensive
• The menu system could be simpler

Recommended Lenses:

• Sony FE 24-70mm f/2.8 GM
• Sony FE 55mm f/1.8 ZA
• Sony FE 70-200mm f/2.8 GM OSS

Estimated Cost (UK): £5,000-£6,000

Remember, the best camera is the one your have, but of course think of your specific needs and budget before making a decision. Always take the time to research and try out different options before making a decision. I am personally a very happy Sony shooter for the past 10 years, but I’ve seen amazing pictures taken with any of those cameras above.

1. The links may contain affiliate links and I will earn comission over orders placed from them ↩︎

Capturing a live performance through a lens was a new experience for me. It started at a Mastodon concert in 2017 in Amsterdam and gradually became something I’m passionate about.

With a simple kit (Sony A6000, with two prime lenses, the Sigma 30mm f/2.8 and the Sigma 60mm f/2.8) I began exploring the world of concert photography. It was more about capturing the essence of live music, the energy in the room. Yet, I was still juggling between street photography and the very occasional concert shoot.

When I moved to Berlin, unfortunately, their rules were even more strict, which meant being able to shoot only one concert (Jinjer), which I didn’t like my outcome so much due to the chaos and where I was.

Moving to London and Metal Junkbox

Moving to London in 2022 opened up more doors. The city’s music scene offered a range of opportunities to delve deeper into concert photography, especially with my involvement in the Metal Junkbox Podcast and Website. I’ve also upgraded my kit to a Full Frame Sony A7III camera and better lenses.

The initial concerts were a bit of a struggle, particularly getting the right passes and adjusting to new equipment. One of the most frequent issues was how to deal with Banding with LED lights and the Electronic Shutter. Over time, solving these issues became part of the learning curve, slowly improving my craft and starting to get pictures I could be proud of.

And now in 2023, things somehow got even more serious, as I have shot around 40 different bands (the number is still growing), and met a bunch of great people, from great photographers (Luca Viola, Charles Lake, Eva Bakker, Tifanny Sandercock, Anna (Nocturna Photography), Nick Davarias, and quite a lot more that can’t fit here for now), to band members from Lake Malice, The Hu, Reigicide, Russkaja, Ben Caplan, Gangstagrass, Blatoidea and many many more. It also opened my taste for new music discoveries, such as Paris Paloma, Malevolence (I know, I should’ve known them before), The Skints, and Yur Mum.

I also got to shoot some of my favourite bands, such as Gogol Bordello, Igorrr, Skynd, Muse, and Russkaja.

Upgrading to a Sony A7RV and acquiring a variety of lenses was a necessary step to enhance the quality of my photos. Below is my current kit:

• Sony A7RV
• Tamron 35-150mm f/2-2.8 (most of the photos are taken with this one)
• Tamron 17-28 f/2.8 (my favourite wide at the moment)
• TTARTISAN 25mm T2 C 1.33X (APS-C) for some anamorphic wider shots
• GoPro Hero 9
• GoPro Max 360

The Hu Rumble of Thunder Deluxe Edition and International award honorable mention

With all that was going on, when The Hu expressed interest in using my photos, it was a rewarding moment. It was a nice nod to the effort and time invested in concert photography, showing that I was taking clear steps forward.

They contacted me regarding the pictures I took at their concert at the Roundhouse and wanted to license them for their Rumble of Thunder special edition CD and Vynil. They ended up using quite a significant amount of my photos on the album leaflet.

For me, this was an absolute pleasure, as I’ve been following the band since around 2018 when they started gaining popularity around the world, mixing rock music with traditional Mongol instruments, They are one of the most unique bands nowadays and they deserve so much the success they’re achieving.

This is one of the bands that I’ll definitely try to shoot every time they are around here, their music and visuals are just great!

Close to the end of the year, I decided to take part in a worldwide photography award, the IPA (International Photography Awards) with absolutely no hopes I’d even come close to achieving anything, but I wanted to see how the experience would go. I’ve sent a couple of my concert pictures, from Heilung, The Hu, Sepultura and Faun.

Surprisingly enough, I got an email saying I was selected for their shortlist, which for me was already a massive achievement, as I’ve never taken part in any contest like this. There were thousands of great submissions for sure. But that was not the end of it for me, as expected I was not on the winners list, but I got a second email mentioning that I was selected as an Honorable Mention. This felt insane, as it meant I came very close to the winners list. The picture selected was from the Heilung concert at the beginning of the year, as you can see below.

Conclusion and 2024 hopes

Looking back, each concert shot was a learning experience, and each interaction with the bands and photographers was a step towards improvement. As 2024 approaches, I look forward to capturing more bands on my list and continuing to improve.

I’ve drafted this article over the year, documenting the highs and lows of my journey with concert photography, which has brought a lot of joy and learning along the way, and I want to highlight that doesn’t matter where you are in your journey, don’t abandon what inspires your passion. Don’t give up on it and keep putting in the effort always to become better. Try looking back at where you started and where you are now, and how can you move to the next step, this will definitely help you in almost any kind of profession.

I am very thankful for the support of everyone around me, and I will continue doing this for my own enjoyment. I tend to choose to shoot only bands that I really like so that I can try to capture how I feel about their concerts and give more attention to the details.

Photography isn’t and probably won’t be my main profession for a long time (I’m also a Product Manager in the tech industry), so I will always choose to enjoy the most of it while I can, enjoying the music, meeting people that have similar tastes and trying to improve this craft as much as I can.

Most of it came by self-learning, but I also got to thank a lot Todd Owyoung, and his website Ishootshows which was one of the resources I used the most when starting out, and I am still an active member of their Discord servers now discussing and trying to help a bit more on the community.

As 2024 approaches, I look forward to capturing more bands on my list, continuing my journey and hopefully shooting some of my bucket list artists such as Jinjer, Spiritbox, Clutch, Slipknot and Gojira. Of course, there will be more bands that I really want to shoot, but those I’ve been following for so long and are always on my top listened every year.

Below is one of my favourite photos taken from the crowd at Electric Brixton of Zeal and Ardor.

Banding and flickering can significantly affect the quality of concert photography, especially when using mirrorless cameras like the Sony A7 and A1 series under challenging lighting conditions. This article delves into Sony’s innovative features designed to combat these issues, offering practical solutions for professional and amateur photographers alike.

Understanding Banding in Sony Cameras

Banding, a common problem in digital photography, occurs when camera sensors and artificial lighting frequencies are out of sync. In the Sony A7 and A1 series, this issue is particularly noticeable due to their high sensitivity and advanced sensor technology. Understanding the root cause of banding is key to effectively using Sony’s features to minimize its impact.

Below I’ll list some of the features I found that can help reduce (or eliminate) the banding on those cameras for most situations:

Mechanical vs. Electronic Shutter

Mirrorless cameras have the advantage of having an electronic shutter, which enables us to shoot silently, but it comes with downsides, one of which is impacting banding in some scenarios. Here’s a quick comparison of both, and I’d recommend using Mechanical Shutter if you’re experiencing banding during your shooting sessions.

• Mechanical Shutter: Traditionally used in DSLRs, the mechanical shutter physically opens and closes to expose the sensor to light. It’s less prone to banding as it syncs better with varying light frequencies, making it a reliable choice in artificial lighting conditions.
• Electronic Shutter: Offers silent shooting and faster burst rates. However, it’s more susceptible to banding due to the rolling shutter effect, where the sensor scans the image line-by-line, leading to discrepancies in light exposure.

Anti-Flicker Shooting in Sony Cameras

Sony’s Anti-flicker Shoot feature is designed to detect the flickering of artificial light sources and synchronize the capture of images to the peak lighting moments. This feature is particularly effective against flickering at a frequency of 100 Hz or 120 Hz, common in fluorescent lights. However, it’s important to note that this feature is available only for still images and requires certain exposure modes (P, A, S, M) to function effectively.

The Variable Shutter Speed Advantage

Variable Shutter Speed in Sony cameras allows for manual fine-tuning of the shutter speed to match the flickering frequency of the light source. This feature is invaluable in situations where the lighting flickers at a frequency higher than 120 Hz, typical of LED lights often used in concert venues. It applies to both still images and movies and can be combined with the Anti-flicker Shoot for comprehensive flicker reduction.

Below is a detailed table on the differences between Variable Shutter and Anti Flicker:

Sony Models with Variable Shutter Speed

The Sony A7 and A1 series are equipped with Variable Shutter Speed functionality. This feature is a game-changer in environments with mixed lighting frequencies, allowing photographers to adapt to varying conditions quickly, as of today, those are the cameras with Variable Shutter available:

• Sony A1
• Sony A9
• Sony A9 II
• Sony A7R III
• Sony A7R IV
• Sony A7R V
• Sony A7 III
  Sony A7 IV
• Sony A7S III

Practical Guide and Settings

To access and adjust the Anti-flicker Shoot and Variable Shutter Speed settings:

1. Go to MENU → (Shooting) → [Shutter/Silent] → [Anti-flicker Set.] → desired setting.
2. For Anti-flicker Shoot, toggle [On]/[Off] and shoot when the flicker icon is displayed.
3. For Variable Shutter, select [On]/[Off] in an exposure mode that allows manual shutter adjustment.
4. Use the Var. Shutter Set. to find a shutter speed that reduces flickering, bearing in mind that faster shutter speeds may display discrepancies between the monitor and the captured image.

Tips for Effective Use in Concerts

• Begin with test shots to gauge the lighting environment.
• Use the Mechanical Shutter in extremely flicker-prone scenarios.
• Experiment with Variable Shutter Speed settings in mixed lighting conditions.
• Remember that higher ISOs can amplify the appearance of banding, so adjust accordingly.
• Regularly check for firmware updates, as Sony often releases improvements for these features.

Conclusion:

To get great photos without banding or flickering using your Sony A7 or A1 series camera, just remember to use the Anti-flicker Shoot and Variable Shutter Speed features whenever possible. These tools help you adjust to different lights easily, making sure your pictures turn out clear and beautiful.

In concert photography, we often see lists of the “Best Camera for concert photography” and they mostly contain full-frame DSLR and Mirrorless cameras. In some cases, you can still find some APS-C models. Although I do agree that they are better suited (and I carry a Sony A7RV for my shots), some people who are just starting to build a portfolio still don’t have access to a publication or photo passes, not being allowed to take those big cameras to a concert. So how can you build a portfolio in that case?

One of the most common tips is to take a point-and-shoot camera that has great quality. Although there are many different options (I’ll list a few at the end of this article), I have been using the Ricoh GRIII series as my B camera for a while and have been quite happy with it. It doesn’t come without downsides, but for such a small camera, it is impressive how good this little piece of gear is.

The Ricoh GRIII series – From Classic to Street Photography to anything (really)

If you don’t know Ricoh as a brand, there’s no need to worry. This camera brand has a long story with classic photography. Ricoh (also the owner of Pentax) has a long existing range of cameras that were always renowned for their simplicity and quality during the film cameras era.

Over the years the Ricoh GR series has become a cult favourite amongst street photographers, due to its discreet profile, very lightweight and high-quality image generation, making it perfect for candid moments, without bringing too much attention to the subjects to the photographers (sometimes even being confused as a disposable camera) while still delivering great images.

But this lovely camera is not great just for street photographers, but also for concerts (under some circumstances), which I’ll try to highlight below.

One of the most compact APS-C cameras:

One of the most significant characteristics of the Ricoh cameras is its portability, with a very slim profile, it is one of the few cameras which you can put in a jeans pocket without issues, making it completely acceptable for any concert and not a hassle to carry it around. For a matter of comparison, let’s highlight how it compares with a modern phone (iPhone 15). As you can see, besides the depth, the camera is even smaller than a phone.

Image Quality and Versatility:

Those 2 cameras have a 26-megapixel APS-C sensor, which would be enough to achieve some great pictures and even make some crops if needed, especially if your use is mostly social media. For print, they would still be great but give a bit less flexibility on the level of details you can achieve if you crop.

The camera also has great internal in-body stabilization, which helps you to shoot sharp photos by reducing camera shake, allowing you to take handheld photos with a slower shutter speed.

They allow users to export the images in both RAW and Jpegs out of the camera and they also have the capacity to create custom image profiles (similar to Fuji film simulations) where you can set up the photos to already be in Black and White, replicate some film look or whatever custom style you want to.
For some examples of the profiles, this website contains some great examples and even an app to help you set them up.

The camera also provides loads of customization options, such as

• Adjustable focus modes and points.
• Customizable button configurations.
• Tailored display settings.
• Easy access to favourite settings.
• Memory for custom camera settings (3 custom settings)
• Has a f/2.8 aperture, which is good enough for most concerts, unless in extremely low light

Ricoh GRIII Snap Focus:

One last feature that I would like to highlight is the Snap Focus feature, which can be incredibly useful in concert scenarios where you have an idea of the distance you have from the subjects you’re shooting. Snap Focus allows the photographer to pre-set a focus distance, enabling the camera to quickly and automatically focus at that specific range.

This can be proven extra helpful on very dark concerts, where the autofocus might struggle, so if you have an idea of the distance which you’re shooting at, you can still take sharp images.

Pros and Cons: Compared to Full Frame Cameras and Prime Lenses

Of course, not everything is perfect for such a small body and set-up, so I wanted to list a bit of the possible pros and cons (in my opinion) of using the Ricoh GRIII and IIIx in concerts:

Pros:

1. Compact Size: Their small size makes them unobtrusive and easy to carry, ideal for crowded concert venues.
2. Image Quality: The 26-megapixel APS-C sensor ensures high-resolution images with excellent detail, even in challenging lighting.
3. Snap Focus: This feature allows for quick, pre-set focusing, essential for capturing fleeting moments in concerts.
4. Low Light Performance: The in-body stabilization and high ISO performance enable sharp, clear images in dimly lit environments.
5. Silent Operation: The cameras offer a nearly silent shutter, minimizing disturbance in quiet or acoustic settings.
6. Custom Image Profiles: The ability to create and use custom profiles allows for artistic expression and quick, in-camera edits.
7. User Interface: Intuitive and easy to navigate, making it accessible for photographers of all skill levels.
8. Discreetness: The cameras’ minimalistic design allows photographers to blend into the crowd, perfect for candid shots.

Cons:

1. Fixed Lens: The lack of interchangeable lenses limits framing and compositional variety. The GRIII has 18.3mm (equivalent to 28mm) and the GRIIIx has 26.1mm (equivalent to 40mm) lenses.
2. Battery Life: Limited battery life compared to larger cameras, necessitating carrying extra batteries. If you’re not shooting the whole concert, it should last ok, but
3. Limited Range: The fixed focal length can restrict versatility in capturing distant subjects.
4. Sensor Size: While the APS-C sensor is better than a phone, it may not match the low-light capabilities of full-frame sensors.
5. No Viewfinder: Lack of a built-in viewfinder might be a drawback for some photographers.
6. Weather Sealing: The cameras are not weather-sealed, which could be a limitation in outdoor or variable weather concert settings (or some flying glasses of beer).
7. Limited External Controls: Some photographers may prefer more dials and buttons for quick adjustments.
8. Video Features: This is the biggest downside of this camera. I’d not recommend it for videos (and it’s not the purpose)

Alternatives to the Ricoh GRIII series for Concert Photography:

Keeping in mind that I’m just listing very portable point-and-shoot cameras, for a fair comparison.

1. Fujifilm X100V: The most popular and admired pocket camera nowadays!
   • Strengths: Hybrid viewfinder, classic Fuji film simulation modes, and a 23mm F2 lens.
   • Comparison: Offers a similar compact form factor with a distinctive design. It excels with its hybrid viewfinder and film simulation modes but is larger and heavier than the Ricoh GR III and GR IIIx. Its fixed lens provides a field of view equivalent to 35mm on a full-frame camera, offering a slightly different perspective.
2. Sony RX100 VII: Pocket and with great zoom
   • Strengths: 1-inch sensor, 24-200mm equivalent zoom lens, and fast autofocus.
   • Comparison: This camera stands out for its versatility with a significant zoom range, making it ideal for capturing distant subjects. It’s more suited for varied shooting scenarios compared to the fixed focal length of the Ricoh models. However, the larger size and the 1-inch sensor might not match the image quality of Ricoh’s APS-C sensor.
3. Canon PowerShot G5 X Mark II:
   • Strengths: 1-inch sensor, 24-120mm equivalent zoom lens, and pop-up electronic viewfinder.
   • Comparison: Offers a good balance of zoom range and portability. It’s a strong contender for those who prefer a bit more flexibility in zoom without compromising too much on size. However, the image quality and low-light performance might not be on par with the Ricoh models due to the smaller sensor size.

Conclusion

The Ricoh GR III and GR IIIx represent a specialized approach to concert photography, focusing on compact size, high image quality, and customizable features. They challenge the norm, demonstrating that professional-level photography can be achieved with a camera that easily fits in your pocket. For those seeking to capture live performances with agility and creative control, these cameras offer an exciting combination of features.