Best lens for a graduation

<p>Our son is graduating from Medical school soon and I want to be able to get some good shots with him on the podium. He is an honor student and will be doing a number of things on stage-not just getting a diploma. While we will not be in an basketball arena, we will be in a ballroom that will hold 2000 people. The lighting I assume will be stage lighting. My question is what lens should I use for my D7000? I have a 55-200, but I fear it will too short and not capable of handling the indoor lighting from a distance. My thoughts have run from renting an 80-400, an 300 f4, a 70-200 f2.8 or even a 105 prime. I understand that no matter what zoom I use, I will have to use a monopod or a tripod. I might purchase a 75-300, but I do not want to purchase a lens that might too closely cover what I already have. One note, I do not exactly know where I will be able to stand to get this pictures, but I understand there will some space for proud parent photographers. <br>

I am set with a couple of primes 50mm and 35mm for the close-up "after the ceremony" pictures. I need advice for the "action" stage shots. Thanks in advance for your guidance.</p>

<p>70-200 if you're renting. it's handholdable, esp. with VR. 80-400 and 300/4 would not be lenses i would use indoors. also the 105's AF speed would.be.much.slower. than the telezoom.</p>

<p>My choice would be a used Nikon 70-200mm f2.8 VR. The VR works pretty well, but I would ramp up ISO until you are getting 1/200s shutter speeds if possible, and 1/100s at a minimum.</p>

<p>Kent in SD</p>

<p> With 6 kids I seem to go to a lot of graduations. I take my 70-200 f2.8 lens with me along with a 50mm f1.8 (I always take the 50). I have a D200 and try to keep it at ISO400 but I will bump it up to ISO800 if I have to but you have a much nicer camera and should be fine with it. I have not really experienced a graduation where a tripod would be easy to use and do not take one. I just do my best with my gear and try to not get to involved with pictures and miss the event. If your lucky they will have an area where parents can move in and get close enough for some shots. But with the f2.8 lens and a high ISO camera like the D7000 you should do well. Chimp a few shots to make sure your white balance is ok. Also from a distance the f2.8 has enough depth of field. </p>

<p> </p>

Besides a 70-200mm, an 85mm f1.8G

AF-S would be more affordable and give

higher shutter speeds. I think either

would work in your situation.

<p>For the darker venues, my lens to go on D7000 was 135/2 DC. It performs great even wide open. You do not need a monopod. Just make sure to put your camera in Auto ISO, with minimum shutter speed 1/160 or 1/200 and leave space for ISO at least up to 6400. Don't let the camera to fool you on exposure. Expose for the face of the person in the stage. Usually I need to underexpose with 1/3 to 1 full stop to get the right exposure on the person's face.<br>

D7000 is a very good camera for such as situations. Enjoy yourself at graduation and congrats for your son!</p>

<p>Given that the OP is worried that his existing 200mm lens isn't long enough, there are a lot of suggestions for 200mm lenses here. Not that I'd vote against a 70-200 VR (in case you <i>are</i> close enough) with a TC-14E (in case you aren't) and possibly TC-20 (in case you really aren't). A 300 f/4 would give you some range, but no VR and <i>that</i> tripod foot - and you'd be stuck if you turned out to need something closer. On the other hand, if you're confident about the lighting, either an 80-400 or a 300 + TC14 might suffice, but the monopod would definitely be wise.<br />

<br />

How closely packed is the seating likely to be? If you think you've got some room (which the monopod comment suggests), hiring a Sigma 120-300 f/2.8 (maybe with a 1.4x TC just in case?) or a Nikkor 200-400 f/4 might be an option. They're big, but they're not <i>that</i> big (the 400 f/2.8 is appreciably bigger, for example). If your knees are against the chair in front, though, you'll be clouting the person in front of you on the back of the head. There's always a chance that someone might decide that's too big a lens to bring in - perhaps try to find one in a store and make your own judgement?</p>

 

<blockquote>For the darker venues, my lens to go on D7000 was 135/2 DC. It performs great even wide open. You do not need a monopod.</blockquote>

 

<p>Seriously? The 135 f/2 DC was one reason I moved to Nikon, and it's a lovely portrait lens if LoCA doesn't bother you (and if a little skin smoothing in post isn't your idea of fun), but it's neither sharp (especially north of f/5.6) nor good at reliable focus. Mine will be on eBay if I'm ever at home for long enough to do it. It sounds as though you may be at a range for which every pixel counts, and - while it'll give you a lovely smooth background to your shots - this is not the lens for that purpose. I'm assuming that Mihai either has a very good sample (and I've had mine checked by Nikon and it's apparently not broken) or - as was the case for me when I first got my 135 - hasn't tried a genuinely sharp telephoto. Besides, it's not a solution to a reach problem.</p>

<p><em>"</em><em>what lens should I use for my D7000?"</em> How big a print are you planning on making?<br>

<br>

A tripod is a must no matter what lens you use. A flash might help even if you are a fair distance away. Assuming there is not assigned seating (as is typically the case at these type of events), getting there VERY early will give you an immediate advantage and negate the need for a 300mm or 400mm lens. Especially with the D7000. Again, a lot depends on the print size you will be making and where you will be seated.</p>

<blockquote>

<p>Seriously? The 135 f/2 DC was one reason I moved to Nikon, and it's a lovely portrait lens if LoCA doesn't bother you (and if a little skin smoothing in post isn't your idea of fun), but it's neither sharp (especially north of f/5.6) nor good at reliable focus.</p>

</blockquote>

<p>Andrew, Nikon is denying that their lenses have "sample variations" but as far I know at least 135/2 DC is one that is very inconsistent from a copy to other. At the first I didn't liked my copy on D700 and I've sent it to Nikon. They claimed that the lens is Ok but when I got it back it performed a bit better. Almost in that time I added a D7000 to my kit and to my surprise 135/2 DC was performing great on this camera. At this time my D700 has been replaced with D800 and so far I am happy with the combo D800 + 135/2 DC. I need to mention that I never use the Defocusing Control... only the default setting.<br>

<br />Also LoCA is not a big deal... only in some kind of lighting and nothing to not resolve in PP. Having one extra stop at hand is more important for me than any disadvantage. </p>

<p>The 70-200VR would be the maximum size to be practical, I think. It sounds like there will be quite some other people around too, and that can make large lenses really quite impractical maybe? Worth considering too: since the D7000 has really good high ISO performance, a Nikon 70-300VR or Tamron 70-300VC (buy, and sell the 55-200 since it will be superfluous afterwards) could possibly to the trick either. A 180mm f/2.8 is an option too, though given the amount of questionmarks you have about the place, I would opt for a zoom and keep flexibility. Even with a fear of 200mm not being enough, all these mentioned are very sharp lenses, so cropping down a bit won't hurt too much.</p>

<p>If you rent a lens, be sure to rent it quite some days in advance to get used to it. Handholding larger and heavier lenses needs a bit of practise, as does shooting at 200mm f/2.8.</p>

<p>Mihai, I'm very surprised, but I'm glad - and interested - that you have a good sample. :-) (Not that this helps Grear!) Mine, even at default DC settings, has such extreme LoCA that it's way beyond what can be fixed easily in post. I'd gladly recommend the lens to people, but for this purpose, I'd certainly not recommend mine!</p>

I don't think lenses like the 135 DC have a lot of sample variability regarding the optical quality, however, the focus fine

tuning is necessary and distance dependent. You have to find a good setting for your lens, camera and distance range to maximize the output. I don't have

issue with the optical quality of this lens, though at f/2 focusing is tricky and there is some CA as is typical of fast lenses of its generation. That's why I recommended the 85mm as an AF-S

lens it focuses more precisely and it is also a modern lens, with improved quality wide open.

 

As for not answering the OP's desire for more reach, it is my experience that f/4 and slower lenses are simply unusable in

'ballroom' type lighting conditions. The 'more reach' simply cannot be had (with a lens that is easily handled by someone

not experienced with 3-4 kg lenses) so the photographer must get to a vantage point where a short tele can be used. This

is the approach that will yield the best quality results from a technical point of view, as well as aesthetics IMO.

<p>Anything in a cramped environment bigger than a 70-200 f2.8 will result in you getting shunned by the other parents you hitting on the head with your lens.</p>

<p>70-200 would be my choice - even moreso if they have a "photo area" for parents so inclined.</p>

<p>Dave</p>

 

<p>I don't have a lens suggestion for you, just want to say congratulations. You must be very proud and happy parents! Job well done by the sounds of it.</p>

Medical Nikkor. ;<)

<p>As a former academic administrator (for my sins), I can suggest that it is possible that you will NOT be allowed to use a tripod or even a monopod at the ceremony. If everybody in the 2000-seat room brought one and set it up down front, you can imagine what it would be like. They might allow you to use one at the back of the room, but that depends on what the room is like. Check well ahead of time with the administrative office that manages the affair.</p>

<p>You need to be constantly aware that other people have precious members of their family going through the rite of passage, as well, so keep yourself out of people's line of sight.</p>

<p>This means practically, you need a fast (say, f/2.8) zoom with VR and the willingness (and camera) to push the ISO up as high as it needs to be to get the image. A noisy image is better than no image, after all.</p>

<p>It is also likely that the school may have their own photographer working, and will sell (never miss a bet these days) images to the parents after the ritual is over.</p>

<p>Having been the origin of the preposterous lens suggestions, I do want to bring attention back to my premise - they're an option only if you have plenty of room, such as that required to set up a monopod. That's certainly not been the case for the graduations I've seen (and a compact superzoom would have been the best option if the light held up), but since Grear mentioned it, I was assuming that it was, unusually, an option. I'd certainly accept that "early and close" is a good substitute for "enormous lens" though.<br />

<br />

I'd be very nervous about a 200-400 f/4 if you're sitting in rows. Would you get away with a 300 f/2.8, or 120-300? <i>Maybe</i>, assuming it was used only when your child was on stage and you can somehow avoid (both physically and optically) the people in front of you. If you can genuinely stand at the back, you're sorted (though I'd still be astonished if a tripod was an option). If you're near the back, you might get away with briefly (and subtly) standing up - to a crouch - to get the shot, so long as you get out of the way before the next parent needs to see their child and the lighting means you're not distracting people - keep the lens between your knees for most of the occasion (you can get everything but your child with a smaller and wider lens) and I can't imagine anyone would object. If your child is on stage for a while, if you can get the end of a row and stand quietly for a bit at the relevant point, you might manage not to bother anyone.<br />

<br />

My 200 f/2 is small enough that I'd feel able to do this (and frankly I could shoot from my seat), but it gets harder fast with the longer lenses. Without the hood, even a 300 f/2.8 is only a foot long, camera included (that's 4cm longer than the 300 f/4) - if you're tallish, that's "lean back and you have room to the person in front" length, unless it's very cramped. The 120-300 is slightly longer still. If you're hiring something like this, I'd make sure you've seen one in a store and then checked with the authorities that they'll let you use it (briefly) - but it means you'll have to resign yourself to sitting somewhere where your view might not be so good in order not to bother people with that kind of kit. If you're seen moving in the crowd and putting people off, that won't be a way to make friends.<br />

<br />

But if there's a way to guarantee being near the front with a 70-200 (or closer with a wider lens!) then obviously that's going to be much less unwieldy and cheaper. If you're closer, you'll probably also do better at not having heads in the way. My timekeeping is dreadful, which is why I go straight to the "compensate with a big lens" solution, but I can't argue with the practical advice from everyone else!</p>

<p>I would shoot that with my 80-200/2.8, but if you can get a 70-200 VR, that would be much better.</p>

<p>Also, I have the 135/2 and my sample is sharp and contrasty by f2.8. </p>

+1 for the 70-200 VRII with a monopod, and VR on you can shoot at 1/100 if there is a pause in subject motion, 1/200

otherwise. I'd also recommend a good flash to add some forward lighting and practice ahead of time so you can set

everything and use full manual control - including focus.

<p>Thank you all for your very gracious wishes concerning the graduation and your competent- as always- suggestions for the right lens. I will try to do some preliminary scouting of the venue before I get the lens for the event. It looks like most of you would point me to the 70-200.<br>

If I can get close enough, I may try an 85mm prime. <br>

You are all correct in terms of being sensitive to others there. I don't want to be "that guy" with the monster lens. Again- I appreciate all your help.<br>

Grear Howard</p>

 

<blockquote>I would shoot that with my 80-200/2.8, but if you can get a 70-200 VR, that would be much better.</blockquote>

 

<p>For what it's worth, I found my 80-200 (AF-D - the AF-S seems a bit better) was acceptable on my D700, but it's really not very sharp until around f/5.6 on my D800 (same pixel density as the D7000, kinda), which defeats the object somewhat. For this, I'd hire a 70-200 before trying to buy an 80-200, especially if you might want to bring a teleconverter just in case. Besides, VR...</p>

 

<blockquote>Also, I have the 135/2 and my sample is sharp and contrasty by f2.8.</blockquote>

 

<p>Hmm. Either I've entered the twilight zone, or Nikon UK may not have done a brilliant job of checking out my lens - though at least they didn't charge me. To be fair, mine's sort of okay at f/2.8 - although certainly not better than my 135 f/2.8 AI-S - but I kind of bought it to use at f/2, so being told it's wonderful stopped down to apertures that I could achieve with a zoom doesn't really make me feel better. If the DC is actually supposed to be marvellous and my sample is the problem, Nikon owe me for my 200 f/2. I recently picked up a 150mm OS Sigma for a more portable alternative - not that I'd recommend that lens for the purposes of this thread.</p>

 

<blockquote>I'd also recommend a good flash to add some forward lighting and practice ahead of time so you can set everything and use full manual control - including focus.</blockquote>

 

<p>You'd use flash at a graduation ceremony full of 2000 people? Assuming you're maxing out an SB-910 to get the range, I'll now revisit my suggestion: Get a 300 f/2 and set up a tripod in the middle of the seats. It would be less annoying than someone repeatedly firing a big flash while people on stage were trying to concentrate and possibly be videoed. On behalf of all the other attendees, please don't do this. But I may just have residual irritation people pointlessly using flash at the Olympics recently... (that and at the 25th anniversary of Les Mis). At least you'd have the monopod for fighting off the annoyed audience members!</p>

 

<blockquote>I don't want to be "that guy" with the monster lens.</blockquote>

 

<p>Yes, that's usually me. (To be fair, if you're at the back and out of the way, it's probably harmless - but better to be at the front with a small lens than at the back with a big one.) Good luck with your seating! And if you buy/hire a 70-200, I'd hire a teleconverter just in case 200mm isn't enough - no harm in back-up.</p>

<p>You might also pack along an 85mm 1.4 AIS. If the distance is right for this focal length, I can't imagine any other fast tele equaling the performance of this gem. </p>