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Anonymous
OP, getting the fifty is definitely the right call. I've found between 70-75mm equivalent (which 80mm equivalent isn't that far off, and might work just as well, I've never shot an event with an 80mm equivalent) is somehow a perfect workhorse for shooting any kind of performance, whether a concert or a speech or whatever. No matter how far off, that'll pull good shots. It won't do everything , and it won't every time get the best shots compared to other possibilities, but it will get good shots if you can, in my experience. I wouldn't shoot a performance without some lens that gets me in that equivalent range on whatever format I'm shooting if I could help it.
So yeah, get that fifty. The thirty is also good; normals like that are good to great if you get a good spot and are the perfect workhorse for everything else. Depending on your style, you might want that before the 85. I would personally, but if you want to gravitate towards tighter shots of the performers the 85 would be the better call.
As far as tips, you seem like you're doing pretty well. Just study composition (look great photographs, but also paintings and film scenes, figure out why they work compositionally) and the work of great concert photographers (Jim Marshall's the really big one, chances are 9/10 you've seen his stuff before without realizing it) and work at it.
>>231876 1) If he can't get close enough, a wide angle is pretty damn near useless except for crowd shots.
2) F/3.5 at a wide angle is much better than f/5.6 at the tele. Beyond the sheer speed advantage, it's easier to handhold and blur is generally less obvious at a wider angle, even if one object is the same size the background is receded versus magnified.
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