“Would this lens work well to shoot dancers in low lighting, inside an auditorium? Would either of the kit lenses sold with the camera be a better option for this?”
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This lens will beat the kit lenses. even better would be the 70-200 2.8 though.
I would recommend:
Sorry, there was a problem. Please try again later.Yes, this lens works great in low light. If you can use your flash, the lens that come with the camera are just fine. If you can't use the flash, this is what you need.
Sorry, there was a problem. Please try again later.I wouldn't recommend it. It's decent in terms of image quality in low light but the focusing is super slow in low light so you'll end up missing a majority of your shots. The 24-240mm is a little faster at focusing, but the 28-70 is about as slow without the low light performance. Hope this helps
Sorry, there was a problem. Please try again later.Depending on the situation. It's good for lowlight but depending on the distance. If you're shooting from the seats you might need to get a close spot that the 55 mm will cover and how much of the background you want blurred. F1.8 has a pretty nice bokeh. Good luck
Sorry, there was a problem. Please try again later.For low light you want the lowest " F stop" / largest aperture possible. An f1.8 lens is a great choice, so "prime" lenses are much better than zoom lenses. Rapid motion can present a major challenge for your camera settings, and may dictate both fast speeds and smaller aperature settings. Another consideration is your physical distance to get the right field of view. . SEL50F18 or SEL50F18F? For a variety of reasons if you have a full frame camera, you would be better off with full frame lenses, like the SEL50F18F. Otherwise you would have to go through mirror images of the various contortions faced when using full frame lenses on APSC cameras. If your camera is not set up for "e" mount lenses you would need an adapter. Both are "e" mount lenses, while the SEL50F18 is an APSC lens and costs $50 more than the SEL50F18F full frame lens, but offers many very important advantages when mounted on an APSC camera. For an APSC camera, buy the SEL50F18, unless you are absolutely certain that you understand the difference between it and the SEL50F18F. There are three critical elements to consider in choosing between these two lenses (SEL50F18 and SEL50F18F) for an APSC camera like a Sony 6000, 6300, or 6500. Full frame cameras and lenses are based upon a 35 mm image size, and most of the better ones have image stabilization built into the camera. The Sony 6000, 6300, and 6500 are APSC cameras and use a smaller image size. Only the 6500 has image stabilization. 1) The SEL50F18 has image stabilization, the SEL50F18F does not. Without image stabilization, you might need a tripod to get a good, clear, distinct final image / product. A full frame lens "overwhelms" an APSC camera, and changes both the field of view and the aperture. To calculate the actual lens performance, you have to multiply by 1.5 for Sony and Nikon cameras (1.7 for Canons). 2) The SEL50F18 mounted on an APSC Sony or Nikon is a 50 mm lens. The SEL50F18F performs like a 75 mm lens on that camera. Basically, it will become more of a zoom lens than a portrait lens for that application. 3) The SEL50F18 mounted on an APSC Sony or Nikon is an F1.8 lens. The SEL50F18F performs like an F2.7 lens on that camera. Basically, you will need more available light for that application. With the SEL50F18 mounted on an APSC Sony or Nikon, what you see is what you get. The image captured by the camera will be the same as any other camera with a true 50F1.8 lens. With the SEL50F18F mounted on an APSC Sony or Nikon, you will have to make the appropriate adjustments in aperture ("F stop"), distance, and ambient light to try to capture the same image.
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