What’s In My Camera Bag for Concert Photography

Concert photography isn’t a gear-flex contest, it’s war. You’re dodging security, crowd surfers, and strobes trying to fry your autofocus system. Your camera bag needs to be tight, efficient and built for speed.

This is the exact gear I pack for every concert, stripped down to the essentials that work for real-life shooting conditions, and a few underrated items most people forget but end up needing.

Camera Bodies

Canon EOS R5 Mark II

My primary camera for concert work. The improved autofocus, even better dynamic range, and low-light handling make this thing a beast in fast-paced, chaotic environments. I trust it to catch that one shot even under strobe lights or backlighting hell.

Canon EOS R5

Still an absolute powerhouse. I use it as my secondary body, typically mounted with a different focal length to avoid lens swaps mid-show. I’ll often shoot the R5 Mark II with a 28–70mm and have the R5 with a 70–200mm ready to go.

Lenses I Always Carry

Canon RF 28–70mm f/2L USM

Versatile and tack sharp, great for covering both the artist and ambient energy from the pit.

Canon RF 15–35mm f/2.8L IS USM

Wide, stabilized, and perfect for crowd shots, atmospheric frames, or full-stage captures.

Canon RF 70–200mm f/2.8L IS USM

Essential for big venues or shows where I can’t get physically close. Fast, light, and deadly sharp.

Canon RF 85mm (f/1.2 )

My favorite for detail shots, portraits during rehearsals, or isolating performers in dramatic lighting. The bokeh and light falloff are unbeatable for emotional impact.

Accessories

Lowpro ProTactic BP 450 AW II

Durable, modular, and fits just enough gear without slowing me down. It’s my daily driver for venue gigs.

Dual Camera Shoulder Strap

One of the most underrated tools for concert photographers. I use a leather dual harness that lets me carry both camera bodies securely and switch between them instantly, no neck strain, no awkward juggling, just smooth efficiency.

SanDisk Extreme Pro SD Cards

3–4 per show, labeled and rotated. Fast write speeds prevent buffering nightmares during rapid fire.

Extra Batteries

At least 2 for each body, fully charged and easy to access mid-show.

Lens Cloth + Air Blower

Vital for keeping your glass clean between sets — especially in dusty or hazy venues.

Earplugs (Loop or Custom Molded)

I never shoot without hearing protection anymore. Your ears are your career — treat them like gear.

Power Bank + Phone Cable

For recharging phones, lighting accessories, or even powering audio gear.

Multitool / Allen Key Set

Always handy for adjusting rig plates, tripod heads, or just looking like the prepared photographer backstage.

Gaff Tape (Small Roll)

Fixes literally everything. I always have a mini roll in the side pocket.

Optional, But Useful Depending on the Gig

• RODE Wireless GO II (for backstage or behind-the-scenes interviews)

• DJI RS 3 Pro (when shooting motion content for artist reels or tour wrap-ups)

• Extra T-shirt (indoor venues get hot fast)

• Energy bar or banana (long nights, short breaks)

  
  

The Golden Rule: Pack for Speed, Not for Flex

In concert photography, you don’t have time to dig through a bag or swap lenses mid-action. Your setup has to help you move like a ninja, not a pack mule.

Two bodies, a reliable harness, and tight lens discipline make all the difference when you’re in the pit and the lights go wild.