Best Lens for Low Light Action Photography 2024

Last Updated on May 5, 2024 by Adams

When looking at the camera and its components, we became acquainted with some of the essential basic photography concepts:

  • Lens focal length
  • Luminous intensity (f-number, aperture)
  • Cell and image resolution (pixels)

The photo is also associated with the terms: shutter speed, sensitivity, and white balance. The focal length is expressed in millimeters. Anoptic with a focal length of 50 mm is called a normal one. When the focal length is small (e.g., 16 mm), it is wide-angle. It captures an area larger than a normal optic, such as a landscape, or can shoot even in tight spaces over short distances. We have compiled some of the best lens for low light action photography in the article. We invite you have a peek at them.

The telephotos have a large number of mm. You can use it to capture and “bring closure to” distant objects, such as birds.

Depth of field refers to the area where the area drawn by the lens is accurate. In general, anoptic with a short focal length and good brightness, as well as a small aperture, will draw the image accurately from close range to infinity.

However, in telephoto, the depth of field is narrow. Therefore, adjusting the aperture affects the accuracy range; decreasing the aperture improves the depth of field, increasing the aperture reduces the depth of field.

In addition, when there is plenty of light, a small aperture can be used, increasing the sharpness range and using a short shutter speed. The aperture is located in the camera inside the optic. Light enters the camera cell through the aperture. The aperture ratio refers to the ratio of the focal length to the diameter of the aperture.

Under normal conditions, when there is enough light, you can adjust the size of the aperture when shooting and thus affect, e.g., the depth of field of the image. The adjustments also affect the shutter speed. The size of the opening is reported, for example, in the form of “f / 5.6” on all products. Generally, when shooting from the hand in the dark, a large aperture is usually used.

Further, light sensitivity refers to the sensitivity of a camera’s photocell to respond to light. A sensitive cell needs a little light to be exposed. Therefore, it can shoot in low light. On the other hand, high sensitivity increases noise (graininess) in the image.

Normal sensitivity is 100/21 ° ISO (100 ASA units or 21 ° DIN units). Some of the ISO protocols are ISO50 – ISO400, ISO400 – ISO1600, ISO1600 – ISO3200, and ISO3200 or higher.

The higher the value, the less light the camera needs to form the image. As the value increases, the noise in the image increases. Image quality improves when the reduction of ASA. At the same time, the shutter speed may need to be increased.

Increasing the ASA number can shorten the camera’s shutter speed to ensure a sharp image, such as when the subject moves in low light. However, if you cannot use the camera foot, the flash is impossible or desired (e.g., theatrical performances, concerts, etc.).

White balance is often left to the camera’s automation. Color temperature refers to the measurable property of light perceived as white. For example, daylight has a different color temperature than electric lights.

The human eye adapts to the prevailing light and cannot always perceive the temperature of color but sees “white on white” regardless of the temperature of the prevailing light.

Digital cameras usually can allow the camera to measure white balance manually: the camera takes a picture of a white surface, after which the camera detects white in that condition and sets the white balance correctly.

Best Lens for Low Light Action Photography (Comparison)

Name Dimensions Weight
Canon EF 70-200mm 7.8 x 3.5 x 3.5 inches 50.88 Ounces

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Tamron SP 70-200mm 7.6 x 3.46 x 3.46 inches 52.96 Ounces Check Price
Canon EF 24-70mm 4.45 x 3.5 x 3.5 inches 28.32 Ounces Check Price

 

Canon 70-200mm f/2.8L IS III USM Lens

Canon 70-200mm f/2.8L IS III USM Lens

F2.8 bright 70-200mm zooms are quasi classics in the assortment of 35mm lenses. They are suitable for many subjects, from sports to low light action photography to available light shots.

As a modern DSLR optic, it has low distortion, edge shading, and color fringing. Moreover, it delivers a high image resolution with all focal lengths, even with the aperture open, as far as possible into the edge area.

Its housing is painted light gray. It is particularly noticeable: While the surface of the black camera became noticeably hot in the sun, the lens remains pleasantly cool.

As a result, the housing should stretch more, and thus the optical construction should work more precisely.

EF 70-200mm f/2.8L IS III has a seal against dust and splash water so that environmental influences are not a problem either. Thanks to a fluorine coating, dirt does not adhere well to the front or rear sides, making them easy to clean.

In the rear area sits the Three centimeters wide, grooved, rubberized zoom ring, which can zoom through 2.9 times the zoom range from 70 to 200 millimeters in less than a quarter of a turn. Markings at 70, 100, 135, and 200 millimeters help with orientation. The zoom ring runs comfortably and with a reasonably high but even resistance.

On the other hand, there are four switches, two of which control the focus, and two controls the image stabilizer. You can deactivate the image stabilizer if desired and works optionally only vertically (mode 2) or for all other photos vertically and horizontally (mode 1).

According to Canon, it should create up to 3.5 f-stops longer exposure times. Depending on the camera’s resolution and the rest of the hand, you are on the safer side with 2-3 f-stops.

Additionally, you can activate or deactivate the autofocus optionally using the two switches, but its working area can also be limited. You can choose to focus from 1.2 meters to infinity or from 2.5 meters to infinity.

Thanks to the ring USM drive, the autofocus works very quietly (certain mechanical noises remain audible in tranquil surroundings), quickly and precisely. Incidentally, you can adjust the focus with the focus ring without switching to manual focus.

Pros Cons
Image quality at a high level No significant improvements to the previous model
Protected against splash water and dust
High continuous light intensity

Conclusion:

The super-telephoto zoom Canon EF 70-200mm 1: 2.8L IS II USM is compatible with all Eos SLR cameras. Thanks to the extensive focal length range and a continuous light intensity of 1: 2.8, it is best fit for professional sports, demanding nature, and low light action photography.

 

 

Tamron SP 70-200mm F/2.8 Di VC G2

Tamron SP 70-200mm F2.8 Di VC G2

The Tamron SP 70-200mm f / 2.8 Di VC USD G2 is, above all, an even better stabilization system, with 5 EVs efficiency. Further, it has excellent autofocus, which, thanks to new algorithms and advanced engines.

In turn, the extensive optical system guarantees high image quality in the entire area of ​​the frame – regardless of the aperture and focal length.

Tamron, with this model, once again proved that it could design an advanced lens for professionals. The tube combines metal and high-quality plastics, where individual elements – including moving parts – have been optimally fitted together. As a result, it is difficult to find any design flaws.

Apart from that, it can work in any demanding situation. The tube has a seal, thanks to which neither water nor dust can enter its interior (through the sensitive connection points).

In a word, electronics and optics are adequately protected. It is imperative because the 70-200 mm f / 2.8 with such constructions are suitable for outdoor photographing and challenging and extreme conditions. There can be no question of even the slightest hesitation of the AF system – even when reporters have to photograph in the twilight.

Furthermore, the manufacturer put a lot of emphasis on the image stabilization system. The solution used in it is to offer a performance of 5 EV, thanks to which we should enjoy motionless photos.

In addition, stabilization in a long focal length also makes framing much more manageable. It compensates for blur and minimizes the effect of the shake of the frame seen in the viewfinder. As a result, the image gently floats, guaranteeing much better control over the composition.

Furthermore, the new Tamron blurs the background nicely and provides a shallow depth of field. As a result, we get a good separation of the photographed object from the rest of the plan, which is convenient for low light action photography.

EBAND (Extended Bandwidth & Angular-Dependency) Coatings give an excellent look to this zoom optic. They have a design to increase light transmission and offer excellent anti-reflective properties while reducing any reflections and flares.

Pros Cons
Compact size Vignette at 200 mm focal length
Efficient and silent autofocus
Effective stabilization system

Conclusion:

The SP 70-200 mm f / 2.8 Di VC USD G2 model is a top-class lens. Demanding photographers should not be afraid of working in field conditions. This zoom breaks out to show your abilities in extreme situations.

We must also praise the highly effective image stabilization system. The ability to take motionless photos at a focal length of 200 mm with a shutter speed of 1/60 s (or even 1/30 s) is impressive.

 

 

Canon EF 24-70mm f/2.8L II USM Standard

Canon EF 24-70mm f2.8L II USM Standard

Canon’s new 24-70mm f / 2.8L II USM is shorter and lighter than its predecessor. It also has a larger front element, with an 82mm filter thread instead of the previous 77mm.

Further, internally, nine blades instead of eight give even more circular aperture geometry for smoother out-of-focus transitions. As a result, it is the best match for your low-light action photography needs.

It has a zoom ring at the rear side and the manual focus ring at the front. Manual focus settings are possible in AF mode, and the proximity of the two rings makes it easy to switch from zoom to focus with the flick of your thumb. Both rings are slightly wider. When it is held naturally, the user’s second finger rests on the focus ring.

Canon’s earlier 24-70mm zoom had criticism for having a “macro” label applied at its closest focusing distances when the maximum reproduction ratio was only 0.29 xs, which is very different from the ratio of 1: 1 required for actual macro photography. Nice to be able to report that the “macro” tag no longer exists.

In addition, the focus is internal and does not cause rotation of the front element, but the zoom is external and results in a 30mm extension of the lens. It has a tight structure ensuring excellent drip and dustproof performance, but there was no tightness in the movement of the rings, which offered exactly the right amount of resistance.

The zoom will never miss a shot, and the visual quality of its images will be excellent. The zoom ring is further backing that supports the cap when reversed for storage does not prevent the zoom from being used the instant a shooting situation arises.

It has a metal chassis structure and a telescopic element with a simple extension and inverted path. Consequently, the most angular focal length is present with the element at its maximum extension and the most telephoto in its most retracted area.

The movement of the zoom ring is reasonably smooth despite the weight of all the groups. However, with medium use, it is soft and lacks play. It also has a bit of lateral slack in its telescopic element.

The displacement of the MF ring has a correct bow, lacks longitudinal, and backlash clearances. The exterior finish is the classic Canon L, a semi-gloss hammered finish with good resistance to rubbing, finger marks, and dirt.

Pros Cons
Focus does not cause rotation Some chromatic aberration with non professional usage
Metal chassis
Telescopic element

Conclusion:

It is a highly contrasted product and a classic in Canon’s range of professional zooms that could only be asked for a more straightforward double-travel exterior extension design.

 

 

Final Verdict:

The lens is the critical component in the operation of a camera and must therefore be chosen carefully. A good quality optic can help you take great pictures even with a cheap camera. However, on the other hand, a poor-quality optic can also affect the results of the best-performing camera on the market.

 

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