What Lens for Indoor Dance Competitions?

Hello,

First off let me say hi to everyone and i hope i dont get crushed in this forum for being a newbie. This is going to be my first post w00t w00t. But like the title says is i need suggestions for a fast lens for indoor dance competitions. My sister is a competitive dancer and I just started using my DSLR.

I was using a 80-200mm f/4-5.6 EF lens but i wasn't very successful since the low light.

Should i save for a 70-200mm f/2.8L IS or what else do you recommend?

Here are a very shots i managed to capture.
Canon Rebel XTi all were taken at ISO1600 but the shutter speed was slow so...

70-200 would be my first thought, but if you can get close enough, an 85/1.8 or 100/2 might do the trick better. I have both the 70-200 2.8IS and an 85. I can shoot the 85 for basketball in a dim gym, where I can't use the 70-200 and get anywhere near the shutter speeds I need. Dance would be similiar. I shot some dance last year with my old drainpipe and a 50 and the 50 had much better results.

the 70-200mm f/2.8 IS is pretty expensive so another alternative is the Canon 200mm f/2.8...its a prime and the IQ is awesome

So ur saying i should save up for the 70-200 f/2.8L IS?

where should i purchase...new/used...

I use the 70-200 2.8 is whenever i shoot my sister's dance comps.

135 f/2L (+ 1.4x)? Flash might be useful as well...

prosurfer wrote in post #5001015
135 f/2L (+ 1.4x)? Flash might be useful as well...

prosurfer usually u cannot use flash in a competition, it might distract the dancers but. I know flash would take a lot of these problems away.

djthemac wrote in post #5000995
I use the 70-200 2.8 is whenever i shoot my sister's dance comps.

How do those turn out...can i see examples?!

Well the new 200 f2 IS would be nice for this task. But I'll assume it's too costly. So, my top recommendation for you would be the 135 f2 (or even the 100 f2 which is less costly).

how much is costly? lol remember i just turned 18 yesterday. I dont make a ton of dough but...im willing to drop some cash on a good fast lens

blacktib22590 wrote in post #5001199
im willing to drop some cash on a good fast lens

Canon 135mm F2 L USM is the lens you want for this job.

but is a prime really what i want...i dunno

I shoot a lot of indoor onstage ballet performances of my kids, and I am having excellent results with a Sigma 50-150mm f/2.8. Why?
1. Geometry. I have found that, shooting from the back of an auditorium, which is about row Z (i.e. 26 rows back, + space in front of 1st row, + unused stage bow, + stage depth itself), I can get a full-width stage shot at 50mm and a very reasonable close-up of an individual dancer or dancer pair at 150mm. If I am closer, the zoom (vs prime) gives me the ability to adjust without cutting off feet or hands (which is the kiss-of-death for any picture of a ballet dancer!). Primes are really bad, because often I am not allowed to pick my shooting position, and am not allowed to move around during the performance. I haven't encountered bigger auditoriums yet, so the 150mm telephoto setting has worked well for me (1.6X lens factor).
2. Exposure. You've GOT to have the f/2.8 constant aperture. I normally shoot at ISO 1600, auto white balance, shutter priority set to x, burst mode, and ON A TRIPOD. So what's "x"? For recitals and formal ballet pieces where the stage is lit up well and lighting does not chage, x is 1/320 or (if lucky) 1/400 sec, which drives the f/stop to vary between 3.5 and 2.8. If I am shooting a play (i.e. the seasonal Nutcracker) or any other performance with varied lighting and lighting engineers given to polychromatic fits, I take what I can get and post-process. That's usually 1/160 sec or maybe 1/200 sec, driving the f/stop again to 3.5 to 2.8. If the picture is sometimes murky, so be it. What can you do when the bright lights are turned off and a red spot light is mixed with a green one!
Caveat: That's stage performance shooting. If you also have to take back-stage shots, staged or natural, or post-performance parties in-theatre, use an 18-50mm f/2.8 in Program mode and learn all about fill flash. Why not a prime here? Because nobody will hold still for you or stand where you tell them to stand so you can make the field of view on your prime work. Too much space and people will step right in front of you. Better to use a variable zoom and the fill flash function.

blacktib22590 wrote in post #5001066
How do those turn out...can i see examples?!

http://DJTHEMACSTER.sm​ugmug.com …_UGSqG/10/24529​0343_cZr2V

ChrisHerd wrote in post #5001734
I shoot a lot of indoor onstage ballet performances of my kids, and I am having excellent results with a Sigma 50-150mm f/2.8. Why?
1. Geometry. I have found that, shooting from the back of an auditorium, which is about row Z (i.e. 26 rows back, + space in front of 1st row, + unused stage bow, + stage depth itself), I can get a full-width stage shot at 50mm and a very reasonable close-up of an individual dancer or dancer pair at 150mm. If I am closer, the zoom (vs prime) gives me the ability to adjust without cutting off feet or hands (which is the kiss-of-death for any picture of a ballet dancer!). Primes are really bad, because often I am not allowed to pick my shooting position, and am not allowed to move around during the performance. I haven't encountered bigger auditoriums yet, so the 150mm telephoto setting has worked well for me (1.6X lens factor).
2. Exposure. You've GOT to have the f/2.8 constant aperture. I normally shoot at ISO 1600, auto white balance, shutter priority set to x, burst mode, and ON A TRIPOD. So what's "x"? For recitals and formal ballet pieces where the stage is lit up well and lighting does not chage, x is 1/320 or (if lucky) 1/400 sec, which drives the f/stop to vary between 3.5 and 2.8. If I am shooting a play (i.e. the seasonal Nutcracker) or any other performance with varied lighting and lighting engineers given to polychromatic fits, I take what I can get and post-process. That's usually 1/160 sec or maybe 1/200 sec, driving the f/stop again to 3.5 to 2.8. If the picture is sometimes murky, so be it. What can you do when the bright lights are turned off and a red spot light is mixed with a green one!
Caveat: That's stage performance shooting. If you also have to take back-stage shots, staged or natural, or post-performance parties in-theatre, use an 18-50mm f/2.8 in Program mode and learn all about fill flash. Why not a prime here? Because nobody will hold still for you or stand where you tell them to stand so you can make the field of view on your prime work. Too much space and people will step right in front of you. Better to use a variable zoom and the fill flash function.

Thanks for all the helpful insight.