I wouldn’t get out of bed for that.

I haven’t even moved up to the 70-200. Still rocking the push/pull 80-200 f2.8D(nikon) over here lol. It is my most used lens indoors. It and the 50mm f1.4D. Have rented and shot the 70-200 several times just can’t justify the cost to buy when the 80-200 is doing the job.

If you have a contract with the band stating whats said in OP all further communications should be through your lawyer. No contract, you’re screwed.

Do you have a signed contract?

If you shoot inside in uncontrollable lighting situations you will need the 2.8. It’s pretty much that simple. F4 fine for lit stage indoors, or studio obviously, but other than that I’m packing my 2.8 indoors.

Didn’t mention a price, or max size prints, but the epson P900 produces great photos.

Raw image untouched, send it. Seriously though she’s paying the bills the post work is getting done.

I added 5mm thick neoprene strips to my peak slide on the shoulder, yes it limits your ability to slide it and change it up but I already have a wrist strap for the other body so have a dedicated cross body strap pretty much. It made it so I could carry it all day without complaining vs after a hour wanting to jump off the nearest building if I had a zoom on their, the 85mm 1.4g isn’t so bad or even the 35-70mm but RIP me that 80-200 2.8D is built like damn tank.

Strap on my d3200 was surprisingly efficient until I hung a nikkor 70-300mm VR2 off the front of it lol. Now I’m peak design for life.

Same, except I usually have two with one cross body(usually with the 80-200mm) and one(the one with the 50mm mounted) on a wrist strap.

When I found out peak design existed I forgot cameras came with straps.