[NIKON Z 9, 85mm f/1.8G, Mode = Aperture Priority, ISO 18000, 1/250, ƒ/1.8, (35mm = 85)]
Remembering in the Dark: Why I Put the Zooms Away at the Officer Jeremy Labonte Memorial Vigil
One year ago, Officer Jeremy Labonte was killed in the line of duty while serving the City of Roswell.
This past weekend, the city gathered for a candlelight vigil to honor a promise made in grief: to never forget his sacrifice. The evening was quiet, reflective, and heavy in the way only shared remembrance can be. I was there to document—not just what happened, but how it felt.
That distinction matters, especially in low light.
Starting with the “Safe” Choice
I arrived around 6:00 p.m. as the light was already fading. Like many professionals, I defaulted to what should cover everything:
- Nikon Z9 with the Nikon Z 100–400mm
- Nikon Z9 with the Nikon Z 24–120mm f/4
- Nikon Z6 with the Sigma 35mm f/1.4 Art
On paper, this gave me reach, flexibility, and redundancy. In reality, it took me only a short time to realize something wasn’t right.
A candlelight vigil isn’t about reach. It’s about faces, emotion, and moments that live in shadows.
Realizing the Problem
The vigil unfolded with deeply personal words from Jeremy’s widow, Alyssa Labonte, Roswell Police Chief James Conroy, Jeremy’s parents Roger and Brandi Labonte, Alyssa’s father Ben Porter, and fellow officer Sam Wolfson.
These weren’t moments that needed compression from across the field. They needed presence.
Technically, the issue was obvious:
- The 100–400mm tops out at f/4.5–5.6
- The 24–120mm is a constant f/4
As daylight disappeared, ISO climbed fast. Yes, the Z9 can handle high ISO remarkably well—but handling noise is not the same as honoring mood.
I walked back to my vehicle and made a decision that felt both technical and intuitive: I took off the 100–400mm and replaced it with my older Nikon 85mm f/1.8.
The Math Behind the Decision
This wasn’t nostalgia. It was physics.
Compared to the zooms:
- f/4 → f/1.8 gives roughly 2.3 stops more light
- f/5.6 → f/1.8 gives roughly 3.3 stops more light
- f/4 → f/1.4 gives about 3 stops more light
- f/5.6 → f/1.4 gives nearly 4 stops more light
In practical terms, that meant:
- ISO 12,800 could become ISO 3,200
- Shadows held detail instead of breaking apart
- Candlelight looked like candlelight, not digital noise
That’s not a small difference—it’s the difference between documenting an event and translating an atmosphere.
Old Glass, New Purpose
With the 85mm f/1.8 and 35mm f/1.4 primarily on the Z9, something shifted immediately. Faces separated from the background. The falloff felt gentle. The images breathed.
Ironically, one of the surprises came later in post.
When I processed the files in Lightroom and applied Denoise, I was genuinely impressed by some of the images from the Nikon Z6, particularly those shot with the 24–120mm. Modern software is closing gaps we once accepted as hard limits.
But software recovery is still recovery.
It can’t recreate light that never reached the sensor.
The Real Lesson
Yes, you can get away with modern zoom lenses at high ISO.
But there is still a clear, undeniable advantage to working with f/1.4 and f/1.8 primes—especially when the story lives in the dark.
This vigil wasn’t about technical perfection. It was about dignity, remembrance, and respect. Choosing faster glass wasn’t just a gear decision—it was a storytelling decision.
In moments like these, faster lenses don’t just give you cleaner files.
They give you permission to slow down, move closer, and honor the weight of what’s unfolding in front of you.
And sometimes, that’s the most important choice you can make as a visual storyteller.
