model mayhem gallery

<p>for crop sensor camera the Canon 17-40 F4L or Canon 17-55 EFS F2.8 IS woul dbe better otptions.<br>

For conversion just multiplly focal length X 1.6</p>

<p>personally for a 20D I would get a used Tamron 28-75 F2.8 under $300.</p>

<p>The Tamron 28-75 F2.8 is probably a better lens than the Sigma 24-70 so not really worth spending that kind of money for lens which is almost the same and maybe not as good. For a crop sensor camera I would probably go with the Canon 17-55 F2.8 IS I think Tamron also makes a great lens in this range. If upgrading look at the Tamron 24-70 F2.8 VR which is a substantial upgrade over the Tamron 28-75 which I have both of.</p>

<p>I think you already have everything you need. In terms of wants and money is not an issue can't go wrong with a Canon 5D III and the new 24-70 F2.8 II. This would set you for the next 5 years easily. Alternatively, you might go with cheap zooms Tamron 24-70 F2.8 VR and Tamron 70-300 F4 -5.6 VR and add good primes 85 1.2L II is excellent portrait lens.<br>

However, I believe lighting makes a bigger difference in portrait work than camera and lenses. With good lighting and just about any Camera and lens at F8 you can get pretty good results.</p>

<p>I shoot with a Canon 5D Mark II and occasionally use the Canon 28 1.8 lens. However, I only purchased this lens for low light situations where I need the 1.8. primarily for HD video of street photography where I pair it with my Canon 50 1.8. It does not have sharp corners, but that is not what I use it for. When i am shooting with that lens I at 1.8 I want everything other than focus point which is never at the edges blurred.<br>

If I want to shoot at 28 F4 or smaller I would hands down use my Canon 17-40 F4L which at 28 has very sharp edges. If I need something faster I would use my Tamron 24-70 F2.8 VR which at 28 F4 also has pretty sharp edges. The VR of the Tamron helps overall sharpness when slow shutter speeds are required.<br>

In most cases Adobe Light-room lens correction does a great job at fixing any vignetting or sharpness issues.<br>

Overall, for shooting street photography favorite lens is Canon 28 1.8 and 50 1.8. If it is absolutely critical Canon 17-40 F4L, If low light situation Tamron 24-70 F2.8 VR.<br>

For the money I would not spend $700 for a 28 F2.8 IS when for an extra $400 you can get the Tamron 24-70 F2.8 VR which is a great lens at 24, 50 and 70 F2.8. If you only shoot Canon get a used Canon 24-70 F2.8 I, however, neither of those would be my first choice for shoot street photography at night.</p>

 

<p>I'm a little lost. To minimize a collection of lenses a zoom like the 24-70 is a better option as it contains many focal lengths in one lens. To photograph wedding bands ( large groups) the wide angle of the 24-70 again is a better option. These lenses are quite different. I would lok at the 100 as a specialized lens where as the 24-70 is a multifunction lens. IMOP the 24-70 is my main lens for weddings and just about everything else I do. For that reason I would recommend the 24-70 in a F2.8 (If you really need IS in this range the Tamron 24-70 F2.8 VR) is a great option and would be rated higher to me than an 24-70 F4. Also, the 24-105 F4 IS may be even a better option as it cover the 100 range of the macro then you only loose 1 stop not the range as well.</p>

<p>I shoot with a Canon 5D Mark II and the 85 1.2L, 50 1.8, 28 1.8 as primes and the Canon 17-40 F4L, Tamron 24-70 F2.8 VC, Tamron 70-300 F4-5.6 VC and Sigma 70-200 F2.8.<br>

Out of all those lens the sharpest and funnest to use is hands down the Tamron 24-70 F2.8, followed closely by the Tamron 70-300 F4-5.6.<br>

If I was purley shooting for artisitic value nothing touches the 85 1.2L. It is not as sharp as the Tamron's which can at times be too sharp. The 85 1.2L is my least used because of its slow focus and extememly narrow DOF at 1.2 makes it really hard to focus. However, when i do get a good shot from the 85 1.2L it is often a great shot. The colors makes it look like an oil painting than a photo but it has a softer look than the really sharp look you get with VR.<br>

For the price vs performance the Tamon 70-300 VR is an absolutely amazing lens.<br>

I have test the Tamron 24-70 VR against the Canon 24-70 F2.8 I and It was very close. Overall, very close but honestly tyher edge with out VR would go to Canon L. However, the VR of the Tamron when needed in my opionion makes it surpass both the Canon 24-70 F2.8 I and II. When shooting handheld video the VR is absolutely a must have feauture....<br>

I also compared the 24-105 IS to the Tamron 24-70 F2.8 VR and The Canon did not meet the mark. The Canon 24-105 has so much distortion at 24mm and vertical and horizontial lines bowed awfully. My Canon 17-40 F4L blows away the Canon 24-105 at 24MM.</p>

 

<p>John, I think you may have the same problem i once had. Camera bounce. If you are moving the camera slightly as you take the shot it may cause this lack of sharpness. <br /> I would first determine can your camera take a sharp picture at all. Set everything back to defaults. Set camera in one shot mode no AI server. Place camera on tripod and take a single sharp photo of something not moving at F8. No IS, use Manual Focus. Once you determine lens and camera are working correcty in full manaul mode then change to autofocus and repeat test. Determine if your autofocus shot is as sharp as your manual focus on tripod shot.<br /> If all is still equal take camera off tripod and repeat test without changing any settings. If your picts are not as sharp as when on tripod it may have something to do with your stance or balance at the moment you take the shot. <br /> PS - Also just shoot RAW. This is not about Picture Styles and in camera sharpening etc. My Canon 5D II has these feature but I never use them. I do all that when needed in adobe Lightroom.<br>

Also, you may not need really advanced features to shoot a 2 year old. They actaully move quite slow and their movements are pretty predictable (straight forward), when compared to a football or basketball game. Simplify...</p>

<p>I shoot with a Canon 5D Mark II and I own both primes and zooms. I love both but must say i use the zooms much more often than the primes because i prefere to frame in camera not n Photoshop. My goto lens isTamron 24-70 F2.8 IS and Tamron 70-300 F4-5.6 VR, followed by the Canon 17-40 F4L. I also own Canon 28 1.8, 50 1.8 and 85 1.2L and 100 F2.0. Honestly, in terms of sharpness on tripod the primes win hands down but for day to day shooting handheld the Tamrons with VR win. I use the primes mainly for studio work and zooms for outdoors where Ai don't want to change lenses often of have to cary too many extra lenses espeacially my 85 1.2L and 100 MM which seldom leaves the studio.<br>

I would focus on getting good set of zooms first then add primes where needed. <br>

Also, I would agree my Canon 17-40 F4 L is in my opinion sharper than the 28 1.8 when both are set to 28mm, F4. If I were to buy primes again I would probably go all out and get all L-series or Carl Zeiss.</p>

<p>I use 12x12 LED panels which I use primarily for video work. You can look up Litepanels these are great if you can afford. However, now there are a lot of cheaper imatations which are still pretty good. They are durable and do not get hot and use very little power. I run mine off alien Bees Vagabon Batteries. Not the whole Vagabon just the Vagabon 12v batteries.<br>

However, I also combine this with very fast prime lenses. I use Canon 85 1.2L, 50 1.4, 28 1.8 or lenses with VR/IS I.E. Tamron 24-70 F2.8 VR and 70-300 F4-56 VR. I really like shooting LED but the photos are not as sharp as shooting with strobes because they don't freeze action. I can however shoot at shutter speeds well beyond /200 because there is no sync issue so I can drag the shuttter to get movement or freeze action with faster shutter.<br>

look for 12x12 LED panels they are not cheap... </p>

<p>Actually I would go for the 24-105 F4 IS on a 60D this will still be a little long but will be a lot more usefull than a 70-200, which for you is a 112 - 320. Fr wedding on my Canon 30D i used the Canon 17-40 F4L because I was taking a lot of group and familly shots and a Tamtron 24-70 F2.8. For the 70-200 I went Sigma because I absolutely need F2.8 in that focal length espeacially if there is no IS. My goto lenses now for weddings are my Tamron 24-70 F2.8 VR, Tamron 7-300 F4 -5.6 and primes 28 1.8, 50 1.8 and 85 1.2L. If I need it but seldom use anymore I still have my Sigma 70-200 F2.8, but for shooting slow moving people or stationary objects I love th eVR of the Tamrons. To me F4 without IS in a long lenses you loose too much.</p>

<p>Personally I would get the cheapest Digital camera you could find even if it meant a Digital Rebel or something like a 30D. If you could save your money a little longer and get into a used digital which can also do video you would be better ready to do weddings. I have had a terrible time lately getting people to pay for film photos. The cost of developing film is too high and too long especially when shooting real black and white not c41 process film. Your costs of shooting film will actually in the long wrong be substantially more than shooting digital if you shoot often.<br>

also, the demand for video in weddings is also getting very high almost expected now days since even many mobile phones can now shoot HD video. <br>

<br />If you absolutely must have a film camera I enjoy occasionally shooting with my Canon 7NE. The eye control is really nice and definetely sets it apart from other camera's. However, since I learned to use Exposure by Alien Skin I can get pretty the same look as the Ilfords, Tri-X, and Kodak VC films I like digitally.</p>

<p>1. I use both a Canon 5D2 and ELAN 7NE. The only difference I can tell in focusing performance is the ELAN has the eye control which allows you to look at an off center focus point and make it active. Other than that when only using the center focus point I can't tell any difference at all. However, I am also a one shot guy and seldom use servo focus mode. Also, I find when I am shooting low light stuff with a prime wide open at F1.8 or F1.2 auto-focus doesn't work well on any camera. The focal plane is so narrow at F1.2 you pretty much have to auto-focus to be sure what you want is actually whats in focus. Brightness has a lot to do with the aperture of the lens a slow F4-5.6 lens will be a lot darker on a 5D2 than an 85 1.2L and brightness and auto-focus are both better when you use a F2.8 lens or faster.<br>

<br />For continuous shooting on a 5D2 you need a card which supports UDMA. Then the camera is unlimited continuous shooting until the card fills up. Sandisk makes a UDMA Extreme which is both fast, durable and designed for extreme cold. I find the thing which get most affected by cold weather is my batteries.</p>

<p>Definitely try ordering it from Canon first. It may actually be the same as for the new 85 1.2L II. Not much actually changes on these L-series lenses.</p>

<p>When I was shooting crop sensor camera's in my studio my go to lens was the Canon 17-40 F4L. On my Canon 5D2 I primarily use the Tamron 24-70 F2.8 VR and 70-300 F4 - 5.6 VR. If you are having focusing issue you may want to increase the brightness of your modeling lights. Even a cheap kit lens should give you good results in a studio environment. Most lenses get pretty good by the time your are shooting F8 with them. I own but very seldom ever shoot with my 85 1.2L even full frame it is too long for modeling work other than head shots.<br>

For full body on crop sensor the 17-55 F2.8 IS seems like the best choice. IMOP IS \ VR really helps a lot in studio situation where you are not using a tripod. a lot of my sharpness issues wasn't my lenses at all it was fatigue and camera shake which is not corrected by the speed of the strobes. Overall, I tripod may be your best investment for better studio work. Otherwise, a zoom lens in the 17-40+ range would be great. Personally, although i own several primes I don't like them as much for shooting studio work where i want to isolate and frame as I shoot not after the fact in Photoshop.</p>

<p>With the lenses you already have the Canon 17-40 F4L will be a great addition weather you shoot full frame or not. Mine was stolen once and when I had the opportunity to upgrade to the 24-105 F4L I still chose the Canon 17-40. It has very little vignetting even at 17MM and horizons and vertical lines stay straight and don't bow like the 24-105. I use this lens on both my Digital 5D2 and Film ELAN 7NE and just love it.... Best L-series lens made for the price.....</p>

<p>Anytime I mount a prime I plane on shooting 1.8. 1.4 or 1.2. If I plan on shooting that wide I know I need a tripod. So no need for IS if I am shooting with primes.<br>

I absolutely cannot tell the sharpness difference between my Canon 50 1.8 and Tamron 24-70 F2.8 VR at F2.8. When shooting video the wider aperture means less light so battery powered lights last longer.</p>

<p>I would guess to say all zoom lenses vignette at least some at their widest opening. I did a test between a Canon 24-105 F4 L and Tamron 24-70 V2.8 VR which also uses an 82 mm filter. The larger filter seems to vignette less when I compared with a older Canon 24-105 which is 77mm filter. A good polarizer will not cause lens to vignette much if any more than it already does. </p>

<p>Yes auto-focusing on a moving kid with a prime set at F1.8 could be difficult. However, i shoot basketball games with a 5d2 and Canon 70-200 F2.8 at F2.8 all the time with no problems. I must say I also shoot with an old 30D and still have no problems shooting kids at F4 or above. <br>

First a flash will help with low light auto-focusing more than anything. I really don't see much of a difference between a 5D2, 6D, 7D or 30D. Shooting kids and static landscapes is more about good photography than camera body. <br>

If you have the money to spend get the 5D mark III and the new Canon 24-70 F2.8 II. then you can say you have the best chance possible of getting those fast moving kids and night shots of landscapes. <br>

<br />However, as many here have said in most cases you won't be able to tell much of a difference from someone shooting with a 5D2 or 7D and a Tamron 24-70 F2.8 VR or 70-300 VR 4-5.6 getting similar results but spending a whole lot less money. If you do photogrpahy for a living shooting NFL football games where the action moves a whole lot faster than kids and failures will cost you a whole lot more then the choices are simple. But, when you don't get paid do what makes you the happiest.</p>

<p>I shoot video with a 5D2 and 28 1.8 or 85 1.2L. I would agree a video camera is better if you mainly shoot video. Focusing in low light with a fast prime is extremely difficult. For this reason a 7D is generally better for video than a 5D2 because the 5D2 Focus plane is actually too narrow. When a person moves forward or backwards just a little bit it messes up the focus. Real video camera's can also be really fast opening up to F1.8 as well but focus much faster in low light. You can get greast video with a Digital SLR however, it is more difficult to get than a good HD video camera.</p>

<p>When I was shooting crop sensor camera I loved my Canon 17-40 F4L. However, I always new I was going full frame so wanted a lens which was upgradable to a FF camera. If you have no plans of going FF I would get the Canon 17-55 F2.8 IS lens or comparable Tamron lens in this range with VR. On my Canon 5D Mark II, I now shoot with Tamron 24-70 F2.8 VR and couldn't imagine not having both VR, F2.8, full time manual focus override and weather sealing. I also use the Canon 28 1.8 but I primarily use this when shooting video. The faster speed is really important because it allows your batter powered lights to run much longer as you don't need as much power.</p>

<p>I own and only occasionaly use the 85 1.2L for portraits. First, it is virtually impossible to use this lens at or even close to 1.2 with studio lighting. In studio I am closet to F8 with a shutter speed of 1/200. Second my studio is rather small and I like to be close to the subject so I don't have to yell across the room to communicate to model so I actually seldom use primes for portraits. Because of the cost and weight of this lens I also very seldom use it were it works best for night or low light outdoor natural light photography. I do love it when i am shooting video were the shallow dof of 1.2 and the creamy colors and bokeh are unsurpassed by any lens I own.<br>

My main lenses for portrait work are my Tamron 70-300 F4-5.6 VR and Tamron 24-70 F2.8 VR. At F8 under studio lighting and using a tripod as I do in studio I can barely tell it from the 85 1.2. I say barely because you can tell the difference. Occasionally, I will get just an acceptionally great shot with the 85 1.2L where it just looks different. However, I get more consistently good shots with the other two lenses. To me the Tamrons are business leneses wher eI just need to get the work done. The Canon 85 1.2L is for creating Art. I don't get as many good shots as more shots will be out of focus. However, I get more great shots with the 85 1.2L although this is also more rare.<br>

For the price though, I couldn't be in business without my zooms for portrait work.</p>

I also shoot portraits and weddings and prefer my Tamron 24-70 f2.8 VR to both of those lenses. I shoot with Canon 5d

mark II. I seriously considered the Canon 24-70 f2.8 II however doing weddings now people expect video and pay extra

for it. So the VR at 24-70 for handheld video for me outweigh the extra sharpness of the new 24-70 II. For weddings the

2.8 is a must I also carry a 85 1.2L, 28 1.8, 50 1.4. Handheld with VR the Tamron is hard to beat At f2.8. If I were

shooting studio and using tripod I would love to have the new Canon but can't justify it because I can just shoot primes in

studio.

For crop sensor camera I would definetly go with 10-22. 24 f2.8 prime is not appealing to me. I prefer my 28 1.8 because

When I use primes is because I need faster speed than my 2.8 zooms will go. I saved my money and got the Tamron 24-

70 f2.8 VR and Canon 28 1.8 and love the combination. For wide angle and especially video my canon 17-40 F4l is my

goto lens on canon 5d mark II. I use all third party f2.8 zooms and Canon 1.8 or faster primes both standard and L series.

For crop sensor camera I would definetly go with 10-22. 24 f2.8 prime is not appealing to me. I prefer my 28 1.8 because

When I use primes is because I need faster speed than my 2.8 zooms will go. I saved my money and got the Tamron 24-

70 f2.8 VR and Canon 28 1.8 and love the combination. For wide angle and especially video my canon 17-40 F4l is my

goto lens on canon 5d mark II. I use all third party f2.8 zooms and Canon 1.8 or faster primes both standard and L series.

I have used the originnal Canon24-70 2.8 I and find I am much happier with the new Tamron 24-70 f2.8 VR lens. I am sure it is not as

sharp as the new Canon24-702.8 II , however my lack of sharpness was caused by motion blur as a result of my hands moving while

shooting. For me f2.8 and IS/ VR is more beneficial than just image sharpness as I only use a tripod in studio.