abraham_bowman

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<p>I don't have the time to try all lenses extensively in the field. And I have a very long vacation coming up where I would like to have the right equipment with me. Thus, I am asking others for what they would do if they were in my shoes.</p>

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<p>lensrentals.com<br>

See the results for yourself, then decide.</p>

<p>16-35 II. </p>

<p>Image quality is sharp. Close down to 5.6-8 and images are even sharper. Colour is on the spot and its very versitile. Gets even better when you use a high quality UV filter. On top of that, it is also weather resistant and durable. 17-40mm is good, but not as wide, hence the reason I bought the 16-35II. Well worth your money... Depending on the pictures you take, though..</p>

<p >In my opinion, that is just a sign of wear. To me, that sort of feel on the shutter release button is too light, and would be more of a hassle than something to get used to. I would take it to a certified canon tech and get it fixed. It could be the start of a bigger problem. Maybe. I wouldn’t want to wait around and find out though.</p>

<p>How much would you be looking to spend? <br>

I would advise on getting rid of all your sigma lenses and also buying a newer camera with a full frame sensor. By staying with a cropped sensor, you are extremely limiting yourself. Also, i would get rid of the sigma lenses. In my experiences with sigma, they will almost always be "soft" because they arent high end. They are an off brand (and you do get what you pay for). Save your pennies. It will pay off in the end.</p>

<p>Canon 16-35L is better in my opinion... You get what you pay for. Faster Focusing, less flare, faster lens, better colour, better overall build. and more... as far as image quality, I think the 16-35 may be sharper and have better colour. The Sigma might be a tiny bit wider, but 16-35 is just fine. </p>

<p >Thieves don’t really care what camera you have. If they can pawn it, it’s good enough for them. They look for opportunities… not qualities. And most times, if you have a confrontation and find yourself putting up a fight for what is yours, put up a good fight. It will more likely deter them, because they won’t want you to catch a good glance of their face. Blacking out all logos and model identification is useless. Just wrap the strap snug around your arm so you can grab it before the camera gets taken and before it has enough slack to fall to the ground. Keep in mind that you’ll have a better grasp on the camera than the assailant. Also, in my opinion, don’t keep it around your neck when you’re walking around. If you get tired of carrying it and if you MUST put it around your neck, have the strap placed so that you can let the camera dangle under your arm. Or better yet, get a decent camera bag/backpack, so they don’t surely know that you have a high end camera. I do a lot of night pictures in Los Angeles, and I always carry a knife or two, just for protection. And I practice all of these suggestions like a fanatic. Hopefully this helps.</p>

<p>I haven't used a Filter, specifically for a Wedding, in yonks - maybe a CPF when near the ocean - that's about it - what filters? Why in Capitals? why so emphatic? . . .<br>

Well.. a few basic reasons... Better color. Protection. (from those kids that like to run around aimlessly). For better black and white contrasts, if you <em>are </em>going to be shooting in black and white. And some filters allow special effects. </p>

<p>How much port production went into that image?</p>

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<p>OMG Abraham do you really need all that kit to take a decent picture. With all that kit at a wedding I think most folk would get pretty fed up waiting around while you set up each shot. Who needs three flashes?</p>

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<p>Also, presetup is a must. Placing the lighting and flashes well before the wedding takes place is a good route. Usually you'll want to be included in the rehearsal so you'll know what happening.</p>

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<p>OMG Abraham do you really need all that kit to take a decent picture. With all that kit at a wedding I think most folk would get pretty fed up waiting around while you set up each shot. Who needs three flashes?</p>

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<p>That's why you have a friends or an assistant helping you out. ;) And if i was the photog, I wouldnt worry about them waiting around. People getting married want decent images, and they'll get it.</p>

<p >With only $700, you are kind of stuck, in my opinion. You would need at least 3 flashes and a speedlight transmitter to get good lighting. You’d need diffusers and a full frame camera, if you want to be able to use a decent lens. The lenses that I would use would be an 85mm L, a 24-105mm L, 50mm f/1.4(or 50mm L), and a 16-35mmL just for kicks. But… you only have $700…. So, if I were you, and being that wedding photography is mostly about lighting…. I would sell the camera you have now and upgrade a bit… chances are, you’ll only be able to afford a crop sensor camera. I’d then buy a few flashes and a speedlight transmitter with a few diffusers to go with the flashes. I think the EF-S 18-200mm IS lens should be okay. & dont forget to use FILTERS. </p>

<p >FILTERS FILTERS FILTERS!</p>

<p > </p>

<p >But I’d save your pennies and then once you have enough… ask your parents for a little money and go big. Practice bouncing light, too…. In the long run, you’ll be happy that you saved your money for it all. After all, patience is a virtue.</p>

<p >Being that you have a crop sensor, it would be almost useless to get a 16-35mmL because you wouldn’t be able to utilize the entire focal range. For your camera, I would suggest using the sigma 10-20mm, which is about $480. OR you can save some money and buy the Canon 10-22mm, which I think is a great lens. These are both EF-S lenses and should be a problem with your crop sensor camera. Also take into account what kind of effects you want to play with, by using your light sources. I’ve been doing pictures for shows, for a while now, and you can get EXTREMELY creative using the low light and direct light sources. Light paintings as well as motion blurs are easily accessible when shooting in these conditions. Also, think about using an off shoe flash and make use of the curtain flash function. This proves to come in VERY handy when you know what you’re doing. Having a fast lens doesn’t necessarily mean you will get the results you want… What I do most of the time is use the manual setting, set my shutter speed to BULB, and depending on whether (or not) I want to get some motion blurs or light steaks, I might just tap the shutter butter to get a crisp clear picture with no blurs or streaks, or I might hold the shutter release button down for a few seconds in order to get some blurs and streaks in my pictures. Also, BOUNCING light can produce very nice pictures if you are near a wall or if the ceiling is low.</p>

 

<p >Being that you have a crop sensor, it would be almost useless to get a 16-35mmL because you wouldn’t be able to utilize the entire focal range. For your camera, I would suggest using the sigma 10-20mm, which is about $480. OR you can save some money and buy the Canon 10-22mm, which I think is a great lens. These are both EF-S lenses and should be a problem with your crop sensor camera. Also take into account what kind of effects you want to play with, by using your light sources. I’ve been doing pictures for shows, for a while now, and you can get EXTREMELY creative using the low light and direct light sources. Light paintings as well as motion blurs are easily accessible when shooting in these conditions. Also, think about using an off shoe flash and make use of the curtain flash function. This proves to come in VERY handy when you know what you’re doing. Having a fast lens doesn’t necessarily mean you will get the results you want… What I do most of the time is use the manual setting, set my shutter speed to BULB, and depending on whether (or not) I want to get some motion blurs or light steaks, I might just tap the shutter butter to get a crisp clear picture with no blurs or streaks, or I might hold the shutter release button down for a few seconds in order to get some blurs and streaks in my pictures. Also, BOUNCING light can produce very nice pictures if you are near a wall or if the ceiling is low.</p>

 

<p>Elan 7Ne is an extremely good camera. I've been using one extensively and i can find nothing negative to say about it. But, when using the Eye Controlled Focusing, you must be sure to calibrate it correctly, or else it will not work to your liking. the only drawback that i have had with this camera is that Canon does not make a drive booster for it, so you are left with just a simple batter pack with no speed dial, when holding the camera horizontally. I did think seriously about buying an EOS 3, but if i were to go in that direction, I decided to save my pennies and go for a Canon EOS 1V-HS...</p>