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FORUMS Canon Cameras, Lenses & Accessories Canon EF and EF-S Lenses 
Thread started 27 Apr 2013 (Saturday) 12:36
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My transition from 5 lenses to 3. My zoom vs. prime decisions are over.

 
Mornnb
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May 31, 2014 19:14 |  #361

lens pirate wrote in post #16942629 (external link)
Reasons to do away with it other than gear lust:

1. Cost You can have an entire set of Legacy MF glass for the cost of ONE modern Canon prime.
2. Flexibility having a 24mm, 28mm, 35mm, 45mm, 50mm, 85mm, and 135mm all fast all top quality is more important to getting the shot... making the art than having a lens with AF.

Or you can get two of Canon's excellent modern zooms, the 24-70mm II and 70-200 II IS. Which have the performance of or better than contemporary L primes, and are sure to out perform vintage gear.
Seriously, take a look at the 70-200mm II IS compared to the 135mm f2. The performance is the same.
http://www.the-digital-picture.com …omp=0&FLIComp=0​&APIComp=2 (external link)

And the 24-70mm II 2.8 compared to the 24mm 1.4 L.
http://www.the-digital-picture.com …omp=0&FLIComp=0​&APIComp=4 (external link)
And 35mm Sigma.
http://www.the-digital-picture.com …omp=0&FLIComp=0​&APIComp=3 (external link)

It actually spanks the Sigma Art tidily in the mid frame and corners.


Problem is no f/1.4 though so you may need a prime or two for occasions where you need the artistic shallow DOF look.
But my argument is that if your goal is to produce art, and produce it as easily as possible with the highest image quality, you really can't beat modern high quality autofocusing zooms.

3. Appreciation of fine tools is real and adds to enjoyment. Neither Canon nor Nikon make ANYTHING that approaches the stunning feel and look of my Ashai Pentax M42 Super Takumars
4. Embrace the quirky. Once you try the wonderfully aged radioactive thorium glass MF lenses and start to love the character of the divergent quirkiness of old glass having to stick with only modern offers seems sterile and limited.
5. Breaking out of the DSLR trap with out breaking the bank. MF on mirror-less cameras is FUN.
6. Something to do while Canon pulls its head out of its A$$

These points are all gearism! ;)
Not to say that there's any thing wrong with that, gear can certainly add enjoyment to the production of art. If you enjoy using the gear, I believe this will reflect in the work.


Canon 5D Mark III - Leica M240
EF 16-35mm F/4 IS L - EF 14mm f/2.8 L II - - EF 17mm TS-E L - EF 24-70mm f/2.8 L II - EF 70-200mm IS II f/2.8 L - Sigma 35mm f/1.4 Art - Sigma 85mm f/1.4 EX
Voigtlander 15mm III - 28mm Elmarit-M ASPH - 35mm f/1.4 Summilux-M FLE - 50mm f/1.4 Summilux-M ASPH
500px (external link)

  
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lens ­ pirate
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May 31, 2014 19:21 |  #362

Mornnb wrote in post #16943019 (external link)
Or you can get two of Canon's excellent modern zooms, the 24-70mm II and 70-200 II IS. Which have the performance of or better than primes, and are sure to out perform vintage gear. Problem is no f/1.4 though!

yes from a stand point of only having a few lenses this combo walks all over a few primes.

But my recurring point is as far as glass goes I use this motto..... YES PLEASE


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duncanapple
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Jun 01, 2014 14:14 as a reply to  @ post 15876385 |  #363

Great write up. I see the logic with the 50. 35 is a good all around lens but for close up portraits it can be a tad wide. The only real downside; but then thats what some of the longer glass really excels at.


Canon 5DmkII, Canon 35mm 1.4L, Canon 70-200 2.8L IS mk II, Canon 580exII, Alum Macbook + Aperture 3 + Adobe CS3

  
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Bonbridge
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Jun 01, 2014 14:34 |  #364

I do actually like to take headshot portraits with my Sigma 35. If you use it wide open it still is extremely sharp and it will give you a really cool and different headshot picture which has a schallow DOF and a little distortion which looks pretty fun to me.


5DII + 6D | 16-35/4.0L IS | Σ35/1.4A | 40/2.8 | Σ85/1.4A | 70-200/2.8L IS II
iMac Retina 5k | i7 | 24Gb RAM | 512GB Flash | 4GB M295X

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Dj ­ R
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Jun 01, 2014 21:27 |  #365

well primes have their place, but I must admit.
I have a second go around, right now, with....

the latest L zoom from canon, the 24-70II and man, it is a masterpiece.
this was taken yesterday in a forest, available light.
f2.8
iso 500
1/400th
using only LR5 for post. which is all I use, ever.

IMAGE: https://farm3.staticflickr.com/2916/14324962644_5d6d744f1b_h.jpg
IMAGE LINK: https://flic.kr/p/nPRb​jy  (external link) 24-70Lii. Family Portrait. (external link) by RyebreadPics (external link), on Flickr

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MJ23FE
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Jun 02, 2014 11:05 |  #366

Great read! Thanks, Dj R for starting this topic. It's awesome that it took off and so many people got involved. The ideas and opinions that people have shared is great to sort through since most of us are always thinking about this stuff!

I'm a hobbyist first and foremost, but have done some paid gigs before. Wedding, engagement shoot, family portraits. I also love automotive photography, both car shows and racing. But I wouldn't say any of my work has been top notch, at least not to my own personal standards. They're good.

Irregardless, I want to make sure I have a good equipment that does a great job but is also reasonable.

My current set up is as follows:
5D3
EF 16-35mm f/4L IS <<<Pre-ordered
EF 24-105 f/4L IS
EF 28mm f/1.8
EF 50mm f/1.8
EF 85mm f/1.8
Kenko Pro 1.4x TC

Lee FK with Big & Little Stopper
B+W 105mm Kaesemann CPL

I also still have:
30D
EF-S 10-22mm f/3.5-4.5
EF-S 60mm f/2.8 Macro
Tamron 17-50mm f/2.8

I've been thinking about clearing out my 28, 50, 85, 10-22, 60 & 17-50 so that I could pick up the Sigma 50mm f/1.4 Art. I'd have some extra cash left over as well.

I've always known this to an extent, but have accepted it as the norm. I re-noticed last time I was shooting in NYC that my 28 and 85 were pretty damn soft at anything under 2.5-2.8 which kinda annoyed me. I don't care of the 85mm is damn sharp when stopped down. I want this biatch to be as sharp as possible at 1.8.
Now, in defense of the EF 85 1.8, I've never tried micro adjusting any lens before, so maybe that could help that issue?

I shot with my 30D for 6 years, and had purchased the 28mm to give me a close to 50mm FOV. 44.8mm is what it works out to be on a crop. The 35L (56mm FOV) was too much money at the time, and I wasn't really into trying 3rd party lenses.

Times have changed. I've picked up a phenomenal FF camera in the 5D3, and it has changed everything for me. After seeing the great design and building quality of Sigma's Art series, I've looked into them more.

I've read through the Sigma 50mm 1.4 Art lens sample thread and everything has praised it on its performance at 1.4 and how sharp it is and the great build quality. And reading through this thread reminds me of the 50mm FOV and how great it is for so many things.

I'll be traveling to Lebanon and will be there from July 4th-July 30th, with 3 days sprinkled in where I'll be in Dubai visiting my bro. I haven't been back to Lebanon in practically 13 years, and so that means that I haven't seen my family since I was 19 years old. I wasn't into photography back then, although I do remember taking a few photos with an APS point and shoot film camera back then and having the eye to frame scenes in my head before taking the shots.
In this time away, I've found my love for photography and plan on doing tons of it while I'm there. The landscape opportunities along with thousands of years worth of history. Phoenician to Roman to Crusader - I'll have tons to see and capture. I also plan on photographing many of my elder family members to freeze them in time. That's where the Sigma 50mm f/1.4 Art comes in. Sharp at 1.4 means that I can get low light images I'll be having to take when indoors. Coupled with the 5D3's ISO capabilities, I'm hoping to capture some awesome images.

I've seen many of you change/purge your setups and change them up to adapt to your new needs. Some go back to their original setups and some stay the course with the new. I've been thinking about doing the same for a while now and reading this thread, you've given me that kick in the ass to actually act on it.

My updated lens setup will be this:

EF 16-35mm f/4L IS
EF 24-105mm f/4L IS
Σ 50mm f/1.4 Art
Kenko Pro 1.4x TC

Thoughts?

Now, the only thing I don't have is anything on the long end. I've been thinking about and debating between these 2 beloved and amazing performing lenses.

EF 70-200mm f/4L IS
&
EF 135mm f/2L

With my Kenko 1.4x tc I'd also have 98-280mm f/5.6 with IS & 189mm f/2.8.

I've written a ton. What does everyone think?

Thanks for reading!

-Jalal


JZP
5DIII | BG-E11 | 16-35L IS | 24-105L | Σ50A | 135L | 28 1.8 | 50 1.8 | 85 1.8
30D | BG-E2 | 60 Macro | 10-22 | Tamron 17-50 2.8
Kenko Pro 1.4x TC | Lee | Singh-Ray | B+W

  
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Dj ­ R
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Jun 02, 2014 15:43 |  #367

MJ good stuff. I'll reply to you later.

I have a question for my friends in this thread?

Let's say you're either a pro or a professional amatuer, you get paid at times.
whether it's a lot or a little, you can BE PROFESSIONAL. and you can be CONSCIENCE of the TIME SPENT.

- what forum should I post this thread idea?

Tips / Questions / Suggestions on how to streamline your workflow.
From A to Z.
Packing your gear bag, greeting clients, saying goodbye, unloading gear, downloading content to pc, editing, uploading, digital delivery, print, etc.

What forum would you post such a thread?


BAG Reviews, master list!
Tons of Sony gear
Some Canon gear

  
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MJ23FE
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Jun 03, 2014 14:28 |  #368

any one else?

-Jalal


JZP
5DIII | BG-E11 | 16-35L IS | 24-105L | Σ50A | 135L | 28 1.8 | 50 1.8 | 85 1.8
30D | BG-E2 | 60 Macro | 10-22 | Tamron 17-50 2.8
Kenko Pro 1.4x TC | Lee | Singh-Ray | B+W

  
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InfiniteDivide
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Jun 03, 2014 15:55 |  #369

^ To MJ Have you considered the 24L II ?
You state that your not alway happy with your lenses wide open. I can assure you even at f1.4 my 24L is sharper than my 50L and at f1.8 or f2.0 it is great.
While it is unknown how real world comparisons will be to the new 16-35 f4 IS, it is a much faster lens.

Your 24-105 lens is a great workhorse lens, and is well respected by many.
However, it has both barrel distortion and pincushion distortion that should be corrected in post.
Sometime newer optics offer better quality and less post processing work.
Maybe renting a 24-70- f2.8 is an option. Stepped down to the same f4.0 should be sharper.

Lastly your choices between the 70-200L and the 135L seem like apples to oranges to me.
What are you expecting to shoot. Something where you cannot change your position? = Zoom.
Or something like a nice portrait with a creamy background, or a distance scene. = 135L

This is just my personal advice based on the options you gave.
If I was taking the trip myself, I would pack the 16-35 f4.0 IS or the 24L II
The 50L for standard and the 70-200L f2.8 for occasional portrait and distance shots.
I alway have the ability to separate the subject and use them in low light; or stop down for added sharpness.


James Patrus
6D | 16-35L F4 | 24L II | 50L | 100L | |  -> Website (external link) & Gallery (external link)
For Sale:Canon 16-35mm f4 IS l Do you enjoy Super Famicom games? (external link) PM me directly.

  
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Dj ­ R
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Jun 03, 2014 16:35 |  #370

does he have the automatic lens correction turned on, on the mark iii?

The 16-35L, giving you 16-23, is far FAR wider than 24.
Yes the 24 is normal wide. And should be fine on a vacation.
But it's not ultra wide. That is one area, where a prime isn't the answer, b/c the 14L and the 17L are such niche items, and soooo expensive.

Having gone from 16-35L 2.8II to the 24L 1.4II and then back to the zoom (only b/c of real estate projects), I'm content. I was NOT doing the real estate work when I originally made the swap to the prime.

Looking back, I was NEVER using the 24L for portrait work, it was ONLY used for low light (night), my 50L will work there. I obviously was using the 24L for wide work, but most of the time it was real estate, cars, and landscape/travel.... so the 16-35L 2.8II is my answer. I would have gotten the 17-40L on the last round of refurbished gear sale from canon, 1 year warranty, $525, free shipping. but that sale is over. If there was a L prime in the 16mm range that cost roughly the same as the 16-35 2.8II, I would have gotten it.

The 17-40 f4 would have been fine for what I am using my wide lens for. But I found a guy who wanted to trade lenses, so it was perfect, now I have the 16-35 2.8II.

The Sigma 50 art, looks promising. but I will never go there. I had one Sigma lens and the AF sucked. I am a canon CPS member. I like knowing that I can get my gear cleaned and repaired for little to no charge, AND FAST, I mean 1 or 2 days fast.


BAG Reviews, master list!
Tons of Sony gear
Some Canon gear

  
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MJ23FE
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Jun 04, 2014 09:36 |  #371

InfiniteDivide wrote in post #16949387 (external link)
^ To MJ Have you considered the 24L II ?
You state that your not alway happy with your lenses wide open. I can assure you even at f1.4 my 24L is sharper than my 50L and at f1.8 or f2.0 it is great.
While it is unknown how real world comparisons will be to the new 16-35 f4 IS, it is a much faster lens.

Each time I've been in NYC or any tightly packed space and have wanted to take a wide photo I've always found my 24-105L to not be wide enough. Especially after using a 10-22 for many years.

And I know for a fact that when I'm walking the streets of Beirut, Byblos, Sidon and Tyre, I'm absolutely going to want wider. That's why I ordered the 16-35 4L IS.

Although a great lens, 24L will not suit my needs.

Your 24-105 lens is a great workhorse lens, and is well respected by many.
However, it has both barrel distortion and pincushion distortion that should be corrected in post.
Sometime newer optics offer better quality and less post processing work.
Maybe renting a 24-70- f2.8 is an option. Stepped down to the same f4.0 should be sharper.

I would love to have the 24-70 2.8II. I haven't read a person say anything bad about it all. Being sharp edge to edge is also something awesome to have.

However, it's $2,200.

I completely agree with you in regards to the distortion of the 24-105L and it does honestly bother me a bit, especially on the wide end. I find myself adjusting the distortion quite a bit so that it's not as extreme and more acceptable. It's definitely work and I agree that I'd love to get rid of that as part of my work flow.

However, is it annoying enough to be worth $1,600 (after selling my 24-105L), I don't know. It also doesn't have IS, which is a reason why the f4 max aperture isn't as much of a burden as it may seem. Especially on a 5D3. That extra 2-3 stops really helps.

Lastly your choices between the 70-200L and the 135L seem like apples to oranges to me.
What are you expecting to shoot. Something where you cannot change your position? = Zoom.
Or something like a nice portrait with a creamy background, or a distance scene. = 135L

I shoot a lot of everything. People, Landscapes, Automotive, Urban.

I realize the differences. But a lot of you here use the 135L, and so I wanted to get your opinions in regards to these different uses and if you'd still advise the prime over the zoom. They are both some of Canon's absolute best lenses in terms of IQ so I don't think you'd be hurting either way depending on what you need.

What I liked about the idea of the 135L is that I'd have to use my legs and/or be forced to just deal with being in the spot that I was in and work around it. I've done this in the past when using my Kenko 1.4x tc on my 85 1.8. With the 135L, I could have f/2 @ 135, or f/2.8 @ 189.

Way back in the day, I owned the 200 2.8L II for a couple of days before I returned it to B&H. Dumb move, but I was too much of a noob to realize what I had. Since then, I've never owned a telephoto lens. My 24-105L is the longest I currently have, so in reality, is that any different from using a prime if you're constantly at 105mm? And will 135mm even be worth it since it's only 30mm longer?

So at that point do you go 200 2.8L II or 70-200 4L IS?

:confused::confused::confused:

This is just my personal advice based on the options you gave.
If I was taking the trip myself, I would pack the 16-35 f4.0 IS or the 24L II
The 50L for standard and the 70-200L f2.8 for occasional portrait and distance shots.
I alway have the ability to separate the subject and use them in low light; or stop down for added sharpness.

70-200 2.8L non-IS or IS?

I know I can pick up a 70-200 2.8L (non-IS) for just about the same as its 4L IS brother. But Idk that the extra stop outweighs the amazing optics and IS ability of the latter.

Thanks for all your opinions/input and please keep them coming if you have more! I love hearing the thoughts and having the discussion.

Dj R wrote in post #16949455 (external link)
does he have the automatic lens correction turned on, on the mark iii?

I don't know if I do, so I'll have to check that out! But regardless I usually perform corrections in ACR. Is one better than the other?

The 16-35L, giving you 16-23, is far FAR wider than 24.
Yes the 24 is normal wide. And should be fine on a vacation.
But it's not ultra wide. That is one area, where a prime isn't the answer, b/c the 14L and the 17L are such niche items, and soooo expensive.

Looking back, I was NEVER using the 24L for portrait work, it was ONLY used for low light (night), my 50L will work there. I obviously was using the 24L for wide work, but most of the time it was real estate, cars, and landscape/travel.... so the 16-35L 2.8II is my answer. I would have gotten the 17-40L on the last round of refurbished gear sale from canon, 1 year warranty, $525, free shipping. but that sale is over. If there was a L prime in the 16mm range that cost roughly the same as the 16-35 2.8II, I would have gotten it.

The 17-40 f4 would have been fine for what I am using my wide lens for. But I found a guy who wanted to trade lenses, so it was perfect, now I have the 16-35 2.8II.

Having gone from 16-35L 2.8II to the 24L 1.4II and then back to the zoom (only b/c of real estate projects), I'm content. I was NOT doing the real estate work when I originally made the swap to the prime.

I completely agree with this. There's no way the 24 is wide enough, and there's a huge difference between 16-23 as you've mentioned.

The Sigma 50 art, looks promising. but I will never go there. I had one Sigma lens and the AF sucked. I am a canon CPS member. I like knowing that I can get my gear cleaned and repaired for little to no charge, AND FAST, I mean 1 or 2 days fast.

I've been on the same boat as you in regards to Sigma and their older lenses. I've never owned one for that reason alone. But I've read all the stories and comments about how crappy the AF was. However, with this new one, many many people are posting great results and usability. Also, the photo examples and lens comparison tools don't lie. At 1.4, the 50L definitely isn't as sharp. Yeah, we might be pixel peeping, but still. I think we could definitely notice the difference between one and other.

Canon offers a 1 year warranty, Sigma offers a 4 year warranty, so that's good to have.

But as you mentioned, the ability of having CPS membership and with me being a 45 minute drive from Canon's Jamesburg facility is incomparable. Definitely a HUGE bonus.

Outside of getting my 16-35 4L IS, I don't know if anything has been clarified yet! LOL

I can clear shop and sell 28,50,60,85,24-105,10-22,17-50, see what I get and potentially pick up a 24-70 2.8II and come out of pocket for either Σ50A or telephoto prime/zoom.

I can clear shop, but keep the 24-105L and pick up the Σ50A and come out of pocket on the telephoto prime/zoom.

I can clear shop, but keep the 24-105L and 85 1.8 and pick up the telephoto prime/zoom.
Going with this means I will have to accept and deal with the softness of the 85 which idk I want to do mainly because I want to take the best photo possible SOOC.

Ugh.

Any other thoughts/opinions???

-Jalal


JZP
5DIII | BG-E11 | 16-35L IS | 24-105L | Σ50A | 135L | 28 1.8 | 50 1.8 | 85 1.8
30D | BG-E2 | 60 Macro | 10-22 | Tamron 17-50 2.8
Kenko Pro 1.4x TC | Lee | Singh-Ray | B+W

  
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Charlie
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Jun 04, 2014 10:37 |  #372

Jalal, have you considered third party lenses to avoid the this or that decisions?

24-70mk2.... or tamron 24-70VC + 70-200VC (got both for 2300 total, one new one second hand).
choice was easy for me. These zooms typically live in my storage bags and brought out on distinct occasions, like school events where I'm stuck behind the bleachers. Or for landscapes, these two along with the 16-35 will give me incredible range and perspectives.

135 was easy for me to keep, and still very special. I dont want to think about a scenario where I'de have to give it up, but it does have some flaws. Shutter speed..... always constantly over 1/200 to get sharp images, with the 70-200, no issues using 1/125 for people, and I'de go even lower, but at the risk of PEOPLE moving rather than shutter shake. 1.4 extender would worsen the 135 as shutter shake is pretty bad as is. If the 135 were stabilized, I'de honestly ditch the 70-200 in favor of an extender. It's just too much trouble for indoor lowlight shooting.

so my prime list:
50L (day to day / event)
135L (day to day / event)

zoom list
16-35L (landscape / travel) (on order)
tamron trinity 24-70F2.8 (Jack of all trades if I decide only one lens), 70-200F2.8 (landscape/school events), 150-600 (landscape/wildlife)(o​n order)

spares:
nifty fifty, pancake, 70-300 (trying to sell, but not in a terrible rush), bower 14mmF2.8 (will have to see how long I can survive without this stupidly wonderful lens. It hinders me so much not being able to take filters).


Sony A7riii/A9 - FE 12-24/4 - FE 24-240 - SY 24/2.8 - FE 28/2 - FE 35/2.8 - FE 50/1.8 - FE 85/1.8 - EF 135/1.8 Art - F 600/5.6 - CZ 100-300 - Astro Rok 14/2.8 - Tamron 17-28/2.8 - 28-75/2.8 RXD, 70-200/2.8 VC

  
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MJ23FE
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Jun 04, 2014 11:54 |  #373

Charlie wrote in post #16951051 (external link)
Jalal, have you considered third party lenses to avoid the this or that decisions?

24-70mk2.... or tamron 24-70VC + 70-200VC (got both for 2300 total, one new one second hand).
choice was easy for me. These zooms typically live in my storage bags and brought out on distinct occasions, like school events where I'm stuck behind the bleachers. Or for landscapes, these two along with the 16-35 will give me incredible range and perspectives.

Charlie,
Thanks for the post! I have looked at and considered the Tamron before buying my 5D3 kit. I ended up going with the kit because I've read of many issues with it in terms of AF. And what irks me is that I've had AF issues with my Tamron 17-50 2.8 that I used on my 30D and it annoyed the hell out of me. Is there are thread with some of your photos with the lens that I can reference?

135 was easy for me to keep, and still very special. I dont want to think about a scenario where I'de have to give it up, but it does have some flaws. Shutter speed..... always constantly over 1/200 to get sharp images, with the 70-200, no issues using 1/125 for people, and I'de go even lower, but at the risk of PEOPLE moving rather than shutter shake. 1.4 extender would worsen the 135 as shutter shake is pretty bad as is. If the 135 were stabilized, I'de honestly ditch the 70-200 in favor of an extender. It's just too much trouble for indoor lowlight shooting.

Hmm... definitely something I haven't had to deal with since I've never had a longer lens.
190mm is the longest I've shot with but that was with 85 on a 30D + 1.4x tc, but that was at the race track on a bright sunny day so shutter speed wasn't even a thought.

I can totally see the low light indoor situation being an issue with longer focal lengths so I'd probably want to use whatever prime I have or bust out the 600EX-RT.

so my prime list:
50L (day to day / event)
135L (day to day / event)

zoom list
16-35L (landscape / travel) (on order)
tamron trinity 24-70F2.8 (Jack of all trades if I decide only one lens), 70-200F2.8 (landscape/school events), 150-600 (landscape/wildlife)(o​n order)

spares:
nifty fifty, pancake, 70-300 (trying to sell, but not in a terrible rush), bower 14mmF2.8 (will have to see how long I can survive without this stupidly wonderful lens. It hinders me so much not being able to take filters).

I'm at work right now so websense blocks everything under the sun. I normally can't really see as many sample photos as I'd like in the lens sample threads, but I'll be checking out the Tamron again. And if anything, I'll have to decide if I want to give up the 24-105L for it. I wouldn't think twice in regards to swapping it for the 24-70L II.

Hmmm....

-Jalal


JZP
5DIII | BG-E11 | 16-35L IS | 24-105L | Σ50A | 135L | 28 1.8 | 50 1.8 | 85 1.8
30D | BG-E2 | 60 Macro | 10-22 | Tamron 17-50 2.8
Kenko Pro 1.4x TC | Lee | Singh-Ray | B+W

  
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Charlie
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Jun 04, 2014 12:14 |  #374

MJ23FE wrote in post #16951237 (external link)
Charlie,
Thanks for the post! I have looked at and considered the Tamron before buying my 5D3 kit. I ended up going with the kit because I've read of many issues with it in terms of AF. And what irks me is that I've had AF issues with my Tamron 17-50 2.8 that I used on my 30D and it annoyed the hell out of me. Is there are thread with some of your photos with the lens that I can reference?

completely understood. the tamron 17-50 is simply not in the same league as their elite offerings. It's like comparing the nifty fifty to the 50L, just no comparison when it comes to AF. For reference, the 24-70 is about as fast as the 50L (tested using a stopwatch), and the 70-200 is damn close to the 135L and 70-200mk2. the 70-200 tamron is very impressive, I cant really see paying 700-1000 more for the canon version, instead, some of that will be used to fund the 150-600. I can provide boring shots of my kids playing, but you wont see too many of those on my flickr stream.

MJ23FE wrote in post #16951237 (external link)
Hmm... definitely something I haven't had to deal with since I've never had a longer lens.
190mm is the longest I've shot with but that was with 85 on a 30D + 1.4x tc, but that was at the race track on a bright sunny day so shutter speed wasn't even a thought.

I can totally see the low light indoor situation being an issue with longer focal lengths so I'd probably want to use whatever prime I have or bust out the 600EX-RT.


I'm at work right now so websense blocks everything under the sun. I normally can't really see as many sample photos as I'd like in the lens sample threads, but I'll be checking out the Tamron again. And if anything, I'll have to decide if I want to give up the 24-105L for it. I wouldn't think twice in regards to swapping it for the 24-70L II.

Hmmm....

-Jalal

if you can get over the fact that it doesnt have a red ring, the tamrons are excellent, and their stabilization is top notch. Feels like 3 stops on the 24-70, and 4 stops on the 70-200. @ 200mm it feels like I'm using a 50mm..... just so stable. With the 135, lots of shaking, but amazing images. Not going to sacrifice that lens, love it too much.

I also wont go for F4 lenses either, been shooting F2.8 for too long, and it's painful going back to an F4 lens. Not enough blur and low light abilities.


Sony A7riii/A9 - FE 12-24/4 - FE 24-240 - SY 24/2.8 - FE 28/2 - FE 35/2.8 - FE 50/1.8 - FE 85/1.8 - EF 135/1.8 Art - F 600/5.6 - CZ 100-300 - Astro Rok 14/2.8 - Tamron 17-28/2.8 - 28-75/2.8 RXD, 70-200/2.8 VC

  
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Dj ­ R
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Jun 04, 2014 12:16 |  #375

MJ23FE wrote in post #16950903 (external link)
I would love to have the 24-70 2.8II. I haven't read a person say anything bad about it all. Being sharp edge to edge is also something awesome to have.

However, it's $2,200.

dude, it's not that much!
first, use https://photography-on-the.net …/showthread.php​?t=1294479
greentoe to buy it.

pay $2130, and then get a $300 rebate. net $1830.
for the performance of the 24-70II, I'd pay list. it's that good.
basically, it is going to make me think about another serious change to my lineup.
at minimum, I could move one of my primes.

what do I love about it?
color contrast sharpness, yea yea yea, you knew that.
did I mention sharp? holy isht it's sharper than you expect.
the separation at 24mm with f2.8 is better than I thought it would be!

these are not epic shots...
I realize that....
overexposed, at least on my monitor where I am now...
calibrated monitor at home, they look true.

just showing you that you don't always need/want 1.2 or 1.4, especially during the day, obviously!
you can make great photos with f2.8.
this was shot at 41mm

IMAGE: https://farm6.staticflickr.com/5530/14138804697_c6e0ca197c_b.jpg
IMAGE LINK: https://flic.kr/p/nxp5​3M  (external link) 24-70Lii. Twins. (external link) by RyebreadPics (external link), on Flickr

this was shot at 24mm
blurred this girls sister out, at 24mm.
IMAGE: https://farm6.staticflickr.com/5482/14321996092_8a835dbc90_c.jpg
IMAGE LINK: https://flic.kr/p/nPzY​t7  (external link) shot at 24mm iso 640, cropped a bit, nice separation at f2.8 (external link) by RyebreadPics (external link), on Flickr

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Some Canon gear

  
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