Seems like the perfect walk around lens, especially for travel.
Why is it not more popular? Price?
Why is it not more popular? Price?
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Alright everyone, I shoot portraits and weddings and here are my current lenses which I use on my 5DM3:
24-105 (great kit lens, but I might sell it)
24-70 f2.8 MK2
(Sigma) 12-24 - some people don't like this, but I think I got a good copy
70-200 f2.8 MK2
I'm trying to find a reason to buy either the 85mm or 135mm. Which should I buy? I know I have that length covered, but they're such celebrated primes that I'd just learn to zoom with my feet more and I know my results would be good.
So, here's my question. Both are very well-loved in the photog world, especially with portrait shooters. Which should I get? Or, should I be considering another prime altogether?
Thanks in advance!
Dear Sir, Mr. beckstoy.
For the Best Wedding/ portrait Lenses, Both of Them 85 1.2 II and 135 L 2.0 are great ---and Best of the Best Too. But So many Lenses that need to consider for perfected Photos, where the space between the model and the photographer are limited, and the Photographers do not have the choice ---Yes that why the Difference Lenses are force to use for the best of that situation.
Here are my Wedding / Portrait Lenses that I use as " One man army" past 5 years, and Its works for me.
Good luck for your selection of the great Lenses.
A= Canon TS-E 24 MM. F 3.5 L MK II for my group Portrait up to 200 People. Yes, I use Horizontal Shift function.
B = EF 24-70 F/ 2.8 L for General Photos, at the Party
C= EF 135 MM F/ 2.0 L, For great Portrait in the long range.
D=EF 70-200 mm F/ 2.8 L IS USM. Shoot far away on the Balcony of the Church, When we can not go to shoot at Altar----Ha, Ha, Ha---Not try to let the FATHER/ Preacher get angry.
E= EF 100 mm F./ 2.8 L IS Macro USM. for the Great Portrait Photos with Some Great Bokeh. Plus the Detail of the Rings, Flowers and The Bride's Beautiful Shoes.
F = Sigma 50 MM F/ 1.4, For Tight Space and Very Blur Background.
G= EF 85 MM. F/ 1.2 L MK II for total Blur of busy back ground, and let the Bride& Groom as the Movie Stars. Plus this Lens is to separate Us/ The Real Pay Photographers and Uncle Bob or aunt Jane who use 41 MP. Nokia Lumia Cell Phone Camera, which can get the better Pictures than Me----Ha, Ha, Ha
NO, NO, NO, I never use any lens that wider than 24 MM. Yes, I have learn from the Hard way, I use 11-17 and 17-40 mm at F = 11 and F = 17 for Group Photos, And I lost my best beautiful Client, who stand at the far Left and Far right of the Group Photos= Yes The Super Wide Angle lens is create the subjects at the far edge of photo so distortion = Her Face form as the Beauty and The Beast = The Beast ( Not the Beauty)----Ha, Ha, Ha
Beside weight and price.This is an amazing lens
Great shot! I really like this close-up, but the subject's skin look kinda "plastic", or unnaturally smooth at best. Did you do some heavy photoshopping on this one? if so, it really shows. Otherwise, the rendering seems to indicate that the protagonists have been dipped in resin just prior to the photo session, which would be fine for a Barbie commercial. (sorry if my comment appears sarcastic, that's not the intention, I think this is a great work apart from the skin rendition)
back to the original post: I went through many user's reviews when I had to pick my next telephoto lens, and so far I haven't read anything negative about the 70-200L/2.8 beside its weight. I ultimately went for the 70-300L because of its lower weight (i.e. portability), longer range and better rendering at the longer end than the 70-200L/2.8 with TC. If you don't mind the weight and shorter range and need a shallower DoF, then the 70-200L/2.8 is definitely the sure thing.
Yes,the skin was heavily smoothen via post(NIK)
Depends on your definition of "local publication" too. If it's just going to get printed on a raggy newspaper, IQ won't matter so go with the flexibility of a zoom. If it's getting printed double-page in a nice glossy mag then you might be better off with the legendary-IQ of the Distagon (although whether the 16-35 is good enough for a magazine print is debatable, depends on your camera, lighting conditions, tripod, etc, it could still be more than adequate)
I have two profoto D1 strobes, should I buy two softboxes of the same size or two different sizes?
If you get 2 different sizes one will have 'lightbox envy'. And always get the biggest size you can. That way you'll be able to know you've got the biggest ones on the block.
I couldn't help myself, sorry. Nothing really useful to contribute, look at what the others have posted. Much more useful.
Really depends on what your photographing. I used to use umbrellas for portraits. Then I got all gaga about soft boxes and used those, with good results... last few portrait sessions, one bright silver umbrella - and a big softbox. Big for me is 3x4 foot on a Matthews Beefy Baby, which is enough stand for a non-boomed box. If you're thinking about using a boom, you'll need a Jr size stand.
The nice thing about soft boxes, is you can always scrim them at the face, and not lose much interms of light quality, just reduce the width of the light itself. Very good and interesting results can be had on products using creative scrimming of softboxes. Umbrellas dont do on most product photography.
Are these Octa units able to use a grid/limiter? I would not want at least some softboxes in my kit that didn't have some way of controlling how wide their light is cast. I have no experience with an octabox but saw one a friend had in use and it would have been hard to card it off and I saw no attachment for a honeycomb. Rectangular units of any size mean easy scrim with a black card. I have cut sawtooth cards to taper the effect. Rectangular softboxes, if not too deep, are a bit easier to hide in the corner of a room, but I haven't looked at an Octa up close.
Think long term and wait for what will work. Or order from another source. Post a "Want to Buy" ad.
Of course, this is one of those questions that are insoluble to those who are not actually living your own life. But, there are some rules of thumb to go by that might help you to understand diffuser (softbox light is diffused light) light sources.
Most people, even some photographers, mistakenly think that the softness (lower overall contrast, with lighter shadow values compared to harder lighting having comparable highlight values) comes from the evenness of the light source, such as light that is bounced off a large reflecting board or diffused through a medium such as translucent cloth, vellum or plastic. This is only about 1/4 right. The "softness" from these light sources is actually solely due to the overall size of the light emitting surface in relation to its distance from the subject. If a source is very uneven, with much brighter areas surrounded by those less illuminated, then the size of the source can mainly be measured by the part of the source which is most bright, like the light coming from an old fashioned photo flood fixture, and would actually measure as smaller overall than the size of the reflector. This is why the most efficient way of delivering soft lighting from a source of a certain measured area will usually be from an evenly illuminating source such as a softbox, light reflecting off a board or wall, or even a well made umbrella. But, the real data that counts is still how big the illuminating source is compared with the distance to the subject.
Understanding this should give you an idea how to calculate how big your softboxes should be to work for your subjects and your preconception of the quality of the light. If you cannot vary the distance from multiple illuminating sources to your subject by very much, then, in order to change the soft-hard quotient of the lighting from more than one softbox source, one would require different sized softboxes to accomplish the desired effect. Also, things such as overall space requirements, weight on - and position of - the lighthead (torque strain), portability, cost and many other factors might lead you to choose boxes of different sizes.
Think about what you may have to shoot and figure it out for yourself.
You should first find out what kind of lighting you want to create. Once the artistic decision is made the actual choice comes by itself. Or: if there was a catchall answer nobody would need the wide selection of options.
But you can always mask down a large box, the other way around is more difficult.