is this a fair trade?

i want to go all primes but im afraid of changing my setup as i am a semi professional with repeat clients

this ultra-wide shot

2. Apples

3. Oats

4. Weeds

17mm is not simply a “wide angle” lens on a full-frame camera; it’s a “super-wide angle.” It’s so wide that it can be very nearly useless for many people. Lord knows how many truly awful “super-wide angle” photos I’ve seen that were panoramic landscapes with the main subject really, really tiny and lots of foreground and sky like <this ultra-wide shot. (Otto’s photos are much better because of the elevated vantage point.)

Second, the Canon 10-22mm EF-S lens provides pretty much the same capability for 1.6x FOVCF cameras as the 17-40mm does for full-frame cameras (actually 16-35mm). The 10-22mm lens apparently has LESS barrel distortion at the short end than the 17-40mm or the more expensive 16-35mm f/2.8L. If you haven’t used the 10-22mm lens, don’t count it out.

I’ve found SWA lenses more useful in getting “up close and personal” with the subject–that’s “close,” not “macro”–very different ideas. The long depth of field with a short focal length helps, as well. It is especially useful when the close-up subject can be shown against a more distant background.

Click on these links to see some examples of what I mean by “up close and personal.” They were all taken at 10mm with a Sigma 10-20mm lens on a Canon 30D. (The Sigma lens isn’t as good as the Canon, but it’s a lot cheaper. In cases like these, where there are no obvious vertical lines, the greater barrel distortion of the Sigma lens isn’t a real factor.) (I hope that the links work!)

1. Apples from ground level I was literally only inches away from the Apple. The Sigma’s closest focus is at 9.4″, measured from the sensor plane, so it’s only about 4″ in front of the lens.

2. Apples

3. Oats This was aken near a stable–the oats grow from spilled feed.

4. Weeds Even the great depth of field isn’t enough, plus the wind was blowing the weeds around, so focusing was difficult.

Also, awesome that you gave me the links to read the revisions. Very nice! Thanks so much.

I am trying to put my shots together on Flickr so I can refer to it when talking about my photo style and get some advice from people like you.

May God Bless!

1. On a full-frame camera like the 5D or 1Ds, the 24-70mm lens is considered a general-purpose, fast, super-quality lens for weddings, etc. On a Rebel or 50D, it is equivalent to a 38-112mm lens on a full-frame camera. (The Rebel and xxD series all have a 1.6x “field of view crop factor.” A 50mm lens on the Rebel gives the same field of view (framing) as an 80mm lens on a full-frame camera.) Thus, the 24-70mm lens is not very wide-angle on the Rebel. (It will be the SAME on the 50D.)

2. The photographer’s advice you got on the Commons was OK *if* you’re only taking photos outdoors at a fair distance. Also, the 70-200mm f/2.8L lens is even more expensive than the 24-70mm f/2.8L, especially if you get the IS version.

3. Yes, the camera + lens + flash would be very good indoors, especially the 24-70mm. I use a flash and the 17-55mm f/2.8 IS lens indoors. (I don’t have the 24-70mm lens.)

4. From your standpoint, there probably wouldn’t be much advantage to the 50D over the newest Rebel, but the price would be a lot more. See Bryan Carnathan’s reviews of the 450D/Rebel XSi and the 50D for a comparison. There are differences, but I don’t see that they would make much impact for you. (E.g., the 50D can shoot more frames per second, has slightly less shutter lag, etc, features that a sports photographer would benefit from, but 3.5 frames per second is probably fast enough for your purposes.

I got a 30D (and would like to upgrade to the 40D, but not the 50D–way too expensive), rather than a Digital Rebel xx0D primarily because of the physical size of the camera. I have large hands–size 11 gloves–and have difficulty holding the Rebels. Even with the 30D, I need the BG-E2 battery grip to make it comfortable to hold. Otherwise, my little finger would be under the camera–and the third finger would just barely be on the camera. The only times I take the grip off are when weight is important, like using a small, tabletop tripod for low-angle shots or on my Jobu Jr 2 gimbal head–the grip makes it difficult to balance the camera + lens. It’s odd, but it’s easier for me to hold my Canon S3 IS super-zoom point-and-shoot than a Digital Rebel–there’s more “finger space” between the grip and the lens.

Have a great time in Brazil!

Oh, yeah: I know what Boston winters are like. I made it through 6 of ‘em from 1965-1971 while I was at MIT. (BS, MS, Engineer degrees in mechanical engineering) They weren’t as bad as my next 4, though, in Dayton, Ohio, at Wright-Patterson Air Force Base. I’m now considerably north of Boston-44 deg 3 min N at Eugene, OR, versus 42 deg 21 min N for Boston. We’re just about 15 miles south (in latitude) of Montpelier, VT. Yet, our winters are pretty mild. It usually snows once or twice a year–average about 8 inches of snow, total.

The funny thing is that today I was at the Boston Common taking my pics and I ended up meeting this guy who is also an awesome photographer (he showed me some pics) and he recommended the 70-200mm f2.8 and the 85mm 1.8 to start. Now I really got crazy!… lol

As for the Flash, I’ll be getting the Canon 580EX. Would the whole package we are talking about (camera + lenses + flash) be good for indoors too? Like kids parties and when the natural light is there but outside is way too cold (I live in Boston, the winter is loooooooooong!) lol

Also, you said that the “Rebel series, it’s not all that wide”, so do you thing it would be a big mistake getting it ? I know that the Canon 50D would be waaaaaay better, but is over my budget and I think it has so much power that a novice professional like me would misuse it! Don’t you think?

Thanks for all your patience! I’m so glad the websites like this one exists!

If you will be shooting in reasonably good light outdoors, you might consider the Canon EF 24-105mm f/4L IS. It’s a bit cheaper ($1099 vs $1190 with the current rebates), but the main advantages over the 24-70mm f/4L would be:

1. Longer focal length range, especially if this will be your main or only lens.
2. VERY good image stabilization. In terms of handholding, the IS will more than make up for it being one stop slower than the 24-70mm lens.
3. It is a bit smaller (4.2″ long vs 4.9″ long) and lighter (23.6 oz vs 33.6 oz).
4. It is very versatile. In fact, Bryan Carnathan of the-digital-picture.com says in his review, If I had only one lens, this would be the one.

It supposedly has very good image quality and build quality, much like the heftier 24-70mm lens. (Read Bryan’s review.)

The major advantages of the 24-70mm f/2.8L lens would be:

1. One stop faster, so it would be better for moving subjects.
2. Wider maximum aperture = thinner depth of field, when you want that, to blur backgrounds.

Bryan, in his review , says, “The 24-70 L is the bread and butter wedding lens for many professional photographers.”

Do be aware that, on the Rebel series, it’s not all that wide–the equivalent of a 38-168mm lens on a full-frame camera. There may be situations where you’ll need the 18-55mm kit lens, though it’s not very fast and doesn’t have the excellent image quality of the “L” lenses.

As for a flash, yes, you should have one. The Canon 580EX II is the best, but not cheap. You may be able to get the previous model, 580EX, for considerably less on eBay. I have the 580EX and a Sigma 500 DG Super. (Don’t get the “ST” flash from Sigma.) Both work well, with the 580EX being a bit more versatile.

Direct flash is usually harsh and can cast deep shadows, so many photographers might also consider getting–or making!–something like the Better Bounce Card by Peter Gregg. Watch the videos on his site for instructions and tips–plus he does sell the devices. His “Ultimate Bounce Card” is quite good. There’s a similar device, the Lite-Scoop, which the maker says has advantages. (I haven’t gotten one, yet, but I will soon.) The “Even Better Bounce Card” is similar to the Lite-Scoop, but you’ll have to make it yourself.

Lumiquest also makes a range of flash modifiers, though they’re a bit more expensive and heavier and can be awkward to mount. If you’ll be working outdoors, forget the Gary Fong Lightsphere, the Sto-Fen cup, etc., as those work best in an enclosed room. (In some sense, so does the Better Bounce Card, but, you can smush it–or “flap,” as Gregg says, to get it to send more light forward.