24-105mm EF IS

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• PZ Sony lens 18-105mm f/4 G OSS E

  Hi, this lens does detection of phase on sony cameras?

  Hi RavenZvideo! The SELP18105G (PZ E 18-105mm F4) lens works with the Phase AF detection of the ILÇE-7 camera only model.

• Could not find recognition lens Nikon D80 lens 28-105mm f3.5/4.5 in the profiles of Lr

  How can I Lr recognize the Nikon D80 lens 28-105mm f3.5/4.5?

  No, there is no alternative. You can't mix and match patterns of goal.

• I have an error of comms EOS 24-105mm

  I have a 24-105, attached to a 5 d Mk III EOS and get an error message: 'Err 01 communication between the athd goal is defective. Clean the contacts of the lens. "This happens when you try to shoot at any focal length except wide open. If you try to press the shutter button halfway to auto focus/exposure trigger lens Motors seem to permanently a press the cycle button gives the error message on the monitor. place in the manual focus on the goal and the manual exposure on the left to compose only stops at the center research, but the engines keep cycling and the result is the same error message.

  When this has happened first, I cleaned the contacts and resumed filming normally. Over several months, it got worse then suddenly worse dramically to the State as it is now.

  the lens is about 2 years old. What are my options to fix this?

  Sounds like a problem of lens which will need maintenance. On the only way to check this is to try it on other bodies. I guess you have other lenses & they work on your camera.

• Lenses and camera full photo frame

  I currently have the 1100D, and I could soon get the 5 d Mark II. I just need to know if my lenses are compatible with the Mark II. My lenses are: 28-105mm and 90-300mm.

  My lenses are compatible with this camera?

  Thanks in advance!

  Canon EF (not EF-S objectives) objectives, they are compatible.

  If they are a different manufacturer they will fit, but a few drinks are designed to harvest of sensor devices, so you can get the vignetting.

  What are the manufacturers of the lenses?

• I have attached a few photos taken in Ireland, you can take a peek

  Thanks to all who helped me with my problems of lens. I got the Peterson, book and read it carefully. I enclose a photo taken in Ireland last year. Can take you a look? Used my 5DM 3 with lens EF 24-105mm 1.5.

  OK, now I understand you are looking for criticism...

  To my way of thinking, there are two or three parts of how I criticize.  Additionally, when you ask for criticism on the public forum, expect honesty (nobody would do you any favorite if they were dishonest in the hope of not to hurt feelings).  Then promise to melt.

  If an image is entered in a contest, the judges would not necessarily time to properly evaluate each image.  They are looking for 'timeout value.  Here's what that means: imagine you're flicking your way through a magazine... looking at the picture after after.  They are all "nice"... but then you come across something with impact.  It forces you to stop and linger for a while on this image instead of simply continue to turn the page.  This 'pause' is what I mean by 'value to stop '.  You can shoot a photo fo a sunset Sun, but we have all seen thousands of sunsets so a sunset is unlikely to get anyone's attention (it should really be an amazing sunset).

  Normally, I'm looking for bases...

  -What is the upgrade to the point?

  Is technically correct exposure (not over-exposed or underexposed)?

  -And then there is a variation on this... the exhibition is also artistic attractive?  Have you used a narrow depth of field to help some element of the image stand out and blur the background & foreground?  Have you used a shutter speed to create motion blur and involves a feeling of movement in a photo?  These are examples of ways to be not only "technically" correct, but artistically and creatively engaging.

  What the composition?  You draw look me at something?  Doesn't it seem balanced?   Is the awkward cropping?

  I could go on with more examples, but the point is, I would look for a technically good picture and also an attractive artistic image that draws me in.

  While your image is nicefly focused and well exposed, what am I missing, it is a focal point of interest.    I guess you could say that these rocks are a focal point, but the framing is random and nothing especially attracts me to this topic.

  Shutter speed was fast enough to 'freeze' the movement of water and the water is dramatic (he's not a storm or huge waves, etc.)  In other words, is there anything of particular interest in the water.   If you want to evoke a feeling or an emotion of tranquility or peace, you could use a neutral density filter (for example 10 stop filter) and take a picture of long exposure (on a tripod) near evening, and also to the low level of water near and it blurs a look almost glass-like water (sometimes if the water is a little more active ", you get a misty look).  Use of a circular polarizer (CPL) can help to adjust the reflection of the water and make it easier to see the bottom in the water.

  You mentioned that you have the Peterson book (I assume you mean "Understanding exposure" by Bryan).  In this book, you will learn how to turn in "manual mode".  I think everyone should learn to shoot in manual mode and then learn how to decide when to use fast shutter speed speeds up rather than slow shutter speeds or openings close vs. openness for creative impact.  Once you know "how" to control your cmaera for impact, you can't use just 'manual' - I use almost all modes on my camera.

  There is a book that I like on the composition of Michael Freeman called "the photographer's eye: composition and Design for better Digital Photos.

  Take some time to read... then take a LOT of time to go shoot and practice.  Some people are strong supporters of "comes out and shoot".  I prefer to shoot with a goal... read something, then go try to apply this thing (instead of justing out aimlessly).   This is useful because you can come home, review your shots and decide how well you achieved your goal (doing things of goals that you can achieve with realism).

• Good lens for daytime lightning

  OK, since I got some really good (and much appreciated) tips here, I investigated.

  Since I was buying lenses for my Canon 6 d, which is a good lens for landscape, full moons, lightning (day and night) to get? I have a Studio of photography of Monument Valley April 2016. He put if this time because of the full moon and any activities of monsoon, so you can't beat the landscape! I already bought a Firefly sensor.

  I'm happy to get hands-on training with my camera to a professional!

  Any suggestions?

  I would jump ef 24-105mm F4 L IS.  It can be done in a 'white box' version, too.  It's a full-on the objective of 'L' pro. The 28-135mm is not, but it is a very nice lens for what it is.  It's really a good buy.  But this isn't a goal at the pro level.

  Any of these will "shoot the Moon" in great detail.  That will require a large telephoto lens.  In my humble OPINION, at least 400mm and 600mm preferred.

  «It was a Quantaray, but when he leaves with a focus...» »

  I have no doubt that!  I will be very frank and probably rude, I'm sorry, but there are only three manufacturers of lenses that you should consider.  Canon as a first choice, Tamron and Sigma second, your choice.  Stay away from any other brand.  IMHO, as always, of course.  There are very few, other, brand lenses that 'work' but not as a general rule.  They all seem to have problems.  Just don't go there!  It is not worth.

  Any lens you buy, it gives a good detailing, like B & H, Adorama, Best Buy, Amazon not!  Do not buy lens "kits".

  Just having the lens itself.

• where the canon L lenses are made

  Hello, I want to ask where are the canon lenses L. do all L lenses are manufactured in Japan, while the other (non - L) manufactured in Taiwan and China.

  Thanks a lot for your answers

  p4pictures wrote:

  Almost surely L lenses are made in the Japan, only probable exception is L lenses kit 24-105mm from the _may_ be made outside the Japan. For sure some other non - L lenses are made outside the Japan, some objectives are even made in multiple locations.

  According to the date code, ALL 24-105 mm lenses I've dealt with were manufactured in Utsunomiya, in the Japan.

  The first letter in the date code on the L lenses indicates where the goal was made.

  U = Utsunomiya, Japan

  O = Oita, Japan

  F = Fukushima, Japan

  There is not a date code starting with ' t "for Taiwan.

• upgrade to from7d 6 d - flash & wifi issues - with a value of upgrade?

  Dear friends,

  Currently, I have the following for about 2 years:

  7 D

  Canon EF-S 15-85mm

  Canon EF 24-105mm L

  Canon EF 35 mm f2

  and Blackberry 9900

  I plan to sell 7 d & lens EF-S for the 6 d and use the lens with the new body.

  The main objective is of general use and also for work, indoor, outdoor, touring and family photos.

  other features side, only 2 questions remain: WIFI & integrated flash.

  1.

  can I transfer photos from 6 d directly over wifi for Blackberry?

  It works well?

  or, otherwise, I will buy 7 days instead WFT - E5A wireless transmitter? It works with BB?

  with the 7 d, after taking pictures at work or leisure, I am "forced" to return to the laptop, plug in the cables,

  and send it by BB clients / friends. If 6 d can do this wirelessly, it will be ONE of my big point of upgrade.

  Please help on this issue.

  2.

  I use the built-in flash 7 d like 90% just to fill during the day flash, areas of contrast high or at night to illuminate the subjects. 6 d does not (and I am not considering the purchase of Speedlite flashes still)

  I'll still be able to make good photos with 6 d?

  Then the area of high-contrast handle 6 d without fill flash?

  Thank you a lot on your entries to these 2 questions.

  Wireless applications for android and ios only. I don't know if the wft - e5a will work or not.
  Nothing can replace the fill flash. Without fill flash, you will have more exposed at room temperature in order to fill the shadow.
  If these two are your reason to update then it is not worth.

• I need lenses for Canon 6 d

  Hello

  I just bought my 6 d with EF 24-105mm f / 4L IS USM lens. I'm new in the world of photography canon so I'm still confused about what lenses should I own suits my needs. I need especially my goal to take pictures at my gym where I teach karate classes, the room is about 50 * 50 feet, I am planing to take pictures for the students, while peferoming karate moves so I want to take pictures for the whole team that for sure needs a wide-angle lens but I know not the focal length I need and if it has zoom the goal or not. Addinng to this use I need as well to take pictures for my new born baby and occations of my other child such as birthdays, school events...

  Thank you in advance

  I might consider getting the EF 50 mm f1/.4 USM.

  I imagine that you will use this to capture images of students performing moves - they are 'on the move '.

  During motion capture, you can (a) use a shutter speed faster to 'freeze' the action, or (b) use a slightly slower shutter speed to allow the image implies a sense of motion blur (and sometimes, it's actually a more compelling.)

  Photograph of Interior with faster shutter speeds is delicate, because usually the light is weak (Fortunately the 6 d has a high ISO range.)  But it helps to have a goal which collects naturally much more light.

  Your 24-105mm lens has a maximum ratio of focal f/4.  The report describes the number of times the diameter of the free opening in the lens (opening) can be divided into the focal length.  This means that to, say, 100mm... the aperture of the lens is able to dilate and 25mm wide and 25mm is divided into 100mm exactly four times, it is a lens ' f/4' (the aperture blades may contract smaller... the value printed on the lens always describe the report using the largest possible opening size.)

  A 50mm f/1.4 lens collects literally EIGHT times more light.  This means that he can use a shutter speed to eight times faster than the 24-105mm... or it can use a lower ISO setting (to reduce the 'noise' in the image).

  I am also considering a lens based on subject framing.  You can use the calculator 'dimensions of field' on this Web site: http://www.tawbaware.com/maxlyons/calc.htm

  So imagine that you want to capture a student doing a kick in which you believe, you will need a framework at least 10' high.  You can use the calculator to determine what focal length of a given distance, you'll need to capture that.  If I plug a 50mm lens, guess I'll be 20' away from the student, and then I can plug these two values.  There is a third value, which is the "focal length multiplier" (also known as the "crop factor").  Your 6 d is a "full frame" camera, which means that the factor of cropping (or multiplier) is always exactly '1' (if you had a camera with a sensor size of APS - C... a little... then your crop factor sensor would be 1.6).

  If I access the '50' for the focal length of the lens, '1' to multiply the focal length and '20' to my distance to the subject and click the "compute" button, it tells me that the physical framework of the distance dimensions is 9' 7.2 "high (in the vertical direction) and 14' 4.8" wide in the horizontal direction.  It is a comfortable (close enough to 10') frame to frame the subject and perhaps also their target.

  I could try other lenses too...  I could plug in 85mm as the focal length, but I try to change the distances to get a similar framing and I discovered that at 85mm, I really need about 35 feet away (instead of 20' far away.)

  You can imagine how go to higher focal lengths will be able to get to a point where you run lack of space in your room 50' because if your subject is in the middle of the room, you have about 25' and your back is against the wall, trying to get this shot.  That's why... I think that 50mm is probably a good lens (again this is based on the assumption that you want to capture a vertical height of approximately 10'.)

  A bit of caution... When you use a lens with a report f / d below, the depth of field (an imaginary Beach distances to your intended focus distance over which subjects seem to be in acceptable focus) becomes narrower.

  With a 50mm using f/1.4 lens and a lens focused at a distance of 20', the 'depth of field' is a little over 4' thick... distance of 18.1 ' through 22.3 ' will appear to be reasonably acceptable point.

  Compare that to f/4 (using the same focal length and 20' 50 mm) and the depth of field is 12.7 ' thick... distance of 15.5 ' through 28.2 ' are in acceptable focus.

  You can see that, while the report f / f/1.4 d collect eight times more light, it happens to a compromise in the depth of field (btw, a lot of people really LIKE the blurred background and do their best to get the effect).

  If your subject distance changes, then you'll want to use the mode of development of "AI Servo" (instead of the mode of development of the default camera 'One Shot') which causes the camera constantly reevaluate and tweak attention than your distance to the subject changes (in 'One Shot' mode it will carry only until she Achieves a lock... and then stops focusing even if your subject is moving and distance) is no longer valid.)

  Flash: You ask about flash, but I thought I would offer this because it's something I would probably consider doing in this situation.

  It becomes a bit complicated because of the 'synchro-flash max' speed (on the 6 d speed is 1/180th second shutter speed)  This is not fast enough to 'freeze' the action if this action is at a relatively high speed.

  The camera uses two "curtains" (doors) that slide on the sensor.  When taking a picture, you open to start the show... a moment later, the second, are closed.  The doors have a maximum speed of physics that they can move to open or close.  On your camera, a shutter speed of 1/180th second or slower allows a door to open COMPLETELY, then the flash (Exhibitor the entire sensor to light) and then close the second door.  A speed faster than 1/180th requires that the second door already begin before the end of the first opening of the closing door.  So to create pictures of high speed, the first door left open but the second door begins suite - expose really just a "slot" of light that sweeps the sensor.  This allows your camera to use shutter speeds that are faster that the doors can actually move.  If a flash fire when there is only a slit exposed, while part of the sensor exposed by this crack Gets the benefit of the light.

  It deals with issues like a flash that support the mode "sync high speed ' with enough power for multiple light chips needed when using high-speed sync.   This means pulse flash quickly because the shutter works so well that each part of the sensor has Flash.  But as the flash needs to perform several bursts, then single burst may trigger the 'full' power because the flash has book enogh power for all the necessary pieces.  It is useful to have a powerful flash in particular (as Canon 600EX-RT).

  You can also use mode "sync second curtain" If you normally involves movement... when using a flash, the first door opens, then flash fires... and wait for the camera on the amount of time needed for your show time... and THEN close the second door.  But if something is moving, it means you get a bright subject (in flash) and then the ambient light continues to bring a bit of light on your subject that continues to shift.  This dimmer light on the moving subject creates a ghost trail... but the trail is "in front" of your subject, rather than 'behind' your topic - following, so it seems a little strange.

  "Second curtain" mode involves the camera to delay the release of the flash, just before the second door closes.  This puts this drag ghost 'behind' your topic.

  BTW, this second option (which implies the query using a flash on mode "on the 2nd curtain sync" while using a slow shutter speed deliberately) also helps the camera much better capture the background exposure of the room (we call this technique "dragging the shutter" because we deliberately use a slower than necessary shutter speed when using a flash).

• Compatibility of the objective

  Is my old EOS 650 35-105mm Optical Zoom compatible with a new DSLR EOS Rebel T3 or T3i?

  Thank you!

  Thanks, Tim! That locks my purchase decision!  Sad to take his retirement body 650, though... so many pics... still a very good )

• Canon EOS Rebel T3i

  So I think I'm almost about made the decision to buy a T3i (body only) rather than a T5i because I want a good quality lens. Most of the photos I take are pictures of landscape. Nature, sometimes sports and some portraits. What I need help on is what lens would be perfect for me to buy?
  I want to get the 24-70 L, but it's a little too expensive for me. I prefer something less than $1000

  For exactly what you have stated in your query, the 24-105mm f4 L is the goal for you, this is the best purchase for the money, Canon lens has.  If you can find a white box version, you can get it for $650 - $ 750.  An it's a model 'L '.

  If there is no version white box, which are identical with the same exact guarantee of Canon, the lens sells in the

  range of $1100-1150 $.

  It will be not too wide for your landscapes and not long enough for your sports, but it is the best compromise for both.

  It will be ideal for portraits and general use. It's fast enough to f4 and very stable.

  Of course no one lens will do everything "better."

  Avoid the off-brand lenses cheap.

• What lenses to buy for the quality and professional film clarity

  I have an EOS Rebel T4i and I was wondering the best option for a lens to get this quality of film that you see in the movies. I saw a lot of videos with DSLR lenses that are of good quality. Or a lens EF lens film, I'd buy some. The last thing I want to do is buy a super lens cheap it does not right, so I ask for options. I am a student $1,500 - $2,000 would be a maximum price for this room. Thank you in advance!

  Best bang for the buck is the Canon 24-105mm f4 that l IS. It is a boon to B & H or Adorama. In addition, sometimes you can find 'white box' deals on them for the range of $700-$750 dollars.  BM is same purpose, the same guarantee. Nine as they are fair trade ins.

  This objective is an ideal place to 'start' to your collection of lenses!

• Possibilities of macro?

  Thanks for reading this.
  I like to take pictures of things like insects and small lizards. I found a really cool Mantis yesterday in the garden and took some pictures of it. I used my 70-200 with the 1.4 tc which was pretty good, but I could of course not very close because the limits of depth of focus. I am considering getting the barrel extension tubes: EF 12 II and EF 25 II. What is a good way to go? Here's something that you would use as well as a tc on a 70-200? Or is the wrong type of lens for this kind of work? I also had an initial investigation of the flash macro circular rings. But I am assuming that they would work with my 70-200 cause of large diameter of the front element. He seems to have a lot of options for macro set ups. What kind if the installer should be to make the pretty decent macro shots? I was a big fan of Igor Siwanowicz' work for a very long time.

  See you soon,.
  CG.

  Hello

  As ebiggs says, there are several ways to make macro shots.

  Personally, I use a number of extension tubes (a set of Kenko of 3-36, 20 & 12 mm - more a 25mm cannon and two Canon 12 mm). These are always useful to have, and I wouldn't be without a few in my camera bag, all the time. They are inexpensive and can allow you to get this macro or close-up when you do not have a lens macro with you, or can be used to increase the capabilities of a true macro lens beyond magnification is 1:1 (general) potential, or simply used to get the nearest minimum focus distance with a telephoto lens.

  For example, this was shot with EF 70-200/2.8 IS, Canon 25 mm extension tube and 550EX flash (filling)...

  

  I have been hunting of birds and did not have a macro with my lens.

  For sub image to frame the small Bush * i * (replace the astericks with "t"... the cyber censorship allow me to use the actual name of this bird) as tight as I wanted, I needed to add a 36mm extension tube to an EF 500/4 IS lens, so that the lens to focus more closely...

  

  While they are not necessarily designed for the macro or almost macro work teleconverters (Canon calls Extenders) change the effective focal length of a lens, but leave its closest distance focal length quantity... so will increase the potential of magnification. In order to get the slot kick a little fence lizard, I have had to use time - Canon EF 1. 4 X II and an extension of 25 mm - 300/2.8 IS lens...

  

  More the focal length of your lens, the effect less any given amount of expansion will give. An extension of 25mm changes slightly the magnification and the closest focusing distance of a 300mm lens... But the same amount of extension on a 50mm lens would have dramatic effect.  Next image was shot with 12mm on the EF 50/1.4 lens extension...

  

  Even more extreme, the following was shot with 12mm on an EF 20/2.8 lens extension (I wanted an extra depth of field to keep more detailed background)...

  

  During the filming of the foregoing, the petals of flowers were actually touch the front element of the lens! Can't get much closer than that!

  The macro above or near macro shots were made using lenses "non-macro" that have been made to concentrate more than normally possible, using extension tubes. Those who can work, but there are some advantages to true macro lenses, too. I personally use four in my Canon Kit: Tamron SP AF 60mm f2.0, Canon MP-E 65mm f2.8, Canon 100/2.8 USM (not the L / IS) and Canon 180 / 3.5 L. I also use a Canon TS - E 45/2.8 for big jobs and occasionally a target macro Tamron SP 90/2.5 1:2 vintage, adapted.

  When you force non-macro lens to focus closer than expected, there may be side effects. For example, the shot of the rose bud above has a pretty strong vignetting and softer edges. It's characterisic of the EF 50/1.4 lens when it is done to focus very narrow and more openness is used... It is not necessarily a bad thing. I used the lens with extension deliberately for this one, because I wanted so much vignetting and soften the effects.

  One thing, you don't need to worry with 'real' macro lenses is image quality. In general, they are all very able to make beautiful pictures. It is lower for other features of macro lenses that set apart them from each other.

  Focal length is probably the main consideration. Too short a macro lens can get awfully close to your subjects, which could scare the living creatures, or do you throw an unwanted shadow on the subject or not even you bit or stung! A longer lens gives you more space to work, but a long lens is hard to get a stable shot and makes very very shallow depth of field.

  If I could have only one, I would choose my USM Canon EF 100/2.8 macro lens. It's the best all around for my purposes, on both devices of cultures (like yours, although I use 7Ds) and full frame (5 d MkII). 90 to 105mm gives the reasonable working distance, but it is quite easily portable for quick shots. DOF is still shallow, but manageable enough without resorting to ridiculously small openings where lighting is a problem and optical diffraction robs fine detal of images.

  Here's an example shot with my 180 / 3.5 L, which demonstrates how depth of field thin razor can get with such a long focal length...

  

  Even if it's a fairly large bee, the plan of sharpness is only of a few mm of depth. This was shot near 1:1 on full frame (with a film camera, actually). The lens and the camera are resting on the ground to help keep their constant. Something close to 100mm is much more easily portable, not too big and makes a bit more depth of field.

  There are other features of the Canon EF 100/2.8 USM which make a great macro lens, IMO.

  It's 'internal focus' (IF), which means that it does not grow in length when you focus it close, so don't cut your work remotely (note: 100L, Tamron 60/2 and 180 / 3.5 L are also IF lenses). However, there is no such thing as a free lunch, with optics. In order for the 100/2.8 if it starts raining that some other lenses of similar focal length. And the focus distance actually changes somewhat because it brought closer. I heard max with 1:1 magnification, it is closer to the 70mm lens... but it is not particularly notable in the field of work with the goal.

  100/2.8 USM macro lens on a crop sensor camera, with 550EX flash, pocket...

  

  Version 100/2.8 that I use has player development USM, which gives it an autofocus fast enough for a macro lens. Macro lenses tend to be slower to focus for a few reasons. One is that they must move their items focusing a long, long way to go all the way from infinity to 1:1 magnification. Another is that most precision signals more speed, so use what is called a mechanism of the development of "throw long". In the old days of manual focus, you have to turn the focus ring a lot more away with a target at long range. Short-range lenses were built for speed and could be used for sports photography. By car from the 100mm USM (who are also the EF - S 60 / 2.8, 100 and 180 / 3.5 L) makes more than one lens dual use, more usable for purposes of non-macro. Despite USM, the 180/3.5 L is significantly more slow development and not as useful for the non-macro works.

  I make the distinction between macro and non-macro focus because often the macro shooting focuses more easily manually. I use AF sometimes, but just as often or more often use the development manual method or the other.  But if you want to use as a non-macro, also, moderate telephoto lens it can be enjoyable if it is reasonably fast to the point. Another advantage of USM, it's that you haven't disable AF before substitution manually. (Note: there was a version prior to EF 100/2.8, abandoned years ago, that has no USM).

  For me, one of the most important features of the Canon 100 mm macro lenses is that they may fit with a Ruff of the tripod mounting. The 100/2.8 USM uses tripod ring B (b) and 100L tripod D ring. I'm not aware of any other macro lenses less than 150mm than a being mounted with a ring of tripod and for me, this is a very important feature. A lot of macro photography is made of a tripod or monopod. That is one of the reasons I really don't think that he had to upgrade to the new version IS..., the more it costs much more. In addition, the stabilization is of limited effectiveness when shooting macro... If this can be nice when you use the goal for non-macro purposes (except that I have several other lenses, so do not rely on the macro for dual use that much). The 180 / 3.5 L and most other 150 mm and more macro lenses equipped with a tripod ring.

  Speaking of stabilization, the Canon 100 L uses a hybrid form developed especially for macro, which obviously is one of the most effective. However, the 1:1 mag, it could only be good for one or two stops of assistance. For non-macro photos, the IS could give three or four stops assistance.

  I had the Tamron SP 60/2.0 recently because it is quite small and light, easy to store in my camera bag, when I don't know if I'll take any macro shots or not, have other gear to carry around. The same is true for the Canon EF - S 60/2.8 USM, it is just as compact. I opted for the Tamron for its opening of f2, mainly in order to use the lens for portraits, as well. Both the Canon and the Tamron 60 mm lenses are "cultures only" (all other macros mentioned are capable of FF).  I don't have the images uploaded of him online yet, but have found the quality to be good enough. It is a bit slow focusing... no problem for the macro or portraits, but not a goal I would use for sport and shooting action. I imagine that the Canon with its USM is developed faster.

  

  I used to use the vintage (25-30 years) Tamron 90 mm as my macro "compact" (shown on one of my 7Ds, above)... and he is used to this end but was less useful for portraits. Yet, for a goal which cost me about 60 US $. It's $20 for the lens - like new with hood, 1:1 adapter, caps and a Nikon Adaptall mount - plus $40 for a China Adaptall-EOS mount.  It is slower to work with. Set to manual focus, as well as manual control of the opening, but did a good job (here with the extension tube of 36mm to increase the magnification).

  

  The other lenses I mentioned use are more specialized. The Canon MP-E 65mm macro is a very high magnification, the manual focus lens. The magnification less he can give is 1:1, where most other macro lenses are at their maximum (unless you add extension for them tubes). It goes back to 5 / 1 or 5 X life size, so, essentially, can fill the frame on one of my 7Ds with a grain of rice.  Image made with the MP - E 65mm here is a tiny snail, newly hatched which was smaller than the nail on my pinky, at 2 X magnification...

  

  I must say, I would not recommend the MP-E 65mm as a first macro lens. It will especially be a lens only tripod. Depth of field is incredibly deep. Due to the extension of the objective, it's more small aperture of f16 becomes something like an effective f96 at higher magnification. I'll have to work on the development of techniques of stacking with this lens (and will need something much slower moving than a snail, shoot those!).

  I use the lens 'Tilt Shift' TS - E 45mm especially for close-ups of small product... Shoots of studio on table, like this that was one of hundreds of fact for the customer's Web site...

  

  Magnification with the 45mm alone isn't really the territory of the macro, but it allows a single control in terms of development with the tilt movements, as well as ways to dodge the reflections with the movements of travel. It is the manual focus lens, too. For higher magnfication work, the TS-E 90mm might be a better choice and magnification of two lenses can be increased by using extension tubes.

  As for flash, there are choices with those, too. There are specialized macro flashes or ways to use standard flashes for macro photos.

  I used a Canon MR - 14EX Ringlite for turned snail, above. I mainly only use a ring light with very high magnificatioin shots... to the low mags just light seems flat and 'clinical' for me. As far as I know, the MR-14EX is pretty much dedicated to Canon lenses, since it clips directly on the lens, locking silver that is on the Canon lenses.

  MR-14EX on MP-E 65mm, on 7 d...

  

  More often, especially for 1:1 magnification and more low blows, I use Canon MT - 24EX Twin Lite or a unique and standard flash with some minor changes. The Twin Lite is great, but a package large enough and not very useful for non macro. Also, it is designed to attach on the front of the Canon lenses, but is more flexible because it can be used with a more generic double flash support, too.

  Image of LH: MT-24EX normally mounted. Center: Double Lepp/Stroboframe flash support. Image of HR: MT-24EX on support Lepp.

     

  But do not use a dedicated, macro flash either. Often I will just use a flash unique and standard cord shoes off camera so that I can stand to the side of or above the object...

  

  Note that I put two coats of white qauze bandage on the flash head, maintained by a rubber band. This reduces and diffuse the power of the flash so that it can be used near a small subject. A single flash works surprisingly well, because compared to a small topic, it's like a giant light box in the sky. This Mantis was shot using something similar to the above setup (and EF 100/2.8 USM macro lens)...

  

  Enjoy you shopping!

  Macro is lots of fun... and a lot easier today than it was back in the good/bad old days of film! One of my old rigging...

  

  ***********
  Alan Myers

  San Jose, California, USA.
  «Market softly and carry a great lens.»
  MATERIAL: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
  FLICKR & REPROGRAPHY

• the upgrade, what that lens should I buy?

  Photography started as a hobby for me, but now that I've built skills and experience I want to make a trade. The camera first, I bought was a Rebel T3, but I'm looking into upgrading to a Canon 5 d mark ii. I have 3 lenses - an EF 50 mm 1.4 and the EF 70-200mm kit EF-S 18-55mm kit. I really love with my 18-55mm, but I know I won't be able to use it on the camera full frame. What is a good full frame lens which is a bit like the 18-55mm. I do not have a budget and I love the canon EF 16-35mm, but it is much too expensive. I think about $500. Thank you!!

  If you are looking to brand Canon lenses, there are four that come to mind, but two that you can be able to get something close to your price range.

  The EF 24-70mm f/2.8 L is out of the range of $500 - it's probably not.

  There are also new version EF 24-70mm f / 4 L - but even the version of f/4 is well out of the price range.

  The EF 28-135mm f/3.5-5.6 IS USM will be in the price range of $500 even if purchased as 'new '.  I haven't personally used this objective then you should check the comments.

  However... the EF 24-105mm f / 4L IS USM is a goal that the 'new' retail price is outside your range, but you can often find deals on this goal... often just simply about $600 for a lens that is technically "used" but you can think of it as 'new '.

  The 24-105mm is the included "kit" lens when someone wants to, say, a body kit + 5 d III objectives.  But when I bought my 5 d III, I was unable to find a retailer that had the "body only" version of the package.  The seller sold me camera is a 'body only' and removed the "kit" of the lens (so my package is for an objective body + kit) and then "put white in a box" the goal to be sold separately.  If you look at the prices for a 5 d III 'body only' compared to a kit 'body + lens', the price difference (the last time I checked... I don't happen to be looking right now) was only about $550.

  So, there are many people who will sell this lens for about $600.