About T3I EF lenses

Similar Questions

• Zoom lens combination as an alternative to the 18-55mm and 55-250mm lens for my T3i?

  I have a T3i with 18-55mm and 55-250mm objectives.  Switching lenses visits is a nuisance.  The shorter one is required for pictures close to the museums, galleries, blocked sites, ourselves and our friends, etc.  Longer lenses are useful for many city outdoor and rural/mountain shots.  Is there a combination priced zoom that I should consider?  Y at - it somewhere that I can sell my current lenses.  My T3i and lenses are less than a year.  Thank you.

  There are a lot of options out there for "superzooms" If that's what you're looking for.  This is a decent article on them, and to explain some of the advantages and disadvantages:

  http://www.TechRadar.com/us/news/photography-video-capture/cameras/best-superzoom-for-Canon-DSLRs-8-...

  I see a lot of recommendations for http://www.fredmiranda.com/ to buy and sell used.  But I know you are going to get much for those kit lenses.  Can be difficult to find a buyer, but you never know.

• No bad Effect of the installation of DNG 6.1 on an install of CS4 Tiger?

  Are there any side effects (or benefits) by installing the DNG Converter 6.1 on a Tiger 10.4.11/CS4 install package?

  This in the absence of mind user inadvertently ran the package installer without thinking about patterns of lenses etc who settle with the converter.

  You should have no problem on every platform.

• Focus problems with Rebel T3i. It will not be in manual or auto focus point. It's not about camera lens

  My camera will not focus. Not only the autofocus. I can't he focus even if I put manual focus.

  The image is still blurry.

  First I thought it was the lens I had but I tried with several, and the problem is the same.

  Any ideas what could be the problem?

  Thank you

  Have you checked the viewfinder diopter?  , It will be not clear even on the manual focus, and it happens with all your lenses makes me think that it is possible that the dial tiny bit right there on the eyepiece was implemented accidental market. The dial control what you see in the viewfinder, not something to do with the focus lens. The diopter is adjustable so that those who need glasses can see things through the viewfinder.  If everything still seems blurry even when the camera thinks he's focused it is generally just that little diopter got hit accidentally.

  IFIT is not this, then perhaps your screen focus got shifted.

• Body of L ' goal and EOS Rebel T3i

  I asked a lot of questions here, haha.
  But I'm here with another question. So, I did a little research on the net about the use of the ' goal with a t3i and quite a few people say that they work well together? So objective L are not recommended for EOS Rebel bodies? Can someone explain this to me please.
  I recently bought the T3i and I want just a good lens. Preference for landscape photos. I'm also a few sports, low light and portrait photos.
  Suggestions for the landscape and all around the lens of photography would be great ():

  For landscape photography people often want to use a lens wide angle. Not always, there is no rule that says you can't use anything else. I say "it's usually the first thing that comes to mind

  One of the best wide angles that you get to use on a T3i is the Canon EF-S 10-22mm USM. It is not an 'L' but it doesn't matter.

  I suspect that what you have said about the use of an L series lens is due to the factor of cropping of your device photo, as has been suggested by several other responses. L - series will work fine on your camera, but all L-series lenses are models 'full frame', by definition. Therefore, none of the L will be particularly wide angle on your camera. So, when people hear 'landscape', they suggest something else that a L-series.

  You have four different purposes: landscape, sport, low light and portrait. The whole point of a DSLR as your T3i is to be able to Exchange lenses, to be able to adjust the camera for use in different situations. So I would say not to try to do it with a lens, but to look more lenses (some of which are Ls), which should ultimately give you better results. For example...

  Wide angle landscape: EF-S 10-22mm.

  Sport: 70-200/4, 70-200 / 4L, 70-200/2.8, 70-200 / 2.8 L IS II, 100-400 L IS, 300/4 L IS.

  Low light: 24/2.8 IS, 28/1.8, IS 35/2, 50/1.4, 50/1.8 II, 85/1.8.

  Portrait (Frank): 50/1.4, 85/1.8.

  Portrait (studio): EF - S 15-85 IS, the EF 28-135 IS, 24-105L, 24-70/4 IS, 24-70 / 2.8 L II.

  Portrait (environment): 20/2.8, 24/2.8 IS, 28/1.8, 35/2 IS.

  Versatile lens 'walk-around': EF-S 15-85 is... or, according to what the other lenses you get, EF - S 17 - 55 / 2.8 IS or EF 28-135 IS, 24-105L IS, 24-70 / 4L IS, 24-70 / 2.8 L II.

  There are many different ways to set up a lens kit. For example, maybe you just like a wide point of view than the 10-22mm for your landscape photography. If so, instead, you can choose the lens EF-S 15-85 mm as wide enough and because it can double as a walkaround lens and can even be useful for some portraits.

  A 'minimum' kit I often hang out with a camera of harvest is: 10-22mm, 28-135 IS, 300/4 IS w / 1. 4 X teleconverter and a Tamron 60/2.0 macro/portrait.

  When I'm shooting, what I do for the most part with crop sensor cameras, I usually wear: 10-22 mm and 24-70/2.8, but my most used lenses are the IS 70-200/2.8 and 300/4 IS. (In some cases I use also 70 - 200/4 IS and 300/2.8 IS).

  For the portrait with a crop sensor camera, my favorite lenses are: 28/1.8, 50/1.4, 85/1.8 and 135/2. Especially the 50mm and 85mm.

  Your camera can use all the EF-S and EF, including all of the L-series lenses. But just because a lens will fit and work does not mean it is the best choice for your application. In some cases buying a full frame capable lens for your camera will be useless... FF lenses can be bigger, heavier and more expensive... but not really give you the best performance, maybe even less. For example, a 16-35 / 2.8 L II is a wonderful goal on a FF camera, but it makes little sense to buy for use on a device of harvest. For less money, you can either get a lens that is really wide (EF-S 10-22mm), or a lens that offers a little wider range of focal lengths and IS (EF-S 17 - 55 / 2.8 IS) has.

  Depth of field in fact is not directly conducted by sizes of sensors of different cameras. What changes in depth of field are: focal length, Aperture and the distance about the goal. If you are looking for the low depth of field (blur a background for a portrait, for example), it takes a large aperture and a longer lens... and more you are close to the material the more shallow depth of field will be. If, however, you want lots of depth of field (for a landscape shot, for example), you want to use a smaller aperture and a shorter focal length... and more you are from the individual (within reasonable limits), will be the deepest depth of field.

  Where full-frame sensor vs cultures comes into force now is that for the same subject, framing with a crop sensor, that we need to stand further away with a given focal length, or if the same shooting distance will use a shorter focal length. In both cases, the result is 'less' depth of field, but it is an indirect result of different sensor size.

  Have fun shopping and learning about your new camera!

  ***********
  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

• GLASSES OLD AE1 FD on T3i or T4i, with adapter, T3i or T4i choice?

  GLASSES OLD AE1 FD on T3i or T4i?

  I have an old AE1 PROGRAM, with approximately five glasses of FD. About 10 years ago, I bought a Canon G6 and the

  TV/macro on the top lever is now frozen, but I can force the telephoto or Macro, but nothing in the Middle, because he won't stop. Canon told me that it is not worth fixing. I can either trade (20%) for a renovated T4i and keep my FD lenses, either keep the G6, since it can take pictures of impressive landscape, or portraits, so I can keep that. (Besides, what else am I'm going to use my SanDisk Extreme III COMPACT FLASH 2.0 card for, or my battery and charger?)   Decisions... Decisions.  I also don't think that the AE1 will never become an element of collectors anytime soon. Everyone, how?  Maybe keep the two cameras and still buy the T3i or the T4i.

  I was wondering if someone here has already used the third "Mount adaptor for FD to EOS objective EF" to use in the T3i or rebel T4i cameras, and whether or not they give good results. (I also understand that it is all manual Focus with the FD)

  I liked the convenience to use my 7.1 MP Powershot G-series camera, without dragging all the other lenses, but have the HD video and camera 18MP could make me forget everything.  I have to decide what I would be happier with.

  Thank you!

  Loyalty is with & modernize. Only think of the use of Fd to EOS adapters if you have high range FD lenses.

• 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.

• Help me with football at night on an Eos T3i

  I need help for the best shots of my Cannon Eos T3i night football games. Any suggestions?

  I'm going to assume that you have a photography course & don't really understand the basics of opening & shutter speeds. Your 70-300 is f5.6 WIDE OPEN with 300 mm zoom (it will become a fine f5.6 lens before reaching the 300 mm & maybe even before hitting 150 mm).

  Lens f stops relate to the amount of light, the lens CAN let in and dictate at what shutter speed is needed for ISO selected produce acceptable exposure. Because frost action requires faster shutter speeds, we will talk about the need to use 1/500 sec as the slowest acceptable speed for your night time football. NOW, we are talking about the DIRECT relationship between the shutter speed & opening. These settings produce the same exposure

  at f 2.8 shutter speed must be 1/500, but if the lens can open only at f4.0

  to f 4.0 (a full stop "slower" than f 2.8) you MUST lower the shutter speed to 1/250 second, but YOUR goal is a goal of f 5.6 (2 stops 'slower' than the f 2.8 lens)

  at f 5.6 you must slow down the shutter speed at 1/125 second, for the same amount of light for a correct exposure.

  BECAUSE 1/125 will freeze action your ONLY option is to increase the ISO, which introduces noise once it passes a certain point (which varies according to the age camera & original price point in a range of manufacturers.

  Again, there is a DIRECT relationship with ISO settings so let's start with the numbers to STOP FULL using ISO 100 as the basis. The numbering system is 100, 200, 400, 800, 1600, 3200, 6400, 12800 etc..

  IF you were to use your f 5.6 lens & the setting defined above, where the f 2.8 @ 1/500 has worked to say 800 ISO, a shooting game in the night, you need to bump the ISO to 1600 to turn the lens f 4.0-1/500 or all the way up to 3200 to shoot your objective f5.6 at 1/500

  All this is DONE, but there is another potential problem. Increase the ISO does not help the AF somehow. The AF will struggle to f 5.6 in the dark compared to how well a f 2.8 lens will allow it to work. Another factor is a combination of how the AF works in the lens. More expensive cameras have more money spent on improving the AF components & then make more expensive lenses. The will IS 70-300 L AF faster that the 70-300 regular IS who's going to move more quickly than the cheapest of the 70-300.

• Lenses & lens adapters

  I think it would be a good idea to publish information about what lens and lens adapters we use including images,.

  There are so many combinations available, it would be very helpful to new people in the industry like me to have available what works well, what cards are better then others and possibly even links to some images taken with the lens and adapter of choice.

  Thanks for reading.

  If Nikon lenses (AI, AI - s or G) are on your list, then the more powerful, built #1 adapter etc. is Optitek Pro-Lock. Yes, it is the most expensive, but worth every penny. It has been a lot of discussion about his here and on DVXUSER if you want to learn more. FYI-I got the Nikon MTF adapter for 6 months and when it does work it pales in comparison to the Pro-Lock.

• Problem with flash Speedlite 320EX and EOS Rebel T3i (EOS600D)

  Hi, for about 18 months, I've used this combination without a single glitch or problem. I bought the Speedlite old second hand, and all died on me in Nov. The guy I bought said it was about 3-4 years wneh I t so I thought that I just replace the same model, but buy a new one this time.

  Since it seems however not the flash unit at full power at times and at others seems not synchronized with the shutter. Sometimes it works fine, but then doesn't flash at all or has a problem that I describe above. I have returrned the flash at the company and they said their technician checked and it works fine.

  Anyone else have these problems or indeed solved these problems? Any suggestions would be very welcome.

  Thank you in advance.

  PS. edited title because I just discovered the EOS600D called the EOS Rebel T3i in the USA. I'm from Scotland.

  Other wrote:

  Thanks, yes I tried to situate the flash every time, as well as all the parameters of compensation. What seems to work he left for 10 minutes, this iften solves the problem, and I can carry on shooting images for another period. So confusing and frankly boring.

  Bravo for the answer.

  Brian

  Ten minutes for each flash? In theory there could be something wrong with the condenser and the unit needs service.

  Ten minutes, then you can fire flashes several before he had to rest again? Most likely, the batteries are weak or inappropriate to the task. Make sure you use Eneloop pros. Most serious photographers think that there is nothing better.

• Can I wireless use a 430 EX II as a slave with the flash integrated the T3i EOS?

  I have a Rebel EOS T3i.  According to its manual, pp 191 ff, I can launch a remote speedlite wireless from the camera.  I get an error message cannot find the speedlite even if I set up my 430 EX II speedlite according to its instructions manual, pp25 ff.  Thanks for your help

  Yes - the 430EX II will function as a slave and the T3i (but not the T2i or earlier) can trigger remotely the speedlite.

  It of a little complicated and can be confusing.

  First... set the 430EX II in the correct mode.  Press and HOLD the 'Zoom' button for 2 seconds approximately.  This active a menu that allows you to put the flash is in a mode single-fash vs remote "slave".  Semicircular keys to switch to read 'slave '.  Press 'set' (in the middle of these buttons of a semicircle shape.)  I happen to have my 430EX II practical, but it must default to the slave 'A' channel '1 '.

  Now for the camera.

  On your camera menu, tab to the left (which we'll call 'Caméra Red #1' to distinguish it from other tabs) has 'Flash' control as the last option on this screen.  Either way for cameras with a built-in popup flash, the menu is marked 'Flash Control'.  For devices that do NOT have the built-in pop-up flash, this menu is called "Flash speedlite external control.

  In this submenu (Flash control), make sure "Flash of fire" (the top option) is set to 'Enable' or 'CustWireless' - should NOT be set to 'disable' or nothing will work.

  You will see a menu choice for "external Flash func. parameter' (and also 'External flash C.Fn setting'.)  IGNORE THESE!  This is for the hot flashes that are in the camera hotshoe and do NOT control the remote flashes wireless.  This is probably where you were getting confused.

  Then go to "built-in flash func. the parameters' where, paradoxically, you get to control how your device communicates with your flash REMOTE (Yes, I know that this is not the most intuitive place to put it.)  It turns out that it is your INTERNAL flash that is responsible for communicating with any flash slave remote.  The optical wireless actually uses visible light (many people assume that it is a communication infrared - me is understood - at the end of the day, I learned that was incorrect and it's actually the visible light of the flash itself.)  He quickly sends communication to remote control by pulse codes to tell flash what to do remotely.  All this happens until the image is exposed and you'd swear the only blinked once eyes flash... but it turns out that it is actually very busy away from the impulse to connect).

  In the "func flash built-in. menu of settings"there are a number of things that you must set.

  If you set the flash mode built in 'EasyWireless' it will be gray on many other parameters... basically the camera automatically decides what he wants to do.  I think that the only definition not gray is the channel number (which must match the channel number on your flash.  Channel numbers helps you can draw on events where other photographers are also using wireless flash and have no conflicts where they are triggering your flashes and vice versa.

  If you set the flash mode built in "CustWireless" it allows you to set other options.  CustWireless offers the most control.  In the end, it's probably mode you will use the most, once you get used to distance Speedlites.

  In CustWireless, the menu option 'Wireless' Func mode. becomes available.  This option allows you to decide if you want (I take these out of use for simplicity to explain):

  (a) speedlites both internal and external to the fire as a single group (icon external flash, a PLUS sign (+) and the camera icon)

  (b) the Speedlite flashes inside and outside to the fire, but allowing you to control the power RATIO (icon external flash, a COLON symbol ( and the camera icon means "ratios" can be customized.))

  (c) only external Speedlites (only the external flash icon is on this option - no icon on the device).

  I want to mention something about this external option only because it confuses most people initially.  The device communicates with the slave through the on-camera flash.  The flash on the camera quickly pulses to send the instructions for flashes to distance.  This means that to use the slave flashes, the on-camera flash must be addressed (in jumps - upward position).  If you ask for external flash only (without camera) the flash on the camera flashed only instructions BEFORE the opening of the shutter of the camera to take the exhibition.  When I started to learn from external Speedlite flashes, I saw the light on-camera flash and thought that my settings were ignored.  Do not worry... When you archive your images, you will see that there is no light provided by the on-camera flash during exposure... all this flashing comes before the opening of the shutter.   Everything happens so fast that you'd swear all the flashes triggered only once... but in reality they are actually much of 'talk' before taking the picture, but this happens at an incredible speed.

  And one last comment... because the camera communicates through Optics (visible light) flash to talk to remote controls, it is important from the bottom of the body of your 430EX II can 'see' the flash on the camera.  In small parts, that no matter where the lower part of the body showed up... you notice the impulses of the light of the on-camera flash.  But in large halls or outside the lower body of your 430EX II (where the receiver is located) will have any reflection of the walls, etc.  In this case, simply turn the lower part of the body of the 430EX II so that it faces the on-camera flash.  You can then rotate the head of the 430EX II at the point where you need.  The 430EX II will trigger even in daylight, as long as it can 'see' as the on-camera flash.

  Here is a video that can help you: http://www.youtube.com/watch?v=pQIyPWGPp5A

• Looking better all the objective for an EOS 20 d lenses

  Hello world.  I've had my EOS 20 d for over 10 years now.  I've never been satisfied with the 18-55mm EFS lens it comes with.  Just don't have enough zoom or wide angle.  I don't do anything professional.  Simply take a lot of family and outdoor / nature shots.  I would like to be able to take pictures of quality portrait and a picture of the grand canyon and turn out great.  I would like to be able to take just a lens with me on vacation.

  I was look at the EF-S 18-200mm f/3.5-5.6 IS lens.  He seems to have everything.  Will there be any multi-purpose lens that I should look?

  Thank you

  Dallas

  "The STM 55-250 will be able to take pictures of nice wide angle too?

  It depends on your definition of wide angle. I think most would say no.  If you start thinking about "AOV" perspective, it will be easier to say.

  A 55mm lens on your 20 d has an AOV of 28 degrees (approximately).  It's not very wide?  Your 18mm lens has an AOV of 84 degrees.

  The specification AOV is easy to find because it is not in all the specifications of lenses. BTW, 250mm is about 6 degrees.

  Canon is supposed to be coming out with a Canon EF-S 18-300mm f/3.5-5.6 lens of STM IS.  I don't know if it's on sale again then you might want to check.  AOV will be 84 to 5 degrees (approximately) wide enough of Nice TV, is it not?  The more AOV is the largest angle.  The smaller the number, the TV is.

• Dynamic range of exposure to t3i/600 d

  can someone help me by providing the dynamic range of exposure to t3i. (beach of the slab - exposure range the lowest and the highest in terms of f-stops for a given scene)

  See: http://www.dpreview.com/reviews/canoneos600d/12

  Their testing seems to indicate that it is about 5 stops below and 3 & 1 / 3 stops at 4 & 1 / 3 stops above (depending on whether priority has been introduced on.)

  I think that these tests JPEG (I've seen no indication of RAW and they usually go their way to make you know when they do first).  It is much more important in RAW bit depth is likely to do a little better if you RAW.

  If you shooitng anything where you are worried about the dynamic range, then you should probably shooting RAW still.

• Would you recommend to a 400mm lens of good quality for my EOS Rebel T3i

  I want to upgrade a 250mm lens to a goal of 300 or 400 mm for my EOS Rebel T3i.  I know that some of the canon lenses are incompatible but my technical skills are lacking so I don't know the best lenses for my camera.  Suggestions?

  cgates326 wrote:

  I want to upgrade a 250mm lens to a goal of 300 or 400 mm for my EOS Rebel T3i.  I know that some of the canon lenses are incompatible but my technical skills are lacking so I don't know the best lenses for my camera.  Suggestions?

  All Canon lenses currently in production (except the "M" series, which is for the range of mirrorless cameras) are compatible with your T3i. The inconsistency is in the other direction: objective EF - S, which are designed exclusively for the 'culture-frame' like yours, cameras cannot be used on cameras with full frame, like the 1DX, the 6 d and 5 d series.

• Problems with (films) coating of the lens on the surface of the canon lenses.

  I read many comments here about how to clean the surfaces of the lens... I wonder if canon films that they promote as do wonderful things for development are not so great for cleaning? I bought an expensive lens not for long and cleaned with either lens clothing tending my opthomologist after my appointment to look for my glasses... I collect these sweet little squares, whenever I have an appointment to the eye because they are made for the purpose of cleaning of lenses... Houston is a very humid climate and after doing some night shots the lens seems sticky and so I polished with the soft cloth... I have not added any sort of cleaning liquid... but I noticed when I had finished there was a blue smear on the entire surface of the lens... Really? I have not used any more pressure than the kind of pressure that you can use to clean your glasses.  This bluish smears can be removed or is permanent damage to a dear surfface...? Now I must say that I didn't notice that this smear has affectd of my photos... I found one in post processing which presents a particular lighting problem which could be linked to the surface of the lens... Other people have had problems with the 'coatings', which are added to the surface of the lens? I would like to add at least two lens more... but I'm afraid to invest again if I rish damage the surface of the lens even Polish with a soft cloth?

  Well, I think because I became so addicted to photography... I can't stand that a week shoud go I'm not shooting and post processing... then the most important investment I did in a lens so far is 800 dollars... so as you say the investment of 50 million dollars for the protective lens cover is my best insurance...