Canon 100mm f2.8 macro

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• Canon EF 100 mm F2.8 Macro L, parts

  Hi, as you can clearly see that my canon 100mm f2.8l macro lens before mounting the filter thread is little damaged, as was the piece of plastic, the filter always live and unscrews easily, but I need to spare for this goal, if anyone can help me is it be one, and estimated price. ?

  Thank you.

  

  If you call Canon Service Dept., they sell and ship you the part.

  However, it might not be very easy to install and may require special tools. I don't really know, without seeing a mounting manual and diagrams for the particular lens. You better send the lens for repairs. I've seen several lenses removed for repair by inexperienced people end up as Clipboard.

  Coordinated for the Canon Service Center nearest lie on the Canon USA site (I'm assuming your in the U.S... If not, check your local website of Canon).

  ***********

  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 & EXPOSUREMANAGER

• 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

• Rails development

  I just bought a canon MP-E 65mm macro lens, I checked online for different styles of rails focusing many to choose from. I need some info on what might work best for me, I seem to like the castel mini # Novoflex MFR. I have a canon 60 d and a canon T3I. Another topic, this is what would be a good software to buy for Focus stacking, once more a lot to draw from the line, and should I avoid free downloads, (Helicon Focus) and (combine ZM News) are some that I looked, from the videos I've watched that I need to know how to make stacking to get the best photos of macro. Need help on both issues. I always trusted the answers and comments, on the Canon Forum. Thank you all.

  I have two stages of development... One is an old Minolta. The other is a more modern Kirk. Both work well and are quite sturdy.

  I have used others, but not the Novoflex you mention. However, other Novoflex articles I used were always excellent.

  For macro work, I never seen the need for a development of the rails/stadiums having rear and side movement to another. Just backward.

  If you use a tripod head with a quick release of Arca Swiss type, it is possible to track the development of a 'poor', simply install a focal long extra plate on the bracket for the tripod lens. It can be slid forward and backward to focus. However, perhaps not enough precise for work with a ultra lens magnification as the MP-E 65 mm.

  Can't help a lot with the stacking of update software... I'm looking for one of these myself. From my own research, Helicon Focus seems the front runner.

  I also believe that there could be some features of the magic lantern software which can help... allowing the focus bracketing. Once again, it is just something that I start looking and have not yet been implemented. I don't know if ML can be used with the 60 d (but guess he can). I know that it can be used with both my 7Ds and 5DII.

  ***********
  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

• Canon EF 70-210mm F/4.0 Macro Zoom Lens

  A Canon EF 70-210mm lens Zoom Macro F/4.0 is already used on a Canon EOS 630 is usable on modern SLRS like the Canon 6 d?

  should work the same, BUT it is perhaps not as optically perfect like new lenses. With film, you were not able to expand your negatives in the same way you can with a digital file using your monitor to display 100%. Some like to do that but in the real world, when you print that big with excellent results.

• MACRO for CANON 70 d

  Hello, please I have a new Canon 70 d and I am a user of semi-professional hobby.

  Could you please recommend me a Macro lens to buy? Don't want the most expensive/professional but has some great ideas to create great photos of some insects and flowers.

  Thank you!

  I don't have a 'connection', but I can explain it well enough probably.

  If something is 1:1 scale (which means full scale) what it really means is the size of the image recorded on the sensor itself is the same size as the subject in real life.

  To give you an example from the real world, a penny in the United States has a diameter of 19mm.  The dimensions of the sensor on your 70 d are about 15mm of height of 22.5 mm wide.

  This means that if you took a picture of a US penny to the size of the scale 1:1, then the penny would simply * sentence * adjustment in the horizontal direction, but would fit in the dimension vertical (a little of the penny would be cropped).

  If the objective was only able to scale 1:2 (half), the penny would be would seem smaller.

  There is no strict definition of 'macro', but purists would generally not consider a goal like being a macro lens 'real' unless he could handle the 1:1 scale.  There are many uses General telephoto zoom lenses that have range macro (a claim asserted by the marketing department).  This close-up range generally allows a maximum size of 1:4 scale perhaps (and sometimes not even that great.)

  There is a whole world of close-up photography techniques and many techniques do not use a macro lens.

  Macro lenses generally tend to have detail particularly high ability to solve.

• The lens Canon Macro 60 mm f2.8 fits my Canon EOS Rebel SL1?

  The lens Canon Macro 60 mm f2.8 work on my Canon EOS Rebel SL1?

  Yes.  It's a lens EF - S (EF-S 60mm f/2.8 Macro USM lens)

  The SL1 Rebel can use almost any lens Canon EOS... regardless of EF-S vs EF.  He can even use the TS-E and MP-E lenses.

  Lenses which does not take your camera are the "EF - M" lenses (there are two of them at last I checked).  Those who are made to the 'mirrorless' body of Canon, which is not sold in North America.

• is 100mm f 2.8 L usm macro/mr14 ex

  Can someone Advisor on the number of part of the mounting plate for the lens macro flash above combination

  Thank you

  It mounts directly.   You don't need something more?  But the EF 100 mm is a 67mm.

• Range Focus limiter on the 100mm Macro F2.8

  On an ILCA - 77M 2, just how to deal with this switch

  Of the operating instructions of the Macro Sony SAL100M28 100 mm f/2.8 lens:

  "To focus on subjects at close range..., update fixed anywhere near the object, and then set focus-range up to LIMITlimiter; the focus range is limited to the range of big point. Similarly, when shooting subjects at an extreme range, set thefocus anywhere near the object and then set the limiter of development-range up to LIMIT; the focal range is limited to the range Far-getting to the point. Set the limiter of development-range FULL to allow the range of focus. »

  The SAL100M28 is a macro lens, and as such, it has a long beach of possible focus distances. In addition, in order to get the sharpest image possible, it adjusts the focus more slowly than a conventional lens. This means that should naturally be for some time to focus on a subject. The focus range limiter gives you the ability to limit the movement of the lens at half of its normal range, which speeds up the process.

  Do not use it at all ever, but it can help to to focus on your topic before it moves.

• Re my previous message regarding flash MT-24EX macro

  As a new Member, I find that I'm a little hurt. I posted a message on my Canon MT-24EX twin lite flash macro. I received a reply asking for more information. I tried to answer, but somehow lost the converstion.

  Just in case it gets to the right person the flash was sent to Canon repair by Lehmanns as they organized the first repair. The only reference I have is Lehmanns which is MIS89505 dated 19/05/2016.

  Concerning

  Harry Shepherd

  Thank you, Robert.

  As I said that I'm a little, I made a post on the community of Cannon and received a reply asking for more information. I have really no idea what happened, but I can't find the post I did or the answer, so I guess that there is a person waiting for a response from me

  Harry

• I would like to replace a with an equivalent Canon Sigma lens.

  The lens is a Sigma 70-300mm 1:4-5. 6 DG with macro.  Which Canon lens would come close? The body is a T3i Rebal EOS.

  Thank you

  If you are serious about on the side of the fauna of it think the Canon 100-400 L IS lens, or even the Sigma 50-500 OS (kinda big & heavy for hand holding a large part) and read existing threads on the 100-400 & the 400 f5.6. It is a much better scope for wildlife that only 300 mm. You should also consider a good Macro lens for near work place that is not something I do, I'll let the others he made recommendations.

• What kind of lenses (both Canon and after walking) fits my Canon Rebel T1i?

  I used my kit lens to my RebelT1i and it works fine, but now I'm ready to start investing in new lenses, but with all the different types available, I'm not sure how know what suits. EF, EOS, etc, if I choose to invest in 'other than canon' lenses is there a way to know how to choose one that suits you my rebel? I am even more confused when it comes to buy filters. I know that he should ' t matter with filters if it is EOS, the EF or what ever, but if I wanted to buy a f or polorized stop or a UV filter, for example, should I buy a new one for each lens? are there adapters for them to adapt? And just so interested in opinion, do you prefer lenses macro, or tubes macr and why?
  Thank you!
  Danny

  Your camera EOS, which has an APS - C size sensor, is compatible with all EF or EF-S mount. Goals EF - S are not compatible with the 5 d, 6 d, 1 d and 1Ds series cameras as well as 10 days and older.

  Here is a list of the names of the factory lens that are compatible with your body EOS (only for APS - C in bold).

  Canon - EF-S and EF

  Sigma - DC and DG lenses.

  Tamron Di-II and Di

  Tokina - Dx, Dx-IIand FX

• Only one side of Canon MR-14EX II fires

  Hello guys! I'm sure there's a simple solution to my problem, but I can't understand me. I bought the Canon MR - 14EX Macro ring flash II and when I try to take pictures, only one side of the lightning. What I am doing wrong? Thank you!

  I have 1 worm and had an even older model, so I suspect setting are similar. Check your manual for the section "Setting the Flash Ratio". You can disable share and else if you want, which may explain your problem. .

• Best first lens for macro photography wide angle

  I am looking for more information on using lenses wide angle and tube extension to close to the top of the photograph.  The images will be used to capture the surface contours using PhotoModeler software.  This requires the use of a first goal.  I bought a 60mm Canon macro lens, but focal length is a bit long and surface data contain a lot of noise because the light rays are nearly parallel.  The target area containing reference marks, who must fill the area of the image of my 7 d is about 1.5 "square and the topics, located in the Center, are usually smaller than 0.75".  I'm looking for the 20 mm gun (or a 24 mm lens) for use with extension tubes.  Someone with experience with these lenses in close-up photography?  If so, what depth of field could hope for.

  I will propose a tilt shift lens and series II Canon 24 mm or one attachment bellows with a lens in the 35mm range.

• 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).