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).

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