Best lens for photojournalism and Canon 5D camera?

[PrintLabGuy]

With the recent price drop of the 5D, I'm interested in getting one for an assignment abroad later this year. I'm also interested in getting new glass to document my journeys. What lens do most photojournalists use and what do you recommend? I'm thinking at least "L" glass for their weather seal and quality, but which one? My friend recommends the 17-40L f4 or 24-70L f2.8 lens. I was thinking of getting the 16-35L. Any suggestions?

 

[sabesh]

No experience with any of these lenses .. But how about a 50L?

BTW, the 5D isn't weather sealed .. so doesn't make much sense to specifically look for a weather-sealed lens, no?
--
Sabesh
http://www.flickr.com/photos/sabesh/

 

[ChrisDM]

The 16-35 and 17-40 are REALLY wide on the 5D, with very little reach. The 24-105 has the best range, while the 24-70 has an extra stop at 2.8 and a useful focal range also.

With the recent price drop of the 5D, I'm interested in getting one
for an assignment abroad later this year. I'm also interested in
getting new glass to document my journeys. What lens do most
photojournalists use and what do you recommend? I'm thinking at least
"L" glass for their weather seal and quality, but which one? My
friend recommends the 17-40L f4 or 24-70L f2.8 lens. I was thinking
of getting the 16-35L. Any suggestions?

--

Chris
http://www.imagineimagery.com

 

[Nathan Yan]

Speaking from experience as a photojournalist with a 5D, I think the 24-105 is the way to go - the most versatile range you're going to get out of any lens, and will cover you on the vast majority of your shots. If you've done ultrawide, you may want to consider 16-35 or 17-40, but I don't think these lenses are terribly useful for PJ work, especially when you already have 24mm.

A 24-70 f2.8 is another option. You lose some range on the long end, but it is a bit sharper (probably trivial for PJ work), and you get a shallower depth of field if you want it. I personally ended up with a Tamron 28-75 for the cost (since I'm not traveling abroad or anything like that), and I love the f2.8 for my non-PJ work, but f4 would work just fine in most cases.

I might add a 70-200 f2.8IS, or f4IS if you wanted to go lighter, and then you'd be good to go. Maybe toss in a portrait prime, but otherwise I think a 24-105 and 70-200 combination will do 90% of what you need.

 

[Bob Markey II]

Get some zoom lens that goes to 16 or 17 mm. F/2.8 would be nice, but you can get away with F/4.

Pick up a 70-200 2.8 if you can (even a Sigma). Those two lenses will do most of what you want in journalism.

 

[GenoP754]

Get some zoom lens that goes to 16 or 17 mm. F/2.8 would be nice, but
you can get away with F/4.

Pick up a 70-200 2.8 if you can (even a Sigma). Those two lenses will
do most of what you want in journalism.

Agreed here...

I do lots of PJ work, and you can live and die by the 16-35 II and 70-200 2.8IS.

I've got about 10 lenses, and if I am going out for a PJ gig...I would never leave home with out those two.

Also about the 5D, I think you would be better served with two 40D bodies for about the same amount. Much faster....I am current;y using Mark III and 40D for PJ. save the 5D for the slow stuff.

GenoP

--
Web: http://www.pbase.com/genop754
Send eMail to: [email protected]

 

[GenoP754]

If you really want the right camera....A used Mark II is a much better choice.

GenoP

--
Web: http://www.pbase.com/genop754
Send eMail to: [email protected]

 

[ed rader]

70-200L f4 IS and maybe the 50 1.4. but the 24-70L would definitely be my main lens.

ed rader

--



'One often has mixed feelings about relatives, but few people could identify serious problems in their relationships with dogs.'

-- Anonymous

 

[Tom Rowland]

If you really want the right camera....A used Mark II is a much
better choice.

I agree with this completely. The 1d2/3 series bodies are much more suitable for PJ work, next would be the 40d. The 5d has great IQ, and at a price you can afford, BUT for fast action it simply cant compete with the 1d2 series bodies.

--
Those who forget history are condemned to go to summer school.

 

[Niedzwiedz]

16-35 2,8 and 85 1,8
--
5d , 16-35 2,8 ,EF 50 f1,4 ,EX 85 f1,8 , 430 EX
http://www.fotoblog.cba.pl

 

[AmorousLight]

Or for just one body,

35L would do for most shots required.

One could also make the argument for just the 50L and you're done.

 

[amoergosum]

would you say that the 5D is not suitable for PJ work?

--
http://www.redbubble.com/people/benjaminscheurer

 

[Nathan Yan]

I think the 5D is perfect for photojournalism work! Not so much for the various full-frame benefits, but because the lenses' field of view range works so much better. The 70-200 is too long on the 20D (but good for sports!), and for a standard zoom you don't have many options besides a somewhat low-quality 17-85IS or the 17-55IS.

I'm using the 5D with 70-200 (perfect portrait lens) and I'm toying around with various standard zooms (28-75, 24-70, 24-60) at the moment.

 

[em_dee_aitch]

Well, for PJ work you need at least two lenses, and probably 3...

I would not get the 24-105 at all... I would recommend starting with a 16-35, 50/1.4, and any one of the four L grade 70-200's (incidentally, I think the 4.0L IS is the best of them, as I use it side by side with the 2.8 IS, which is notably softer, though there's many other threads on that .

PJ's need ultra wide, I think. The 24-70 is a nice lens, but I would add it only after the three I mentioned above, where budget is a concern.

--
David Hill
http://www.davidhillphoto.com
Austin, Texas

 

[Psychic1]

...photojournalism lens and it offers the same weathersealing qualities as the 5D+Grip. Neither are weathersealed but the IQ and versatility will be tough to beat. I use the 1D and 35-350L very often, especially now that I am back at the gym.

 

[Matthew Thomas]

I love the 35 85 combo with 2 bodies. But these aren't ideal for the varying situations of PJ work. Most PJ's can't choose their location. Being able to move around is what makes the fast prime so useful.

You could get 2 40D's for nearly the same price as a single 5D. Add a 17-55 2.8 IS lens to one and a tele (either 70-200 2.8 IS or 85 1.8/1.2) to the other. This would be the most versatile combo and price would be similar to the 5D plus 2 lenses.

I love the 1Dmk2 but it will cost you the same as a 5D. I would recommend the 1Dmk2 over the 5D for the reasons already mentioned here. This is especially true if you plan to shoot very large numbers of photos (1000's per day). Sports isn't the only place where good AF performance is helpful, nearly all interesting PJ shots involve some kind of movement.

Not having to change lenses is KEY to good photojournalistic work. You will miss important shots with only one camera. If budget is an issue, get a pair of Rebels or used 20D's. 2 lesser cameras is superior to 1 great camera that doesn't have the right lens.

--
Matthew Thomas
Partner / Multimedia Director
ThomasArts, Inc.

 

[jh2bh]

If you are doing serious pj work you should have a 1D series body. Even a used 1d MkII or 1D MkIIn will serve you better than a pair of lesser cameras. And you will be taken more seriously by other photographers and the people who issue media credentials. The 24-105 has a very useful focal length range but not the fast aperture that some situations call for. If cost were not a factor, and I was buying specifically for pj work, I'd go with a couple of zooms for their versatility, - 24-70 and a 70-200 2.8 IS. However, most pro photojournalists will carry at least one very fast prime such as the 50 1.4, the 85 1.8 or the 135 2.0 to get the shots when the light is really weak, and especially when flash is either prohibited or undesirable.

If I was going to have a second body it would be a 40D with a 10-22 on it. And then I'd have a 1.4 teleconverter to use with the 70-200 for the really long shots.

If you are going to do sports pj work you'll need long focal length, fast aperture, and a crop body. 300 f2.8 is the starting point.

If you are going to be doing glamour, such as models on runways, or studio work and portraiture, that's where the 5D becomes the preferred body.

 

[brianric]

You are waisting the 16-35 on a 1.6 crop. Better off with the 10-22 EF-S. I'm getting ready to pull the trigger on the 16-35 II L for my 5D to go along with my 70-200/2.8 IS on my 1DMKIIN. I was at a photo shoot today, and due to the crowds, the 24-70/2.8 was not wide enough. If necessary, I can zoom in with my feet. Had to grab my 30D with the 10-22.

Get some zoom lens that goes to 16 or 17 mm. F/2.8 would be nice, but
you can get away with F/4.

Pick up a 70-200 2.8 if you can (even a Sigma). Those two lenses will
do most of what you want in journalism.

Agreed here...

I do lots of PJ work, and you can live and die by the 16-35 II and
70-200 2.8IS.

I've got about 10 lenses, and if I am going out for a PJ gig...I
would never leave home with out those two.

Also about the 5D, I think you would be better served with two 40D
bodies for about the same amount. Much faster....I am current;y using
Mark III and 40D for PJ. save the 5D for the slow stuff.

GenoP

--
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