Part II System Components in .NET

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5.8 Fire eater, 50mm f/1.4L lens, ISO 1600, 1/100 second at f/1.4 I d include the 35mm f/1.4L as another favorite lens. Very sharp wide open, it s my main lens in low-light reportage shooting. Using this lens wide open and shooting at ISO 1600 or 3200, you start to obtain imagery that s special. Particularly if you process through the latest version of Capture One image detail and noise reduction are easily controlled. As you can tell, I m a big fan of Canon s fast L primes. I shoot with the 135mm f/2L, which is also a special lens. I don t own the 24mm f/1.4L lens, but I ve heard good things about it. And now there is also the 24mm f/1.4L II lens, with promised improvements in optical quality.
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5.9 San Francisco dawn, 35mm f/1.4L lens, ISO 320, 1/250 second at f/2.0, 1Ds III
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5.10 Four favorite L lenses: 14mm f/2.8L, 35mm f/1.4L, 50mm f/1.2L, and 85mm f/1.2L
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Tilt-shift lenses
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I ll go into the shift lenses more in 11, but for starters, the 90mm f/4 TS-E is the sharpest of the bunch, razor sharp. Keep in mind that these lenses only focus manually. The 24mm TS-E has a reputation for not being the sharpest lens in the L group, but so far,
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my experience is that it s very good perhaps because it s wide angle, and photographers using manual focus often don t get the focus right. With the EOS-1Ds Mark III, it s now easy to achieve perfect focus with this lens by using the Live View function and zooming in on the image in the Menu window to see the shot magni ed.
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5.11 Thin man and fat lady. 24mm TS-E lens, ISO 200, 1/1600 second at f/3.5.
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I was also happily surprised at just how good the imagery was with the 24mm TS-E on non-architectural or landscape images. Keep in mind the 24 TS-E II lens that should be available by the time this book is published is supposed to be better optically than its predecessor. I was very impressed how much incredible detail the 24mm TS-E lens could pick up when taking a photograph of this very small street cover in gure 5.12.
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The 45mm TS-E is very interesting as an alternative normal focal-length lens, as is the 90mm TS-E for portrait lenses. Although originally designed (one would think) to add focus and correct optical problems, I value these two lenses for their ability to direct the viewer s eye to the desired part of the frame by taking the rest of the frame out of focus. Yes, you can do this in post-production, use a Lens Baby, and so forth, but it s not the same. It s a special look.
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5.12 Close up, small street cover. 24mm TS-E lens, ISO 500, 1/500 second at f/3.5.
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5.13 Portrait using a 90mm TS-E to narrow focus
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92 Part II System Components
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5.14 The Canon tilt-shift lenses, left to right: 24mm, 90mm, and 45mm
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Zoom lenses
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In terms of the zooms, I d recommend using only the L zooms when working with the EOS1Ds Mark III. There are just too many optical problems with the non-L zooms that will manifest when captured by the big sensor. Although the L zooms are inherently slower than the L primes most of the time, some of them are very good indeed. You ll nd photographers disagreeing about which zooms are better or worse, and some of those discussions actually concern whether the lens being referred to is a good sample as well as properly calibrated. Some of the most used zoom lenses are:
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and fellow photographer Jon Roemer tells me the lens is very strong from 20-35mm.
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17-40mm f/4.0L. This lens is just a
bit more telephoto, and less expensive than the 16-35mm (as of this writing, the street price is approximately one half of the 16-35mm.) The 17-40mm is a stop slower, however, although with better lowlight high-ISO camera performance, it s a lens worth checking out. Pros I know like this as a walk-around lens, but don t consider its quality to be on par with the L primes.