Getting Lenses to match 28mm, 50mm, and 135mm

J

jrod81

Veteran
Using the 35mm adapter section where it is suggested getting a 28mm, 50mm and 135mm I plan to do the same for my 7d. If I am doing the 1.6 math right, it means that I should get: 28-35mm for the 50, 18 (?) for the 28, and 85mm for the 135... are those numbers right? Then my next question is simply which Canon lenses do I get. I do not have a collection of SLRs lying around so I am completely starting from scratch so can someone give me direction on what I am looking for in Canon lenses.
 
the crop factor is 1.6x, so yeah, you are about spot on. what lenses you need depend on what type of shooting you will do. and also how many zeros your bank account balance has.

my setup is:
10mm(fisheye, for action sports crap)
nikon 17-35 2.8 (w/eos adapter ring)
canon 50 1.8
nikon 80-200 2.8 (w/eos adapter ring)
nikon 1.4x adapter

i shoot a lot of action sports, mostly bmx stuff. but my full time job is a video journalist for a news paper. so that entails eng, docu and breaking news type of stuff. and i also shoot weddings occasionally and commercial gigs(talking heads & broll stuff).
 
FFS People. Full frame field of view doesn't mean ****, especially for those who haven't ever shot full frame.
 
sblfilms said:
FFS People. Full frame field of view doesn't mean ****, especially for those who haven't ever shot full frame.
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Absolutely true, but once you've seen what FF can do, and have developed some image theory with it... it is hard to contest.
 
jrod81 said:
I am completely starting from scratch so can someone give me direction on what I am looking for in Canon lenses.
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It all depends on your budget...

Starting with your wide lens: If you can afford it, the best lens would be the Canon EF 16-35 f2.8L II USM, but it's almost as much as buying a 7D body. If your budget is more like mine, then the Canon EF 17-40mm f/4L USM is a good alternative, at about half the price.

There are also very good third party lenses like the Tokina AF 12-24mm f/4.0 Pro DX lens or the Tokina AF 12-24mm f/4.0 Pro DX II lens, but keep in mind that these are APS-C ONLY lenses, so they won't be much use on a Full-Frame camera like the Canon 5D.

For you mid range lens: Again, if you can afford it the Canon EF 35mm f/1.4L USM lens is about a good as you can get, and if your budget is more like mine then the Canon EF 28mm f1.8 lens or the Canon EF 35mm f/2.0 lens are good alternatives. Note that the 35mm f/2.0 vignettes quite a bit when used on a Full-Frame camera but should not be a problem when used with an APS-C camera.

For your long lens: The Canon EF 85mm f1.8 USM lens or Canon EF 100mm f/2.0 USM lens are both great lenses that are still affordable to most of us. If you've got money to burn, then the Canon EF 85mm f/1.2L II USM lens will give you another stop of light at about 4 times the price of the f/1.8 lens.

Canon also makes some nice zooms that will work quite well for both mid range and long lens: Canon EF 24-70mm f/2.8L USM lens and the Canon EF 24-105mm f/4L IS USM lens. The 24-70mm has the reputation of being a sharper lens than the 24-105mm, but I doubt this will be noticeable on an APS-C camera, as it's usually the edges of a Full-Frame camera image where the difference shows up.
 
sblfilms said:
FFS People. Full frame field of view doesn't mean ****, especially for those who haven't ever shot full frame.
Click to expand...

Wow...

As Reaktor said, it's more about developing an image theory - for many it is based on what you learned on (35mm, S35, 16mm, APS-C, etc)...

With adaptors, Field of View is more difficult to judge because it depends on how far one zooms into the GG. So going off of the assumption that the adapter is being used with a full-frame FOV, 28/50/135 isn't a bad place to start - or in the case with S35/APS-C framing, an 18/35/85

All that to say, you're on the right track, jrod. Canon lenses are great, but depending on your budget you could also take a look a Nikon manual focus lenses with the EOS adapter
 
There's a new Zeiss 18 f/3.5 Distagon in EF mount, don't know how much yet, but you can bet it's steep.
At that FL, and if you might want to go FF later, f/3.5 is about as fast as it gets.
Oh, yes, ant it'll cost, even going S/H.
Dave
 
Barry_Green said:
Cinema film is rarely 24mm wide, normally it's shot at 22mm wide.

Crop factors only confuse the issue, and it's about time for them to die and forever be buried in the annals of anachronistic useless information.

The fact of the matter is: for a cinema shooter, the 7D is going to deliver the same DOF and the same FOV as a 35mm movie camera. Done. End of story. No need to worry about whether a 50mm "becomes" and 80mm, because it doesn't. Put a 50mm lens on a movie camera, and then take it off and put that lens on the 7D, and you'll have identical results (or near-enough identical that nobody's complaining.)

The only reason a "crop factor" exists is to talk about how the lens field of view compares to that of a 35mm still camera. Has nothing to do with us motion/moving image folks.
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...
 
daveswan said:
There's a new Zeiss 18 f/3.5 Distagon in EF mount, don't know how much yet, but you can bet it's steep.
At that FL, and if you might want to go FF later, f/3.5 is about as fast as it gets.
Oh, yes, ant it'll cost, even going S/H.
Dave
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I read somewhere that it would be $1600 or so. Can't remember the source. Pretty pricey for a 3.5, but I imagine it's pretty great. I believe the 18mm Zeiss with Nikon mount compared incredibly to what a lot of people consider the sharpest wide lens on the planet: the Nikon 14 - 24mm.
 
mhood said:
Is "sharp" all that important at 1080p? Also, how important is 2.8 as opposed to 3.5 or 4?
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Sharp is always important - at 480p or 5K.

As far as speed, it depends on what you are shooting and what your DOF requirements are. Shooting anything remotely dark, I would want the 2.8. Stopped down it will be very nice.
 
mhood said:
Is "sharp" all that important at 1080p? Also, how important is 2.8 as opposed to 3.5 or 4?
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Shooting at 2.8 and monitoring at 480p or 3" LCD is only good if your actor is in a straightjacket (or infinity focus)

Having a 2.8 lens is good because stopped down it will be sweet :)
 
JimmieMyers said:
... to what a lot of people consider the sharpest wide lens on the planet: the Nikon 14 - 24mm.
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I would love to have this lens!
Used it once though, its a monster, heavy, no filter threads.
As far as owning ... out of my price bracket so went tokina 11-16 instead and use 24/2.8 prime
 
now does the closest focus point also multiply with the 1.6x (18mm with the closest focus being 9 inches) is it now a 28mm with the closest focus point being 14.4 inches????
 
Perry Wilson said:
now does the closest focus point also multiply with the 1.6x (18mm with the closest focus being 9 inches) is it now a 28mm with the closest focus point being 14.4 inches????
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No. The only thing that changes on crop sensor is the FOV of the lens. Everything else (DOF and focus characteristics) stays the same.

Try to think about it this way: With a crop sensor, the image from lens is being cropped. The optical properties of the lens can't magically change.
 
ydgmdlu said:
No. The only thing that changes on crop sensor is the FOV of the lens. Everything else (DOF and focus characteristics) stays the same.

Try to think about it this way: With a crop sensor, the image from lens is being cropped. The optical properties of the lens can't magically change.
Click to expand...

AAAAAAAHHHHHHHH why thank you good sir I am trying to get all of my info straight before I get this cam... you have been of great help and wisdom...
 
Yes. if you want wide, for example, don't expect a 20mm or 17mm lens to look the same on your 7d as it looks on a 5d Mark II. You need to go either 11mm or 12mm to get a "wide shot" close to the mentioned above.
 
Perry Wilson said:
now does the closest focus point also multiply with the 1.6x (18mm with the closest focus being 9 inches) is it now a 28mm with the closest focus point being 14.4 inches????
Click to expand...

This is why people urgently need to stop saying "a 50mm becomes an 80mm".

For all practical purposes, the only thing that will really change is FOV.

If you are putting a Full Frame lens on a APS-C camera you may get a little better optical quality in the form of increased perceived sharpness and fewer lens artifacts throughout the image because you will be shooting through only the center of the glass. For example: the outer portion of the image circle, which usually experiences some falloff, will be out of the frame entirely.
 
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