Perfect the art of astrophotography with the best lenses for a variety of Canon cameras. View the complete list here and find out which is best for you Deciding on the Best Lens for Milky Way Photography. There are a few considerations to be made when choosing the right lens to photograph the wonder of the night sky. Below are three of the main ones you need to think about
Shooting a wedding, but not sure what camera gear you need? Take a look at four of the best lens options for capturing the whole wedding day. Top image via When shooting a wedding, you will want a few different lenses to work with. In fact, if you’re carrying your lenses with you, it may be best to swap lenses during the day. Lenses that work great for ceremonies may not work at all during the reception. During the wedding day, you will want to get plenty of intricate details.
This includes big things like exteriors of the hotel, church, or venue, down to little things like rings and cufflinks. Now, there isn’t one magic lens that will capture all of these things equally, so here are the four lenses you’ll need to capture the whole wedding day.
35mm Image via The 35mm is a wide-angle lens that’s perfect for shooting the entire wedding day. Its compact size also helps everyone on camera act like themselves. They tend not to be very intimidated by this lens. Before the ceremony, you can use this lens to capture the entire room while the bridal party is getting ready.
It’s great for capturing a lot of action happening at once. During the ceremony, this lens is great at setting a feel for the vows. It really helps set the scene, allowing you to focus on the storytelling. At the reception, this lens is wonderful for capturing the bridal party entrances. Not only do you see each couple walking in, you get some great footage of everyone in the background cheering them on.
The same goes for the first dance and parent dances. Having the crowd smiling and crying in the background can really take the footage to another level. Here’s a comparison between the Canon 35mm, Zeiss 35mm, Cooke 40mm, and the new XEEN 35mm from cinematographer , ASC. 50mm Image via The Digital Picture The 50mm lens is the go-to lens for photographers and videographers alike.
This lens is incredibly versatile. To get the best composition and framing, all you have to do is take a few steps forward or backwards. The 50mm is great for capturing all those candid moments of the bridal party goofing off and laughing.
It’s not as wide as the 35mm, which can be beneficial if you are working in tight spaces — like small hotel rooms. At the wedding venue, the 50mm can capture great details like table tops, the cake, toasts, seating cards, and everything in between. Where the 35mm was great at capturing the couple and everyone celebrating behind them, the 50mm will allow you to draw more focus on the couple. This video from aims to narrow down the best 50mm by showing off several brands of glass.
85mm Image via The Digital Picture The 85mm is great at capturing wedding footage in a journalistic style. The 85mm is one of the most popular lenses used for portraits. One of the best reasons to use the lens is the great low-light capabilities. It’s much easier to work at a distance and still get a nice clean image during dark wedding receptions. It’s fantastic during dances, and is the opposite of the 35mm.
Instead of seeing the couple and the guests in the shot, the 85mm will blur out the background and give you a really nice image of just the couple. The bokeh it produces during the wedding reception is excellent. One of the downsides is the weight.
You will get tired of carrying this thing around. Check out this . 70-200mm Image via The Digital Picture I feel like every wedding videographer will tell you that this is THE lens to have, but it’s really only good for ceremony. Your money will be better spent getting a nice 50mm. That said, if you shoot a lot of big weddings , the 70-200 is still essential. You’ll want to make sure you have a lens with image stabilization.
This lens will help you hide in the back and go unnoticed by guests. You can easily capture some nice close-up shots as well as quickly zooming out to capture the whole bridal party.
Check out this comparison between the Tamron 70-200, Sigma 70-200, and Canon 70-200mm lenses from . Bonus – Specialty Lenses The following lenses aren’t the best for every wedding or videographer. However, they are great for very specific reasons.
14mm If you’ll be flying your camera on a Steadicam or Glidecam, the 14mm is a great lens simply because you won’t have to keep adjusting the focus. Most 14mm lenses have a hyperfocal distance of three feet, so you can get pretty close or be back a bit and not have to focus.
100mm If you are planning to get footage of the wedding rings or some dress details, a 100mm macro is the way to go. You’ll capture some great little details, but that’s pretty much the only thing you can use this lens for. It will sit in your camera bag the rest of the day. What are your go-to lenses for shooting weddings? Share your kit in the comments below!
best dating canon lens for video 2017 - Best Lens for Canon 70D 2017 That Photographers Trust
Whether you've just treated yourself to your first Canon DSLR or are looking to build-up your Canon camera kit with a new lens, there's a wide range of lenses out there to suit pretty much any budget and photographic subject. Trouble is, it's knowing which lens is a good buy and which one isn't. Don't worry though, as we're here to help guide you through the vast array of optics available to insure you buy the best Canon lens for your DSLR.
We've split this guide into two sections. First we'll look at the best Canon lenses for APS-C format DSLRs like the (), () and , with these lenses suited (and in a lot of cases, specifically designed for) APS-C sensor DSLRs. On the following page we'll take a closer look at what are the best Canon lenses for full-frame DSLRs - Canon's line of like the .
Pretty much all current APS-C format Canon DSLRs are sold with the option of an included ‘kit’ zoom lens. In many cases, you can choose between Canon’s latest 18-55mm or 18-135mm lenses, both of which give solid performance and come complete with image stabilization and virtually silent STM (Stepping Motor) autofocus systems, ideal for both stills and video capture.
But a basic standard zoom will only get you so far. Even with the generous 1.6x focal length multiplier or ‘crop factor’ of Canon EOS APS-C format bodies, the 18-135mm kit lens comes up short in telephoto reach for shooting action sports and wildlife. And both kit lenses lack a seriously wide viewing angle for some landscape and interior shots. You might also need a tight depth of field to blur the background in portraiture and still life images, something the relatively narrow widest apertures of kit lenses struggle to deliver.
Another popular lens option is a ‘macro’ optic for shooting extreme close-ups. The biggest bonus of any interchangeable lens camera is that you can fit the ideal lens for the job at hand, from ultra-wide zoom to super-telephoto, and fast primes in between. In fact, sometimes full-frame-compatible lenses are a better option than dedicated APS-C format lenses. Lens designations It’s actually worth getting the designations of lenses clear at this point.
Canon’s EF (Electro-Focus) lens mount dates back to 1987 and the 35mm film era. The EF-S variant was launched in 2003, to suit Canon DSLRs with smaller, APS-C image sensors. There are no issues using EF lenses on APS-C format cameras, but you can’t use an EF-S lens on a full-frame DSLR.
The classifications used by Sigma are DC (APS-C) and DG (full-frame) and for Tamron it’s Di-II (APS-C) and Di (full-frame). We’ve put all of the main contenders through their paces with rigorous lab testing and shooting in all manner of ‘real-world’ scenarios If you’ve got a Canon camera, it might seem sensible to use Canon lenses. However, third-party lenses from the likes of Sigma and Tamron often give similar or even better performance than own-brand Canon lenses, and at more competitive prices.
We’ve put all of the main contenders in the various categories through their paces with rigorous lab testing and shooting in all manner of ‘real-world’ scenarios.
Based on the results, here’s our list of the 10 best lenses to buy for your Canon APS-C format body. We’ve included outright winners in each category, as well as best-value alternatives to suit a tighter budget.
Best Canon lenses for APS-C DSLRs Wide-angle zoom: Tamron 10-24mm f/3.5-4.5 Di II VC HLD Pricier than some competitors A major upgrade from Tamron’s original 10-24mm lens, the new ‘VC HLD’ edition adds image stabilization and a new autofocus system, which is quicker and quieter.
Handling is also improved, because the focus ring no longer rotates during autofocus. The good-quality build includes weather seals and a keep-clean fluorine coating on the front element. Image quality benefits from good sharpness and contrast, along with well-contained distortions for an ultra-wide zoom lens, and fairly minimal color fringing.
Great-value option: Canon EF-S 10-18mm f/4.5-5.6 IS STM Not much more than a third of the price of the Tamron 10-24mm, this is a top-value buy. It matches the Tamron’s maximum viewing angle, includes image stabilization and has a compact, lightweight build that’s well matched to bodies like the and . Wide-angle prime: Samyang 10mm f/2.8 ED AS NCS CS No image stabilization We’ve got so used to autofocus that a lens which you can only focus manually might sound like a retrograde step.
However, the huge depth of field enabled by a lens with such a short focal length makes accurate focusing less critical. Better still, the Samyang’s distance scale enables you try traditional focusing methods for landscape and street photography, like setting the and ‘zone focusing’.
Smart design and high-quality glass help to ensure good image quality, while nano-structure coatings help to keep ghosting and flare to a minimum. Great-value option: N/A Wide-angle prime lenses for APS-C format cameras are practically non-existent. Canon does make an EF-S 24mm pancake lens but, taking the crop factor into account, it’s more ‘standard’ than ‘wide-angle’. Standard zoom: Canon EF-S 17-55mm f/2.8 IS USM Lens hood sold separately Now more than a decade old, this was the first enthusiast/pro-grade EF-S standard zoom lens Canon produced.
It’s still the best, and the only one to feature a fast and constant (meaning it's available throughout the entire zoom range) f/2.8 aperture. It’s also the most expensive standard zoom for APS-C format Canon cameras, and has enthusiast-friendly features like ring-type ultrasonic autofocus and a focus distance scale beneath a viewing window. Even so, it’s not one of Canon’s L-series (Luxury) lenses, and has no weather seals.
Frustratingly, as with the vast majority of non-L-series Canon lenses, you need to buy the lens hood separately. Great-value option: Sigma 17-70mm f/2.8-4 DC Macro OS HSM | C Relatively compact and lightweight, this Sigma has a variable yet fairly fast aperture rating and delivers impressive image quality, at a bargain price.
Standard prime: Sigma 30mm f/1.4 DC HSM | A No weather seals Whereas most APS-C format cameras have a 1.5x crop factor, Canon’s is a little more aggressive at 1.6x, and that makes this Sigma 30mm a particularly good fit as a ‘standard prime’, as its effective focal length works out to 48mm, only marginally short of the preferred 50mm.
As one of Sigma’s recent ‘Art’ class lenses, it’s beautifully built and boasts a fast f/1.4 aperture rating. This not only enables fast shutter speeds under low lighting, without needing to push your ISO setting too far, but delivers a fairly tight depth of field, even taking the relatively short ‘actual’ focal length into account. Image quality is very impressive in all respects and, for such a ‘fast’ lens, sharpness remains excellent even at the widest available aperture.
Autofocus is also fast, thanks to a rear-focusing mechanism that drives the smaller, rear elements of the lens via a ring-type ultrasonic system. The front element therefore neither extends nor rotates during focusing. Great-value option: Canon EF-S 24mm f/2.8 STM Unfeasibly small and lightweight, this ‘pancake’ lens measures less than an inch in length and tips the scales at a mere 125g.
It doesn’t have a very fast aperture, at f/2.8, but image quality is very good and it’s a great little prime for traveling light, with an ‘effective’ focal length of 38.4mm on APS-C cameras, which is a good compromise between a wide-angle and standard lens.
Superzoom: Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro The Tamron stands out among superzoom lens thanks to its extra wide-angle coverage Type: Zoom | Sensor size: APS-C | Focal length: 16-300mm | Maximum aperture: f/3.5-5.6 | Image stabilizer: Yes | Weather seals: Yes | Minimum focus distance: 0.39m | Filter size: 67mm | Dimensions: 75 x 100mm | Weight: 540g Sharpness drops off at long end Canon’s only real ‘superzoom’ lens for APS-C format cameras is the EF-S 18-200mm, which is about 10 years old, has a rather basic autofocus system, and is frankly a bit of a disappointment.
This Tamron lens is a much more attractive option. It’s unique among superzoom lenses in shrinking to 16mm rather than the usual 18mm at the short end of its zoom range. A couple of millimeters might not sound much, but the extra wide-angle potential is very noticeable in practice. There’s no skimping at the long end either, with a generous 300mm maximum focal length, far outstripping the Canon. Unusually for a PZD (Piezo Drive) ultrasonic autofocus system (which relies on a small motor rather than a ring-type arrangement), the focus ring remains fixed during autofocus and adds a manual override facility.
The only real downside is that, like most superzoom lenses, sharpness drops off a little at the long end of the zoom range, and barrel distortion is quite pronounced at the short end. Great-value option: Tamron 18-200mm f/3.5-6.3 Di II VC Remarkably compact and lightweight for a superzoom, the new edition of Tamron’s 18-200mm makes an excellent all-in-one ‘travel lens’, and is unbeatable value at the price.
Portrait prime: Tamron SP 45mm f/1.8 Di VC USD Expensive to buy Compared with budget 50mm lenses, such as the Canon EF 50mm f/1.8 STM, this one is a lot more expensive. Indeed, it’s also pricier than Canon’s faster f/1.4 lens. However, the Tamron is really nicely made, and boasts an optical stabilizer that’s lacking in both Canon 50mm lenses, and most others from the likes of Sigma.
It’s full-frame compatible but gives an effective focal length of 72mm on APS-C cameras, ideal for portraiture. As such, is important, and it’s here that Tamron strikes gold, with defocused areas having a deliciously smooth and creamy appearance, while in-focus areas retain good sharpness. Great-value option: Canon EF 50mm f/1.8 STM The STM (Stepping Motor) edition of Canon’s EF 50mm f/1.8 lens is much better built than its predecessors, with a metal rather than plastic mounting plate, a more well-rounded aperture based on seven diaphragm blades instead of five, and a more refined autofocus system.
Image quality is essentially as good as from Canon’s more upmarket 50mm f/1.4 lens, making the f/1.8 STM unbeatable value at the price. Macro prime: Tamron SP 90mm f/2.8 Di VC USD Macro It’s a full-frame format macro lens that performs equally flawlessly on APS-C bodies Type: Prime | Sensor size: Full-frame | Focal length: 90mm | Maximum aperture: f/2.8 | Image stabilizer: Yes | Weather seals: Yes | Minimum focus distance: 0.3m | Filter size: 62mm | Dimensions: 79 x 117mm | Weight: 610g No lens pouch or soft case supplied Not to be confused with the preceding Tamron 90mm macro lens of the same name (which had a gold ring around the barrel), this one adds higher-grade glass, dual nano-structure coatings, improved weather seals and a fluorine coating on the front element.
More importantly, it has a redesigned autofocus system that’s optimized for close-up shooting, and a new ‘hybrid’ optical stabilizer that counteracts axial shift (up-down or side-to-side movement) as well as the usual angular vibration (wobble). In this respect, it’s similar to Canon’s range-topping EF 100mm f/2.8L Macro IS USM lens, but in our tests the Tamron had the edge for image quality, and it's less expensive to buy.
Great-value option: Sigma 105mm f/2.8 EX DG OS HSM Macro It lacks the Tamron’s hybrid stabilization system and weather seals, but has refined handling and delivers superb image quality, all at a knockdown price.
Budget telephoto zoom: Tamron SP 70-300mm f/4-5.6 Di VC USD Drop in sharpness at long end When it comes to telephoto zooms, there’s a lot to be said for buying a full-frame compatible 70-300mm lens.
They tend to still be manageably compact and lightweight, and you’ll be cherry-picking the best image quality from the centre of the frame when using a camera with a smaller, APS-C image sensor; and naturally, should you upgrade to a full-frame body in the future you’ll also be able to continue using the lens.
This Tamron is a great example of the breed. It has very good build quality, complete with weather seals, and delivers impressive image quality. Further plus points include fast and whisper-quiet ring-type ultrasonic autofocus with the usual manual override, and an effective image stabilizer. Sharpness and contrast are very good throughout the entire zoom range, although, as is typical with telephoto zooms, sharpness does drop off a little at 300mm.
Great-value option: Canon EF-S 55-250mm f/4-5.6 IS STM Designed exclusively for APS-C cameras, this Canon lens is refreshingly compact and lightweight for a telephoto zoom, although part of the weight-saving is due to it having a plastic rather than metal mounting plate. As with other STM lenses, the stepping motor autofocus system works well for both stills and movies.
Sharpness is good throughout the zoom range, even when shooting wide-open, and the image stabilizer is worth about three stops. Fast telephoto zoom: Canon EF 70-200mm f/4L IS USM Tripod collar is an optional extra So-called ‘fast’ telephoto zooms tend to be fairly big and heavy, with the 70-200mm f/2.8 lenses often favored by pro photographers weighing in at around 1.5kg – that’s a lot of weight to hang off the front of a small APS-C format body like a or .
An f/stop slower, this lens still offers a constant aperture of f/4 throughout the zoom range, along with L-series trapping like pro-grade build quality, weather seals and optical excellence, but it's a much more manageable package – indeed, it’s only about half the weight of most 70-200mm f/2.8 zooms.
Sharpness and contrast are superb, boosted by the use of top-notch fluorite and UD (Ultra-low Dispersion) elements, and the ring-type ultrasonic autofocus system is super-fast. Great-value option: Sigma 70-200mm f/2.8 EX DG OS HSM A great bargain buy, the Sigma has the faster, often favored f/2.8 aperture rating and is a very good performer, although it lacks weather seals. Super-telephoto zoom: Sigma 150-600mm f/5-6.3 DG OS HSM | C Only has a weather-sealed mount Sigma has a history of pushing the envelope when it comes to super-telephoto reach, and this 150-600mm delivers a spectacular effective focal length of 960mm at the longest end of its zoom range when used on an APS-C format Canon body.
Even so, its physical size isn’t too monstrous, and it weighs less than 2kg, making it nearly a kilogram lighter than Sigma’s 150-600mm Sport lens.
It features many of the same design flourishes as its bigger sibling, including dual, switchable autofocus modes for auto or manual priority, dual-mode stabilization for static and panning shots, and a dual-position autofocus range limiter that can lock out either the short or long end of the range.
It also features the same zoom lock mechanism, which enables you to lock the zoom length at any marked (numbered) position between 150mm and 600mm.
Performance is very good, from sharpness, contrast and other optical attributes to autofocus speed, stabilization and handling. Overall, it’s a top buy that’s ideal for maximizing your telephoto reach on Canon APS-C format bodies. Great-value option: Sigma 100-400mm f/5-6.3 DG OS HSM | C The maximum focal length is comparatively modest but Sigma’s new Contemporary class super-telephoto zoom is wonderfully compact and lightweight, making prolonged handheld shooting less of a strain.
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If you’re in a hurry, check out our top pick, Rokinon 35mm Cine T1.5 Lens. Youtube and Video marketing is blowing up right now along with podcast and one of the reason is because blogging has become saturated and people are getting impatient due to excessive use of smartphones.
This is the reason why video and audio is becoming a good medium to attract and connect with your audience. In our guide which we wrote earlier for those who want to start their Youtube channel, we shared why is hands down the best and most professional camera choice for video bloggers right now. Contents • • • • • • The reason why it has become very popular is because of the continuous auto-focus feature, which is missing in other DSLR cameras.
Now, we know a DSLR Camera is incomplete without a good lens and we received ton loads of emails enquiring about best lenses for shooting video with a DSLR camera.
In this post, we will share the best lenses for video shooting with Canon, Nikon, Sony, and Panasonic DSLR cameras with which you produce videos for Interviews, Documentaries, YouTube Tech, or Fashion channels. Before we give any recommendations for the best dslr lens for video, you should know that there are different types of lenses and within those there are different focal range and f-stops features. Below we’ll be recommending the Prime, Standard, Telephoto, Wide Angle and Fisheye lens as that is what most video makers use and are more than sufficient to shoot different styles and angles for videos.
If this is your first time, make sure to get your hands on a lens, which has built-in image stabilization marked by “IS” which helps in producing stable shots without any jiggly movements which looks unprofessional.
Note: All the lenses below are under $1000 because these are tried and test lenses. Of course there are higher quality lenses with a much better glass like the “L” series from cannon but do you really need to spend $2000 or more on a lens? For us, the storytelling is the most important of any video. As a video maker understand the angles and practice, and get better with your shots, editing, making better videos, and story with strong narrative.
QUICK OVERVIEW: THE BEST DSLR LENS FOR VIDEO BEST OVERALL BEST PRIME LENS BEST FOR VIDEO INTERVIEWS BEST FOR BLURRED BACKGROUND BEST TELEPHOTO LENS BEST CINE LENS BEST WIDE ANGLE LENS BEST FISH EYE LENS Best Prime Lens for Video 1. Prime lens are a must have in your arsenal and Rokinon is our first recommendation for the best prime lens for shooting video. Prime lens have fixed focal length so you are not going to get any zoom on this one but you’ll get a much sharper image which is why it is preferred for portrait photography too but this specific model is made for video as it can be used with follow focus for smooth focus.
It has the perfect focal length for a prime lens and a de-clicked aperture, which gives much more control over aperture. It has a maximum aperture of f1.5 and a wide-angle field of view making it perfect prime lens for product reviews, especially for tech channels on Youtube.
You can use it with a recommended Canon DSLR or any other camera like Nikon, Sony or Panasonic as it comes with different mount.
Here is a video filmed with the Cine Lens: or 2. The Rokinon is definitely not the cheapest prime lens but there are other options from Canon as they have three 50mm lens, which are as follows: • • • We recommend the first one, which is the cheapest of all but has great build quality, which is an amazing deal for the price you are paying.
You can get amazing crisp shots with shallow depth of field, superb bokehs, and excellent low light shots. Compared to the previous model, the new 1.8 STM has stepper motor, which means it focuses on objects with near silent, continuous auto focus for movies. It does not have Image Stabilization so make sure to use a rig or a tripod for shooting your product reviews.
Here is a video filmed with the Lens: or Best Lens for Video Interviews 3. If you take interviews then you want a good running gun lens that has image stabilization. The makes a perfect hand held camera lens, thanks to its nice zoom range and constant aperture topped with image stabilization, you can get excellent shots with this beast.
The built quality is excellent; the glass has multi-layer coating, which reduces flare and ghosting which is something you need when shooting outdoors. You can also use this for products shots outdoors for your tech channel. It is quite cheaper from a Canon or Nikon alternative and you can use this for Canon, Nikon, Sony or Pentax DSLR cameras so you can get similar results for a fraction of a price.
Here is a video filmed with the Lens: or 4. If you are a Canon user and want to get pure experience, you’ll want to own Canon lenses only. The is the same lens as the one we recommended above.
It has same focal range, aperture and image stabilization making it an excellent camera for interviews.
Comparing it with the standard kit lens, which is 18-55mm, this lens has much sharper image and excellent low light performance. Even when you zoom, you don’t lose any light at all so you don’t have to adjust ISO or brightness and get sharper image quality even when you are zoomed in. The f/2.8 is a very decent aperture ratio, which gives great blurred background shots for professional video makers.
The f/2.8 aperture is constant like sigma and the auto focus is almost silent which is great, as you don’t want the camera to picking up unwanted sound. Here is a video filmed with the Lens: or Best Video Lens for Blurred Background 5. The is also known as the Tech Youtubers lens, used and recommended by influencers like MKBHD. Everyone talked about this new Sigma lens when it was launched because of its incredible sharpness, wider angles, and overall great performance.
It has a great focal range and constant aperture, which gives amazing low light performance and blurred background with subject really focused. It is without doubt the most expensive on this list but if you could pick any one from this list, the Sigma would be the one we recommend. It comes with multiple mounts so you can use it with Canon, Nikon, Sony crop sensor cameras.
Here is a video filmed with the DC HSM L: or Best Telephoto Lens for Shooting Video 6. If you are shooting documentary, you won’t know when or where your subject is going to move, you need to have a to cover long distance and get that sharp subject and blurred background which will give you cinematic shots for your video.
The best thing about this lens is that this is a “L” Glass lens which is the best quality out there making it ideal for film and documentary makers. It can be used on full frame and APS-C cameras. It has very fast auto focus, which is very quiet indeed. Overall this is the best telephoto lens we recommend for shooting video where you need to cover moving subjects or objects that are far away. Once you practice and master using this lens, you’ll find that it delivers real value for money.
Here is a video filmed with the USM Lens: or Best Cine Lens for Video 7. We are sure you’ve decided which lens you want to buy as a prime and for interviews. But if you fancy taking your video a step further, you need to try the . These lens are made with video makers in mind for cinematic effects, this particular model is 14 times less expensive than the Canon that is why we recommend it as it delivers great value.
Cine lens has de-clicked aperture which means it is adjusted manually. They have gears on the side of the lens to use with other accessories like follow focus or aperture control devices to allow videographers to maintain focus on moving focus with smooth dials connected to the lens. Everything is done manually on this cine lens, which requires a lot of practice. You cannot use it for run-n-gun, as it requires some time for setting up properly.
The build quality great with very smooth focus and aperture ring, you can get this beast for under $300 which is a great deal for videographers who want to start using these professional level lens and accessories. Like other DSLR lenses from Sigma and Rokinon, you can use this with Canon, Nikon, Sony and other dslr cameras. Here is a video filmed with the Cine Lens: or Best Wide Angle Lens for Video 8. Canon released this lens recently, which instantly made it our list of recommended wide-angle lens.
It is a STM lens, which means it will make almost no noise when focusing with cameras like 70D having hybrid auto focus. It has image stabilization so you can use it shoot great wide-angle shots even in handheld position. You can shoot excellent time lapse using this wide-angle lens and is a great option for those looking for an affordable first party wide-angle lens.
Even though it is made out of plastic from filter thread to the lens mount, it delivers excellent results for the price point that it indicates and we definitely recommend having this in your camera bag. The maximum aperture is up to f/4.5 which means it is not great in low light situations and if you are looking for something that will give you great footage in low light, check out the Tokina Wide-Angle lens below which costs $150 more.
Here is a video filmed with the IS STM Lens: or 9. If you are not looking for a wide-angle lens from first party supplier, the is the best wide angle lens that we can recommend for videos. Just like the Sigma, it has constant aperture so if you shoot tech videos, you can focus on an object and zoom with having consistent exposure throughout your shot. Even thought it is not as sharp as prime, it is great for covering events by covering wide field of view in small spaces. It is very popular among the filmmakers as it has a fast aperture and ultra wide angle.
The build quality is much better than the canon and the mount is made out of metal that is very sturdy. The wide angle lens is also great for shooting outdoors and filming timelapse shots. You can use this on Canon or Nikon as there are two mount options available on the market.
Here is a video filmed with the Ultra Wide Angle lens: or Best Fish Eye Lens for Video 10. Fish eye lens are one of the crazier type of lens out there that gives extremely wide field of view.
If you want to get these shots, the Fisheye Lens is a fun and affordable lens that we recommend. The wide-angle views are made popular by action cameras like GoPro, but professionals who use DSLR can get these shots using these lenses. It is a good lens to use on the crop sensor camera, if you use it on the full frame then expect to get that black circle around the video. It is a manual focus lens which is easy to use with buttery smooth dials.
Both aperture and focus are manually operated so if you are into making those fun short movies then definitely pick this one up. This particular model is available in various mounts from Canon, Nikon, Olympus, Pentax, and Sony NEX and Alpha series. Here is a video filmed with the Fisheye Lens: or That’s a wrap guys!
We’ve included all the lenses you will possibly need so pick them up and have fun. If you have any other personal favorites, do leave the comment below to share with others in the community :)
The Best DSLR Filmmaking Lenses - Cinematography Tips