24-70mm f2.8LII is a universal lens, from 24mm wide-angle scenery/indoor activities to 70mm f2.8 small long Jiaozuo blurring, big three yuan is indeed a must-have lens for the studio, making great contributions to the workers. This lens is on the indoor/scenery side, and only 70mm f2.8 can have enough blur. It is absolutely impossible to have a portrait without blur. Blur can weaken the background and highlight the theme and create a dreamy feeling.
So the Tenglong sword has a slant, and a 35-150 f2.8-4 and an upgraded version of the magic mirror 35-150 f2-2.8 is a lens of the outer scene portrait. The 92-150mm of the 35-150 f2.8-4 is strong enough to blur. 35-150 f2-2.8's 56-150mm are all sufficiently blurred. However, sometimes, you also need to adjust the wide angle to help change the photos. At this time, 35mm feels not wide enough, so I want to try to see rf 16mm f2.8 on aps-c mode (16x1.6=25.6), which can replace the 24-70 f2.8 end of 24-70 f2.8??
24-70 f2.8L II @24mm f2.8
rf 16mm f2.8 x1.6=25.6mm @aps-c mode
rf 16mm f2.8
rf 16mm f2.8
rf 16mm f2.8
rf 16mm f2.8
the first picture is 24-70 f2.8L II The aperture of the 24mm end is fully opened, and you can find that blur is indeed the strength of the full range. When the wide-angle end is close to the point, you will still feel that blur is good. The second picture is rf 16mm f2.8. The aperture is fully opened, and the aps-c residual amplitude mode is shot, x1.6=25.6m, and the calibration is 25.6mm f2.8. The blur is indeed incomparable to the full range 24mm f2.8.
Because the photo is actually taken at 16mm f2.8, cut the middle out for 24mm. Of course, the blurring is much weaker than 24mm f2.8. After all, it is a 16mm blur!
can be found that in addition to the blurring is much weaker, rf 16mm f2.8 turns on the aps-c residual pattern, you can still use it instead of the full 24mm to take a similar composition.
rf 50L @f1.2 + Heirou, EOS R6 Thumbout directly
What I want to explain here is that aps-c residual pattern should be opened. Don’t think that you can just take a little more and go home to cut it. Just take a 16mm shot directly and go home to cut a 24mm composition. I can only say that you don’t think too much. This is something that professional photographers can do well at a pro-level. Most people do not use the aps-c residual image mode to framing, so they will definitely not be able to take good compositions.
So if I take 35-150 f2.8-4 out in the future, I can put an extra 16mm f2.8, so that I can use two more focal lengths of 16/25.6. With rf 50mm f1.2L, I can get all kinds of effects, haha. Otherwise, I used to only bring 35-150 f2.8-4 + rf 50 f1.2 and always felt that I lacked a wide-angle end.
If I find that when using 16mmf2.8 in the future, I often turn on the aps-c residual pattern, I will buy rf 24 f1.8 to enhance the blur. The new rf 24mm f1.8 stm is much sharper than the old ef 24mm f1.4L II, and the design age is too old.
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