i'm looking to replace my 16-35 2.8 as I feel it's just not up to scratch in the corners, and it let me down in a big group shot where even at f8 the corners were just mush, although it has seen a lot of use and could probably do with being looked at, I don't remember the corners being this mushy
it's uses will be mainly for events and pro work, but also maybe landscapes and interiors- loosing 2.8 sucks but f4 at a slower shutter speed would be fine for most of the events I do, if I keep the 16-35 2.8 then I will bring that for times when I need it, and I have fast primes too
i'd like it to be stabilised but I've lived without it on my 16-35 2.8, i'm naturally drawn to the canon 16-35 f4 but I also use a fuji system (although i'm slowly selling off all my lenses, and might sell the x-e1 too) and I have an a7, so i'm not ruling out the fuji 10-24, the sony 16-35 or even the sony 10-18 in crop mode (10mp would be more than enough for event photography as the shots are usually just for the web anyway). The a7 is becoming more and more useful to me
i highly doubt anyone has experience with all 3 lenses but maybe someone can offer some advice
I suppose there's little point in running a sony, fuji and canon set up, so I should probably rule out the fuji and sell off the rest of that system, which leaves the 10-18 and the 16-35 from canon or sony, advantage of the 10-18 sony lens is that it's small and cheap, which would be good for travel but also good for event work where i'm carrying 3 cameras, and it's usable on full frame at 12mm, for super wide angle shots
the sony 16-35 is obviously going to fill the frame entirely, but whether this is useful or not is debateable as I wont need the resolution for event work, and for landscapes etc I can use prime lenses and the 16-35 2.8 is good enough when stopped down, it's just wide open and f4 where it's bad
advantage of the canon is that it's a slightly cheaper than the sony, but seeing as the 16-25 2.8 is my workhorse for club photography (i'm not going to sell it, and sometimes you do need 2.8) I would have 2 canon wide angle lenses
the more I think about it the more I think the sony 10-18 makes sense, as long as it's sharp in the corners on an a7 in crop mode
it's uses will be mainly for events and pro work, but also maybe landscapes and interiors- loosing 2.8 sucks but f4 at a slower shutter speed would be fine for most of the events I do, if I keep the 16-35 2.8 then I will bring that for times when I need it, and I have fast primes too
i'd like it to be stabilised but I've lived without it on my 16-35 2.8, i'm naturally drawn to the canon 16-35 f4 but I also use a fuji system (although i'm slowly selling off all my lenses, and might sell the x-e1 too) and I have an a7, so i'm not ruling out the fuji 10-24, the sony 16-35 or even the sony 10-18 in crop mode (10mp would be more than enough for event photography as the shots are usually just for the web anyway). The a7 is becoming more and more useful to me
i highly doubt anyone has experience with all 3 lenses but maybe someone can offer some advice
I suppose there's little point in running a sony, fuji and canon set up, so I should probably rule out the fuji and sell off the rest of that system, which leaves the 10-18 and the 16-35 from canon or sony, advantage of the 10-18 sony lens is that it's small and cheap, which would be good for travel but also good for event work where i'm carrying 3 cameras, and it's usable on full frame at 12mm, for super wide angle shots
the sony 16-35 is obviously going to fill the frame entirely, but whether this is useful or not is debateable as I wont need the resolution for event work, and for landscapes etc I can use prime lenses and the 16-35 2.8 is good enough when stopped down, it's just wide open and f4 where it's bad
advantage of the canon is that it's a slightly cheaper than the sony, but seeing as the 16-25 2.8 is my workhorse for club photography (i'm not going to sell it, and sometimes you do need 2.8) I would have 2 canon wide angle lenses
the more I think about it the more I think the sony 10-18 makes sense, as long as it's sharp in the corners on an a7 in crop mode
