In fact, if you're into video and want to obtain reasonable quality videos without additional professional body kits like a steadicam, slider, etc., then the only option you have is the Canon 24-105 lens (the 70-200 f/2.8 L IS doesn't count, as it covers a different range of focal lengths). Getting close to or far from your subject is a breeze thanks to the zoom ring's ergonomic design and silky smooth operation while shooting handheld. After precisely focusing on the object in the zoom preview mode, the lens permits movement parallel to the focus plane, allowing for a wide range of special effects to be achieved with just the manipulation of the zoom ring in a static scene. As a side note, this is significantly more challenging on the EF-S 17-55 f/2.8 IS lens, because the 17-55 is designed specifically for use with crop-sensor cameras. The focus ring makes it just as simple to modify the level of sharpness as the zoom ring does to move the focus in and out of the scene. The focus ring's stroke at a distance of 1 meter to 10 meters from the object accounts for about 80% of the ring's total working stroke, which I believe to be a significant benefit of the optical system. Using this, you can take pictures with a 3 "screen. The camera's 3 inch display is incredibly detailed, which is a major drawback when capturing video "screen; these are issues with the cameras, not the lens. The Canon 24-105 is too dim to become a top lens for photographers; rather, it is a standard issue travel zoom for use on the road and in bright climates. It's impossible to take photos at night without a tripod. However, the lens's f/4 aperture limits its potential for widespread use. He's got a lot of potential, but the video industry is where he'll really shine. To be more specific, switching scenes quickly during filming causes the lens to blur, the image stabilization system to rip the picture while it tries to "grab" the frame, and the resulting video to appear "twitchy."
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