In actuality, there is no substitute for the Canon 24-105 lens (the 70-200 f/2.8 L IS is excluded because it covers a different focal length range), if you enjoy shooting movies and want to produce videos of respectable quality without the use of professional body kits like a steadicam, slider, etc. It is quite easy to shoot handheld while zooming in or out of the subject because to the zoom ring's comfortable grip. The lens enables you to move parallel to the focus plane to create a variety of distinctive effects in a static scene after precisely focusing on the subject in the zoom preview mode. By the way, this is significantly harder to perform with the EF-S 17-55 f/2.8 IS lens, and the 17-55 is only appropriate for crop cameras. The zoom ring allows you to zoom in and out of the scene's subject, while the focus ring makes it simple and convenient to change the sharpness. For example, the focus ring stroke at a distance of 1 to 10 meters to the object occupies roughly 80% of the total working stroke of the ring, which I consider to be a significant benefit of the optical system when focusing. This enables you to capture the focus during photography more precisely, even on a 3" screen. The 3" camera screen's fine detail is the biggest annoyance when recording video, although these are issues with the cameras, not the lens. The Canon 24-105 is too dark to be a top lens for photographers, as I already mentioned in the "Disadvantages" section; instead, it is more of a normal travel zoom for travel photography and shooting in sunny areas. Without a tripod, night photography is impossible. The f/4 aperture makes the lens too black to gain popularity across many genres. Although he is incredibly talented, his destiny is in the video industry, where he is crucial. When filming videos, the lens cannot handle sudden changes in scene, the image stabilization mechanism begins to rip the image in an attempt to "catch" the frame, and the video becomes "jittery."
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