The Rokinon (or Samyang) 35mm f/1.4 is a fast prime lens for Canon EF and EF-S cameras. The lens is fully manual, with aperture and focus controls on the barrel. It’s slightly wide-angle on a fullframe camera like the Canon 5D series, and “normal” on a crop factor camera.
Overall, this lens is a fantastic performer if you don’t mind manual focusing. Perhaps surprisingly, we like it better than the Canon 35mm f/1.4L. Very subtle vignetting is undetectable by f/2. Mount filters with the 77mm front threads. Close-focuses to 0.3m.
The Canon 1.4x telephoto extender will extend your long Canon lenses to make them 40% more telephoto. Your focal length increases by 1.4x and your maximum aperture is reduced by one stop. A lens like the Canon 70-200 f/2.8L IS becomes approximately 100-280mm f/4 IS.
The telephoto adapter will not fit most of the “normal” zoom range Canon lenses, so be sure to check for compatibility with the lens(es) you plan to use. Image stabilization features, focus, and autoexposure will all continue to work normally. The lens adapter leave the minimum focusing distance unchanged, so you’ll get 1.4x magnification for macro work, as well.
Make your favorite EF-mount lens a macro lens with these extension tubes. You can focus incredibly close, and take pictures and video of very small objects when you’re using a macro extension tube. The electrical contacts allow for full control over focus and iris, and the air-only design means there are no additional lens elements. This gives you much sharper images than using diopters.The three varying lengths allow you to choose the focal range to fit your lens and your application.These work with any canon-mount lens, but we most often use it with longer lenses like the Rokinon 85mm t/1.5.
As with diopters, you’ll be unable to focus to infinity with the adapter on. If you need a lens that can focus both near and far without an adapter, you’ll want a macro lens.
The SLR Magic Anamorphot 1.33x PL anamorphic lens set rental provides cinematographers with the anamorphic look for a reasonable budget. All three cinema lenses are designed to create 2.4:1 ultra-widescreen (a.k.a. cinemascope) images on cameras with 16:9 super 35-sized sensors. (more…)
The Canon 20-35mm f/2.8L lens is a wide angle zoom that works with full frame as well as crop factor cameras, and fits every camera Canon has made since the mid-1980s. What’s more important is that it makes great pictures and video. The L-series designation means sturdy all-metal build and fast USM autofocus for stills shooters. Sharp even at f/2.8, by f/5.6 we’d be happy making landscape prints that were six feet across.
We love this vintage lens for a stack of reasons. First, everybody loves 20mm and 35mm focal lengths. Second, the bokeh on this lens is fantastic. The weight is much more manageable than similar wides, like the beefy Tokina 16-28mm f/2.8. As an added bonus for video shooters, there is little-to-no breathing on focus pulls. This wide lens has the least distortion of any Canon zoom in this range, particularly at around 24mm where edges get perfectly square. If you are shooting portraits or architecture and want a wide zoom, this is definitely Canon’s strongest offering.
Shows subtle vignetting at f/2.8 on the wide side. Almost completely even by f/4. It has 72mm front threads.
This is a Zeiss ZE Planar T* 50mm f/1.4 lens, with an EF mount. The iris is electronically controlled, but the focus is fully manual, and a focusing gear has been added by Duclos Lenses cine-mod process.
The combination of Zeiss optics, all-metal construction, and a focus gear make this lens a killer choice for video as well as product photography where precision is paramount. The standard gear pitch will match with any follow focus. If you’re a video shooter going for a cinema-style look without breaking the bank, this lens should be the first one in your kit.
Advantages over the standard Canon 50mm photo primes include hard focus stops, longer focus barrel rotation, and sharper optics edge-to-edge, especially in the middle of the f-stop range. Nearly all reviewers rate the Zeiss above the highly coveted 50mm f/1.2L (as well as the 50mm f/1.4), and for video shooters, the difference is even more pronounced. Close-focuses to 1 1/2 feet.
When you need the reach of a telephoto zoom lens on a budget, the Canon EF-mount 75-300mm f/4-5.6 III USM is a logical option. Perfect for sports and wildlife during the day when shooting at f/5.6 is an option. It’s designed for use on full frame cameras, and you’ll get even more telephoto (120mm-480mm equivalent) on a Canon Rebel.
This lens, like many of Canon’s budget zooms, has a 58mm front filter size. It close-focuses to 1.5 meters.
Get up close and personal with the Canon EF 50mm f/2.5 macro lens. 1:1 magnification makes it a great option for shooting small things, from babies to bumblebees. It’s quite popular with our wedding shooters who need to get detail shots of flowers and rings, and a great addition to a prime film kit when you know you’ll need detail inserts. Accepts 52mm front filters.
$24/$48/$72 for 1/3/7 day rentals. Call or email for availability.
Our Sigma 24-60mm f/2.8 lens is a full-frame midrange zoom with impressive f/2.8 speed and good all-around performance in an EF mount. It’s about as sharp as the 24-70 f/2.8L from Canon, but not as crisp as the updated 24-70mm f/2.8L II.
This lens has 77mm front filter threads. It close-focuses to 15 inches.
This lens and the Tokina 11-16mm f/2.8 pair nicely together, with the same maximum aperture, filter sizes, and weight, plus complimentary zoom ranges.
If you haven't found what you're looking for, try the search box above, or call (414) 939-3653. We have way too many clamps, cables, and widgets to list everything. And we have new stuff coming all the time, too!
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