The Rokinon 135mm T2.2 EF Mount Lens is a manual focus telephoto lens for full frame video cameras, perfect for the filmmaker balancing the needs of a production against a tight budget. All of Rokinon’s Cine DS lenses feature a de-clicked aperture, consistent color reproduction across focal lengths, standard focus gears, and T-stop markings on both sides of the barrel.
We rent a complete set of Rokinon Cine DS lenses, from 8mm to 135. Samyang, Rokinon, and Bower are three identical lens brands all made by the same company, using the same optical formula.
This lens is a great length for close ups and portraits, especially on full frame cameras. It can also be mounted on super 35 and APS-C cameras, making it a more extreme telephoto.
“The Rokinon Cine DS lenses tend to flare more than their bigger-budget cinema lens counterparts, and won’t match for corner sharpess wide open. But in most situations, audiences won’t ever see the difference between them. Their greatest strength is accessibility on a budget, with a relatively small size and weight. For shoots without an AC, they should always be considered, simply because they are easier to handle (and less expensive to replace).”
The Canon 100mm f/2.8L IS macro lens is well-suited to shooting small objects up close, as well as portraits. The macro lens has a 1:1 magnification, and the EF mount will work with both full frame and crop factor cameras (that means every Canon DSLR ever made).
The image stabilization is useful for handheld video work, as well as portraiture. Most macro photographers will using a tripod, making IS less necessary. Autofocus is fast and accurate. The lens accepts 67mm front filters.
The lens is optically near-perfect, with remarkable sharpness, virtually no distortion, and great imaging corner-to-corner.
The Canon 300mm f/4L IS telephoto lens is an incredible lens for sports, wildlife, and outdoor portraiture. The extremely long telephoto is an EF mount, and will work with both full frame and crop factor cameras.
The lens, while not pocket-sized, is a pretty manageable size and weight when compared to other professional lenses in this focal range. It close focuses better than any 300mm lens in Canon’s lineup. This makes it possibly the best lens ever made for faux-macro work like dragonflies, small mammals, and other tiny, skittish things.
The built-in image stabilization makes a huge difference for photo and video on a lens this long. A retractable hood is built-in.The lens is exceptionally sharp even wide open, and backgrounds fall off to a beautiful bokeh. It can be fitted with our 1.4x teleconverter to function as a 420mm f/5.6 lens. Like many L-series Canon lenses, it accepts 77mm front filters.
Canon has it figured out with the 50mm f/1.4. This all-purpose 50mm fixed lens is great for all kinds of shooting, including interiors and low light. It’s very flattering as an interview or portrait lens, especially when mounted on a crop factor camera.
We love this Canon 50mm at f/1.8 and beyond for tack-sharp focus. Many photographers will claim it even outperforms the venerable Canon 50mm f/1.2L at that aperture. It has 58mm front threads, like most of the Canon primes in this class.
Canon’s tiny 40mm f/2.8 lens gives full-frame coverage in a lens that’s less than an inch thick. The STM designation means it’s ready for autofocus in both photo and video. It accepts 52mm filters, and close-focuses to one foot.
While primes like the 50mm f/1.8 and 35mm f/2.0 are faster, the 40mm f/2.8 is a great lens choice when you need a small size, or video autofocus.
The Canon EF-S 24mm f/2.8 “pancake” lens is a great option for crop-factor cameras when you want small size, or STM video autofocus. It’s a modestly wide lens, useful for group shots, especially indoors with the f/2.8 aperture. Remarkably sharp, even wide open. It’s the lightest lens Canon has ever made.
It close-focuses to about 6 inches, making it an appropriate lens for up close shooting. The lens has 52mm front threads.
Wide and fast is possible with the Sigma 20mm f/1.8 lens. It’s ultra-wide on full frame cameras and medium wide on crop sensors. The f/1.8 maximum aperture is particularly useful indoors and at night. It’s also visually interesting, since you can get a wide field of view and still have a shallow depth of field.
We love this length for handheld video. It’s also about as wide as you can get without adding barrel distortion, so architecture won’t bend in the corners and scale seems emphasized but natural. The lens could almost be put in the macro category, with a close-focusing distance of about 5″ and an object magnification of 1:4.
We shot this side-by-side with Canon’s USM 20mm f/2.8, and as a video shooter’s lens, this one comes out ahead hands down. The manual focus is easy to grip and the action is smooth. Both lenses tend to darken at the corners, especially above f/4, this is less noticeable in 16:9 frames. We think the Sigma looks more cinematic. Still shooters will probably prefer the USM and Canon’s slight edge in sharpness, but for video, the extra 1 1/3 stop makes this an all-purpose prime lens.
This lens has an EF mount and 82mm front filter threads.
The Canon 28mm f/1.8 lens is a staple of any DSLR prime lens kit. It has great performance in low light with minimal distortion and fantastic sharpness, especially beyond f/2. USM autofocus makes for fast, quiet focusing, and manual focus is easy with the large rubber focus ring. This is a must-have for both crop factor and full-frame prime lens kits.
Used by still photographers for portraiture on both full-frame and crop factor cameras, this Canon 85mm f/1.8 lens is also a perfect length for video interviews and presentations. A moderate telephoto lens, sports and nature might be suited better to something more telephoto.
Low-light performance of f/1.8 is great, and this lens has very little vignetting even wide open. USM autofocus is great for still shooters, and the manual focus ring is great for both photo and video. This lens has 58mm front filter threads.
If you’re renting a lens for video, you may prefer the Rokinon 85mm T/1.5, with declicked manual aperture settings and an integrated focusing gear.
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