8 Best Lens For Wedding Photography Canon 70d

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Wedding photographers are expected to provide high-quality images no matter what the conditions are, and this is especially true for those who have been hired to document these occasions.

As wedding photography is one of the most common paid professions, it makes sense to invest in high-quality equipment, and the lens kit is an essential component of successful wedding photography.

Wedding photography isn’t done the same way by everyone. This list of wedding lens suggestions represents my preferenc

e for a photojournalistic style blended with traditional portraiture for wedding photography.

By using zoom lenses, a wedding photographer can react swiftly to the activity while still capturing a range of views and compositions. All of this was accomplished without disrupting the event.

Two or three prime lenses will suffice for shooting a traditional or formal wedding in the traditional style.

In addition to being a great backup option, prime lenses can also provide a unique aesthetic to the final product, making them an excellent choice for wedding photography.

More than one lens is often required for a successful wedding photography session.

Fast (wide aperture) lenses and image stabilization are the finest tools for photographing indoor weddings because of the low ambient light. I normally recommend a wedding lens have an aperture of f/2.8, however, image stabilization can allow for slower lenses to work if the subject remains steady.

Subject motion can’t be eliminated by image stabilization, although most weddings are held in front of a steady stream of unmoving guests.

When shooting handheld, IS will give you a little more depth of field (a smaller aperture). At the reception venue, which is generally even darker, the use of a flash will allow for action-stopping f/4 photos.

Fast prime lenses are ideal for wedding photography if you have numerous camera bodies or enough time to change lenses.

Faster shutter speeds, more diffuse blurring of the backdrop, and lower ISO settings are all possible because of their wide apertures, which are frequently smaller and lighter than their zoom counterparts.

Even though faster focusing lenses are always preferable to slower focusing lenses, the majority of the action during a wedding is not likely to put too much of a strain on the AF speed of a lens. Because of the small depth of field provided by wide-aperture lenses, AF precision is always a must-have feature.

So here is the recommended best lens for wedding photography Canon 70D

Name Where To Buy
  • Canon RF 70-200mm f/2.8 L IS USM Lens.
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  • Canon EF 24-70mm f/2.8L II USM Zoom Lens
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  • Canon EF 16-35mm f/2.8L III USM
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  • Canon RF 50mm f/1.2L USM Lens
  • Canon EF 35mm f/1.4L II USM
  • Canon RF 85mm f/1.2 L USM Lens
  • Canon RF 85mm f/1.2 L USM Lens

Best Lens For Wedding Photography Canon 70d

  • Canon RF 70-200mm f/2.8 L IS USM Lens.

Professional telephoto lens for the Canon EOS-R mirrorless system that’s both razor-sharp and incredibly tiny. Autofocus on my EOS R5 is faster than my own eyes can keep up with!

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With a weight and size advantage over any other 70-200mm f/2.8 lens, the Canon RF 70-200/2.8 realizes the potential of mirrorless cameras.

The 70-200/2.8 is about half the length of other 70-200/2.8 lenses. It’s the lightest and closest-focusing 70-200/2.8 lens ever built. BRAVO!

You can shoot it with only one hand because it’s so light.

If you don’t need it, you can remove the solid-alloy tripod collar that comes with the lens.

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Best Lens For Wedding Photography Canon 70d

  • Canon EF 24-70mm f/2.8L II USM Zoom Lens

Canon’s EF 24-70mm f/2.8 L II is one of the best lenses the company has ever made, bar none. Compared to Nikon’s 24-70/2.8G and the preceding 24-70mm f/2.8 L, this lens is noticeably sharper.

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Compared to the 2002 version of the 24-70mm f/2.8 L, the new II version has sharper optics and a lot more plastic. It’s twice as expensive as the preceding lens, hence the “II” suffix, but it’s lighter.

The new 24-70/2.8 II is even more precise than my old go-to. At bigger apertures, the 50mm f/1.8 II and 50mm f/1.4 USM lenses shine!

Mid-range zooms have never been sharper than fixed 50mm lenses that I’ve tested. In terms of pixel count and corner detail, this new 24-70mm is significantly sharper at f/2.8 and f/4 compared to other decent lenses at f/8.

It also has a 9-bladed diaphragm, which produces stunning 18-pointed sunstars on dazzling sources of light, as opposed to the original 24-70mm f/2.8 L’s 5-bladed diaphragm. The old lens’s wacky 8-pointed stars are long since a thing of the past.

An additional benefit of the new 24-70 L II over the less expensive plastic zooms I generally carry about with my kids is that it seems to provide a little more overall contrast and color. In low light, this new lens typically produces photographs with greater “pop” than my earlier, less expensive lenses, presumably because of improved internal stray light control.

When I opened the package for my new $2,300 lens, I felt cheated because it’s made almost entirely of plastic, as opposed to the far more expensive original 24-70mm f/2.8 L, which was made almost entirely of metal.

It wasn’t long before I was enamored with this new lens’ photographs, which were noticeably better than those from the original. This lens has also been a huge hit with professional photographers. It’s crisper and more contrasty than the preceding lens when shot at f/2.8.

Professional wedding and event photographers love the 24-70mm f/2.8 lens. Although the Canon 24-105mm f/4 IS is more popular among casual photographers due to its lower price and lighter weight, full-time pros prefer this 24-70mm f/2.8 because it is faster and less distorted at the wide end, and because the focal length range between 24mm and 35mm is not condensed as tightly as it is with the 24-105mm f/4 IS.

A full-frame lens, as the name implies. With Canon’s 1.6x cameras, the 24-70mm range becomes a 38-112mm equivalent lens, which is a very useful range to have at your disposal.

An immediate, although not completely silent, a response from AF Grab the large manual focus ring at any time for immediate manual focus override.

Using this lens, I never have to move back to get something in focus because it focuses within 8 inches (20 cm) of the lens.

All focal lengths can be precisely selected with the proper amount of distance between focus lengths, especially at the broad end. Because of the zoom’s stiffness, you’ll almost always want to use two fingers to zoom. Why there’s a lock is beyond me; my new lens shows no signs of drift.

Faster f/2.8 speeds of this 24-70mm lens allow it to capture people and action at lower light levels than the more expensive and heavier 24-105mm f/4 IS. Moving subjects can’t benefit from Image Stabilization because IS only helps with camera wobble, not the motion of the subject.

Canon’s EF 24-70mm f/2.8L II USM Lens is the best all-purpose zoom lens available for full-frame cameras. It has the best image quality and the fastest AF speed and accuracy of any camera we’ve tested.

Even at f/2.8, this lens is clear and contrasty throughout the frame, and it is well-built, fast to focus, and has a wide variety of useful focal lengths. What are the drawbacks? A lack of image stabilization and a high price

  • Canon EF 16-35mm f/2.8L III USM

Be prepared to be blown away: In my opinion, the Canon EF 16-35mm f/2.8L III USM Lens is an essential piece of any full-frame (and many APS-C) camera kits. Its image quality is significantly superior to its predecessor, and it’s made to withstand the rigors of professional use.

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Serious photographers will find that the image quality this lens provides is well worth the price tag, even if it is a deterrent for some.

  • Canon RF 50mm f/1.2L USM Lens

Canon’s RF 50mm f/1.2L USM is an L series lens, so you can expect it to be of professional quality. Because the EOS R has such a large grip area, the camera doesn’t feel out of place when it’s held with one hand. Users of the EOS RP will find it unbalanced in this regard.

A glance at the back of the lens reveals a substantial rubber gasket surrounding the metal bayonet attachment, which is designed to keep dust and water out of the lens. Spencer tested the lens in windy, sandy circumstances while I tried it in a light rain shower and some snow. We didn’t have any durability issues with this product.

In terms of size, this is a quite large lens, measuring 89.8 in diameter and 108 in length. It weighs the same as the now-vintage Canon EF 50mm f/1L USM (989 grams) and the Zeiss Otus 55mm f/1.4 (970 grams). Because of this, it weighs an additional 371 pounds compared to the standard Canon lens, the EF 50mm F1.2L USM.

  • Canon EF 35mm f/1.4L II USM

An important initial step in selecting a lens is to determine its focal length. The 35 L II’s focal length was clear even before it was delivered to Canon’s warehouses.

The 35mm focal length is a popular choice, and for good reason. When coupled with an ultra-wide f/1.4 aperture, this angle of view provides a wide range of applications.

This focal length is within the range of focal lengths I use for general-purpose photography, making it a good choice for a natural viewpoint.

People and other subjects aren’t easily deformed by ultra-wide perspectives because it’s wide enough to capture the huge picture without being too wide.

For the most part, I’ve been using this lens around the house to capture spontaneous moments like this one of Brittany relaxing with the dog.

Photojournalists have traditionally relied on the 35mm focal length. Wedding photographers often employ 35mm f/1.4 lenses, even in the most challenging lighting conditions. Full to mid-body and group photographs are popular subjects for the 35mm focal length. The 35mm lens length is well-suited to landscape photography.

For sports photographers who want to get up close and personal with their subjects, or who want to capture a more expansive view of their events, this focal length is ideal.

When it comes to photographing their children’s indoor events, 35mm f/1.4 lenses are a favorite among parents. Among videographers, 35mm film is a popular choice, particularly for documentaries. The 35mm format is perfect for capturing several medium and large-sized products.

  • Canon RF 85mm f/1.2 L USM Lens

Using a single focal length, a prime lens gives you a defined angle of vision. To achieve the appropriate subject framing, focus distance decisions are made based on this angle of view. While an 85mm lens can be used for a variety of purposes, portrait photography is the most common.

The conventional portrait focal length range is 85mm to 135mm, mostly for perspective considerations (after FOVCF is factored in).

Full frame cameras with RF mounts and APS-C/1.6x format image sensors will have an angle of view equivalent of 136mm full-frame lenses at their extreme ends, while cameras with APS-C/1.6x format imaging sensors will have an 85mm lens at their extreme bottom.

To get the same framing as a full-frame camera with an APS-C sized sensor, one must work from a greater distance (and therefore will have more depth of field and a less-strongly blurred background at the same aperture).

  • Canon EF 100mm f/2.8L Macro IS USM

One of my favorite macro lenses is the Canon 100mm f2.8 Macro L IS. Fortunately, it’s lighter than you may imagine. It’s a great all-around telephoto, especially if you require the capacity to go close to your subject.

In terms of weight, this is an excellent choice, but I would be bothered by the fact that it costs $1,299 when the older non-IS Canon 100mm f/2.8 Macro does the same thing, without IS, for a fraction of that amount. Except for the metal lens mount, both are entirely plastic on the outside, which is another reason I’d feel cheated if I paid $1,299 for this lens.

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The Canon EF 100mm f/2.8 L IS is a middle-of-the-road lens. In the field, it’s best used as a macro and medium-telephoto combination.

When it comes to serious macro photography, I won’t be using a 100mm lens, because I’m so close to my subject that I’m obstructing my lights, I’m annoying any living thing, and the subject doesn’t look as good because the perspective is unnatural from just a few inches away.

This lens, for example, can focus as close as 2 1/4 inches (6cm) in front of the hood when the hood is attached. Macro photography with the hood is impossible because there is no way to get light into this lens.

I use a 200mm macro lens, which in Canon is the 180mm f/3.5 L USM, for serious macro work, such as taking product photos for this review. This IS 100mm Macro cost less than this lens.

Image Stabilization (IS) is not necessary for macro photography because strobes allow us to shoot at f/32 and hope to capture something in focus. The Canon 100mm f/2 USM is sharper, twice as fast, and half as expensive as the Canon 100mm f/2 IS macro lens for general-purpose hand-held telephoto work.

IS and longer exposures are useless if you’re capturing anything that moves, like flowers, which wiggle around on their own or due to the breeze. For macro photography, strobes are essential because they provide enough light to allow us to shoot at f/32, which is ideal for macro photography, and also have a short duration to stop moving subjects.

What’s the secret to getting clear images of butterfly wings? A lot of time is spent making sure that the wings are flat and that they are placed in our relatively shallow planes of focus at macro ranges.

If you’re searching for a telephoto that can do it all, go no further than this one. If you’re looking for a replacement for the 70-200mm f/4 L IS II but don’t want to fork over the extra cash, the 100mm f/2.8 IS L Macro is a fantastic option.

Instead, I went with the 100mm f/2 USM, which is smaller, lighter, better built, twice as fast, twice as sharp, and costs half as much.

The Canon 180mm f/3.5 L (non-IS) Macro is a better choice for macro photography than any 100mm lens.

Types of Canon Lenses for Shooting Weddings

The Best Canon Wedding Lens for 2022

  • Canon EF-S 17-55mm f/2.8 IS USM Lens.
  • Canon EF 24-70mm f/2.8L II USM Lens.
  • Canon EF 70-200mm f/2.8L IS III USM Lens.
  • Canon EF 16-35mm f/2.8L III USM Lens.
  • Canon EF 85mm f/1.4L IS USM Lens.
  • Canon EF 35mm f/1.4L II USM Lens.

What is the best image quality for Canon 70D?

On the 70D, we were able to get satisfactory low-light images with minimal graininess or “noise” at ISO settings of up to 6400. It’s better to go higher and make the shot than it is to miss it.

Is Canon 70D a Professional camera?

With a Portrait Photography score of 55, the Canon 70D is rated as an ABOVE-AVERAGE contender.

Is the Canon 70D outdated?

Since its release in 2013, the Canon EOS 70D has been regarded as obsolete for at least five of those years.

How old is Canon 70D?

About 10 years or above

How long does a Canon 70D last?

Canon’s official shutter life expectancy ranges from 50,000 to 150,000 shots (with the 1D models averaging a bit higher at between 200 and 400K).

What lens mount is Canon 70D?

The 18-55mm f/3.5-5.6 is the most often used Canon 70d kit lens. The 70D and other Canon “crop sensor” cameras, such as the 80D, “t” series cameras, can use one of three different battery options. Canon’s EF-S 18-55mm f/3.5-5.6 IS II USM lens is one of the most cost-effective options for your EOS 70D camera.

Author: Howard S. Baldwin

My name is Howard S. Baldwin. I am a work-at-home dad to three lovely girls, Jane + Hannah + Beauty. I have been blogging for the last 3 years. I worked for other Home and Lifetsyle blogs, did hundreds of product reviews and buyers’ guides. Prior to that, I was a staff accountant at a big accounting firm. Needless to say, researching and numbers are my passion. My goal is to be an informative source for any topic that relates to DIY life and homemaking.

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