Hire Tiffen 72mm Glimmer Glass 1 Filter

The EF 50mm f1.2L USM is no spring chicken yet remains highly sought after by photographers and videographers who’d like a super-bright f/1.2 maximum aperture and professional weather sealed construction. It has a fairly short barrel and isn’t particularly heavy at 580g. As a result it balances superbly with full-frame DSLRs and it produces images of magical quality when it’s used wide-open. Out of focus areas are smoothly rendered and it enables excellent subject isolation at f/1.2, though centre sharpness improves noticeably when it’s stopped down towards f/4. It’s the finest 50mm lens Canon has made in EF-mount and its depth of field control, fast focusing, and low-light performance is what makes it so popular with Canon users.

Short telephoto primes covering the 85mm focal length don’t come much faster than this example in EF-mount. Its extreme f/1.2 maximum aperture creates a razor-thin depth of field and dreamy background blur that makes portrait images pop, but it can call for a neutral density filter to be attached via its 72mm filter thread when it’s used wide open in bright, sunny conditions. Users must be vigilant when focusing and it’s worth shooting more than less to make up for a reduced hit-rate of pin-sharp results. It’s a special lens capable of breathtaking results using available light, but the EF 85mm F1.4L IS USM makes a better choice if a well damped manual focus ring and optical stabilisation are a priority.

The Sigma 18-35mm F1.8 DC HSM Art is a fascinating lens and one that’s designed for cameras that employ an APS-C size sensor. With a constant aperture of f/1.8 and focal range that’s equivalent to 27-52.5mm, it lets you do what very few zooms allow, which is to shoot at a fast maximum aperture across a practical focal length range without having to switch between multiple prime lenses. It’s constructed to Sigma’s robust standards, however it’s not weather-sealed. It’s also fairly heavy (810g) for its size and balances best with APS-C cameras that have a large handgrip. It’s puts in an exceptional optical performance and produces highly attractive images at f/1.8.

If you don’t require the extra stop in speed offered by the FE 70-200mm F2.8 GM OSS and fancy a smaller, lighter lens that covers the same practical focal length, the FE 70-200mm F4 G OSS makes a perfect choice. Removing the tripod collar makes it lighter still, and with dust and moisture resistance, focus lock buttons between its zoom and focus rings, and an excellent optical performance throughout, there’s very little not to like. It conveys a feeling of premium quality when it’s paired with A7-series full-frame cameras and turns into a 105-300mm zoom on APS-C format E-mount cameras. Sony has triumphed with their compact 70-200mm f/4 offering.

Canon has knocked it out the park with the EF 35mm f/1.4L II USM. Photographers and videographers who lean towards a natural, reportage-style approach to their work will be blown away by its performance that records beautifully blurred backgrounds at wide apertures. It’s phenomenally sharp when it’s stopped down between f/2.8 and f/4 and resolves a gorgeous look to images wide-open at f/1.4. Execution of a blue spectrum refractive optic sees it control chromatic aberrations extremely well and vignetting towards the edge of the frame is tasteful too. All in all, it’s an extraordinarily impressive 35mm lens that can’t be praised highly enough.