One of the things about being a poor photographer is that it’s a stupid combination. Photography is an expensive hobby. You can spend as much as you want on equipment. Canon has a camera body — that’s body only, no lens — which costs $6,000. One of its most popular pro lens’ is about $1,700.
So what am I doing making photography my primary hobby and creative outlet?
Buying used, that’s what.
Really, that’s pretty much the big secret to my success. I know how I shoot. I know what my subjects are, I know what my requirements are, I know what equipment is important to me. At present, my equipment consists of one camera body and just three lenses:
- Canon 5D original camera body
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Canon EF 100mm f/2.8 USM Macro lens
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Canon EF 50mm f/1.4 USM lens
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Canon EF 17-35mm f/2.8 L USM lens
I also have a flash and tripod and stuff, but for the purpose of this review, that’s my gear. Also, I rarely use the flash, so I don’t know why I bother mentioning it twice. Flash.
Prime lenses are an incredible value. Zoom lenses have to look good throughout their entire focal range, and zooming requires more glass from the manufacturer. Zooms also have more moving parts. But because primes only have to look good at one focal length, and because they have fewer moving parts, the physicists and engineers who design the lenses can make them better for cheaper while also widening apertures. The end result is inexpensive yet very high quality optics. I’m hugely happy with my 50mm and 100mm lenses.
Yet I still have this zoom. Why? Because it is the lens that occupies the position at the intersection of cost and benefit.
I needed a wide lens for shooting action indoors. I needed the widest aperture I could get so as to let in as much light as I could manage. There aren’t a lot of choices on the wide end of things.
Anything wider than the 20mm f/2.8 lens costs thousands of dollars. The 20mm f/2.8 itself, though, pretty much got panned in reviews. It needs to be updated with a mark II version.
There was also the (now discontinued) Canon EF 20-35mm f/3.5-4.5 USM lens, but it’s just not very good either.
The 24mm f/2.8 IS got very good reviews, and 24mm is pretty wide. I may have been able to persuade myself it was wide enough.
There was the relatively inexpensive 17-40 f/4 L, but f/4 just isn’t enough to capture indoor action when shooting with an older camera body such as, you know, the one I shoot with.
Then there’s the expensive 16-35 f/2.8 L lens. When I was researching, the newest version was the mark II. That lens is still available brand new, for the low low price of only $1,200. And the even newer mark III is $2,000.
L lenses are Canon’s highest quality — and thus most expensive — lenses. Generally, I feel that Canon’s prime non-L lenses are of comparable optical quality to their L zoom lenses, but L primes are, by and large, both magical and magically expensive.
So I went old. It’s not like lenses wear out, after all. I bought the discontinued 17-35 f/2.8 L for about $500 — about the same price as the 24mm f/2.8 was new — on eBay, and it was a gloriously good choice.
I figured since I couldn’t get wider than f/2.8 in a prime anyway, and since prime non-L lenses seem to have about the same quality as L zooms, I might as well get the zoom, the advantage being a wider focal range than a straight 24, with no downside. It may well be the best choice I’ve made in my photographic life to date.
The photos I get from this lens are crisp and clear. The color is excellent. Turning the zoom ring feels smooth. The lens itself is sturdy and looks good.
But what this lens does more than anything else is it allows a nearly wacky amount of creativity. I can shoot <a href="https://www.flickr.com/photos/creigpsherburne/30051041060/in/album-72157673633960082/“>the haunted house I’m a part with it; the rooms we build are tiny and the super wide focal length allows me to capture the pure horror.
But it’s incredibly diverse. I’ve also captured some gorgeous landscapes with the same body and lens.
And not only that, it’s fantastic for portraits.
Honestly, this lens is good at everything I do. I have no idea what people are talking about when they talk about landscape lenses or portrait lenses or whatever. Lenses are lenses — what really matters is the photographer. My 17-35 won’t really shoot birds very well, though, so there’s that to consider.
I don’t want to get hyperbolic here, but this lens is just about perfect for me and the way I like to shoot photos. About the only thing that’d make it better is opening up to a wider f/2.0, but Canon doesn’t make f/2 zoom lenses, presumably because they’d be even more prohibitively expensive than they are.
Back in the day, somebody bought this lens new and took stunning photos with it. When it was new, there was no better choice for wide lenses. And my copy at least is as good today as the day it was built. And when compared to its successors, I’m not actually convinced there’s been an improvement in image quality.
I would not hesitate to recommend one to anybody looking for a wide in a similar situation as … no, I guess I’d just recommend it to anybody, even someone using a crop-format camera.
While I shoot with a full-frame camera (and will never go back to a crop-format), I also acknowledge that the camera isn’t what makes the photo. It’s the photographer and the lens. I own only three lenses, and those three lenses make my vision come to life. But this lens — with its superpower wide end, traditional long end, and reasonably fast aperture — is the one that lives on my camera. It’s the lens I take off when shooting with something else. It’s the lens that, more than any other, gets me the shot I was trying for.
Critical Creig rating: You should go on eBay to buy one immediately.