What is a moral canon lens for a studio?
Answers: As fhotoace said, I personally don't see what would be principally wrong with the gear lens working in a studio environment? Most of the time when I'm working contained by a "pro studio" environment with strobes I'm shooting at around f/8 or so surrounded by the first place, which is plenty fine on the 18-55. Don't discount it just because other gearheads online are whining roughly speaking wide interested corner sharpness at 18mm.
There is no generic "best lens" for a studio environment. What is your most frequent subject? If you're taking pictures of watches and products for example, you wouldn't necessarily use duplicate type of lens as you would for general portraits.
If you're taking primarily portraits, you requirement to consider several things including 1) desired framing of the subject (head, shoulders, full body, group portraits) 2) available working distance (how much space can you put between yourself and the subject) and 3) other artistic qualities needed surrounded by the picture (blurred out backgrounds, flat perspective e.g. photographing paintings). Another thing to embezzle into consideration, especially if you're transitioning to digital from film is the 1.6x crop factor of the XTi- a 50mm lens effectively become an 80mm lens, and so on.
With that in mind, let take a look at a few option.
The 50mm f/1.4 lens ($290, Link 1) would be a good "nonspecific purpose lens"- I use it for half-body shots as well as (occassionally) director and shoulders shots, and in cases beside enough working distance, full body shots. Ample aperture room to blur out the conditions. Also available is the 50mm f/1.2 for amazing bokeh and smooth backgrounds, but considerably more expensive at roughly speaking $1600.
The 85mm f/1.8 lens ($315, Link 2) is a more specialized lens- I generally use it for cranium and shoulder shots exclusively, but I suppose if you had adequate working distance between yourself and the subjct you could use it for half-body shots. I found this lens to offer superior carving quality to my 50mm f/1.8 and f/1.4 next to a recommendation to monitor for chromatic aberrations and purple fringing on backlit subjects. Similar to the 50mm lens, nearby is a f/1.2 lens available for around $1600.
If you're going to go for a zoom, later you have a few things to consider: getting a zoom near an aperture value close to the aforementioned primes will cost closely more money, and may not offer as well-mannered of image element. The "all star" zoom contained by this lineup seems to be the 24-70mm f/2.8 at a beefy $1100 (Link 3). The 28-135 lens would be okay for your uses, but it's a "jack of adjectives trades" so to speak. It does offer a clad range, but the aperture continuum won't be useful if you want to blur out the milieu, and IS isn't that useful (if at all) within a studio environment. The 50/85 combo would be much better.
If your studio is doing product photography (watches, paintings, jewelry, etc), later primes will be your absolute best bet. With the exception of ultra-wides, primes (especially surrounded by the 50mm range) will offer great "flat" perspective photos beside none of the wide angle distortion you'll find on zoom, not to mention the better image standard. For closeups, macros will be king. When I was photographing painting for a gallery's insurance purposes, the 50mm f/2.5 macro ($240, Link 4) was freshly right in lingo of working distance and perspective. Also consider lenses like the 100mm f/2.8 macro ($435, Link 5) for closeups beside great detail. Or, if you can't afford a macro or am just getting into closeup studio photos, look into a set of extension tubes from companies similar to Kenko, which are affordable (~$175) and shorten the minimum focusing distance on your lenses. Paired with a prime, you can acquire good descriptions.
Again, not knowing what you're photographing or what your budget is, I would strongly advise you to bring the 50 1.4/85 1.8 combo. Yes, you may have to shift lenses during your sessions, but you're going to be in an environment where on earth dust is probably not going to be a factor, and most of the time your subject won't complain.
If I may make another suggestion, if you don't already own them, look into getting PocketWizard modules to control your strobes. Getting those after carrying the PC cord around with me for so long be a liberating experience. You'll only stipulation two more than likely- one as transmitter, one on a flash head to receive, afterwards set other heads to trigger optically rotten of the first head, and you'll be set. They're in the order of $190 per transmitter (Link 6)
Good luck, hope this helps.
Why would you deliberate that your Canon 18-55mm will not "cut it" in a pro studio? Is this the bright IS version?
Whether a "kit" lens or not both Canon and Nikon be paid some of the best lenses you can buy .. at any cost.
Use the lens in the "professional studio" and see what focal length you really need.
I own seen lately about every focal length lens made used at one time or other contained by a studio.
The EF, 24-70mm, f/2.8L USM is popular with two of my Canon shooting friends.
For studio I would recommend the 50mm prime lens. This fixed focal lenght lens will tender sharper images than a zoom. Plus within studio IS won't be that big of a deal since you'll probably own the camera on a tripod, right? Even if not on a tripod, as long as your not shaking the camera with gusto you shouldn't need a lens beside IS. Really, in studio, a zoom isn't what will dispense your best results.
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