24-105 f4L IS vs. 24-70 f2.8L

I've had this conversation with numerous photographers (full-time pros) while we're on assignment for various publications and the overwhelming favorite lens is the 50mm 1.4 or 50mm 1.2L. If you're shooting RAW with the 1Ds2, you have a lot of data to work with, so if you really need that closer shot, you have a lot of "crop" room. My personal preference is the 50mm 1.2 on the 1Ds2 because that combo feels very well balanced and goes in and out of my bag very easily. Also, the fixed focal length helps me concentrate more on composition and my relation to the subject rather than just relying on a zoom to get it right.

All lenses vignette at their widest apertures. If you doubt this, shoot any of your lenses at a uniform sky at all apertures and get back to me... :-)

The 24-105 vignettes a bit more than some other similar lenses at 24mm. In situations where you must shoot at f/4 and 24mm AND in which the vignetting seems like a bad thing (and sometimes it is a good thing) it is easily and quickly removed in PS.

While the 24-70 gives you one additional stop at f/2.8 (valuable for slightly narrower DOF and one extra stop in low light conditions) the 24-105 IS gives you 2-3 stops without camera motion blur in low light as long as subject motion isn't an issue. Six of one, half dozen of the other.

If you are traveling, ahem, light (1DSMKII?!) the 24-105 is lighter and provides a larger focal length range than the 24-70. The notion that the 24-70 has "better quality" is open to debate.

Dan

While 24-70 is one stop faster, I believe the other benefits of the 24-105 outweigh this, espcially for traveling. The F2.8, for me, would come in most handy for portraits and for that I use fast primes.

No, the 24-105 is not weather resistant (it extends while zooming, but not as nicely as the 24-70.) Having said that, I second the recommendation for a 50/1.4 (or 25/1.4) in addition to the 24-105. "Light" with 1Ds is impossible...

If you don't need Times Square billboard sized enlargements, a 5D without grip and 24-105/4 IS deliver a terrific image quality to weight ratio when travelling.

That combo fits nicely into a ThinkTank Urban Disguise shoulder bag (looks like one of those men's carryalls), so people around you on the street, etc., only know you are packing high end photo gear if you want them to.

definitely the 24-105mm f/4L IS, if you only want to bring one lens. your main concern would be to cover as much focal length as possible, and less of availability of light. besides, the IS will definitely come in useful for you with alot of handheld shots. you might do well with a wide angle lens too.

have a good trip!

I agree with the poster's remarks about having lot's of "crop room" with big raw files and only shooting with a fast 50mm prime, but you need to remember with this combination you are foregoing many of the reasons we carry large, expensive DSLR's and different lenses, or as the OP is asking advice about, one versatile zoom lens.

For example, you may want to vary the depth of field on a particular subject, something which is possible in photoshop but time consuming if you use the "crop room" technique.

Or you may want to compress a scene with a longer focal lenght, something you can't do with "crop room" after the fact. (you need a longer focal length when shooting)

And of course you may want a wider shot than the 50mm will allow and you simply can't physically back up any more......

In my experience, the guys that carry the fast primes usually do get the shot (usually employing the "crop room" tecnique") but the guys who carry versatile zooms usually get the shot with some creative flare (which is afforded by the varying focal lengths which is why we carry large, expensive DSLR's with various lenses...............)

one versatile zoom lens. For example, you may want to vary the depth of field on a particular subject, something which is possible in photoshop but time consuming if you use the "crop room" technique.
You've lost me here...What is "crop room" technique? And are you implying that different focal lengths on a zoom lens influence depth of field?

In my experience, the guys that carry the fast primes usually do get the shot (usually employing the "crop room" tecnique") but the guys who carry versatile zooms usually get the shot with some creative flare (which is afforded by the varying focal lengths which is why we carry large, expensive DSLR's with various lenses...............)
Same here... What do you mean..?

"No, the 24-105 is not weather resistant "

Funny, that's not what Canon says. They do say that you should add a filter for maximum sealing in wet conditions though. Otherwise it does have all the Canon weather seals that are used in their weather sealed "L" series lenses. That doesn;t mean you can shoot it underwater of course, but it is pretty well sealed against dust and rain while it's mounted on the camera (for maximum sealing you need a 1 series camera with a lens mount gasket too).

I breifly reviewed the 24-105 here http://www.bobatkins.com/photography/reviews/canon_ef_24-105_review.html

The 24-105 does show distortion and vignetting, especially at 24mm, but DPP takes care of that for you.

I find the 24-105/4L to be a very good lens. I think the extra focal length over the 24-70 can be very useful, especially if it's the only lens you have.