If I were you, I would buy a 580 EXII or the new 600EX RT and use your 1D Mk II and 70-200.
For sports I use a 1D IV and the 70-300mm L, yes the lens is f4-5.6 but this doesn't limit the shots you can take.
I suppose your equipment choices will depend on what exactly you want to show: there are wonderful closeup shots in wrestling with a medium tele and equally wonderful shots taken with WA. The indoor sports photographer typically faces one of the biggest challenges in the photography world. The photographer is often confined to one location while the participants move around - a lot.
An indoor sports lens needs to have a very wide aperture to enable a shutter speed fast enough to adequately stop the action.
A fixed focal length (or prime) lens is often a good choice as these lenses get the widest apertures. Of course, the disadvantage of the fixed focal length lens is that you can't properly frame the fast-moving athlete as they go from near to far or far to near. The results from a prime lens in this scenario often require resolution-destructive cropping when the subject is too far away - or creative framing when the subject is too close. You need to select the lens and position that works best for the particular situation - or carry a couple of cameras with different focal length lenses mounted. Autofocus performance is a big differentiator between lenses when action sports are the subject. The IS II is a newer lens model with better image quality and image stabilization, but the non-IS lens performs very well in an indoor venue. This APS-C format-only lens will work well for close action or to capture the venue environment.
This is not an L-lens, but the image quality it delivers is on par with those lenses bearing the red ring. Image stabilization, though not always helpful for photographing sports, is there when you need it. If you can get close enough to the action to make 18-35mm properly frame your subject, this lens will stop low light action and create background blur like no other zoom lens can on an APS-C format camera. Sigma delivers very impressive phyical features to accompany the excellent image quality you can expect from this lens.
The price tag of this lens will set you back, but the image quality and performance it delivers will set your performance apart. The 300L IS II is every bit as good as the 400L IS II in all regards, but in a wider focal length - one that I find myself using more frequently for indoor action. You can expect impressive images from this lens with have an equally-well-performing camera behind it - when you do your part correctly of course.
As with Canon's other large, wide aperture primes, this is not an economy lens model - but it makes a great deal of economic sense for serious shooters. If you don't need a still-wider focal length of course - though you might want to make 135mm work just to be able to use this lens.
So, you might want to rent this lens to see if it will keep up with your subjects before making a longer term investment.
The Sigma 50mm Art Lens delivers excellent image quality at an ultra-wide aperture that will allow you to stop your low light action. While I experienced some AF accuracy inconsistencies and this is not the fastest-focusing lens, this would be my 50mm lens of choice for indoor sports. The 24mm focal length is going to be used primarily for close action, but is also wide enough to take in the big picture at an indoor event. The list above is not an exhaustive list of lenses that can be used for indoor sports photography, but they are my top choices. Please support this site and my family by using the links provided throughout the site to make your purchases. If possible, take a few test shots before the main event starts so that you can check how sharp they are. To help you reach the high shutter speeds required, you'll need to open your aperture up nice and wide. Because you're using such a fast shutter speed, your camera might struggle to properly expose the scene even with the aperture fully open. Bear in mind that shooting in burst mode will fill your memory card much faster than taking individual shots, so make sure yours has plenty of capacity, or take a spare along. You might be surprised to read this piece of advice - after all, for most types of photography it's generally accepted than shooting in RAW will give you better quality images, and allow you to do more tweaking in your editing software. However, when photographing sports and action events, speed is more important than anything else. When shooting outdoors, your camera's automatic white balance will usually do a pretty good job of adjusting to the light. There are some rare circumstances where you can get close enough to the action for your flash to be of some use. Focusing on fast-moving subjects can be very tricky, so it's important to set your camera up to be as responsive and accurate as possible. Start by switching from multi-point to single-point focusing, and use the focus point at the centre of the frame.
Action photography can be a tricky subject, but these camera settings will increase your chances of snapping some fantastic shots. White balance sounds complicated, but it is actually very easy to understand, and can really bring out the best in your photos. I can't cover lens recommendations for all of these sports in this page, but I will make some generalizations and recommend some of the best and most popular outdoor sports photography lenses. Many outdoor sports participants cover a wide range of distances from the photographer's position.
Professional sports photographers shooting big events will usually be using at least three camera setups simultaneously - to make sure that they have the right focal length available all the time. Zoom lenses are great for getting the framing right for each opportunity - and for delivering a wide range of views and perspectives.
If you are shooting large field sports (soccer, baseball, American football), you are probably going to want a full frame 400-600mm focal length angle of view.
If you are shooting track and field, with full access to the venue, any focal length from 24mm through 400mm or even 600mm can be useful.

If shooting from outside of the fence or from the bleachers, you are probably going to want 200mm - 400mm depending on your subject distance. Image stabilization, a feature on many of the lenses I recommend, is not a big advantage for many types of action sports photography. The required shutter speed for handholding sports lenses is not usually a concern as the shutter speed required to stop action is usually fast enough to stop camera shake. IS is, however, a very useful feature that you might use for alternate subjects at an event (people in the stands, players on the bench). I have not found Mode 2 helpful for human runners as there is frequently too much up and down to go along with the forward motion.
I typically had IS turned off when shooting field sports (such as soccer) as IS and I battle for control of the subject framing. Mode 3 IS initiates the IS system with the shutter release half-press, but does not actually stabilize the image until the shutter is released. I find mode 3 to be helpful and now shoot sports action in this mode on the lenses availing it. I will start the sports lens recommendations list with the best of the best - and their prices reflect this. If you are shooting professionally - or you really care about the image quality of your sports photos, these are the lenses you need to be using, the investments you need to make.
I actually made thousands on the resale of my IS version I super telephoto lenses (and sold them at very fair prices) due to the significant price increases during my ownership period. This lens delivers phenomenal image quality including a very diffuse background blur, it has very fast and very accurate AF, it is weather sealed and it has impressive build quality.
I can count on this lens to bring home the impressive shot every time (or, every time I do my job properly I should say). The 400mm focal length works on the big field (in many situations) and its reach can be increased with extenders.
The 600mm focal length reaches deeper into the playing field, track, etc., keeps the photographer farther from any potential danger and has a larger subject framing distance sweet spot.
The overall build quality and performance of this lens, including image quality and autofocus accuracy, is impressive. And if 400mm is too long (especially possible for an APS-C body) for your need, this is THE lens to take. This lens is built for professional use (or perhaps I should say "abuse") including use in inclement weather. When you don't have control over the distance to your subject, the 200-400 L's zoom range will enable you to deliver far more quality-framed results than when using a prime lens. While this lens does not focus quite as fast as the big white prime lenses, it gives up very little in terms of image quality. The longer focal length 600mm lens will create a stronger background blur at the same aperture with similar subject framing. This lens performs on par with the other super telephoto lenses I just recommended - impressively.
APS-C format body owners are going to find this focal length a touch long for most sports photography uses.
The extreme light weight of this lens (relative to its focal length and aperture) allows easy handholding for most. APS-C format body owners are going to love this focal length when shooting on the big field.
When action is happening closer to the photographer, the focal length needed for the desired subject framing changes more rapidly.
The 100-400L IS II is a complete redesign of the wildly-popular earlier version of this lens and holds many advantages including excellent image quality at all focal length and aperture settings. While the 35mm long end leaves a gap on the 70mm wide end of the 70-200mm, you will not likely find the gap worth carrying another lens to fill. This is a professional grade lens with excellent weather-sealed build quality, Ring-USM autofocus and very good image quality. Where this lens also shines is for taking shots of the whole stadium or playing arena – giving a completely different perspective on the sporting event. This lens can also be used for the after-the-game interviews where a shoot overhead and pray that you get something good technique is needed. This lens has great image quality, great build quality and looks that are at least as good.
Adding image stabilization to this lens would greatly extend its versatility, but it is a very good choice for sports as-is. The 70-300L IS has a nice sports photography focal length range - especially for an APS-C body. Fast Ring-USM AF, weather sealing and pro-grade build quality are additional attractions for the sports photographer. If you can't afford any of the other telephoto sports lenses listed on this page, this is the lens for you.
You should not expect to tightly frame subjects in the middle of a large field with a 200mm focal length, but this lens has fast and accurate autofocus along with very nice image quality. The list above is not an exhaustive list of lenses that can be used for outdoor sports photography, but these are my top picks. Any of the recommended Canon indoor sports lenses will work well for outdoor sports photography.
You also need good continuous autofocus performance and reasonably good burst rates, as well as a viewfinder that can follow the action with some accuracy. In simple terms, it’s not necessarily what you shoot with, but whether or not you understand the basic concepts, fundamentals and principles of photography in general—before you even purchase a camera. Personally, I shoot Canon, but I also own Nikon, Olympus and Leica, as I look at the camera body as second to my lenses (glass) and lighting (lifeblood of the image).
Oh yes, marketing hype exists, don’t believe me, check your shampoo bottle as practically all of them say, “Shampoo, rinse and repeat.” When they hook you to buy that shampoo over another brand, it’s obviously better than all the other products, so why repeat? Specifically, should I upgrade my camera body to better use my existing lenses or should I keep that body and upgrade to a faster lens.
If the light is poor I crank up the ISO up to 3,200 and the images arn't to noisy, if possible I used a 580 ex speedlite to pump some fill in to the shots. Discover how to set up your camera to capture sharp, detailed photos full of excitement and drama.

The key to getting good pictures is to set your camera up properly before the event begins, so that when things kick off you can forget about your settings and focus on the action. They work well in all situations and will help you get sharp, detailed photos with plenty of atmosphere and interest. It's better to set your lens around the middle of its range as a good compromise between filling the frame and letting in enough light. This blurs any background distractions and focuses your attention firmly on the players, producing an image with more impact and drama.
This is frustrating but remember - it's better to have a noisy photo than a blurry one. Use your camera's continuous shooting mode (often called burst mode) to take 4 or 6 shots at a time, giving you a much better chance of capturing a good image. If you're running out of space, use half time or time-outs to delete some of your bad shots. Using JPEG mode lets you to capture more pictures at a time in burst mode, and fit more images onto your memory card. However, many action sports take place indoors under artificial lighting, and this can confuse your camera, producing shots with a noticeable greenish-yellow tint. If you've got time, you could even set up a custom white balance to make sure your colours come out spot on. Being so far from your subject means that your flash will be practically useless, and will do nothing but drain your battery.
However, the bright bursts can distract players so it's often better to leave your flash off to be on the safe side. Now, when you compose a shot, your camera will focus on whatever's in the centre rather than trying to keep everything acceptably sharp.
The problem with this is that your subject can move before you have chance to take the photo. The principles behind them are easy to apply to any sport, allowing you to quickly adapt and get back to concentrating on taking great photos. You need fast shutter speeds to capture the action, and in lower light environments this often means you need to let the ISO climb fairly high for many shooting situations. The big deal sports photographers shoot with big deal full frame rigs attached to specialty lenses, and that adds up quickly in both price and heft. No camera is perfect at any price, but after shooting sports with many cameras in this general price range, the D5500 sits atop the pack for overall performance and image quality from what I've found.
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It’s about using the right tool for the right job, but how can you properly choose the “right” tool if you don’t know how to “effectively” use it to begin with? Zip, zip, zip, your zoom lens will act like a “zoom lens” as the focus barrel zooms in and out trying to lock-on, and if you’re shooting manual focus, well good luck at having the focus dead-on when it comes to the best fraction of a second to depress that shutter release.
Note: All feathers are from domesticated birds, shed naturally from molting, none are from endagered species.
My point is use the right tool for the right job while avoiding the marketing hype, but understand the real reason why you chose one tool  (lens, camera body) over another.
I shoot a lot of photos during the Golden Hour—I need that brighter viewfinder as the day becomes darker—why end a shoot when you can make it better?
Though you must still shoot, shoot, shoot, not just read—a great photographer must also exercise that creative eye, communicate to their subject and the intended audience, plus comprehend their equipment in order to use it effectively. Once you achieve this level your mind is freed up to concentrate on seeing, posing, composition, anticipation, interaction with subject, etc. Photo Editing, Know the Difference - 149,451 viewsRembrandt Lighting Exposed In Photography - 51,363 viewsNikon 85mm vs.
I own various L zoom lenses but the 70-300mm is the lens I plump for everytime as it is remarkably sharp when used at wider f stops. Unfortunately flash is not an option at these venues and I do not have any remote equipment.
This is faster and also lets you tell your camera exactly what you want to focus on, rather than letting it guess.
Just because you buy a gun, load a bullet and point the barrel forward, doesn’t mean you’ll hit the target—it takes training, skill and knowledge to hit the bull’s eye—the same goes with a digital camera. Great glass is one factor that separates most professional photographers from amateurs—because a pro understands you don’t risk the possibility of failing to capture a great photograph with inferior glass any more than driving a NASCAR race car with cheap rethread tires.
The best photography comes from training (shooting regularly), skills (creativity, communication, and comprehension) and knowledge (gained through experience by exercising what you learn). My thought was to put a long lens on the 1D Mark xx and a wide angle or standard focal length prime lens on the 5D and shoot both. Seriously, the first step in becoming a great photographer is comprehending your equipment and in digital photography that means more than just shutter speeds and apertures, it also means understanding white balance, crop factors, lens perspectives and what seems as an infinite amount of ISO’s we have today. Basically, people expressing their opinions on Twitter, Facebook, blogs, etc., over what camera or form of photographic capture is best.
Obviously the correlation of the latter basics is the key to great photographs, not the brand of equipment that you own.
Plus I like the better bokeh for the mood it establishes in my photos, especially at longer focal lengths.
With that I close by saying, please don’t forget our military troops, their families and friends, for they pay the ultimate sacrifices to protect our freedoms to practice photography as we pretty much please. Everyone seems to make valid points along with a lot of great information and bad information, but what many people fail to recognize, no matter what camera you use or prefer, it’s ultimately about the photographer’s abilities that really matters—besides, the best camera is the one in your hand, not in your camera bag.
The 1D does not have that option I don't believe but in any case I have it set at its highest sensitivity of 1600 (without going into custom functions). With the typical high school gym lights I cannot get an exposure on the 1D with a fast enough shutter speed to stop action and there is noticeable noise especially at the longer end of the lens. I should be able to freeze action with the larger aperture even at ISO 1600 on the Mark II.

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