As a gear focused magazine aimed at professional filmmakers we’re inundated with requests from videographers wanting to get in on the action of reviewing the latest equipment here at Pro Moviemaker. We regularly take filmmakers up on their offers because we want to be as thorough as possible with our reviews and let our readers know whether a product does (or doesn’t work) in a live shoot environment. We’re always looking to expand our bank of trusty reviewers so if you’d like to get your hands on some of the latest kit before anyone else, here’s some advice to help your next pitch to a blog or magazine.
If you’re a full frame Canon user you need to sell your wide angles and buy one. There you go I said it. If you’re busy right now and don’t have time to read the rest of this article (until later I hope!), here’s the urgent message I need to convey – the Canon 16-35 f4L IS is absolutely remarkable and yes, it’s a complete game changer… and here’s why.
I am a self-confessed wide-angle junkie and have been for many years. Originally my wider angled approach started as many landscape photographers do, by placing a ‘rock in foreground’ and shooting a coastal scene at f11.