Yeah, honestly, stickin to f/4 for weddings is just asking for a headache when the sun sets. Unfortunately, the R5 resolution is so high that any micro-blur from cranking your ISO up to compensate really shows in post. I had issues with that exact setup during a reception last month, and the noise performance wasn't as good as expected once things got dark.

• If the Canon RF 24-70mm f/2.8L IS USM is too much, look at the Sigma 24-70mm f/2.8 DG DN II Art if you grab an adapter, or just hunt for a used Canon RF 28-70mm f/2L USM if you can swing it.
• Actually, sometimes running a fast prime like the Canon RF 50mm f/1.2L USM alongside a cheaper zoom is the move. Don't settle for f/4 if you're booking real gigs.

Just catching up on this thread. Choosing glass for the R5 is definitely a balancing act between your budget and the sensor demands. Before you pull the trigger on anything, what are you currently using for your prime coverage? If you don't have a fast prime in your bag, that f/4 zoom might be a struggle for dance floor shots unless you want to rely on heavy flash work. If the Canon RF 24-70mm f/2.8L IS USM is too much, here is what I would suggest:

• Look at the Canon RF 24-105mm f/4L IS USM for daytime, plus a small prime like the Canon RF 50mm f/1.8 STM for low light.
• Consider the Sigma 24-70mm f/2.8 DG DN Art if a lens adapter is an option. Be careful with the standard kit glass. You need to make sure your glass actually resolves enough for that 45MP sensor, or you'll be wasting that camera's potential.

> Is that f/4 lens actually gonna cut it in low light, or am I just setting myself up for frustration? To be blunt, you will definitely hit a wall with an f/4 zoom once the lights go down at a wedding. I had issues with that exact setup when I first moved to mirrorless, and the lack of light gathering was simply not as good as expected for those dark dance floor moments. The R5 is a gorgeous camera, but it demands quality light to really shine without resorting to aggressive noise reduction. If the flagship zoom is too steep, consider grabbing the Canon RF 35mm f/1.8 Macro IS STM alongside a cheaper zoom. It is a tiny prime that punches way above its weight class and stays sharp as a tack. Honestly, having that extra stop of light is a life saver. If you really need a zoom, try hunting for a used Canon RF 24-105mm f/4L IS USM and pairing it with a prime for the dark parts of the night. It is a more professional way to handle your kit without blowing your entire budget at once.

Adding my two cents here, I have been shooting weddings since the early days of digital and honestly, you dont need to break the bank to get killer results. That f/4 lens is actually fine for most of the day, but you have to be smart about your gear. If the 24-70 is out of reach, pick up a used Canon RF 35mm f/1.8 Macro IS STM for those dark dance floor moments. Its cheap, sharp enough, and the extra light gathering keeps your ISO way down. I have used that combo for years and saved a ton of cash compared to the big L-series zooms. Dont let the gear snobs scare you into debt, just master your flash and use a solid budget prime to fill the gaps. Your clients wont notice the missing L-badge, I promise.

Honestly, the f/4 versus f/2.8 dilemma is something I wrestled with for years before I finally settled on my current setup. When I first started shooting venues with lower lighting, I was terrified that dropping down to an f/4 aperture would ruin my keeper rate. I remember dragging my kit through a gloomy winter wedding, constantly checking my histogram, and realized that modern sensors like the one in your body are actually monsters when it comes to high ISO noise management. Here is how I think about the trade-offs:

• The reach on a 24-105mm is a lifesaver when you cant move around freely during a ceremony.
• Youre gonna save a significant chunk of change, which you could put toward a dedicated fast prime for those really dark reception moments.
• The weight difference is noticeable after a ten hour shoot, and your wrists will thank you by the time the cake cutting happens. Basically, the f/4 aperture is fine if you know how to lean into the noise reduction software we have nowadays. I used to be obsessed with having the fastest glass possible, but I ended up with a massive bag that just made me tired and less creative. Being able to pack light means I actually enjoy the travel side of things more too. If you are worried about the light, just grab one decent prime and call it a day.

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Regarding what #5 said about "." - well, that is definitely a take. Everyone here seems pretty split between the raw power of that f/2.8 glass and the versatility of the f/4, but I would suggest being careful about pinning your whole wedding strategy on just one lens.

• watch your shutter speeds if you go with the f/4
• don't underestimate the weight of the pro glass
• make sure to keep a fast prime in your bag regardless Honestly, I keep thinking about how much I miss shooting film in my old backyard studio. I used to spend hours just developing rolls in a bucket in my basement while my dog would just sit there staring at the weird red light. One time the whole setup leaked and I spent three days scrubbing chemicals off the concrete. Anyway lol, sorry kinda went off topic there. You'll figure the lens thing out eventually.

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Same setup here, love it