I shoot a lot of vertical as well, especially at shows, and I noticed I used it quite a bit while shooting my girlfriends sisters softball game as well. That, and I am used to having a grip as well, the majority of the time I've had my T3i it's had a grip on it.
I'm a bit surprised that no one has mentioned the 70-200 2.8 IS. You mentioned shows and if those include low light the 5D3 + the 70-200 is a great combo. I have a 100-400 and use it a lot on both my 5D3 and my 7D, but it's better in good light. I also have the 17-40 that several have mentioned and I agree. it's a great lens and I didn't realize its full potential until I went full frame.
Good Shooting,
Mark
I believe the 70-200 was mentioned earlier. I have upgraded a bit since I originally posted this. I ended up getting my 5D3 kit, and I'm going to be putting my T3i up on craigslist, and maybe even here, soon as well. I am torn between getting the 16-35 or the 100-400 next though. Lately I've been doing a lot of wide and low light stuff, experimenting with long exposures and all kinds of stuff. I've been kind if forced into it by not having anything longer than 105, but I have been greatly enjoying it.
David,
Ever consider the Samyang 14 mm f/2.8? If I were to go wide angle again, that is probably what I would get. Suffers from pretty significant distortion but, otherwise, the IQ is supposed to be excellent.
Brant
I have considered it, but seeing as how a good chunk of my wide angle usage is at rock shows, I like the versatility that the 16-35 offers.
I have the Samyang 14mm and it's super duper redonculously sharp for an ultrawide lens.
BUT... and this is a pretty significant but.
It's pretty much impossible to correct the distortion on flat horizons. I've tried everything and it's a lot of work. If you've got some mountains or anything in the scene to break up the horizon it's much easier but I'm going to go elsewhere for my landscape needs next year when I buy the TS-E 24mm. In saying that I'm definitely keeping the Samyang as it's as good as it gets for night shots of the stars.
Also the lens focuses a little differently at various apertures. At f/2.8 infinity focus is around the 3m mark on the lens barrel, at f/8 it's dead on the infinity mark. Not a huge deal but it makes it a little hard to manually focus in some situations when live view isn't an option.
Don't get me wrong, it's sensational bang for your buck but if you're going to be using an UWA lens at rock shows etc then autofocus will be very valuable to you so I'd say you're making the right choice with the 16-35 (or the Nikkor 14-24mm if you feel like converting it for EF mount).