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Posts Tagged ‘f/2.8L’

Canon unveils Canon EF 70-200mm F2.8L IS III USM for professional photographers

07 Jun

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Canon has taken the wraps off a new flagship telezoom, the Canon EF 70-200mm F2.8L IS III USM. A modest refresh of version II, the new lens features the same 23 elements in 19 group optical design and 3.5 stop image Stabilization system as its predecessor but adds Air Sphere Coating and fluorine coating on front and rear elements. Other coatings are reportedly ‘improved’.

The Canon EF 70-200mm F2.8L IS III USM will be available in August for $ 2,099.

Press Release

CANON UPDATES LINEUP OF EF L-SERIES TELEPHOTO ZOOM LENSES WITH THE INTRODUCTION OF EF 70-200MM F/4L IS II USM AND EF 70-200MM F/2.8L IS III USM

Next Generation of EF 70-200mm Lenses Features a Variety of Updates Including Enhanced Optical Image Stabilization in the f/4 and the Inclusion of Air Sphere Coating in the f/2.8

MELVILLE, N.Y., June 7, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced two new telephoto zoom lenses, the Canon EF 70-200mm f/4L IS II USM and Canon EF 70-200mm f/2.8L IS III USM. The new lenses serve advanced amateur and professional photographers in a variety of applications and solutions including wildlife, landscapes, portrait and sports photography. Canon EF 70-200mm focal-length lenses are a popular option for photographers in need of a long zoom range that maintains a relatively compact design. In addition, these updated lenses inherit the same overall build-quality and ruggedness photographers have come to expect from the Canon EF L-series line of lenses.

“At the core of image capturing, Canon believes the lens is just as important as the camera. A seamless relationship between the two allows photographers to produce emotion-evoking and timeless images,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is excited to offer photographers two distinct options in the 70-200mm focal-length, continuing to further expand our optics heritage.”

Canon EF 70-200mm f/4L IS II USM

The new Canon EF 70-200mm f/4L IS II USM features numerous updates over its predecessor, making it an ideal lens for advanced amateur photographers using Canon DSLR cameras such as the EOS 6D Mark II or EOS 80D. Most notably, Optical Image Stabilization is upgraded from three stops to five shutter speed stops of correction over the original f/4 lens. The improved IS allows photographers to more easily capture crisp, in-focus images without the use of a tripod. The new lens also features three IS modes, each uniquely designed and suitable for a variety of shooting situations, such as the capture of still subjects, panning or fast moving objects2. Furthermore, the IS operational noise has been reduced, which proves ideal for photographers shooting in a concert hall or on-stage shooting at the theatre.

Additional noteworthy features of the Canon EF 70-200mm f/4L IS II USM include:

  • One fluorite lens and two UD lenses helps to provide high-image quality
  • Minimum focusing distance shortened from 1.2m to 1m (3.9ft to 3.3ft)
  • Super Spectra Coating technology and optimized lens element placement helps minimize ghosting and flaring
  • Circular nine blade aperture producing a beautiful bokeh quality, ideal for portrait shooting
  • Lens features 20 lens elements in 15 groups
  • Fluorine coating on front and rear elements helps to reduce smears and fingerprints
  • Inner focusing system with Ring Ultrasonic Motor

Canon EF 70-200mm f/2.8L IS III USM

The new Canon EF 70-200mm f/2.8L IS III USM is an ideal lens for professional photographers who shoot with the Canon 1D and 5D series of DSLR cameras. The inclusion of Air Sphere Coating (ASC) technology helps to reduce flaring and ghosting, and suppresses the reflection of light.

Additional noteworthy features of the Canon 70-200mm f/2.8L IS III USM include:

  • Optical Image Stabilizer up to 3.5 shutter speed stops of correction
  • Fluorine coating on front and rear elements helps to reduce smears and fingerprints
  • Inner focusing system with Ring Ultrasonic Motor
  • One fluorite lens and five UD lenses helps to provide high-image quality
  • Minimum focusing distance of 1.2m (3.9ft)
  • Lens features 23 elements in 19 groups
  • Circular eight blade aperture

The Canon EF 70-200mm f/4L IS II is scheduled to begin shipping in late June 2018 with an estimated retail price of $ 1,299.00. The Canon 70-200mm f/2.8L IS III is scheduled to begin shipping in August 2018 for an estimated retail price of $ 2,099.00.

For additional information regarding the lenses improved performance over predecessors please visit, https://www.youtube.com/watch?v=OFTBw7-8gdk&feature=youtu.be.

Canon EF 70-200mm F2.8L IS III specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–200 mm
Image stabilization Yes
CIPA Image stabilization rating 3.5 stop(s)
Lens mount Canon EF
Aperture
Maximum aperture F2.8
Minimum aperture F32
Aperture ring No
Number of diaphragm blades 8
Optics
Elements 23
Groups 19
Special elements / coatings Five fluorite and five UD elements, ASC and fluorine coatings
Focus
Minimum focus 1.20 m (47.24)
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Focus distance limiter Yes
Physical
Weight 1440 g (3.17 lb)
Diameter 89 mm (3.5)
Length 199 mm (7.83)
Materials Magnesium alloy
Sealing Yes
Colour White
Zoom method Rotary (internal)
Power zoom No
Zoom lock Unknown
Filter thread 77 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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Report: Canon to release new 70-200mm F4L and F2.8L lenses next month

18 May

Canon Rumors is reporting some big news if you’re in the market for a new 70-200mm lens. According to the rumor site, it’s a near certainty that Canon will be debuting two new 70-200mm lenses in early June: the Canon EF 70-200mm F4L IS II, and the Canon EF 70-200mm F2.8L IS III.

Both of the current versions—the Mark I of the F4L and the Mark II of the F2.8L—are certainly due for an upgrade. The 70-200mm F2.8L IS II was released in 2010 and the F4L IS even farther back in 2006. Meanwhile, third-party manufacturers like Tamron and Tokina have released their own 70-200mm F2.8 and F4 lenses more recently, and Sigma confirmed to DPReview that it will release its much-anticipated 70-200mm F2.8 Art lens “not too far in the future.”

In other words, early June would be a great time for Canon to get the jump on Sigma and fight back against the Tamron 70-200mm G2 that people have been so positive about.

The good news is, this isn’t just a thin rumor. Canon Rumors says they can “100% confirm” that the 70-200mm F4L IS II is coming, and “95% confirm” that the 70-200mm F2.8L IS III will join it. Of course, as the rumor site points out, lens announcement and release dates can change at the last minute, but we’ll be keeping our fingers crossed for both these announcements in the coming month.

Articles: Digital Photography Review (dpreview.com)

 
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Throwback Thursday: the Canon EF 24-70mm F2.8L

23 Feb
Photo by Daniel Dionne

This week the Sigma ‘Art’ line gained a lens many had been clamoring for: a 24-70mm F2.8 zoom, which nowadays seems a required lens for many professional shooters. This week we go back to where it started: the original Canon 24-70mm F2.8L.

Look across all camera systems and you’ll find that they all offer some sort of constant aperture 24-70mm or ‘normal’ zoom equivalent that covers this range. There’s a good reason for it. This zoom range covers the wide area and the mild telephoto area, rather than all wide or all tele. It’s a flexible range, and appeals to photographers of many different disciplines.

The odd thing is, the 24-70 is only 15 years old. In 2002 the very first 24-70, Canon’s F2.8L, replaced its already highly regarded 28-70mm F2.8L. Since then, the 28-70 zoom has faded away and is typically only seen as a variable-aperture kit zoom, or affordable constant-aperture zoom lens. Everyone since has gone crazy for the 24-70.

Unusually, the 24-70 F2.8 was ‘longest’ at its wide-angle end. Photo by Cburnett.

The original had some very interesting design quirks. The zoom is ‘reversed’, meaning the barrel is at its maximum extension at 24mm, and is at its shortest at 70mm. With the lens hood mounted behind this extending element, the lens shade was able to provide the right amount of coverage for all focal lengths, as its extension relative to the front element is shortest at 24mm, and longest at 70mm, getting out of the way when wide, and providing extra shade when shooting at 70mm. 

The 24-70 is at its most compact at its full telephoto end. Photo by Cburnett.

Now, the term ’24-70′ is fairly ubiquitous, and is almost generic. Wedding shooters and photojournalists have led the way adopting it, attracted to its versatile field of view and constant aperture. By 2007 Nikon had released their own 24-70 F2.8 to replace their 28-70 F2.8. Sony came shortly after with the alpha mount 24-70 in 2008. Third party manufacturers followed suit, releasing their versions in the 2010’s.

The Mark II version of Canon’s 24-70mm F2.8 arrived in 2012.

When photographers ask questions like ‘what lens should I choose for this shoot,’ or ‘I only have a budget for one lens, what should I get,’ plenty of people will recommend a 24-70. What’s really amazing is how its popularity can be traced to a single lens introduced just fifteen years ago.

Articles: Digital Photography Review (dpreview.com)

 
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Chris’ Gear of the Year part two: Canon 16-35mm F2.8L III

26 Dec

The Canon 16-35mm F2.8L II USM has been a workhorse for landscape photographers like myself for many years. Although I use this lens nearly every time I head out to shoot a location, I do have sort of a love-hate relationship with it. The corners are always fairly soft and never seem to get sharp (even after you stop the lens down) and chromatic aberration can be an issue as well (it can be removed through post processing, but at a slight cost to sharpness). Coma is also a pretty big issue with this lens, which makes it a less than desirable choice for astrophotography, but I’ve always made do and corrected those issues through post-processing.

This lens has impressive corner sharpness and amazing sunstars at very early apertures compared to its predecessor. Seattle, WA.

Photo by Chris Williams

Canon 5DSR, Canon 16-35mm F2.8L III, 16mm, F11, 1/160, ISO 100

There was always one thing that prevented me from moving on to a wide-angle that outperformed the Canon lens in terms of sharpness, vignetting and CA: the sun star. The sun star that the Canon lens produces is simply jaw-dropping and there are even Photoshop actions that you can purchase to replicate it. That’s one of the main reasons that I decided to purchase the lens in the first place and one of the main reasons that I never moved on.

This is an example of the type of sun star that the Canon 16-35mm F2.8L II produced. This lens is capable of taking some beautiful images, but it definitely did have its faults. This was taken in the Columbia Hills of Washington state.

Photo by Chris Williams

Sony a7r, Canon 16-35mm F2.8L II

When Canon released the 16-35mm F4L USM a few years back, I have to admit, I was extremely excited because I was hoping that it would lead to the release of an updated version of the 16-35mm F2.8L. Finally, after years of waiting, the Canon 16-35mm F2.8L III was announced in Fall 2016.

In this sample image you can see how well the lens handles coma at 16mm shot wide open at F2.8; this is a huge improvement over the previous iteration of the lens.

Photo by Chris Williams

Canon 5DMK IV, Canon 16-35mm F2.8L III, 16mm, 1.6sec, F2.8, ISO 100

All of the major issues that plagued the previous iteration of the lens have been largely addressed by Canon. The CA is almost non existent, the distortion was handled gracefully and the corner sharpness has improved dramatically at 16mm and beyond. In fact the best performance occurs when the lens is shot wide open at 16mm. Coma was a fairly major issue in the previous iteration of the lens and Canon has reduced it a great deal; so much so that this lens is now an excellent alternative to a fast prime lens for astrophotography. I knew Canon had the engineering to fix the issues with the optics, but one of the biggest questions that remained was; how did the sunstar fair?

Canon 16-35mm F2.8L III USM Sunstar

Canon 5D Mk IV, 35mm, 1/100, F20, ISO 100

Canon 16-35mm F2.8L II USM Sunstar

Canon 5D Mk IV, 35mm, 1/100, F20, ISO 100

I was actually pleasantly surprised by the sun stars that the new lens produces. It’s much more symmetrical and much cleaner in terms of flare than the previous iteration of the lens. The rays themselves are very clean and defined and very pleasing to the eye. Aesthetically pleasing sun stars are also achieved at much earlier apertures in the updated lens (as early as F10), which can minimize the effects of diffraction. All-in-all we see the changes as improvements, but it really comes down to personal preference. 

Sun star aside, I’ve owned the Canon 16-35mm F2.8L II for a number of years and the performance wide open has always been a major point of frustration for me, especially in terms of coma, CA and corner sharpness. The update that was made to this lens addresses all of these points and corrects the major issues seen in its predecessor, and it’s really quite impressive. The lens is a bit soft in the corners at the long end, but once it’s stopped down it does sharpen up quite nicely at focal lengths at and beyond 24mm. The bottom line is that Canon really threw down the gauntlet with this one to get it right and the results speak for themselves. This lens really is a feat of engineering. They always say the third time is the charm, and I couldn’t agree more. 

See our Canon 16-35mm F2.8L III
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Updating a classic: Canon EF 16-35mm F2.8L III USM lens review

20 Dec

The Canon 16-35mm F2.8L II has been one of the most coveted lenses amongst landscape photographers for a fairly long time. The legendary sunstar was one of the major selling points of the lens and it was one of the major characteristics that really separated the Canon lens from the rest of the field.

When we first heard that Canon was going to release an updated version of the lens we were pretty darn excited. The Mark II was a fantastic piece of glass, but struggled in terms of corner sharpness and control of chromatic aberration along the edges and in the corners of the frame. The upgraded version of the Canon lens promised to correct a number of those issues while still holding onto some of the characteristics of the previous version that made it so appealing to landscape shooters around the world.

With that said, the real question is; how does the updated Canon lens compare to its predecessor? The previous iteration of this lens had a number of issues that we will discuss in this review while we compare and contrast the two versions. The fundamental questions that we will be addressing in this review is; if the upgrade warrants the price increase and if the performance from the new design is convincing enough to justify the upgrade.

APS-C

With an equivalent focal length of 25.6-56mm and an equivalent aperture of F4.5 there are better wide-angle APS-C options on the market such as the Tokina 11-16mm F2.8 AT-X116 Pro DX II Lens or the Sigma 18-35mm F1.8 Art DC HSM that can really take advantage of a fast aperture for a fraction of the price. For this reason we’re not going to consider this lens for use on the APS-C platform in this review.

Canon 16-35mm F2.8L III USM Headline Features

  • Fully weather-sealed construction
  • F2.8 maximum aperture
  • 16-35mm focal range
  • Sub-wavelength Coatings (SWC) and Air Sphere Coatings (ASC) to eliminate lens flare and ghosting
  • Two large-diameter double-surface GMo lenses plus a ground aspherical lens to help decrease distortion, curvature of field and astigmatism
  • Two UD lenses help to reduce chromatic aberration

Specifications Compared

  Canon 16-35mm F2.8L II USM Canon 16-35mm F.28L III USM
MSRP $ 1599.00 $ 2199.00
Lens Type Wide-Angle Zoom Wide-Angle Zoom
Focal Length  16-35mm 16-35mm

Filter Thread 

82.0mm 82.0mm
Image Stabilization  No No
Lens Mount Canon EF Canon EF
Aperture Ring No No
Maximum Aperture  F2.8 F2.8
Minimum Aperture F22 F22
Minimum Focus  0.28m (11.02″) 0.28m (11.02?)
Diaphragm Blades 7 (rounded)  9 (rounded)
Elements  16 16
Groups  12 11
Special Elements/Coatings 2-Ultra-low dispersion glass lenses, 3 high-precision aspherical lens elements; ground, replica and GMo, Super Spectra lens coatings 2 large-diameter double-surface GMo lenses and a ground aspherical lens, Sub-wavelength Coatings (SWC) and Air Sphere Coatings (ASC)
Autofocus  Yes Yes
Motor Type Ring-type Ultrasonic Ring-type Ultrasonic
Full Time Manual  Yes Yes
Focus Method Internal Internal
Distance Scale  Yes Yes 
DoF Scale No No
Full Weather Sealing Yes Yes
Zoom method  Rotary (internal) Rotary (internal)
Weight  635 g (1.4 lb) 790 g (1.74 lb)
Dimensions

111.6mm (4.39″) x 88.5mm (3.48″)

128 mm (5.02?) x 89 mm (3.48?)
Hood Included (EW-88D) Included (EW-88D)

Articles: Digital Photography Review (dpreview.com)

 
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Canon 16-35mm F2.8L III real-world sample gallery

13 Dec

The Canon 16-35mm F2.8L II has been one of the most popular and sought after lenses in landscape photography thanks in part to its distinct and gorgeous sunstar. That said, the lens did have its fair share of issues. We took the updated version of the lens out for a spin to get a feel for its performance.

See our Canon 16-35mm F2.8L III
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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An array of Canon 400mm F2.8L II lenses is helping astronomers discover new galaxies

27 Oct
The Dragonfly Telephoto Array. Photo by Pieter van Dokkum

When Astronomer Pieter van Dokkum was looking for ways to study galaxies, he turned to the equipment he was familiar with as an amateur photographer. Thanks in part to some advanced optical coatings, he and his research team have been able to discover previously unseen galaxies.

In 2011, van Dokkum and fellow professor and astronomer Roberto Abraham, were discussing ways to find a way to get a better look into the very diffuse cosmic light that’s scattered by traditional telescopes like Hubble. Van Dokkum’s thoughts turned to his consumer imaging equipment, and some claims Canon was making about its then-recently-released 400mm F2.8L II. 

Introduced in August the previous year, the 400mm F2.8L II offers what Canon calls ‘a SubWavelength Structure Coating (SWC), which uses microscopic cone-shaped structures smaller than a wavelength of visible light’ to reduce internal reflections and scattered light. This kind of coating would theoretically help collect enough light to study galaxies with low ‘surface brightness’, and sure enough, it did. Says van Dokkum: ‘We compared their performance to those of the best reflecting telescopes, and found that they produce almost an order of magnitude better suppression of the wings of the point spread function – probably in part because of the SWC coatings.’ In short, the 400mm F2.8L II fit the bill.

More lenses were acquired and the Dragonfly Telephoto Array was born (clustering lenses allows researchers to increase the effective aperture of the system). Van Dokkum and Abraham started with eight lenses, and now operate two mounts with a total of 48 lenses.

Custom connectors, as well as off-the-shelf components like Intel Compute Sticks help drive Dragonfly. Photo by Pieter van Dokkum

You won’t find a Canon EOS 5DSR behind anywhere on the array, though. Each lens is attached to its own science-grade 8MP CCD camera, and has a custom astronomical filter slotted in. There’s a custom-built connector between each camera and the lens that can drive focus, and an Intel Compute Stick attached to each camera takes care of data recording and some processing. It’s all controlled by a central computer that can carry out commands like ‘auto-observe Mars’ and ‘expose 900 seconds’. 

The array has helped examine much-observed heavenly bodies like the Coma Cluster, where they’ve been able to identify what the research team has dubbed ‘ultradiffuse galaxies.’ They continue to discover more of these galaxies with the help of Dragonfly, and aim to keep learning about their variety and formation. 

Articles: Digital Photography Review (dpreview.com)

 
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Canon introduces EF 16-35mm F2.8L III USM and EF 24-105mm F4L IS II USM L-series glass

26 Aug

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Coinciding with the announcement of the 5D Mark IV, Canon has introduced updates to two L-series lenses: the EF 16-35mm F2.8L III USM and EF 24-105mm F4L IS II USM. The 24-105mm F4L II offers improved image stabilization, claiming four stops to its predecessor’s three, and adds air sphere coating for better resistance to ghosting and flare. Two aperture blades have been added, totaling 10 now – arguably one more than it should have for pleasing sunstar rendition.

The third iteration of Canon’s 16-35mm F2.8L uses a large diameter GMO (glass-molded) dual surface aspherical lens. Like its predecessors the lens is water- and dust-resistant, and Canon claims the new lens boasts improved durability. We’ve seen some initial comparisons vs. the Mark II, and the Mark III clearly addresses one of its predecessors largest shortcomings – poor off-center performance – while arguably improving upon one of its most revered qualities: beautiful sunstars, now with 18 rays.

The EF 16-35mm F2.8L III USM will cost $ 2,199 and the EF 24-105mm F4L IS II USM will sell for $ 1099. Both lenses are scheduled for October availability.

From the press release:

New Canon EF Lenses and EOS Accessories
In addition to the new EOS 5D Mark IV DSLR, Canon is also introducing two EF-Series L-series lenses as well as a variety of EOS accessories. The new EF 16-35mm f/2.8L III USM Ultra-Wide Zoom Lens features a large diameter GMO dual surface aspherical lens and ground aspherical lens, f/2.8 aperture throughout the entire zoom range, fluorine coating, improved durability and is dust and water resistant. The new EF 24-105mm f/4L IS II USM Standard Zoom lens features an improved four-stop image stabilization as well as ghosting and flare reduction with air sphere coating. The Canon EF 16-35mm f/2.8L III USM Ultra-Wide Zoom Lens is scheduled to be available late in October for an estimated retail price of $ 2,199.00†† and the EF 24-105mm f/4L IS II USM Standard Zoom Lens is scheduled to be available in late October for an estimated retail price of $ 1,099.00††.

Additional EOS accessories include the Canon Battery Grip BG-E20, Canon Rain Cover ERC-E5S/E5M/E5L and Canon Protecting Cloth PC-E1. For more information about all these products and accessories, please visit: https://www.usa.canon.com/5D4Legend

††Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.

EF 16-35mm F2.8L III USM / EF 24-105mm F4L II USM specifications

  Canon EF 16-35mm F2.8L III USM Canon EF 24-105mm F4L IS II USM
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 16–35 mm 24–105 mm
Image stabilization No Yes (4 stops)
Lens mount Canon EF
Aperture
Maximum aperture F2.8 F4
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9 10
Optics
Elements 16 17
Groups 11 12
Special elements / coatings 1 dual-surface aspherical, 1 aspherical + fluorine, Air Sphere, Sub-wavelength Structure coatings Fluorine and Air Sphere Coatings
Focus
Minimum focus 0.28 m (11.02) 0.45 m (17.72)
Maximum magnification 0.25× 0.24×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 790 g (1.74 lb) 795 g (1.75 lb)
Diameter 89 mm (3.48) 84 mm (3.29)
Length 128 mm (5.02) 118 mm (4.65)
Sealing Yes
Colour Black
Zoom method Rotary (internal) Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 82.0 mm 77.0 mm
Hood supplied Yes
Hood product code EW-88D EW-83M
Tripod collar No

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Canon EOS 7D Mark II firmware improves AF with EF 16-35mm F2.8L and EF-S 17-55mm F2.8 lenses

10 Sep

Canon has released firmware version 1.0.5 for the EOS 7D Mark II. This update fixes a couple of bugs and claims to improve AF accuracy when the camera is used with the EF 16-35MM F2.8L USM or EF-S 17-55mm F2.8 IS USM lens. Read more

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Time to Go Macro With the Canon EF 100mm f/2.8L Macro IS USM Lens

25 Oct

Just Wait Until Midnight

While the EF 135mm f/2L USM is my favorite Canon L Series lens, one thing it does not do is macro photography.

With a minimum focus distance of 3 feet, the EF 135mm lens can do a great job with a lot of flowers or other traditional macro subjects, but it really cannot do traditional macro work.

If you want a very high quality portrait lens that can also do macro work, the EF 100mm f/2.8L Macro IS USM is the lens for you. Like the EF 135mm lens, this lens is an Image Stabilization lens which is helpful to minimize camera shake when you take those super close very precise macro shots. This is my favorite lens to make abstract macros of flowers with. If you are into shooting insects or flowers or a close up of the human eyeball or really anything macro you can imagine you will love this lens.

What I like most about this lens though is that it is not *just* a macro lens. It takes such nice portraits and is great to use for all other sorts of photography. This makes this lens suitable for use as a primary prime lens for just about every type of photography that can also produce stunning macro work.

Just Wait Until Midnight

Shooting food is one of my favorite subjects these days. I shot the photo of caviar in this post with this lens at Michael Minna’s excellent spot in the Bellagio hotel. Be sure to try the tasting menu there on your next visit to Vegas, it’s worth it!

I also own the earlier non-L series generation of this lens and I’ll say that I’m so much more impressed with the results I get out of the newer L series version.

As a reminder, my analysis of my Canon gear is being done in partnership with Canon and I am receiving compensation for this work with them. More on Canon macro lenses here.

Just Wait Until Midnight

Just Wait Until Midnight

Just Wait Until Midnight

Just Wait Until Midnight


Thomas Hawk Digital Connection

 
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