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Posts Tagged ‘Lens’

Google Pixel 4 adds telephoto lens, improved portrait mode and HDR in live view

15 Oct

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Google officially unveiled the Pixel 4 today, with the addition of a telephoto camera headlining the camera updates. Other improvements include an enhanced live view experience showing the approximated effects of HDR in real time, added controls for adjusting exposure and tone mapping prior to image capture, and an updated portrait mode with better depth mapping thanks to the additional rear camera.

The Pixel 4 and Pixel 4 XL offer 5.7″ and 6.3″ OLED displays respectively, each with a 90Hz variable refresh rate that Google calls ‘Smooth Display.’ Gone is the fingerprint sensor on the rear of the device, replaced by face unlock. Also new is a technology called Soli, comprising a radar chip that detects hand motions. Called Motion Sense, this feature makes it possible to skip songs and silence calls with a wave of your hand.

As is the case with high-profile phone launches, along with the main specifications the camera updates are also the center of attention (in fact, Annie Leibovitz made an appearance). In addition to the new F2.4, optically stabilized telephoto camera (about 48mm equiv.), Google has introduced improved Super Resolution Zoom for up to 8x digital zoom. In fact, the telephoto camera uses a hybrid of optical and digital zoom at its default zoom setting to achieve approximately 2x zoom.

The process of taking photos has been improved on the Pixel 4 as well. On previous models, the results of Google’s impressive HDR rendering could only be seen after capture – now, machine learning is used to approximate the effect in real-time for a much more ‘what you see is what you get’ experience.

Google Pixel 4 official sample images

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Additional exposure controls are also available during image capture. Two new sliders give users direct control of overall scene brightness and rendering of shadows, as compared to the single exposure slider offered by the Pixel 3. Google also says the Pixel 4’s camera is more responsive and stable compared to the Pixel 3, thanks to 6GB of RAM at its disposal.

Portrait mode should see significant improvements as well. The mode now uses information from the telephoto camera as well as split pixels to judge subject distance, creating a better depth map than was previously possible only using split pixels. Portrait mode’s range has also been extended, making it possible to capture large objects as well as human subjects from farther back than was possible on the Pixel 3.

While the telephoto camera lends depth information, the standard camera with a 1.5x digital zoom is used for the image itself. Background blur is now applied to the Raw image before tone mapping, with the aim of creating more SLR-like bokeh. The updated Portrait mode should also handle human hair and dog fur better, and Google says that its face detection has been improved and should handle backlit subjects better.

All camera modes will benefit from improved, learning-based white balance – previously used only in Night Sight

An astrophotography mode is added to Night Sight, using longer shutter speeds to capture night skies. Additionally, all camera modes will benefit from improved, learning-based white balance – previously used only in Night Sight. Google has also done some white balance tuning for certain light sources.

Google has reduced the number of front-facing cameras from two back down to one. Citing the popularity of the ultra-wide selfie camera, the Pixel 4’s single front-facing camera offers a focal length that’s a happy medium between the standard and ultra-wide options on the Pixel 3.

Google Pixel 4 pre-orders start today; Pixel 4 starts at $ 799 and Pixel 4 XL starts at $ 899. Both will ship on October 24th. It will be available for all major US carriers for the first time, including AT&T.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

13 Oct

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Announced as a development way back in August last year, the Z 58mm 0.95 ‘Noct’ is Nikon’s fastest ever lens, described by the company as a no-compromise flagship prime designed for optimum image quality, to take full advantage of the new Z mount. Like ‘a well-tempered Japanese sword’. as one promotional pamphlet put it, and priced to match, at an MSRP of $ 7999.99.

Nikon has shown mockups of the Noct at several tradeshows over the past 12 months, but it was only recently that we got our hands on a working sample of the lens – albeit a pre-production copy. We’re still waiting for a reviewable lens, so you won’t find any shots of Seattle in this article, but click through to learn a little more about Nikon’s most expensive and undoubtedly most impressive Z-series prime.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

First things first, this is a big lens. At fifteen centimeters (six inches) in length and ten centimeters (4 inches) in diameter, the Noct dwarfs the body of the Z6/7. Weighing in at 2 kilos (4lb, 7oz) it’s heavy, too. So heavy in fact that Nikon has included an integral tripod foot, on a locking ring around the barrel.

While the weight of the lens didn’t threaten to pull the mount off our Z7 during normal handling, it’s not a combination suited to single-handed shooting. This image also shows the screw-in hood, which is lined with felt.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Here’s a closeup view of the barrel of the Noct, showing the L-Fn and ‘DISP’ buttons, which operate in the same ways as those buttons on the Z 24-70mm F2.8 S (L-Fn can be configured in exactly the same way as the equivalent controls on Z-series camera bodies).

The control ring to the right works in the same way as other Nikon Z lenses too, and can be configured to do various things (i.e. to provide direct control over aperture or exposure compensation). On the left of this image you’ll see the enormous manual focus ring, which makes up almost half the total length of the lens.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Since the Noct is a manual focus lens, it was important that Nikon got the feel of the focus ring exactly right.

The pre-production copy we were using had small ‘detents’ at various positions across its focus range, but we understand that these will not be present in final lenses, leaving the ring travel free and smooth. The throw of the mechanical (note: not focus by wire) focus ring is enormous (around 350 degrees), allowing for minute adjustments to focal position. The focus ring is easy to grip, being knurled with finely-machined grooves running down almost its entire length.

Despite the super-sized focus ring and large barrel diameter, the filter thread is a relatively modest 82mm.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Like the Z 24-70mm F2.8 S, the Noct features a small display on the top of its barrel, which can be configured to show either the precise hyperfocal distance at the shooting aperture (shown above) or the shooting aperture itself. Minimum focus is 0.5m (1.6 ft) which equates to a maximum magnification ratio of 0.194X.

Being a digital display means the depth-of-field markings are able to adjust in response to the aperture being changed.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Optically, the Noct is something quite special. Consisting of seventeen elements in ten groups, Nikon’s optical engineers have included three aspherical elements in this formulation, and four ED (extra low-dispersion) elements.

In addition to Nikon’s now-familiar Nano Crystal coating, the Noct also features the new ARNEO coating (also seen in the Z 24-70mm F2.8 S) for addition control of flare and ghosting.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

Image supplied by Nikon, shot on the new Z Noct-Nikkor 58mm F0.95.

The original Noct-Nikkor 58mm F1.2 was released in the late 1970s (not coincidentally, the development of this version was announced on its 40 year anniversary) as a high-priced, very specialized lens, designed to accurately render point light sources across the frame when shot wide open (‘Noct’ denoting to its expected nighttime applications).

The original Noct contained seven glass elements, and weighed a little under 500g. Compare that to the 17 elements of the new Z version, which tips the scales at a fraction over 2000g.

Hands-on with Nikon’s 58mm F0.95 ‘Noct’ lens

As you can see in the image above, this is not your average standard prime.

Faster and more expensive than its 1970s forebear (faster and more expensive than almost any lens, in fact) and designed from the outset for high resolution digital imaging, the Z Noct is a lens that that will be made and sold in very small numbers but which Nikon hopes will be a benchmark for a long time.

In the meantime, we’re hoping to get hold of a final copy soon, and we’ll share sample images as soon as we can. For now, start saving up your pennies and let us know what you think about it in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Announces the Nikkor Z 58mm f/0.95 S Noct, it’s fastest lens ever!

11 Oct

The post Nikon Announces the Nikkor Z 58mm f/0.95 S Noct, it’s fastest lens ever! appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikkor Z 58mm f/0.95 NoctNikon has just announced its latest Z-mount lens:

The Nikkor Z 58mm S Noct lens, which includes a whopping f/0.95 maximum aperture. The lens is slated to hit the shelves on October 31st, and it will debut with considerable hype, having snagged the designation as the fastest Nikkor lens ever made.

For those of us who have been waiting for Nikon to make good on its claims that the Z-mount’s 55mm diameter allows for the production of better optics, this new lens should give us a hint of what’s to come. But while the f/0.95 maximum aperture is eye-catching, is it actually useful? And will photographers actually be interested in this lens?

Let’s take a closer look.

While lenses with ultra-wide apertures are rarely small, the Nikkor 58mm f/0.95 sits on the other extreme, with a weight of nearly 4.5 lbs (2 kg). This comes from its aperture, the 17 lens elements, and a magnesium alloy construction. Of course, there are real benefits to all these features, such as higher optical quality and increased ruggedness. But is it worth the cost? For many, a huge benefit of mirrorless setups is the decreased size and weight. Yet this lens won’t be at all convenient to carry around. Plus, all that glass takes up a lot of space, which is why it’s packed into a 6-inch (15.3 cm) body.

Note also that an f/0.95 aperture will provide a very small plane of focus. And given that this lens only focuses manually to begin with, you may struggle somewhat to lock onto your subjects with speed.

The lens is primarily designed for astrophotographers and other night shooters (hence the ‘Noct’ designation). And for astrophotographers, the shallow depth of field won’t be a problem, as they rarely need to think about depth of field anyway. But ambitious portrait photographers may find themselves frustrated by the combination of a shallow plane of focus at f/0.95 and a manual focus lens, and anyone who tries to lock on subjects other than the night sky may come away from shoots without much luck.

Now, don’t get me wrong:

The Nikon 58mm f/0.95 is most likely an incredible lens, optically speaking. Nikon is promising amazing sharpness, and I expect this will be borne out in tests. I’m also impressed by the wide aperture, which will allow for unprecedented shooting in low light and at night. Astrophotographers, in particular, will like this lens, regardless of its size.

But at the same time, it’s hard not to wonder whether many other photographers will be interested. Especially because Nikon’s MSRP for this new lens is an incredible $ 7999.95 USD.

So now I’d like to ask you:

What do you think? Would you be interested in this lens? Will anyone buy it? Is there anything you would’ve preferred Nikon scrap or modify?

Let me know in the comments!

The post Nikon Announces the Nikkor Z 58mm f/0.95 S Noct, it’s fastest lens ever! appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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DPReview TV: Nikon 58mm F0.95 ‘Noct’ lens preview

11 Oct

Nikon’s 58mm F0.95 ‘Noct’ lens could be the most impressive optic yet for Nikon’s Z-series mirrorless cameras. Find out what Chris and Jordan think of this flagship prime lens for Z-mount, and why it may become their new unit of measure.

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Articles: Digital Photography Review (dpreview.com)

 
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Canon Korea promo video confirms the RF 70-200mm F2.8 lens won’t have internal zoom

10 Oct

A new video from Canon Korea gives us a closer look at Canon’s upcoming RF L F2.8 trinity and confirms what we’ve suspected from the get-go with the upcoming RF 70-200mm F2.8—it won’t be an internal zoom.

The 72-second video shows off sample images and specifications from each of the three lenses Canon showed off earlier this year: the RF 15-35mm F2.8 L IS USM, RF 24-70mm F2.8 L IS USM and RF 70-200mm F2.8 L IS USM.

As expected from the first time we saw the ridiculously compact 70-200mm F2.8 L IS USM, the lens will have an extending section for when shooting at longer focal lengths, as seen in the animated GIF above. This video marks the first time we’ve seen the extending section in action and as seen in the video, the zoom ring will have a rather short throw when going from 70mm out to 200mm.

Pricing and availability for these three lenses are still up in the air, but we expect to find out before the end of the year based on Canon’s own lens roadmaps.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon announces Z-mount lens roadmap

10 Oct

Nikon has announced a roadmap for its Z-mount mirrorless system. All of the lenses are full-frame, with one zoom being the exception.

The roadmap adds a 20mm F1.8, 50mm F1.2 and 105mm ‘Micro’ lens to the high-end ‘S-Line’ of lenses. There will also be a 28 and 40mm lens as part of what Nikon calls a ‘Compact Prime’ series and a non-S 60mm Micro close-up lens.

Nikon’s Z-mount lens roadmap gives a good indication of the company’s plans for the system.

S-line zooms

The ‘S’ line will also gain a 14-24mm F2.8 zoom and a 70-200mm F2.8 for sports and photojournalism. These will be accompanied by a 24-105mm S-line zoom and, while no aperture range has been specified, this is grouped with the existing F4 zooms, An S-line 100-400mm lens is also listed.

Other zooms

A non-S 24-200mm travel zoom and 200-600mm zoom complete the full-frame offerings, giving a pretty comprehensive picture of what Nikon has planned for the Z-mount.

On the APS-C side of things, there will be a 18-140mm (equivalent to 27-210mm), as with the compact primes, no maximum aperture is specified.

No timescales are given for fulfilling the lenses on the roadmap and, as is normal, a footnote indicates that the plans may change without notice.

Articles: Digital Photography Review (dpreview.com)

 
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Voigtlander announces upcoming release of a 50mm F2 APO-Lanthar lens for Sony E-mount

08 Oct

To mark the 20th anniversary of the Voigtlander Classic Line, Voigtlander has released a new 50mm F2.0 APO-Lanthar lens for Sony E-Mount camera systems.

The manual lens is constructed of 10 elements in 8 groups, including two aspherical elements and a floating focusing system. The lens features a 12-blade aperture diaphragm with a ‘special shape’ for more pleasing bokeh, a minimum focusing distance of 45cm (17.7in) and a 49mm front filter.

Despite being manual, the lens features electrical contacts for transferring EXIF data to the camera, including a distance encoder to ensure the lens works with Sony’s 5-axis image stabilization. Voigtlander has also included a de-clicking option so no noise is made when changing the aperture when shooting video. The lens measures in at 61.3mm (2.14in) long and weighs just 364g (12.84oz).

Pricing and availability information isn’t yet available. We have contacted Voigtlander for more information and will update this article if we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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Five Foot Lens and 3.2 Gigapixel Camera Produced for Night Sky Photos

08 Oct

The post Five Foot Lens and 3.2 Gigapixel Camera Produced for Night Sky Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Image: L1 Lens of the camera polished and coated with a broadband antireflective coating by Safran-R...

L1 Lens of the camera polished and coated with a broadband antireflective coating by Safran-Reosc. LSST Project/NSF/AURA.

Last month, engineers packaged up the largest optical lens ever created, before shipping it 17 hours from Tuscon, Arizona to the SLAC National Accelerator Laboratory in central California.

The lens is five feet in diameter and four inches thick; it required a truck to transport it. It was attached to an additional (3.9 foot) lens element when shipped, and it will soon be followed by another.

Together, these three lens elements will be mounted to a camera that, when finished, will be the largest digital camera in existence. And the camera-lens duo will ultimately be attached to a telescope: the Large Synoptic Survey Telescope, which is over ten years in the making.

Note that the camera itself is constructed out of 189 sensors which, when combined, will create pictures of an astonishing size: 3.2 gigapixels. It’s still in production at the SLAC National Accelerator Laboratory, but will likely be finished in 2021. The cost of the camera alone is a whopping $ 168 million dollars.

The purpose of this huge setup is to capture detailed photos of the night sky. The full telescope will be placed on Cherro Pachon mountain in Chile, where the camera will take exposures at 20-second intervals.

As explained in a press release by one of the laboratories involved in the lens construction:

This data will help researchers better understand dark matter and dark energy, which together make up 95 percent of the universe, but whose makeup remains unknown, as well as study the formation of galaxies, track potentially hazardous asteroids and observe exploding stars.

We recently reported on Xiaomi’s 108-megapixel smartphone, with its wrap-around screen, but a 3.2-gigapixel camera blows this out of the water. Even a recently announced security camera, which made waves when it was unveiled at the China International Industry Fair, topped out at 500 megapixels. Equipped with facial recognition technology, there are major privacy concerns when it comes to how this may be used in a country that already heavily monitors its citizens.

But, the high resolution of these cameras does bring to light something that is conveniently forgotten by tech advertisers: More megapixels will only produce greater detail if you have a lens that can resolve that detail. If your lens can only resolve 12 megapixels worth of detail, then you’re not going to gain from slapping a 108-megapixel sensor onto the camera. That’s why the Large Synoptic Survey Telescope requires ultra-precise optics if scientists want to gather meaningful data.

Of course, you don’t need a lens costing millions of dollars to produce highly-detailed 108-megapixel photos. But my suspicion is that the current optics used by smartphones (Xiaomi, but also Huawei, Apple, and Google) just aren’t up to the task of generating 108-megapixel photos.

So don’t fall prey to the megapixel myth. And keep your eye out for photos from the Large Synoptic Survey Telescope!

What are your thoughts on these new lenses and cameras? Share with us in the comments!

The post Five Foot Lens and 3.2 Gigapixel Camera Produced for Night Sky Photos appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Sigma 45mm f/2.8 Lens for Sony Review

08 Oct

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

The Sigma 45mm f/2.8 DG DN (sony, Leica) is the latest addition to Sigma’s Contemporary lens line. Launched in July 2019, this lens is available as Sony E-mount or Leica L-mount. The latter mount is of particular interest as the new L-mount is compatible with Panasonic and Leica full-frame cameras, plus Sigma’s own forthcoming L-mount mirrorless cameras. I got my hands on an E-mount version and tested the lens with my Sony A7RIII. Here are my thoughts.

Sigma 45mm f/2.8 Lens for Sony E Mount

Specs

The Sigma 45mm f/2.8 lens has a maximum aperture of f/2.8, which may be a disappointment for photographers used to having at least an f/1.8 on their prime lenses. It also is a fairly expensive lens given its $ 549 price tag. However, this lens makes amends when it comes to size and the build quality.

Size

Compared to other Sigma prime lenses such as the Sigma 35mm f/1.4 Art (Nikon, Canon, Sony), this lens is significantly smaller and more lightweight. It weighs 7.5 ounces (half of the aforementioned 35mm) and comes in at less than 2-inches long. This makes the 45mm much more portable and discreet when compared to Sigma’s other Art lens primes that all have an f/1.4 aperture, but are significantly larger and heavier.

This compact size is closer to that of the Canon 50mm f/1.8 and 40mm f/2.8 pancake lens. Both were my longtime favorite prime lenses when I shot with Canon DSLRs. The beauty about this size is that it feels very balanced when attached to a full-frame camera, whether it be my old Canon 5D Mark III or my new Sony A7RIII. With that said, this lens puzzles me when I compare it to other similar lenses that I’ve owned.

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f/2.8 (left), Fujifilm 35mm f/2 (center), and Sony 55mm f/1.8 (right).

Build quality

It’s hard to ignore the design of this lens, which is both visually eye-catching and functional. There are two physical rings – the outermost ring controls the focus and the innermost ring selects the aperture, similar to how a Fujifilm lens performs. Choosing the aperture via the lens can take some getting used to, but it’s a wonderful way to interact with your camera. There’s also a switch to toggle autofocus or manual focus. The lens itself is made mostly of metal, and it includes a lens hood that is also made of metal. There is also weather sealing on the mount of the lens to keep dust and dirt at a minimal.

Shooting experience

45mm is an interesting focal length. It sits comfortably between two of the most popular focal lengths out there: the 35mm and 50mm. Not too wide or too narrow, 45mm gives you a range that feels natural, yet intentional. Autofocus on this lens is fast, accurate, and very quiet thanks to a fast-stepping motor.

If you shoot on a Sony full-frame mirrorless camera, you may also be familiar with the feature of flipping between shooting in full-frame and APS-C mode. While the latter does crop and shrink your images, it gives you the ability to shoot at a slightly zoomed-in focal length. This, in turn, gives you at least two focal lengths to shoot from, and it is one of my favorite features of my Sony A7RIII.

Sigma 45mm f/2.8 Lens for Sony E Mount

Image quality

The images captured by the Sigma 45mm f/2.8 lens result in very consistent color, tones, and sharpness. This lens has a rounded seven-blade diaphragm that renders a smooth, shallow depth of field. There is a minimum focusing distance of 9.4 inches, giving this 45mm decent macro capabilities.

In Conclusion

Overall, I had a very positive experience shooting with this Sigma 45mm f/2.8 lens. The compact size complemented the Sony A7RIII perfectly, making it a very portable unit. I usually have a 24-70mm f/2.8 or 55mm f/1.8 glued to my camera when shooting in low lighting scenarios. Thus, the 45mm’s f/2.8 aperture did not hinder me much. However, there is something to be said about having a faster aperture, especially in low light conditions.

If you enjoy shooting with a versatile prime lens that is reasonably fast but very portable, this Sigma 45mm f/2.8 lens might be the lens for you.

What are your first impressions of the Sigma 45mm f/2.8 lens? Would you purchase it? Why or why not?

Sample photo gallery

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f/2.8 Lens for Sony E Mount

 

Sigma 45mm f/2.8 Lens for Sony

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Canon 11-24mm F/4L Lens Review

04 Oct

The post Canon 11-24mm F/4L Lens Review appeared first on Digital Photography School. It was authored by Nisha Ramroop.

Following the release news of the Canon EF 11-24mm F/4L USM Lens, came countless sleepless nights of research and reading reviews. At the end of that process, all I could safely decipher was that it was the new dream lens of the landscape photographer in me.

Canon 11-24 mm F/4L Lens Review

The build

The moment you pick up this lens, the weight surprises you. It’s quite hefty and you notice every ounce of the approximate (just over) two-and-a-half pounds. The entire build of the lens screams quality too. Like other Canon lenses, the manual focus and zoom rings move smoothly and feel natural. Not a lens you want to be cumbersome with, so this was an important feature for me when working with such weight. You can make easy focal adjustments, as the zoom moves through the entire focal range with a small turn. When behind the lens, the AF/MF is also easily accessible.

Canon 11-24mm F/4L Lens Review

The bulbous front element blooms with authority and still makes me nervous enough to cover it almost immediately when not in use. I am not reassured by the presence of the fixed hood that is meant to protect the imposing glass. However, I am glad it is there. The signature red ring around the front always sets expectations of promised image quality and Canon has delivered.

Image: Size comparatives from left to right: Canon 85mm F/1.2 L, Canon 11-24mm F4 L, Canon 135mm F2...

Size comparatives from left to right: Canon 85mm F/1.2 L, Canon 11-24mm F4 L, Canon 135mm F2 L

What works

The Canon EF 11-24mm is benchmarked as the widest ultra-wide rectilinear lens compatible with full-frame DSLRs, since the Sigma 12-24mm F/4.5-5.6 lens. Thus barrel distortion is minimal throughout the range, and straight lines in your subject are not compromised (and appear straight). The most distortion you would find occurs at around 11mm and 12mm and compared to any other lens at this focal range, it is minimal. Of note, distortion seems non-existent between 15-24mm.

Canon 11-24mm F/4L Lens Review

By comparison, yes the Canon EF 8-15mm f/4L Fisheye is wider, but as is the signature of fisheye lenses, it outputs barrel-distorted images and your straight lines curve. The exception is if your line is directly center of your frame.

The lens is quiet and focuses quickly. Most impressively though, it is super sharp, even at the corners! Added to sharp images; the contrast is nice and balanced. If you have used other ultra-wides, you will admire the difference in the output. The image quality is simply amazing!

Canon 11-24mm F/4L Lens Review

The angle of view on a full-frame, coupled with the minimal distortion, makes it great for indoor architectural spaces. The need for a lens like this to be F/2.8 eludes me, as F/4 feels more than adequate.

What could be better

If you are looking at this beauty, the two major drawbacks may reside in price and weight. It is an expensive lens and certainly not in everyone’s price range. However, it’s a great investment if you do professional architectural and landscape photography. In these areas, the minimal distortion works in your favor. There is no other lens that performs like this lens at the wider end.

Canon 11-24 mm F/4L Lens Review

It is a large, heavy lens that will make you think twice before packing it for travel – you know you want it with you, oh but that weight! Even worse, it is front heavy, so you will want to be extra cautious when out in the field.

The front cap feels inadequate, as it struggles to cover the hood. There are also spaces where it clasps (when aligned) that leave room for dust to get into the front. After all the time they spent on this lens, the front cap feels like an afterthought.

Canon 11-24mm F/4L Lens Review

There is also a noticeable amount of vignetting at 11mm and also some color fringing. Both are easy to fix in post-processing, without loss of your image quality. For an ultra-wide lens though, the falloff (or darkened corners) is negligible.

Conclusion

The Canon EF 11-24mm F/4L is a truly magnificent lens for a landscape or architectural photographer. It is well-built, heavy, sharp, quiet and expensive. One thing for certain though, it is the only one of its kind and a signature Canon lens.

Have you used this lens? What are your thoughts? Share with us in the comments.

 

canon-11-24mm-f4-lens-review

The post Canon 11-24mm F/4L Lens Review appeared first on Digital Photography School. It was authored by Nisha Ramroop.


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