Canon's latest professional telephoto zoom lens features a built-in switchable 1.4x teleconverter, up to 4 stops image stabilizer with IS 'mode 3' that only applies stabilization at the point of exposure, aiding panning, Power Zoom for movie shooting and weather sealing construction. it will be available on May at at an RRP of €14,000
Introducing the EF 200-400mm f/4L IS USM Extender 1.4x – improved performance and versatility for professional sports and wildlife photographers
United Kingdom, Republic of Ireland, 14 May 2013 – Canon today adds a new category to its range of high-performance super-telephoto lenses, with the introduction of the EF 200-400mm f/4L IS USM Extender 1.4x to Canon’s acclaimed L-series. The EF 200-400mm f/4L IS USM Extender 1.4x features a flexible 200-400mm focal range with a fixed f/4 aperture, 4-stop optical Image Stabilizer and for the first time in a commercially available lens, a built-in 1.4x extender. These features combine to provide an outstandingly versatile lens for professional sports or wildlife photographers. A robust magnesium alloy design, environmental protection and specialised lens coatings also make it ideal for mobile use, combining with the finest quality optics to deliver exceptional results, even in the harshest conditions. . . . read more
The lens was tested in conjunction with a Canon 1Ds Mark III Full-Frame Dslr Camera.
"The Canon EF 35 mm f/2 IS USM is undoubtedly a well done instrument, in every respect better than the elderly (presented in 1990) Canon EF 35 mm f/2. The problem is that it is also as much as three times more expensive. The price point of over 3000 PLN, and so much you must currently pay for the new Canon, is really dangerously high for two reasons. One of these reasons is called the Canon EF 35 mm F/1.4L USM. Many people might decide to add a bit and purchase a faster L series instrument which is renowned of its excellent properties; mind you, the price of second hand specimen, still in good working . . . read more
Bryan is very impressed by the macro mode this lens provides:
"Canon has been turning out impressively-performing zoom lenses recently and I was quite excited to see a repeat performance from this lens. After evaluating three retail-purchased copies of this lens, here are my observations. With a wide open f/4 aperture: At 24mm, the Canon EF 24-70mm f/4 L IS USM Lens is very sharp in the center with good sharpness extending to the periphery of the full frame image circle. The 24-70 f/4 L IS gets very slightly softer at 35mm and modestly softer yet (especially in the mid and peripheral image circle) at 50mm f/4 where the lens performs its worst. Sharpness improvement by 70mm . . . read more
Maybe, but under two conditions: You cannot/will not afford the superior EF 25-70mm f2.8L II, or you have forgotten that the 24-105mm f4L IS USM also exists:
"The overall DxOMark score of 19 shows this is not one of the best lenses tested, but there are some areas where it is remarkably good for a zoom lens. Taking the overall DxOMark score of 19, we can see that the lens is not an especially high performer in terms of overall image quality. However, looking at the scores in detail, we can see where the lens fall down. . . . read more
If weather sealing was added to Canon's package I'd say it had a fair chance against the Sigma, but as it stands now, its main trumph card is only the smaller size/weight.
"Attached to a Canon EOS 5D MKII it ranks 4th overall and 2nd for wide-angle primes, just behind the Sigma 35mm f/1.4 DG HSM A, which at a similar cost offers the same focal length, a wider f/1.4 maximum aperture but no Image Stabilization. You can read our DxOMark review of the Sigma 35mm f/1.4 DG HSM here. . . . read more
The lens was tested by Gary Wolstenholme with a full frame EOS 6D Dslr body:
"With this lens, Canon have produced something that performs very well indeed, but then you would expect that for the asking price. It may be questionable whether or not having image stabilisation available at this focal length really is a killer feature, as it will really only be of use for photographing static subjects, unless motion blur is required for creative effect. With alternatives that have a faster maximum aperture being available for the same, or slightly more money, it does make it difficult to see the value in this lens. If the price drops as supply of the lens settles down, then it will make more sense in Canon's lens line up. . . . read more
Another day, another review, and another case of a bad copy lens, an issue I too was confronted with time and again when i bough expensive Canon Glass in the past. Canon L=Lazy quality control?
"Canon made a smart decision to offer a lower-priced alternative to its 24-70mm ƒ/2.8, in order to give Canon shooters of the more casual or economical nature a way to stay true to the brand name. Unfortunately the lens' performance at 50mm stands out as unacceptable, especially when you consider the lower-priced option here still costs $1,500. Coupled with the fact that we had to seek out the best version to get even these results, this does not breed confidence in the lens. . . . read more
After Top Gear gets canceled, because of Jeremy's nth remark for verbally abusing minorities/foreigners/the Welch or whatever, I hope we'll see Jezza and Kai doing a Top Photo Gear program together, with explosions, tanks (lots of optics in these nowadays) and even more explosions!
Back to reality now, this time Kai gets his hands on the crème de la crème of 35mm lense$: The Nikon AF-S Nikkor 35mm f/1.4G, the Canon EF 35mm f/1.4 L USM, and the underdog that ate them all for breakfast, the Sigma 35mm f/1.4 DG HSM:
"The Battle of the Bokeh is back and we're looking at some fast 35mm lenses from Canon, Nikon and Sigma with the Canon 35mm 1.4L, Nikon 35mm G AF-S. This time, however, it's up to you to vote, and the video shows you the results of the blind-bokeh test. Which lens has the best bokeh?"
This is the second Canon lens to employ a built-in converter, after the FD 1200mm f5.6 that debuted way back at the Los Angeles Olympics. I wonder why Nikon did not resort to such a solution for its new 800mm f/5.6 lens, since the size of the dedicated 1.25x converter is truly diminutive in comparison to the lens body anyway. Back to the Canon 200-400mm, that has got to be one of the most expected pro lenses from Canon in ages, Joshua finds it to be very sharp wide open, 'at least as sharp as the EF 300mm f2.8 L IS lens, or even the EF 400mm f2.8 L IS lens.
The lens is a pre-production model, and it is mounted on a 1DX body, but at these huge lens sizes its rather the other way around. Kudos to Canon if that will be proven in a more controlled testing environment. Furthermore, we get to see the 1.4x converter in action, and Joshua finishes the review by assuring us that a 2.0x tele converter CAN be used with this lens, with only a minimal sacrifice in image quality, producing a 1120mm f8.0 max tele range! . . . read more
This evaluation by the Diallo & Butler duo focuses more on stills photography rather than video, and this is why we like it. Nice explanation of the focal reducer technology, and with/without the SpeedBooster adapter side-by-side pics. . . . read more
"This Canon EF EOS 40mm f/2.8 STM works perfectly with every Canon EOS camera ever made, meaning every Canon DSLR and every Canon autofocus 35mm camera made since 1987. Of course it works great on today's 5D Mark III and Canon 7D, but it also works great on my original 1987 Canon EOS 650! The only oddness I noted on my 1987 EOS 650 is that while auto and manual focus and depth-of-field preview and everything work great, manual focus override doesn't work: you have to set the lens to manual first. Manual-focus override works flawlessly on my 35mm EOS Rebel G from 1996 and EOS 3 from 1998, so I'm not worrying about it." . . . read more
"With an DxOMark score of 26, the Canon EF 24-70mm f/2.8 MkII is the highest scoring professional fixed-aperture mid-range kit zoom of any brand in the DxO Mark database and comfortably outperforms rivals as well as the firm’s earlier Mark I version, particularly with regard to the sharpness levels across the frame. We’re used to seeing a noticeable deterioration in performance in the outer fields at longer focal lengths even with high-quality optics from the big-name marques but the new Canon bucks that trend. . . . read more
Hooray, a Speed-Booster review made for photographers! So, how did it do? As Roger found out, there are good news, but also bad ones:
"I think it was pretty obvious that I came armed for battle, ready to slam this product as some marketing overhype. I was wrong less correct than I might have been. The Speed Booster does what they claimed it would do, much to my shock and surprise. It creates a wider-angle, greater aperture lens while retaining resolution and acutance. It does increase astigmatism a bit, although I doubt this will cause anyone problems unless someone is trying to shoot landscape . . . read more
The kind of, outlandish claims of the Speed Booster makers, seem to be confirmed by yet another review, with phrases like this "You will not find a wide angle (24mm equiv.) F1.0 anywhere on the market. Yet suddenly here you are shooting with one on a crop sensor!!" and this: "Your NEX 7 becomes a ‘NEX 9′ full frame Canon mount mirrorless camera."
Eos HD tested the Sony NEX to Canon EF lens mount adapter version of the SpeedBooster:
"Because full frame is a ‘premium’ photography product, the Japanese corporate machine has been mindful of limiting supply of full frame cameras in order to maintain inflated prices and margins. We waited a long time for the D800 and 5D Mark III and it is only now in 2013 that for the first time we have two ‘affordable’ full frame DSLRs with stripped down features – the D600 and 6D. Neither do very good video. So to have that full frame look when I need it on my Sony video camera is a real blessing. . . . read more
The camera was tested with the Canon EF 24-70mm f/4L IS and EF 50mm f 1.4 USM lenses.
"The Canon EOS 6D feels like it's an improvement over the Canon EOS 5D Mark II, and gives most of what you get with the 5D Mark III, but with the addition of GPS and Wi-Fi, as well as the excellent 20.2 megapixel sensor for improved noise performance, but with a fraction of the price of the 5D Mark III, making this an excellent camera for those wanting a full-frame Digital SLR. Image quality is impressive with excellent colour both in photos and on the rear screen of the camera, and noise performance is excellent. Focus performance is good with 11 point auto focus that works . . . read more
The Lens was tested with a Canon EOS 6D Full frame camera. On a cropped Dslr its reach would be between the 'not wide enough' and 'not long enough'.
"The Canon EF 24-70mm f/4L IS USM is a very capable but also very pricey standard zoom lens that will appeal most to wedding and reportage photographers looking for a lightweight and responsive lens. It also usefully doubles up as a competent macro lens, perhaps saving the extra expense and space required by another dedicated optic.Given its L-series billing, the Canon EF 24-70mm f/4L IS USM build quality is reassuringly excellent and it makes a perfect partner to a full-frame Canon DSLR like the EOS 6D that we tested it with. Auto-focusing is quiet and quick, with the ability to manuall . . . read more
The Lens was previously tested with a cropped camera (EOS 650D) and now with a full frame EOS 5D Mark II Dslr body:
"The Canon 70-300 mm L is, given its optical performance and solid finish, an attractively priced compact telephoto zoom lens. The higher vignetting and distortion that you get, when using this lens, makes the total score of the Canon 70-300 mm L review half a point lower than the final score of our Canon 70-300 mm L review on a Canon 650D. Those who shoot in RAW can easily remove this difference by using the standard lens correction profiles in Canon's DPP software, Lightroom or Photoshop. In short, this is a lens to use with pleasure for years. . . . read more
A Lens review by Mr. Leynse :) The lens was tested on a 5D Mark III body, and this is more of a user experience report (a good one) than a technical review:
"The biggest surprise for me is how effective the image stabilization is on this lens. It's so quiet that I can't tell it's working unless I press my ear against it. Combined with the new high-ISO abilities of the 5D MKIII, I can take pictures in light almost too dim to see by. In fact, it was actually hard to find suitably dark scenes to illustrate the lens's IS ability. For the moment, this might be the best low-light lens around. . . . read more
The lens was tested on EOS 5D Mark III, Mark II, and 7D bodies, and according to the reviewer performed admirably on every occasion:
I can’t find anything wrong with the 70-200 f/2.8 L IS II, even the weight isn’t so significant that I whine, especially when I consider the results. If you want one of the very best telephoto zoom lenses with a consistent wide-open aperture this is, without compromise, it. If you want incredibly professional looking photographs with a sharp subject and a blurred out background with the versatility of a zoom, this is for you. Is it worth more than twice the 70-200 f/4L IS? Yes, if the ability to shoot at f/2.8 across this entire range is what you need. If you’re stuck shooting at . . . read more
The lens was tested with a Canon 5D Mark III Dslr body:
"So long as you're in focus, sharpness doesn't vary much from perfection, except by f/11, where diffraction softens the image. Hey, sorry to spare you endless boring charts, but with a lens this good, there's nothing to show other than sharp pictures under all conditions. With a lens profile on my Canon 5D Mark III or similar camera, falloff is never visible at any setting. Flare and ghosts are very well controlled, but if you push it, you will get a green dot or two. . . . read more
We got some highlights in case the file goes away, but hey, the whole document is worthy of a read. Especially for micro 4/3 camera owners :) Check out the interesting section 17 about the usage of a similar technique by Stanley Kubrick during the shooting of Barry Lyndon.
The Speed Booster – a New Type of Optical Attachement for Increasing the Speed of Photographic Lenses
Brian Caldwell, Caldwell Photographic Inc.
and Wilfried Bittner, WB Design
1) Introduction . . . read more
Metabones and Caldwell Photographic introduce Speed Booster
Petersburg, VA, USA, January 14, 2013 - Metabones® and Caldwell Photographic jointly announce a revolutionary accessory called Speed Booster™, which mounts between a mirrorless camera and a SLR lens. It increases maximum aperture by 1 stop (hence its name), increases MTF and has a focal length multiplier of 0.71x. For example, the Canon EF 85mm f/1.2L II lens becomes a 59mm f/0.9 lens on a Sony NEX camera, with increased sharpness. The faster F-stop allows for shallow depth-of-field and a lower ISO setting for decreased noise. . . . read more
Bryant also managed to semi-use an EF-S lens, the Tokina 11-16mm. While the lens did vignette, it was usable at the 14-16mm range.
"It seems like everything aligned perfectly for this thing to be engineered by some really smart folks, and it’s definitely going to pay off. When I first threw the Speed Booster adapter on, I could instantly tell the difference in depth of field. an ƒ1.0 is very, very shallow. You may be thinking, “Well sure you can throw glass behind glass, but the sharpness of the lens will be lessened because of a whole lot of aberrations and what not.” After doing some test, I can confirm that this adapter appears . . . read more
"I knew why I purchased the Canon 50mm f/1.4 over the 50mm f/1.8; the more rounded (not hexagonal) bokeh, and the slightly better build. That’s a few hundred bucks. The Canon 50mm f/1.2 L is more than four times the price of the 1.4. This is a cost/value factor we often weigh, and I have personally never once been let down by the better glass I’ve purchased, where I have with less-than-the-best. The aperture may be a bit misleading, I don’t consider f/1.2 useful for me, I have a hard time focusing that shallow of depth of field, and while a good camera body like the 1DX or . . . read more
"This said, the Canon 35mm f/2 is among the sharpest wide lenses I've tested, just like the 35mm f/1.4 L (1998-) and new 35mm f/2 IS (2012-). The only differences between these and the 24-70/2.8 L II is if you're looking in the far corners on full-frame, in which case, this original 35/2 is slightly less sharp than the others wide-open, but the same stopped down, and the same throughout 95% of the rest of the image that matters.
This 35/2 is extraordinarily sharp and contrasty, even at f/2. Throughout 95% of the image, there is no difference between f/2 and stopped down, as seen on a 22MP 5D Mark III at the test range at infinity. As one stops down to f/8, the . . . read more
"The Canon 35mm f/2 IS is among the sharpest wide lenses I've tested, just like the 35mm f/1.4 L (1998-) and original 35mm f/2 (1990-). The only differences between these and the 24-70/2.8 L II is if you're looking in the far corners on full-frame wide-open, in which case, the original 35/f2 is slightly less sharp, and all the rest are also about the same, with this 35/2 IS and the 24-70/2.8 L II being very slightly better in the corners wide-open.
This 35/2 IS is extraordinarily sharp and contrasty, even at f/2. Throughout most of the image, there is little or no . . . read more
"Obviously this hasn’t told us a thing about autofocus accuracy, bokeh, or a dozen other things that have to be considered when choosing a lens. Just like you, I’ll be waiting for more complete reviews to tell us about that.
On the basis of this information, though, I’m . . . well, I don’t know what I am. This is a good lens, but I at the price point I’d probably prefer the f/2.8 of the Tamron VC to the new Canon’s f/4. The macro feature is nice and will certainly pull some
"Among Canon’s own lenses the EF 28mm f2.8 IS USM can hold its head high, it performs very well, so is it worth looking further afield too? Carl Zeiss also produces a 28mm lens in Canon fit, their Distagon f2 ZE. Without image stabilization or auto focus this is a lens that needs to perform significantly better to justify costing twice as much: It doesn’t, it actually matches the Canon virtually point for point, it’s only benefit apparently being its wider aperture. However Canon’s image . . . read more
"16 years on from its launch the 135mm f/2L USM is still a solid option for portrait, sport and low-light photography. That said as lens development continues to evolve recent telephoto primes like the Sigma 85mm f/1.4 EX DG HSM and Canon 300mm f/2.8L IS II USM do demonstrate notable improvements in Sharpness. Although performing well in all our DxOMark Lens Metric Scores the Canon EF 135mm f/2L USM only ranks 5th for EF mount telephoto primes on the EOS 5D Mark II and new in terms of quality to price ratio the Sigma 85mm f/1.4 EX DG HSM is noticeably sharper and a . . . read more
The Canon 40mm STM pancake lens is perhaps, no, DEFINITIVELY, the sharpest lens south of the $/€/£ 200 line Canon has ever produced. It consistently scores very high on both full frame and cropped cameras, and mounted on a Dslr it looks almost as diminutive as the Olympus body cap lens on a micro 4/3 body, but with excellent optics. CSR tested this little gem mounted on a Canon 1Dx:
"The combination of a very compact and lightweight Canon 40 mm STM lens on a large, heavy professional camera may . . . read more