One of the top rated digicams on the market, the 14.7 megapixel PowerShot G10 was recently replaced by the G11, with lower resolution said to provide superior image quality. The G10 was definitely an ideal second camera for serious photographers. In fact, this is the one that many of the pros carried when we went out for dinners while working at a week-long photo seminar in Dubai. (Also see Jack Neubart’s Canon PowerShot G10 Review here at Photocrati.com)

After testing the G10, I fell in love with that camera and bought one for my own use. While it received rave reviews about its conventional controls and low ISO quality, most test reports complained about its high ISO performance.

The 14.7 megapixel G10 was a highly-rated camera and produced fabulous images at low ISO but the G11 is even more desirable in some aspects. While resolution is lower at 10 MP, most reviewers agree that this is plenty for a digicam with built-in lens. (G11; ISO 100; f/8; 1/40 sec.)

In my own review for a Canadian magazine, I made the following comment about the G10: By ISO 800, images made in low light are still very sharp but very grainy although that’s not a problem in 5×7″ prints. At higher ISO, JPEG quality really suffers due to speckling and some smearing of fine detail by Noise Reduction processing. At ISO 800+, slightly better results are possible with Raw capture since Noise Reduction and Sharpening can be set to the optimal level in the converter software.

Most technical experts indicated that the problem was caused by the excessively small pixels (photosites). Apparently the engineers at Canon agreed since the company responded by replacing the G10 with the G11, with substantially lower 10 megapixel resolution provided by a new High Sensitivity sensor. That step made sense of course, since it allowed for larger photosites – with greater light gathering ability – for superior results at high ISO.

Thanks to improved technology used in the G11, images made at ISO 800 are suitable for making beautiful letter-size prints. Although I love the G10, my tests confirmed that the G11 is a better choice for high ISO imaging. (f/2.8; 1/125 sec.) ©2009 Peter K. Burian

In addition to that change, the DIGIC 4 processor was improved and features a Dual Anti-Noise System that’s optimized for the new sensor. Canon claims that the new technical aspects provide an improvement in the signal-to-noise ratio and a 1.7x boost to the saturation signal. That’s said to provide  two  stops of improvement in high ISO quality over the PowerShot G10. That allowed Canon to add a new ISO 3200 option and a small bonus: a High Sensitivity 2.5 megapixel mode with automatic ISO selection up to 12,800.   As a bonus, dynamic range was also increased in order to provide greater highlight and shadow detail.

PowerShot G11 Features

Aside from those modifications, the G11 is virtually identical to the G10 in terms of construction (magnesium alloy shell), lens (28-140mm f/2.8-4.8 equivalent) and controls, including some old-style mechanical, metal dials. The tiny optical viewfinder (with 79% scene coverage) was also retained. The viewfinder is not very bright, and there’s a lot of framing inaccuracy in close-up shots, but it can be useful when bright sun obscures the LCD preview display.

The primary benefit of the G11 versus the G10 is the articulated LCD screen. Since it can be placed at virtually any angle, this feature makes the G11 very convenient when held at ground level or at a high level, above the heads in a crowd, for example.

Naturally, the G11 does offer some new amenities, such as an articulating tilt/swivel LCD screen although it’s smaller at 2.7″ versus. 3″. Canon also added a few extra features: Smart AUTO mode, Quick Shot mode (sets AF to continuous and provides quick control screen), White Balance Fine Tuning, HDMI output, a faster flash sync speed (to 1/2000 sec.) plus blink detection in Face Detect AF. Do note however that a few G10 features were omitted: the Auto ISO shift, remote capture support, voice recording and the Super Fine JPG option. I missed only the latter since it would allow the G11 to provide even finer JPEGs with lower compression.

Like its predecessor, the PowerShot G11 offers numerous automatic and manual functions. Interesting features include i-Contrast for automatically lightening dark areas; it’s also available as a post-processing item in Playback mode. The G11 also employs iSAPS: intelligent scene recognition that optimizes focus speed, exposure and white balance in snap shooting. Ten picture styles  are available for producing entirely different effects. In the Custom Color mode, you can set a desired level for sharpness, contrast, saturation and skin tones. The LCD display changes to reflect the effect provided by any picture style – and some other  camera overrides – a very useful preview feature.

Like the G10, the G11 is a remarkably versatile camera, with a vast range of features. Some can be set using mechanical dials while others are selected with buttons or with the Function sub-menu (above) which makes operation particular quick and convenient.

The PowerShot G11 is very versatile particularly when used with one of the compatible  flash units or a tele adapter. Surprisingly, Canon does not offer a wide angle conversion lens. Maximum resolution in movie mode is only standard VGA definition, but the videos (at 30fps) are quite nice and smooth. Note too, that the Digital Photo Pro software (for Windows or Mac) is a very useful RAW file converter with all of the essential features for optimizing a photo. At the time of this writing, DPP produced better quality than the latest version of Adobe Camera Raw that was available for CS4.

Camera Speed

This is definitely not the fastest camera in its league. Start up takes just under a second and the G10 acquires focus in about a half second at wide angle focal lengths indoors. At telephoto settings that can take up to a full second but it’s faster in bright light. I did miss some candid photo opps at first but solved that by pre-focusing and tripping the shutter at the right instant. There was no apparent shutter lag when focus was pre-set. LCD blackout between frames was also a tad long, making it a bit of a challenge to keep a moving subject well-framed when panning the camera.

When shooting JPEGs in Continuous Drive mode I was able to blast off a long series at 1.1 fps, using a fast (Class 6) SDHC card. Even after a dozen shots, the camera was ready to take another burst within 1.5 seconds. The framing rate slows a bit in RAW or RAW+JPEG capture mode but the camera can still take an “unlimited” number of photos. After taking a shot, the image is displayed on the LCD screen in 1 second in JPEG capture or in 1.5 seconds for a RAW or RAW+JPEG photo.

Low ISO Evaluation

Since a camera with built-in lens is not often used for action photography, sheer speed is rarely the most important criterion. The good news is that at ISO 80 to 200, the PowerShot G11 provided beautiful JPEGs with high definition of intricate detail. Granted, this 10 megapixel camera cannot match the amazing resolution provided by the 14.7 megapixel G10. Even so, technically excellent images look great as 13×17″ prints and should satisfy most viewers.

At any ISO from 80 to 200, the G11 can produce stunning image quality, with high resolution of intricate detail as indicated by the small section of the JPEG. I made a 13×17″ inkjet print from this ISO 100 capture and most viewers assume it was made with a DSLR. The photo below is a small portion of the full JPEG. (f/8; 1/40 sec.; 28m equivalent.) ©2009 Peter K. Burian

The standard picture style (color mode) provided smooth JPEGs with high sharpness, employing edge enhancement to increase the crisp effect. Color saturation was moderately high and pleasing overall, but reds were unusually rich. In fact, skin tones were often too ruddy; I was able to prevent that by switching to the Custom Color mode and setting Red saturation to -2. Contrast was high, a definite benefit on cloudy days in early winter. The automatic level for i-Contrast (dynamic range expansion) lightened shadow areas slightly.

Skin tones are often too ruddy (in some color modes) due to very high saturation of reds. When taking people pictures, it's worth switching to the Custom Color mode and setting Red saturation to -2 or experimenting with one of the two Skin Tone color modes. (ISO 100; Standard Color mode.)

While the G11 can provide excellent shadow detail, I wish that i-Contrast would tone down excessively bright areas. The camera tended to over expose mid-tones and this aggravated the problem of “blown out” highlights, exhibiting little texture or detail.  Canon claims that dynamic range is four times greater than with the G10 but frankly, the newer camera did not seem any better in terms of highlight detail. In fact, i-Contrast made the problem slightly worse. In contrasty light, it’s important to avoid overexposure; reducing the Contrast level by -2 (in the Custom Color mode) is also very helpful.

In contrasty lighting, the G11 tends to produce very good shadow detail, particularly with the i-Contrast feature. But it usually renders highlight areas as excessively bright, a problem that can be prevented with the tips suggested above. (ISO 100; i-Contrast Auto.) ©2009 Peter K. Burian

After application of Smart Sharpen in Photoshop CS 4, my best ISO 80 to 200 shots made for very nice 13×17 prints. There’s a bit of digital noise and slight smudging of fine detail but that’s not visible in prints viewed from a normal distance (three or four feet). At ISO 400, the JPEGs still look fine and made very good 11×15″ prints. By comparison, images made with the older G10 at ISO 400 exhibited more visible graininess but higher resolution made the JPEGs  suitable for even larger prints.

While image quality drops slightly beyond ISO 200, my JPEGs made at ISO 400 are still finely detailed and suitable for surprisingly large prints. That's due to a combination of a very fine lens, excellent sensor and effective DIGIC 4 processor. (f/3.5; 1/6 sec.; JPEG optimized for printing) ©2009 Peter K. Burian

High ISO Evaluation

Canon’s primary reason for reducing resolution was to improve high ISO performance. That strategy was successful and the G11 definitely provides obvious benefits by ISO 800. At this ISO, the JPEGs are surprisingly smooth, although there’s more smudging of fine detail due to noise reduction processing. Even so, I was able to make excellent letter size prints from my technically-best images after some careful sharpening. By comparison, the G10 produced ISO 800 images that were very grainy; while there was less smudging, all of my friends preferred the smoother prints made from G11 photos.

Avoid underexposure and the G11 can produce beautiful ISO 800 JPEGs that are suitable for beautiful prints of at least 8.5x11" in size. This is a dramatic improvement over the G10. (f/2.8; 1/30 sec.; JPEG optimized for printing) ©2009 Peter K. Burian

No camera with a small 7.6 x 5.7 mm sensor produces perfect images at ISO 1600, but the G11 is much better at this level than the G10. Color saturation is very low, but that can be boosted in-camera or with software. While chroma noise and noise reduction artifacts are visible in images viewed on a monitor, letter-size prints made from well-exposed JPEGs – after sharpening – are really quite decent.

The same size prints made from  G10 photos are very grainy, although fine lettering – smudged in G11 photos – can be deciphered thanks to the higher resolution. Even so, my friends rated the (ISO 1600) 5×7″ prints from the new G11 as “very nice”.

Well exposed JPEGs made at ISO 1600 are suitable for very good 5x7" prints. Use RAW capture instead -- and apply the optimal levels of Noise Reduction in the DPP software -- and you should be able to make decent 8x10" prints. (f/2.8; 1/50 sec.; image optimized for printing.) ©2009 Peter K. Burian

The G11 offers an ISO 3200 option but that should rarely be needed. Even inside dark cathedrals, I was able to get sharp photos using ISO 1600. While the shutter speeds were quite long, the camera’s image stabilizer is very effective, particularly in the Continuous IS Mode. This feature provided up to a four-stop-benefit in terms of compensating for camera shake. When I braced the G11 against something solid, I was able to get sharp photos at 1/4 second in the 50mm to 60mm equivalent focal length range.

During testing, I found that I was able to make photos without blurring from camera shake at relatively long shutter speeds thanks to the effective Image Stabilizer. That helped to minimize the need for high ISO levels. (ISO 200; 1/13 sec.; 80mm equivalent focal length.) ©2009 Peter K. Burian

Since ISO 3200 is an important new G11 feature, I did try this level but found serious problems caused by artifacts and chroma noise. The JPEGs are soft and “mushy” due to excessive noise reduction that causes obvious blurring of details; there’s also a significant loss of color saturation and some blotchiness. Dynamic range is also very narrow. Most viewers of my prints considered 4×6″ to be about the largest print size that is still acceptable.

As you might expect, it’s preferable to use RAW capture at high ISO. Unlike the camera, the Digital Photo Pro software offers full control over Noise Reduction. Separate tools are available for chroma and luminance noise making it easy to achieve the optimal effect. For the best results in DPP, set Sharpening to a lower level than the default. Later, after modifying the image as desired in Photoshop or other software, apply a sharpening utility with some expertise for the best possible prints.

The first Canon G series camera with an ISO 3200 option, the G11 produces very smooth full resolution JPEGs at this sensitivity level. The JPEGs are suitable for 4x6" prints; use RAW capture mode - and advanced sharpening techniques - and you may be satisfied with 5x7" prints. (f/3.2; 1/60 sec.) ©2009 Peter K. Burian

The Bottom Line

The PowerShot G11 certainly offers benefits at high ISO over the G10 at ISO 800 and at ISO 1600, and can provide acceptable quality at ISO 3200. While higher sensitivity levels are possible too in a special mode,  resolution reduces to 2.5 megapixels and the  JPEGs are suitable only for web use.

The G11  would be ideal if Canon had included user-selectable levels control for noise reduction in JPEG capture. While JPEGs look fine especially at ISO 800, the best results at higher ISO call for RAW capture and tweaking with the Digital Photo Pro converter software; since this is a high-end digicam targeting serious shooters, that’s not a major drawback. Experienced photographers often tend to select RAW capture mode — with any camera — for the best quality and the latitude in making non-destructive image adjustments.

Since the G11 employs a much smaller sensor - with tinier photosites - than the Micro Four-Thirds cameras, it cannot compete with the larger E-P1, E-P2 or GF1 at very high ISO levels. Even so, the G11 produces surprisingly fine quality, especially at ISO 800. (G11; JPEG; f/2.8; 1/13 sec.) ©2009 Peter K. Burian

But how does the PowerShot G11 compare to the Micro Four Thirds cameras? Models like the Olympus E-P1 or P-2, and the Panasonic Lumix DMC-GF1 are the strongest competitors. Frankly, they do have an edge in high ISO quality due to their much larger 18 x 13.5mm sensors and oversized photosites. Particularly the Olympus models provide visibly better results at high sensitivities. When testing the E-P1, I found that ISO 800 produced gorgeous 11×15″ prints. Digital noise speckles were more obvious at ISO 1600, but well-exposed images were suitable for very nice 8×10 glossies.

Anyone who will often shoot at high ISO levels would be well served by either of the Olympus Micro Four-Thirds cameras. (The DMC-GF1 is not as impressive at high ISO but produces superb quality at lower sensitivities.) However, the E-P cameras are much larger than the PowerShot G11 particularly when equipped with the 28-84mm equivalent zoom lens. Aside from a size/weight benefit, the G11 is also equipped with an optical viewfinder, unlike the E-P1, E-P2 or the DMC-GF1. The last two of those cameras do accept an electronic viewfinder accessory, but that makes them even less pocketable.

Perhaps the strongest competitor for the PowerShot G11, the Olympus E-P2 is not equipped with a built-in flash or a viewfinder. Add either of those accessories and the camera - with the kit zoom lens - will be even larger. By comparison, the G11 is quite compact and more portable.

Conclusion

The Canon PowerShot G11 is a very desirable camera in terms of its great versatility, rugged construction, fine image quality and portability. And the built-in 28-140mm lens is impressive in all aspects: high edge-to-edge sharpness, little distortion and minimal chromatic aberration. While it’s not super fast, the G10 provides excellent burst depth even in RAW capture mode. In my estimation, this 10MP PowerShot model will be as successful as its predecessor in attracting long-time photographers due to its classic styling and controls, high resolution articulated LCD and a feature set that targets the experienced shooter.


For full specifications, visit: the PowerShot G11 page on Canon’s website
For pricing information (about $440) and user reviews: check out   B&H and   Amazon and   Adorama

Peter Burian tests five lenses with great light gathering ability: the Canon EF 70-200mm f/4L IS USM, Tamron AF 70-200mm f/2.8 Di LD (IF) Macro, Tokina AF 50-135mm f/2.8 AT-X Pro DX, Nikon 17-55mm f/2.8G ED-IF AF-S DX and the Sigma AF 30mm f/1.4 EX HSM DC

Because most digital SLR camera owners demand compact, lightweight lenses, the vast majority of zooms feature a small maximum aperture. A typical kit lens is designated as f/3.5-5.6 indicating that the maximum aperture is quite small at the short end and becomes very small at longer focal lengths. In practical terms, that translates to moderate light gathering ability. The larger the numeral the smaller the opening in the lens and the less light that will reach the camera’s digital sensor.

A wide aperture lens is ideal for fast shutter speeds in low light conditions when you cannot use flash or a tripod. Shooting at f/2.8 allowed me to get many sharp photos at 1/125 sec. during a stage performance, using ISO 1000. With a more typical (smaller) aperture, much higher ISO levels would have been required for the same shutter speed and the images would have been seriously degraded by digital noise. (Nikon 17-55mm at f/2.8.) (c) 2009 Peter K. Burian

On the other hand, some lenses feature a much wider maximum aperture such as f/2.8, an even wider f/1.8 or an incredibly wide f/1.4. These can transmit a great deal more light providing a variety of benefits discussed in a moment. For this Review, I decided to test four very popular models of this type (including a fixed focal length lens) and a one with a maximum aperture of f/4. While f/4 is not a particularly large aperture, it is constant with the Canon EF 70-200m f/4L IS USM lens and does not diminish in size as you zoom.

Wide Aperture Benefits

Most professional photographers and serious photo enthusiasts prefer wide aperture lenses for their greater light-transmitting ability. The amount of light reaching the film or digital sensor is not usually an issue on bright, sunny days. But in low light situations, the wider aperture allows for shooting at a faster shutter speed –such as 1/60 sec. versus 1/8 sec.– without the need to set a very high ISO level. That’s why lenses of this type are called “fast”. They can be valuable in producing sharper photos with less blurring from camera shake and/or subject motion.

While it’s possible to shoot at fast shutter speeds with any lens at a high ISO level, it’s great to do so at a lower ISO level where image quality is not degraded by digital noise. Check out the illustration below, for example, and you’ll appreciate the value of a faster lens at ISO 100. Granted, an image stabilizer can also provide sharper photos at fairly long shutter speeds, but when the subject is moving, a wide aperture lens is still very useful for preventing motion blur.

As these examples--made at apertures from very wide to moderately wide--confirm, the shutter speed is substantially faster at f/1.4 than at the more common apertures at any ISO, minimizing the risk of blurring caused by camera shake. (Sigma 30mm f/1.4; ISO 100.) (c) 2009 Peter K. Burian.

In addition to that aspect, there are three other benefits that are available with many “fast” lenses:

• Superior Quality: Because most wide aperture lenses are prosumer grade products, they usually feature very rugged construction, superior mechanisms and high-grade optical elements. Often, image quality is excellent at the commonly used f/stops, from about f/4 to f/11.

• More Effective Focusing: A wide aperture transmits a great deal of light, making manual focusing easier in dark locations, such as a theatre, a cathedral or a castle. Autofocusing is also quicker and more reliable in low light because a “fast” lens transmits more light to the camera’s AF sensor. This can make autofocus possible in situations where the camera would balk if you were using a more typical f/4-5.6 zoom.

• Shallow Depth of Field: Because very wide apertures (small f/numbers) provide less depth-of-field only the focused area will appear sharp in a photo. Especially at focal lengths of 135mm or longer–particularly in close focusing–it’s possible to render a cluttered background as a soft blur of color. A subject that’s sharply framed against a soft backdrop will immediately attract and hold the viewer’s attention. Be sure to focus very carefully however–on the most important subject element, such as an eye in a portrait–to ensure that it will be sharply rendered.

The Five Contenders

Moving on to specific products, let’s take a look at the four lenses with very wide maximum apertures and the fifth, an f/4 zoom with a built-in image stabilizer. That system can compensate for camera shake to prevent blurring caused by hand and body tremors; hence, there’s less need for an ultra wide aperture for faster shutter speeds.

Not all of the five lenses were available at the same time, but I tested each extensively both indoors and out. In order to take full advantage of their wide maximum apertures, I sought out events taking place in low light as well as others that allowed for shooting at mid-size apertures for optimal image quality. Some of these products are designated as multi-platform: suitable for 35mm film cameras and DSLRs regardless of the sensor size. The others were designed for use with the “smaller” sensors that are used in the vast majority of DSLR cameras.

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

Intended for those who find Canon’s f/2.8 model too large, heavy and expensive, the 70-200mm f/4L IS USM zoom Canon EF 70-200mm f/4 L IS USM Lens for Canon Digital SLR Cameras is more compact and hence more affordable (under $1200). The maximum aperture is a bit smaller however so you won’t get all of the advantages of a very “fast” zoom discussed in the introduction. Still, f/4 is wider than average in the telephoto zoom category and this lens is equipped with an image stabilizer (IS). By compensating for camera shake, that mechanism minimizes the need to use fast shutter speeds–and hence, high ISO levels–for blur-free photos.

A maximum aperture of f/4 is not very wide, at least when compared to f/2.8, but it does allow for a much smaller/lighter zoom lens. Also, the Image Stabilizer does reduce the need for a fast shutter speed re: blur from camera shake but provides no value in terms of "freezing" motion. (At f/4, 1/200 sec., ISO 1600, 70mm.) (c) 2009 Peter K. Burian

This multi-platform Canon lens is quite portable although the over-sized hood does make it seem large. The off-white metal barrel is very rugged, beautifully finished and water/dust resistant. The barrel never rotates or protrudes so constant balance is maintained. Rotate the wide rubberized zoom and focus rings and you’ll find very smooth operation with a lot of friction: not a loose, sloppy feel. Thanks to internal focusing and zooming the barrel never protrudes or rotates.

The USM designation indicates an Ultrasonic Motor for super fast, silent autofocus. The designers specified high grade optical components including a piece of (very expensive) fluorite glass and another Ultra Low Dispersion (UD) element. The combination is remarkably effective in correcting chromatic aberration. In practical terms, they force all wavelengths of light to focus on the film or digital sensor, ensuring optimal sharpness–and minimizing “purple fringing” around subject edges–even at f/4. (Full Specifications are available at Canon USA.)

Evaluation: Although Sigma, Tamron and Nikon also make some lenses with stabilizer systems, this was the only one of the five to include a camera shake compensating device. The Canon 70-200mm f/4 zoom provides two stabilizer modes: one is for use with static subjects and another for panning with a subject moving across your line of vision. Even at 200mm–a 320mm equivalent with most EOS cameras–I was able to get many sharp photos at 1/50 sec. No stabilizer can freeze motion however, so a higher ISO level is still required for fast shutter speeds with an f/4 lens versus an f/2.8 lens.

At the commonly used apertures, the Canon lens produced exceptional image quality. As a bonus, its Ultrasonic AF system provided a high success ratio of sharply focused shots in action photography; roughly 90% of my images from this event are sharply focused. (At f/7.1, 1/1000 sec., ISO 400, 121mm; Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

Autofocus was equally impressive: lightning fast, nearly silent and very reliable in tracking erratic motion during a triathlon. At every zoom setting and focused distance, my images are sharp across the entire frame. As you might expect from the L designation (for “luxury”) this zoom produced very high resolution of intricate detail even at f/4; the images look great as 12×18″ prints. There’s no obvious softness–or any darkening–even in the corners. Images made at f/5.6 to f/11 are even better, suitable for gallery-quality 15×22″ prints.

This was my favourite of the five tested because it’s a fine all-around performer in terms of autofocus, optical quality and the effectiveness of its stabilizer. If the price exceeds your budget, check out the Canon EF 70-200mm f/4L USM model Canon EF 70-200mm f/4L USM Telephoto Zoom Lens for Canon SLR Cameras without the IS designation. That older zoom does is not equipped with a stabilizer and it’s not as weather-resistant but provides almost the same level of performance for about $400 less. Those appreciate the significant benefit provided by a stabilizer system will want to save up in order to buy the newer IS-designated version.

Pro’s and Con’s: Several factors make this a very desirable lens: the stabilizer, ultrasonic AF, the pro caliber optical formula and the tough, weather-resistant construction. On the other hand, the Canon zoom is expensive for an f/4 model and the tripod mounting collar is an extra cost option. Opteka makes an affordable tripod mount, but I cannot vouch for the quality of that accessory.

The Canon version (A II W) is excellent of course, but it adds $150 to the price of the lens.

Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro

Replacing a larger, heavier 70-210mm f/2.8 Tamron model, this multi-platform Tamron Di zoom (Tamron AF 70-200mm f/2.8 Di LD IF Macro Lens for Canon Digital SLR Cameras) benefits from much closer focusing ability and a “clutch” that allows for quickly switching from AF to manual focus. Extensive use of multiple layers of chemical coatings plus an over-sized lens hood minimize flare from a highly reflective digital sensor and also from external light sources. Three large low dispersion (LD) elements correct optical aberrations which would otherwise degrade image quality especially at f/2.8 and at f/4.

The wide f/2.8 aperture was very useful for fast shutter speeds--such as 1/160 sec. to freeze motion--during a stage performance where flash and tripods were prohibited. For this shot I used ISO 800. With a "slower" lens, a much higher ISO level would have been required: ISO 1600 at f/4 or ISO 3200 at f/5.6. (At 70mm, f/2.8.) (c) 2009 Peter K. Burian

A high-grade product, this zoom features a very rugged barrel finished in matte black and a (removable) metal tripod mounting collar. It’s compatible with Tamron’s 1.4x and 2x teleconverter, accessories that can extend the focal length into super telephoto category. The extra wide rubberized focusing and zoom rings provide a solid, familiar feel, with plenty of friction. Because the lens barrel does not protrude during zooming or focusing, weight distribution always remains constant. That’s particularly important when this hefty lens is used on a tripod.

Evaluation: The advanced optical formula provided images with snappy contrast as well as remarkably high sharpness across the entire frame. Optimal performance was provided in the 70mm to 140mm range at f/8 but I never hesitated to shoot at f/2.8 at any focal length for fast shutter speeds. By f/4, edge sharpness–and edge brightness–were excellent; the photos are suitable for making 14×21″ prints of stunning quality. Even images made at f/2.8 allowed me to make very good 12×18″ prints. That’s a fine achievement for a relatively affordable ($800) lens, qualifying this Tamron model as a “best value” in its category.

The Tamron zoom produced very high image quality at f/8 at all apertures and focal lengths. Autofocus (with an EOS 40D) was quite fast and reliable with action subjects; roughly 70% of my photos from this event were sharply focused. (At 200mm, f/8, ISO 400; Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

This lens can provide an impressive 0.32x magnification in close focusing at 200mm. In images of colorful blossoms, sharpness was excellent, particularly in the f/5.6 to f/16 range. While an ultrasonic motor might make autofocus even faster, I was able to get many sharp photos during a marathon and a horse jumping event. Autofocus failed occasionally but the overall performance was fine. In low light, AF remained reliable because the wide aperture transmitted a lot of light to the autofocus sensor.

The close focusing ability of the Tamron zoom was useful for frame filling images of moderately large nature subjects. Image quality was very good at f/11 and f/16, apertures that I often used for adequate depth of field. (At 200mm, f/11, ISO 400.) (c) 2009 Peter K. Burian

The f/2.8 aperture and solid construction do make this lens somewhat large and heavy at 41 oz. (Full specifications are provided at Tamron; the model for Nikon includes a built-in focus motor.)

Many families would prefer the more portable 19.5 oz. Tamron 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro model (about $630) Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro Zoom Lens for Canon DSLR Cameras–with built-in image stabilizer–in spite of its much smaller maximum apertures. Although not intended for everyone, Tamron’s 70-200mm f/2.8 zoom will certainly satisfy demanding photographers. Considering its level of performance–and the surprisingly affordable price–it offers excellent value. Used with serious shooting techniques, the lens will pay dividends in terms of professional caliber images.

Pro’s and Con’s: This rugged Tamron lens offers excellent value for an f/2.8 tele zoom and it provides higher magnification than average in close focusing. On the other hand, it’s larger/heavier than the EF 70-200mm f/4 zoom, but that’s relevant only to owners of Canon SLR’s. (Only one other current telezoom of a major brand features a constant maximum aperture of f/4, the huge Sigma APO 100-300mm f/4 EX DG HSM lens Sigma 100-300mm f/4 EX DG IF HSM APO Fast Aperture Telephoto Zoom Lens for Canon SLR Cameras.) While autofocus would be faster if the Tamron lens included an ultrasonic motor, AF performance is fine as is, except for serious sports photographers.

Tokina AF 50-135mm f/2.8 AT-X Pro DX

Designed strictly for DSLR cameras with the typical “small” sensors, this 50-135mm zoom ($530) does not provide as much “reach” as the 70-200mm models but it does include some shorter focal lengths. It’s quite compact and not very heavy but still meets pro standards in terms of all-metal construction and the quality of the focus/zooming mechanisms. A “clutch” allows for quickly shifting between AF and manual focus by moving the focus ring about one centimeter. The metal tripod mounting collar is not removable so its weight is reflected in the specifications for the lens.

While a longer 70-200mm zoom is more useful for some purposes, the 50-135mm Tokina lens provided an 80-216mm equivalent on an EOS digital SLR; that's plenty for many types of subjects. The wide f/2.8 aperture allowed me to shoot at ISO 1000 even when I needed to use a shutter speed of 1/250 sec. in low light; my letter size prints are excellent. (At 62mm, f/2.8.) (c) 2009 Peter K. Burian

This f/2.8 Tokina zoom is equipped with three Super Low Dispersion (SD) glass elements to correct for chromatic aberrations and to focus all colors of light accurately at the sensor plane. Note too, that Tokina employs a new type of coating on the front element; this makes it very easy to remove fingerprints and water droplets. Extensive use of multi-layer chemical coatings plus an over-sized lens hood combine to minimize flare for snappy contrast even in strong side-lighting. (Check the full Specs at THK Photo Products, Inc.. This lens is available in EOS and Nikon mount.)

This is another lens with internal focusing and zooming; the front element does not rotate and the barrel never protrudes. This design–and the very wide maximum aperture–helps to accelerate autofocus. While it’s not equipped with an ultrasonic AF motor, I found that autofocus was quite quick and reliable. This 80-216mm equivalent zoom is too short for most action photography but it is compatible with the Kenko Pro 1.4x and 2x teleconverter; those accessories would make it more versatile.

Evaluation: The mechanical and optical materials are really first-rate so there’s no need to use specific apertures or focal lengths for optimal image quality. This level of consistency is a sign of a very well designed lens. While there is a bit of shading (darkening at the corners), that’s noticeable only at f/2.8 and f/3.5. Clarity, sharpness and resolution of fine detail are all very good, particularly from f/4 to f/11. My best images made for richly-detailed 12×18″ prints that look great even under close scrutiny.

The Tokina zoom produced very fine image quality at f/4 to f/11 at any focal length, so the resulting images made for excellent prints in sizes up to 12x18". While this lens is not equipped with a focus motor, that's a problem only for owners of certain Nikon DSLRs. (At 62mm, f/10, 1/200 sec., ISO 400; flash.) (c) 2009 Peter K. Burian

The manufacturer of Tokina lenses (the Tokina, Hoya, Kenko consortium) is not as prolific as Sigma and Tamron in introducing many new products each year. The 50-135mm f/2.8 zoom, for instance, was released in November 2006 and the model for Nikon does not include the motor required for autofocus with the D40, D40x, D60, D5000 and future affordable Nikon DSLRs. (Some of the newer Tokina lenses are equipped with the focus motor so they provide AF with any DSLR.) In all other aspects the Tokina brand definitely deserves your consideration. Like every AT-X zoom I have tested since 1999 the 50-135mm lens should certainly satisfy many serious shooters.

Pro’s and Con’s: This lens’ strong points include an all metal barrel, three high-grade SD elements and a high degree of consistency at all apertures/focal lengths. Drawbacks include the lack of ultrasonic AF and the AF motor necessary with some Nikon cameras; note too, that the tripod mounting collar is not removable as it is with the longer zooms, so it always adds slightly to the weight of the lens. Still, the Tokina 50-135mm f/2.8 zoom is relatively compact/lightweight, especially when compared to a 70-200mm lens.

Nikon 17-55mm f/2.8G ED-IF AF-S DX

A “standard” zoom with a wide maximum aperture, this lens Nikon 17-55mm f/2.8G ED-IF AF-S DX Nikkor Zoom Lens was designed to attract professional photographers who often shoot in low light. Built to withstand extensive use under difficult conditions, the rugged all-metal barrel includes three Extra-low Dispersion (ED) glass elements plus three aspherical to correct all types of optical aberrations and distortion. An over-sized lens hood plus extensive multilayer coating provide very effective protection against flare.

Fit and finish are first-class in all respects. The wide, rubberized focus and zoom rings provide buttery-smooth operation with lots of friction. The internal barrel does protrude slightly at the 17mm zoom setting but does not rotate during focusing. Rubber seals provide protection against moisture, extreme humidity and dust. Internal focusing plus an ultrasonic Silent Wave Motor (SWM) enable unusually fast autofocus; manual override is possible in AF mode. Particularly when used with a high-end DSLR (with a superior AF system), this wide aperture lens provides instant focusing even in low light.

Even at the maximum aperture required for fast shutter speeds in low light, the Nikon zoom provides unusually high sharpness/resolution in the central 2/3 of the image area. In fact, at wide apertures, this is one of the best "standard" zoom lenses that I have ever tested. (At 26mm, f/2.8, 1/180 sec., ISO 1600.) (c) 2009 Peter K. Burian

Evaluation: As you might expect from a lens used by numerous photojournalists and other professionals, this one can provide superlative image quality. Particularly in the 28-55mm range, sharpness is very high in the central two-thirds of the image area even at f/2.8. In the f/4 to f/11 range, edge sharpness and brightness are excellent as well; the images would be perfect for making 16×24″ outputs for publication or for wall decor. Even at the shorter focal lengths, the Nikon lens provides fine performance; images made at 17mm to 27mm at f/4 to f/11 produced very good 13×19″ inkjet prints.

Stopping down to the f/4 to f/11 range allowed the Nikon lens to provide impressive quality across the entire frame at short focal lengths, and even better in the 28-55mm range. (At 17mm, f/f/10, 1/20 sec. Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

This Nikon zoom is large/heavy but well-balanced when used with a hefty camera like the D300. Unless you need a pro-calibre f/2.8 zoom, you might be just as happy with Nikon’s AF-S DX 16-85mm f/3.5-5.6 ED VR II. That lens costs about half as much and is smaller/lighter, more versatile and includes an image stabilizer; it’s also capable of providing very fine image quality. On the other hand, an aperture of f/2.8 is valuable in low light, for faster shutter speeds that will more effectively “freeze” a moving subject without the need for a higher ISO level.

Pros and Cons: Aside from the size/weight this Nikon zoom is just about perfect in terms of construction, optical technology and autofocus. Considering the upscale price (about $1400) however, I would also have appreciated a Vibration Reduction stabilizer. Optical performance could be even better at short focal lengths, I suppose, but that’s probably nitpicking.

Sigma AF 30mm f/1.4 EX HSM DC

One of the relatively few f/1.4 lenses designed exclusively for DSLRs with “small” sensors, this 30mm model Sigma 30mm f/1.4 EX DC HSM Lens for Canon Digital SLR Cameras features a huge maximum aperture; it’s two stops wider than f/2.8. That’s interesting but consider the practical value: when using the same ISO level, this lens allows for shooting at a shutter speed that’s four times faster. Compare this Sigma lens to one with a maximum aperture of f/5.6 and the f/1.4 lens allows you to shoot at a shutter speed that’s sixteen times faster. That’s great for low light photography when a tripod or flash is prohibited or impractical.

As with any f/1.4 lens, depth of field is extremely shallow at f/1.4 in close focusing so only the focused plane is really sharp. That's due to an optical characteristic and is not a performance issue. Granted, the Sigma lens does provide better results at smaller apertures, but f/1.4 can be very useful in low light photography. (At f/1.4.) (c) 2009 Peter K. Burian

Photographers who use film camera often own a wide aperture 50mm lens and this 30mm lens is roughly equivalent to that because of the smaller DSLR sensors. Optical aberrations can seriously degrade image quality at f/1.4 to f/2 so this lens includes two pieces of Special Low Dispersion glass plus two Aspherical elements. In order to maximize autofocus speed, Sigma installed their Hyper Sonic Motor for very fast, silent autofocus with Canon, Nikon or Sigma DSLRs. Because the huge aperture transmits a great deal of light to the camera, autofocus is reliable even in dark locations.

Note: A nearly identical model is available in Sony/Maxxum and Pentax mounts but does not include the Hypersonic AF motor so autofocus is not as fast or as quiet. (The full Specs are available at Sigma)

Although this lens with metal barrel is larger/heavier than you would expect, it’s still very portable when compared to most zooms. The wide, rubberized focus ring has a smooth action and the front element does not rotate. Manual focus override is possible in AF mode, convenient for quickly making minor changes when necessary. Because of the unusually wide lens aperture, the viewfinder provides a particularly bright view of a subject even in low light and autofocus remains quite fast.

Evaluation: In order to maximize the lens’ primary feature, I often worked at f/1.4 to f/2 while taking photos at various indoor events. At these f/stops, image quality is highly acceptable but not perfect. Sharpness in the central 60% of the frame is very good but there’s some obvious softness at the edges. Darkening at the corners is noticeable in photos of light-toned subjects but it’s not really visible with more typical scenes. After some work in Photoshop, my best shots made for very nice 8×10″ glossies.

At the most commonly used apertures, the Sigma lens produced excellent image quality; in fact, it's better than many zoom lenses in this respect. (At f/9, 1/50 sec., ISO 100; Hoya digitally optimized Circular Polarizer.) (c) 2009 Peter K. Burian

Switching to f/4 provides more even brightness and sharpness across the frame. Optimum quality is available at f/8, suitable for making very good 13×19″ glossies. While some of the Sigma EX-series zooms provide even better results — and greater versatility in focal lengths — none feature an aperture wider than f/2.8. And that’s what makes an f/1.4 lens preferable as a problem solving tool. If you often shoot in dark locations where flash and a tripod are not practical, this compact Sigma lens deserves a spot in your camera bag.

Pro’s and Con’s: This is a fine lens particularly at the most commonly-used apertures and autofocus is very fast in the models equipped with the HSM motor. While edge sharpness/brightness could be better at very wide apertures, the Sigma f/1.4 model offers good value for the price (under $450), considering it’s high-grade construction and optical elements.

The Bottom Line

Not everyone needs a large, heavy and pricey “fast” lens because many zooms–and some DLSR bodies–incorporate an image stabilizer. That system reduces the need for fast shutter speeds to prevent blurring from camera shake. Granted, the faster shutter speed provided by a wide aperture is valuable in a lens that will be used for action photography. In any event, I’ll summarize my findings briefly, as follows.

The Tokina 50-135mm f/2.8 zoom is too short for that purpose unless used with teleconverters and those are not inexpensive. Still, this would be a fine choice for anyone who appreciates the focal length range available with this rugged, reasonably affordable and compact f/2.8 lens.

The Tamron and Canon 70-200mm models are fine performers with the latter holding an edge in terms of portability, AF speed/reliability, some aspects of image quality and its built-in stabilizer. But the Tamron zoom’s f/2.8 aperture is more attractive for low light photography and for those who often use a teleconverter.

The Nikon 17-55mm zoom and the Sigma 30mm lens are not directly comparable to any of the others and they’re not “mass market” products. But if you often shoot indoors without flash or a tripod, the Sigma model might be worth considering. While image quality is best at smaller apertures, the ability to shoot at f/1.4 can be a valuable problem-solver in some situations. As suggested earlier, a more affordable Nikon zoom with Vibration Reduction stabilizer might be more appealing to many shooters than the expensive f/2.8 model that I tested. The pro grade zoom certainly has merits of course and it would be a fine choice for those who need tank-like construction and often photograph moving subjects in low light.

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Canon EF 70-200mm f/2.8L IS USM Telephoto Zoom Lens for Canon SLR Cameras

Photo Zone

The Canon EF 70-200mm f/2.8 USM IS is a very good lens but not a stellar one. The resolution characteristic is excellent at 70mm and 135mm but at 200mm it disappoints – more so regarding its price tag. The results are still very good here (just at f/2.8) but when putting things into perspective (e.g. vs the superb EF 70-200mm f/4 USM L IS) the delivered quality is not overly impressive. Based on the performance at 200mm the potential with tele converters seems “limited”. Lateral chromatic aberrations (CAs) are relatively well controlled but, again, inferior to the in-house competition (inc. its predecessor). Distortions are nothing to worry about as is vignetting. The build quality of the lens is superb and the IS as well as the very fast AF makes it a joy to use. If only it was better at 200mm. READ FULL REVIEW

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

SLR Gear

By any measure, the Canon EF 70-200mm f/2.8L IS USM is an excellent lens. It shares its focal length range with three other Canon lenses, covering all combinations of f/2.8 – f/4 and IS vs non-IS. The 70-200mm f/2.8L IS is a large, heavy beast, but it’s the only way to go if you need a combination of 70-200mm zoom, IS, and a fast f/2.8 maximum aperture. If your budget can’t quite afford the f/2.8L, either f/4L version is an excellent value. Highly recommended, all around. READ FULL REVIEW

Digital Photography Review

The Canon 70-200mm F2.8 L IS USM is quite simply an excellent lens, which will reward users with quality images in almost every situation. … Considering that this lens also has build quality at least on a par with anything comparable (including dust and moisture sealing), plus superb autofocus and image stabilization systems, it seems fair to say the it’s probably the most all-round accomplished full-frame 35mm fast tele-zoom currently available. The only real negative is a certain susceptibility to flare with strong light sources either in or close to the frame, as can only be expected from such a complex design. Ultimately, the biggest factor against the Canon 70-200mm F2.8 L IS USM is its price. … However the F2.8 IS version covers all the bases, and for Canon users seeking a top quality tele-zoom, it is quite simply peerless. READ FULL REVIEW

Digital Picture

The Canon EF 70-200mm f/2.8 L IS USM Lens is my favorite and most-used lens. Combining a very popular and very useful focal length range with excellent image quality, professional build quality, superb autofocus performance, a fast aperture and one of my favorite features – Canon’s valuable 3-stop Image Stabilization – makes the 70-200 IS one of Canon’s most desired lenses. When I really need to make every shot count, the 70-200 IS is one of the first lenses I will include in my bag. It is one of the most-professionally-used lenses available and finds a home in the kit of many, many serious amateurs as well. READ FULL REVIEW

Pop Photo

Image stabilization function gave very similar (i.e., excellent) results in the areas of speed, noise, sharpness, and focusing accuracy compared to previously tested Canon IS lenses. With nonmoving subjects, all of our handheld pictures were in sharp focus at all tested focal lengths (70-, 135-, and 200mm) at shutter speeds as slow as 1/25 sec. Even at 1/4 sec, 75 percent of the handheld test pictures were deemed sharp at 70mm. If you can deal with the extra weight and cost, this lens delivers on its promise of sharper pictures at slower shutter speeds. READ FULL REVIEW

Shutterbug

The EF 70-200mm f/2.8L IS USM produced extremely sharp images with excellent color rendition. As expected, this zoom produced incredibly high sharpness across the entire frame at all apertures and focal lengths. READ FULL REVIEW

Ken Rockwell

It’s a giant, high-performance lens. This is the general purpose tele zoom used by most pros who use Canon. Of course Canon is going to ensure that this lens is as good as it can be, since it’s the lens by which most pros judge an entire camera company. READ FULL REVIEW

Get information and user reviews for this lens from Amazon: Canon EF 28-300mm f/3.5-5.6L IS USM Lens

Photo Zone

The Canon EF 28-300mm f/3.5-5.6 USM L IS is an impressive extreme range zoom. The optical quality is on a very high though not exceptional level. The resolution figures are generally very good without any major flaws. Vignetting, CAs and even distortions are very well under control. The build quality is exceptional though some may not like the push-pull zoom design. … The 3rd generation IS is a significant and highly welcome addition to the feature list. On the downside the lens is heavy and not exactly small especially when used at 300mm – not exactly a low profile lens. The price lifts it beyond the reach of most amateurs but then this is true for many L grade lenses out there. … So if you can live with its limitations and the price tag it is surely worth a deeper look! READ FULL REVIEW

Other Canon 28-300 f/3.5-5.6 USM L IS EF Reviews

Digital Picture:

Because of its super-long focal length zoom range, the Canon EF 28-300mm f/3.5-5.6 L IS USM Lens has a super long list of uses. The 28-300 L is the best Canon do-everything-with-one-lens lens available. The Canon EF 28-300mm f/3.5-5.6 L IS USM Lens covers most of the most commonly used focal lengths in a single lens. The Canon EF 28-300mm f/3.5-5.6 L IS USM Lens reaches the heavyweight class in my personal opinion (3.7 lbs). It is not huge in size, but definitely feels substantial in your hand. With its huge range of available focal lengths, the Canon EF 28-300mm f/3.5-5.6 L IS USM Lens is going to get pictures for you that you might not otherwise have captured with any other set of shorter focal length range lenses – because of the effort/time required to carry/change lenses. … READ FULL REVIEW

Luminous Landscape:

It’s big, it’s heavy and it’s expensive. All aspects of performance at the wide end of the lens’ focal range are modest, though it improves to quite decent levels at mid and long focal lengths. I am certain that there are photographers who will find that this lens’ performance meets their needs, and for whom its physical and financial challenges are acceptable. But for many photographers two separate high quality zoom lens may well prove to be a preferable solution READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Canon Zoom Telephoto EF 100-400mm f/4.5-5.6L IS (Image Stabilizer) USM Autofocus Lens

Photo Zone

The Canon EF 100-400mm f/4.5-5.6 USM L IS is a very good performer with few weaknesses … that’s assuming you get a good sample – the first tested sample was mediocre whereas the second one performed very fine. The resolution of the lens is on a very high level throughout the zoom range with only a marginal performance penalty at 400mm. Vignetting, distortions and CAs aren’t really field relevant on an APS-C DSLR. Typical for Canon L grade lenses the build quality is great. However, you may need to get used to the push-pull zoom mechanism which is a bit unusual these days. Regarding the sum of its characteristics the EF 100-400L is THE still portable super-tele zoom for Canon users. READ FULL REVIEW

Other Canon 100-400mm f/4.5-5.6L IS USM EF Reviews

SLR Gear

It’s not surprising to hear people swear by this lens: in 1998, there wouldn’t have been much else in the price range that would have been as sharp. The push-pull design doesn’t appeal to everyone for a variety of reasons, but it’s hard to deny the lens’ obvious versatility. The only deciding factor in a purchase of this lens would be the quality of the sample you’re considering, as we mentioned previously, this is a lens that seems to have a fairly high sample inconsistency, so you should try and make sure you can return the lens if you’re not happy with the results you’re getting. That said, if you can find a good copy, you shouldn’t be disappointed. READ FULL REVIEW

Digital Picture

The Canon EF 100-400mm f/4.5-5.6 L IS USM Lens has an excellent focal length range that includes the longest focal length found in a Canon zoom lens. This long focal length and focal length range combine with very good image and build quality to make the 100-400 one of the most popular serious wildlife and sports lenses Canon sells. … Weighing 3 lb (1,380g) and measuring 3.6″ x 7.4″ (92.0 x 189.0)(DxL retracted), the 100-400 is solidly built and feels like it. One of my favorite lens features found on the 100-400 is image stabilization. … Considering the focal length range of this lens, the sharpness delivered is simply excellent. The wide focal length range and long max focal length make the Canon EF 100-400mm f/4.5-5.6 L IS USM Lens a highly versatile and a very popular lens. This is one of the lenses I most-frequently recommend. READ FULL REVIEW

Pop Photo

The one question mark on this lens is optical performance at the smallest apertures at 400mm. As this lens is obviously intended for substantial handheld use, we would not consider this a major flaw. Optical performance in every other case is a fine balance of sharpness and contrast, with minimal flare and light falloff. The added, very real benefit of Canon’s dual-mode image stabilization will make this pricey lens attractive to serious nature and sports photographers-for that matter, any photographer looking for a handholdable long tele-zoom. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Canon EF-S 18-200mm f/3.5-5.6 IS Standard Zoom Lens for Canon DSLR Cameras

Photo Review

A general-purpose lens with an extended zoom range for Canon’s DSLR camera bodies with ‘APS-C-sized’ image sensors. Designed to provide a wide zoom range in a compact and lightweight form factor, Canon’s EF-S18-200mm f/3.5-5.6 IS telephoto zoom lens can only be used with cameras that have ‘APS-C-sized’ image sensors. Supporting a zoom range of approximately 11 times, it covers a focal length equivalent to 29-320mm in 35mm format but weighs only 595 grams. Built-in image stabilisation provides approximately four f-stops of shutter speed advantage and the stabilisation system can detect when the camera is panned. READ FULL REVIEW

Other Canon 18-200mm f/3.5-5.6 IS EF-S Reviews

SLR Gear

To sum up, the Canon 18-200mm Æ’/3.5-5.6 IS offers slightly better performance than we’re accustomed to seeing with vacation lenses, with image stabilization thrown into a very portable form factor. Users who seek optical perfection shouldn’t flock to this lens, but when used stopped down by one or two stops, it’ll give fairly impressive results. On its own, it’s a decent lens, but users considering replacing a kit 18-55mm IS lens with this model should consider the 55-250mm IS if they’re not adverse to switching lenses, and have room for it in their bag. Between the two-lens combination There’s as much and more range covered, and the optical performance between the two lenses exceeds that of the 18-200mm IS. But if you absolutely can only bring one lens, then you won’t be let down by the 18-200mm Æ’/3.5-5.6 IS. READ FULL REVIEW

Digital Photography Preview

The EF-S 18-200mm F3.5-5.6 IS is a lens which many Canon users have been waiting for with great anticipation … Wideangle performance is distinctly mediocre due to a combination of barrel distortion, chromatic aberration, and softness at wide apertures; and while the lens is respectably sharp at longer focal lengths, this is tempered by pincushion distortion around 50mm and chromatic aberration at 200mm. … it’s also important to appreciate the positives. First and foremost is that hugely flexible zoom range … The superb image stabilizer extends the capability of the lens still further, allowing you to keep the lens stopped down to optimum apertures for longer as light levels drop. So overall, this lens has to be accepted for what it is: a general purpose solution which allows the photographer not to worry about fiddling around changing lenses when out traveling, but which makes inevitable optical compromises to achieve this goal. READ FULL REVIEW

If you own or have used this camera, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Canon EF 50mm f1.4 USM Standard & Medium Telephoto Lens for Canon SLR Cameras

Photo Zone

The EF 50mm f/1.4 USM showed an almost flawless performance during the lab- and field-tests both in terms of optical and mechanical quality. If I had to list a few negative points it would be vignetting and low contrast at f/1.4. So if you’re looking for a lens in this class the EF 50mm f/1.4 USM is a great option. READ FULL REVIEW

Other Canon 50mm f/1.4 USM EF Reviews

SLRGear

The Canon 50mm f/1.4 can produce photos that are sharp from corner to corner from f/2.8 through f/16, and photos with good center sharpness at f/2. The rather poor f/1.4 sharpness performance is disappointing though, even surprising for an otherwise very sharp lens. Very acceptable chromatic aberration and vignetting performances across its aperture range and low geometric distortion add to the usefulness of this lens. Bottom line, it’s really an excellent performer, as long as you don’t care about sharp images at f/1.4. In fact, the best way of thinking about the Canon 50mm f/1.4 is that it’s an excellent f/2.0 lens, with a “special effect” soft-focus option at f/1.4! READ FULL REVIEW

DPReview

So ultimately this is a lens which has its own distinct strengths; it’s ideal for users looking to buy a relatively small, lightweight prime, in order to gain image quality simply unavailable on a zoom for the same price. It’s an excellent companion to full-frame DSLRs, especially the EOS 5D (and indeed demonstrates that full-frame cameras don’t necessarily demand prohibitively expensive lenses); it also doubles pretty well as a portrait lens on APS-C cameras. Overall, it’s a strong performer, and (perhaps most importantly) optically far superior to any inexpensive kit zoom lens. READ FULL REVIEW

Photo.net

If you are going to limit yourself to one 50mm prime lens, this is the natural choice. It is reasonably light in weight, a joy to focus manually or automatically, has an 8-blade diaphragm so that out-of-focus highlights look natural (good “bokeh”), and takes a bayonet lens hood. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Get information and user reviews for this lens from Amazon: Canon EF 24-70mm f/2.8L USM Standard Zoom Lens for Canon SLR Cameras

Photo Zone

The Canon EF 24-70mm f/2.8 USM L proved to be a worthy representative of the pro-grade lens league … if you can get a good sample. During the last two years four lenses has seen the lab with only one within specs – this is disappointing especially for a lens of this price class. If you ´re lucky enough to get a decent sample you can expect a very high performance level, especially when stopped down a bit. Distortions, vignetting and CAs are well-controlled. The build quality is superb with only the reverse zoom extension as a minor downside. Even so the 24-70mm range is not all that attractive on APS-C DSLRs (39-112mm) – the EF-S 17-55mm f/2.8 USM IS is a better and cheaper bet except regarding build quality. READ FULL REVIEW

Other Canon 24-70mm f/2.8L USM EF Reviews

SLR Gear

The Canon 24-70mm f/2.8 lens is just an exceptional optic. On the sub-frame EOS-20D, the lens was tack sharp across the entire frame wide open, from 24-50mm. At 70mm, it softened slightly at f/2.8, but stopping down just to f/4.0 it was again excellent, and at f/5.6 it was superb. Spending a lot of money on a lens isn’t always a guarantee of good performance, but in the case of the Canon 24-70mm f/2.8, every penny of its price is more than justified. READ FULL REVIEW

Digital Picture

The Canon EF 24-70mm f/2.8 L USM Lens is an impressively high performing zoom lens. … Sporting a red Canon L Series Lens ring, the Canon EF 24-70mm f/2.8 L USM Lens’ build and mechanical quality are top of the line. The solid 24-70 L focuses quietly and very fast thanks to Ring USM (Ultrasonic Motor) that also facilitates FTM (Full-Time Manual) focusing. Focus and zoom rings are nicely-sized and operate smoothly. Weather sealing (when attached to a weather sealed body) completes the physical quality package. The Canon EF 24-70mm f/2.8 L USM Lens is very sharp for a zoom lens. The biggest downside of the 24-70 L (in my opinion) is it’s size and weight. With its large lens hood, this lens is not small or light when used as a walk-around lens. All that said, I think the Canon EF 24-70mm f/2.8 L USM Lens is one of the best Canon walk-around/all-purpose lens made. READ FULL REVIEW

Photo.net

The Canon 24-70/2.8L lens is Canon’s fastest and highest quality mid-range zoom lens. It is designed for full-frame digital SLRs such as the Canon EOS 5D. Producing a high quality high speed zoom lens that goes as wide as 24mm is challenging, but the “L” in “Canon 24-70L” assures you of professional quality images, rugged construction, and substantial weather-proofing. The 24mm wide end is wide enough to be dramatic, but the 70mm long end is not long enough for flattering portraits. The bulk and weight of this lens make it a poor choice for travel; we recommend the Canon EF 24-105mm f/4 L IS USM as an alternative. READ FULL REVIEW

Pop Photo

While its high distortion levels at 24- and 70mm may compromise its usefulness for architectural photography, this lens provides extremely high image quality for general shooting. Extending its wide end to 24mm will undoubtedly broaden its appeal, especially among digital SLR shooters. READ FULL REVIEW

Luminous Landscape

We were surprised though when we saw little apparent vignetting by the new lens when used at the same aperture. Score one – and a big one – for the new lens. Given that the old 28-70mm has long been considered a stellar performer – one of the most highly regarded mid-range fast zooms – to have it trumped so decisively by the new 24-70mm is quite a surprise. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Photo Zone

I was quite sceptical regarding this lens. Not so much because I expected a bad performance but what to do with this lens. I’ve to admit that after a week of testing I’m in love and it’ll be very hard to part with it again. Isolating objects via ultra-large aperture settings is more fun than I ever imagined. Besides the performance of this lens is exceptional with scaringly sharp results (from f/2.8 and up) and a super-smooth bokeh. The build quality is, naturally, up to pro standards. Regarding its price tag it is certainly not a mainstream lens but if you belong to the financially-gifted you may consider to take a long, deep look at this lens. READ FULL REVIEW

Other Canon 85mm f/1.2 USM L EF Reviews

SLRGear

We had more fun with this lens than many we test, its f/1.2 maximum aperture and super-soft bokeh (rendering of out-of-focus elements) make it a superb portrait lens, one that makes the background practically go away when you’re shooting with it wide open. That said, it isn’t a lens that’s tack-sharp wide open, at least not in the corners of the frame, even on a sub-frame camera. It actually is fairly sharp at the center wide open, but the softness in the corners is noticeable. Mechanically, the build quality is excellent, and manual focus operation is very smooth and precise. Autofocus is likewise very quick, thanks to its ultrasonic motor. Do note that this is a big, heavy hunk of glass, it probably isn’t a lens you’d enjoy hand-holding for a full day. READ FULL REVIEW

Shutterbug

Do you need a lens like this? If you are a professional photographer the stunning image quality Canon’s EF 85mm f/1.2L II USM delivers is what you want and your clients expect. If you shoot weddings and portraits, the ability to capture luminous low-light portraits gives you an edge in capturing that decisive moment, and can make the different between a good shot and a great one. Do you want a lens like this? Oh yeah, but it’s still heavy. READ FULL REVIEW

Photo.net

The lens was redesigned early in 2006 and now carries a “II” designation. The earlier version of the lens was a very high quality optic, but the new version, at a slightly increased price, offers improved autofocus speed and transmits focus distance information to the camera, increasing the accuracy of flash exposure. The Canon 85/1.2L has the kind of rugged mechanical construction that you would expect given the heavy chunks of glass inside. READ FULL REVIEW

KenRockwell

This grapefruit-sized behemoth is a very special purpose lens designed for people who intend to use it wide open most of the time, and are willing to pay for that in many ways. You people know who you are. If you have to ask, then this lens isn’t for you. If you know who you are and think you need one of these, go get one today. Its optics are extraordinary, even wide open. Point sources of light stay points, even at f/1.2 in the farthest corners, even full-frame. Most of this review is written for normal people explaining why this lens is great, but mostly for crazies like you. READ FULL REVIEW

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Canon EF 70-300mm f/4-5.6 IS USM Lens for Canon EOS SLR Cameras

Photo Review

An affordable long-zoom lens with two effective image stabilisation modes. Released concurrently with the EOS 5D, Canon’s EF 70-300mm f/4-5.6 IS USM telephoto zoom lens replaces the 10-year-old EF 75-300mm f/4-5.6 IS USM lens. We tested it on Canon’s new EOS 30D, where it covered a focal length range equivalent to 112-480mm in 35mm film format. The new lens combines ultra-low dispersion (UD) and aspherical lens elements and includes an improved optical image stabiliser (IS) that allows users to shoot at approximately three shutter speed increments slower than a non-stabilised lens. This is a one-stop improvement over its predecessor. READ FULL REVIEW

Other Canon 70-300mm f/4.5-5.6 EF IS USM Reviews

Photo Zone

The performance of the Canon EF 70-300mm f/4-5.6 USM IS came as a total surprise. Unlike its predecessor the lens is capable to produce a very high performance throughout the zoom range without the significant drop in quality at 300mm typical for most consumer grade lenses in this range. It seems as if the new UD element helps to lift the optical quality significantly. Distortions, CAs as well as vignetting are also very respectable. So in terms of optical quality the EF 70-300mm IS can be almost described as a hidden Canon L lens. As much as it may promise here its build quality remains in line to what you can expect from a consumer grade lens and the small max. aperture is limiting its scope. … However, if you’re looking for a very good, light-weight tele zoom e.g. for travel photography this lens should be high on your shopping list. READ FULL REVIEW

SLR Gear

When we ran this lens through its paces in our lab, we were flat-out astonished by the optical quality it delivered. Were it not for the largely plastic body construction, we’d say that Canon has mislabeled this lens: It really delivers L-glass performance. That plus a very effective image stabilization system make this an amazing bargain at its typical street prices. Bottom line, while it has a few minor limitations, and has rather small maximum apertures, the Canon EF 70-300mm f/4-5.6 IS USM is one of the outstanding bargains of Canon’s entire lens lineup. READ FULL REVIEW