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Aug

Review : Sigma 24-35mm F/2 DG HSM ART Lens

Categories: Uncategorized

Tags: Art Lens, Art Lens Review, Canon, lens, lens review, nikon, Sigma, Sigma 24-35mm F/2 DG HSM ART Lens, Sigma lens, Sigma review

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At the end of July 2015 the eagerly awaited Sigma 24-35mm F/2 DG HSM Art Lens will be released. This lens will be offered for Nikon, Canon and Sigma lens mounts and is compatible with Sigma’s mount swapping service. What has photographers chomping to get their hands on this lens it will be the first constant aperture f/2.0 zoom lens designed for the DSLR full frame cameras, meaning in plain English you will get three prime lenses in one with this unique innovation.

There is no need to swap lenses with the Sigma 23-35mm F/2 as you will have a 24mm, 28mm and 35mm all in one lens. Those who have been lucky enough to give it a trial run report it is solidly built with excellent sharpness all in one single zoom lens.

Sigma has been knocking it out of the park with their Global Vision Art-series lenses and the Sigma 24-35 F/2 is definitely a home run. This lens produces crisp images and at F/2.0 the only reported issue is a little softening around the edges that clears up as you stop down with a sweet spot sitting at F/4.0 to 5.6 providing ultra-crisp images.

There is very little chromatic aberration and only minor fringing can be seen in the outside corner of the frame. The Sigma 24-35mm F/2 has some vignetting in full frame at f/2.0 but tapers off as you stop down. Barrel distortion was detected which wasn’t surprising considering the wide-angle lens but it is well controlled throughout the focal length with the distortion most noticeable at 24mm focal length. The distortion is well under the 1% average and improves with the longer focal lengths to almost zero barrel distortion.

Physically the Sigma 24-35mm F/2 DG is well built with Sigma’s Thermally Stable Composite material, matte black finish and well gripped focus and zoom rings. This lens is quite hefty because of being so solidly built weighing out at slightly over two pounds. This makes the lens heavy on the camera with 18 lenses in 13 groups with 9-bladed circular aperture diaphragm, a single flurite like glass element , seven SLD elements and at least one aspherical lens but it is a shorter lens so it isn’t overly awkward or unbalanced.

Sigma continued with their Hyper Sonic Motor drive in the 24-35mm F/2 providing the quick and quiet autofocus. The AF motor is virtually silent and you can feel it more than hear it working. Naturally there is the standard manual focusing with distance scale and an AF/MF switch right on the barrel and 90 degrees of rotation on the manual focus ring.

The early reviews are good for the Sigma 24-35mm F/2 DG SHM Art Lens. Those lucky enough to have tested this full-frame three in one lens are excited about the build quality but also the outstanding performance with only slight barrel distortion, vignetting and limited chromatic aberration that most people wouldn’t notice but in testing it was pixel scoped. It will be a big hit when it hits the stores at the end of the month.

Set your price on the Sigma 24-35mm F/2 DG HSM ART Lens with Greentoe here.

Jun

Which Camera Should You Buy?

Categories: Uncategorized

Tags: bridge cameras, camera buying, camera reviews, Canon, cookpix, DSLR, mirrorless, nikon, nikon 5500, nikon 7500, p&s, panasonic fz1000, panasonic lx100, point and shoot, ricoh gr, sony a7 II, sony camera, sony rx10

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Written By Guest Blogger Arsalan Uljamil

As a person accused of spending way too much time and money on photography, I’m usually the one that my friends and family reach out to when they are planning to get a new camera. They are either graduating from their phone camera or looking to upgrade their current camera to a better one but surprisingly almost all of them have the same thought, that if they get a DSLR their pictures will magically transform from snapshots to masterpieces. A few of them in their wisdom even went to the big box store and bought the the Nikon/Canon DSLR with a kit lens and after shooting for few days in “P” (Professional ? 🙂 ) mode wondered why their pictures are no better than before or in some cases even worse.

I think this is a very common misconception that the only way to get better pictures is to get a DSLR and this was probably true few years ago but with the advancements in sensor and processing technologies there are a lot more options nowadays. These include large sensor point and shoots, bridge and mirrorless cameras. Following are some my pick for each category.

Point and Shoot (P&S) Cameras:

Thanks to cell phones cameras this category is about to suffer the same fate as the Dodo but there are still few cameras that are keeping this category alive and kicking.

Sony RX100 III

As the name implies, this is the third camera of Sony’s RX100 line up that is packed with the usual host of features like 1″ 20.1 megapixel sensor, 3″ tilting screen, Wifi and NFC but he crown jewel is the integrated pop-up EVF.

Sony RX100 III is currently my favorite point and shoot camera because it not only has all the features that I look for in a camera but and it produces amazing results but also because it does all this while still remaining pocketable. This camera not only outputs good quality jpegs but also has an option for RAW output for people who like to have full control over their pictures. You can find my complete review of the camera here.

Panasonic LX100

If it wasn’t for the the RX100 III’s small form factor and tilting LCD LX100 would have been my choice of point and shoot camera. It features a large 4/3 sensor coupled with fast 24-75mm (35mm equivalent) f1.7 – f2.8 lens, 3″ fixed LCD screen, EVF, Wi-Fi, NFC and hotshoe. LX100 features multi-aspect sensor that produces 12.1 megapixel photos. On the video side, Panasonic LX100 is currently the only point and shoot camera in the market that can record high quality 4K videos.

Panasonic LX100 is a joy to use and it is definitely a camera made for people who prefer manual controls as the camera features direct control for aperture, shutter speed and exposure compensation. Other functions can be controlled via custom buttons. LX100 does not feature the traditional PASM dial but it can be put into complete auto by setting up both Aperture ring and shutter speed dial to “A” position.

Ricoh GR

Most people have probably never heard of this camera as it is not as mainstream as the Panasonic or Sony but people who want DSLR quality in a pocket camera are well aware of the awesomeness that Ricoh GR brings to the point and shoot genre. Unlike the other two cameras mentioned above it does not have many bells or whistles and does not even have EVF or Wi-Fi but what it does have is an amazing 16.2 megapixel APS-C sensor mated with a sharp 28mm (35mm equivalent) f2.8 prime lens. Though I would have preferred a more traditional 35mm focal length.

GR has the largest sensor out of all the P&S camera (same sized sensor as Nikon D5500 mentioned below) mentioned in this list and still it manages to be pocketable. GR produces jpeg that are balanced but the color tend to be on the muted side so I prefer shooting raw and then editing according to taste.

Sony RX1 / RX1R

When it comes to point and shoot cameras (though it can in a category of its own) Sony RX1 is the king of the hill featuring 24 megapixel Full Frame sensor with an amazing 35mm f2.0 Carl Zeiss prime lens. Like the Ricoh GR, RX1 does not have any bells and whistles to distract the photographer away from what can simply be described as the ultimate photography machine. Both RX1 and RX1R are identical cameras except for that the later one does not have a Optical Low Pass Filter (OLPF) so (in theory) it is capable of producing even sharper pictures. Sony RX1 is without doubt not only the best point and shoot but also the most expensive. At the eye watering $2800 (as for 6/1/2015) is not your mama’s P&S but if it’s the ultimate picture quality you require without dealing with inter-changeable lens cameras, this is your ONLY option.

The only two improvements that I would really like to see in the next generation of this camera is a built-in EVF and a tilting LCD.

Bridge Cameras:

As the name implies bridge cameras are in between P&S cameras and DSLR/Mirrorless interchangeable lens cameras. Though this segment is also seeing a decline in sales it as not as bad as P&S category because it has a niche of high megapixel and high zoom range that appeals to people looking for a compact camera for wildlife or outdoor photography.

Sony RX10

Sony RX10 is the elder brother of RX100 and features similar processor and 20.2 megapixel 1″ sensor but in a large body featuring 24-200mm f/2.8 (35mm equivalent) lens. Camera has a 3″ tiltable LCD on the back. This camera made similar waves in the bridge camera market like the RX100 did in the P&S market. Before the Sony RX10 there have been other cameras in the market that featured a fixed f2.8 lens (like Panasonic FZ200) but they had smaller 1/2.3″ sensor.

RX1 not only produces excellent 20.2 megapixel stills, it also has the ability to record full HD videos in 60 and 24p. RX10 also features similar host of connectivity options like the rest of Sony camera which includes Wifi, NFC etc. The combination of large 1″ sensor and good zoom range makes RX10 a very capable travel camera.

Panasonic FZ1000

Panasonic FZ1000 is the Panasonic’s answer to Sony RX10. Though It features similar 20.1 megapixel 1″ sensor as the RX10 Panasonic added a lot of features that makes it even better choice than the RX10. First of all it has Leica branded 25-400mm f/2.8-4 (35mm Equivalent) lens and even though it is not constant f.28 like the Sony it provides double the zoom range. Secondly, it has fully articulating screen and to top all that Panasonic also added the ability to to record 4K QFHD video at 30 fps. Panasonic FZ1000 also features the DFD (Depth From Defocus) technology that was first seen on the Panasonic GH4. This enables super-fast focusing. The fully articulating LCD is very helpful for video recording and shooting from various angles. The only thing that I miss in this camera is the awesome implementation of touch screen that Panasonic has done on it’s micro 4/3 cameras.

If I was in the market for a bridge camera FZ1000 would have definitely been my first choice.

Nikon Coolpix P900

If you are OK with giving away some of the IQ of RX10/FZ1000 in favor of ridiculous amount of reach then look no further than the Nikon Coolpix P900 that features a humongous 83x zoom that ranges from 24-2000mm (35mm equivalent). Unlike RX10 and FZ1000 Nikon camera features the traditional 1/2.3″ sensor that produces 16 megapixels images. It can also record full HD (1920 x 1080) video in multiple frame rates. It also offers a cool 120 fps video recording mode but the resolution is restricted to 640 x 480p. Like other cameras in this category P900 also features an EVF and host of connectivity options like Wi-Fi and NFC but it the only camera to feature built-in GPS.

On the image front P900 produces good results (for the sensor size) but don’t expect it to compete against cameras with larger sensors (especially in low light) but what it does cannot be replicated by other larger sensor bridge cameras. With its massive 83x optical zoom range, it is an excellent wildlife and birding camera. If you mostly shoot outdoors in good light then Nikon Coolpix P900 is definitely worth checking out.

Note: Due to massive demand for the camera, it is currently not available anywhere in the US but Nikon is expected to ship out more cameras in the coming months.

Mirrorless Cameras:

I’m a big fan of mirrorless cameras as they offer the most options when it comes to camera and sensor sizes. From the tiny 1/2.3″ all the way up to full frame you can find a mirrorless camera to suit your needs. Over the years I have used many mirrroless cameras including Micro 4/3, APS-C and full frame one and they all have their strengths and weaknesses. If portability and quality is your main goal then nothing beats micro 4/3 cameras and lens but on the other hand if you want the absolute IQ of a full frame camera you can find that in mirrorless as well, though you’ll most likely lose the portability and lightness that usually associated with mirrorless cameras.

Fuji X-T1

Without doubt Fuji X-T1 is one of my most favorite camera out of the bunch that I’ve used. It’s a perfect combination of retro styling with modern soul. Fuji X-T1 features 16 megapixel sensor with a Fuji’s proprietary X-Trans color filter on top that gives Fuji output a unique look. Couple that with the ever expending Fuji’s lens line up and you’ve got a perfect image making machine that is just a joy to use.

Fuji X-T1 features 0.5″ 2,360k-Dot 0.77x OLED Viewfinder that is hands down the best and biggest EVF that I’ve used in any mirrorless camera. It is bright and provides very details view of the scene. The only issue I’ve found with it is that in very low light it becomes very grainy but unlike other EVFs it does not lag. Other than the EVF there is also a run of the mill 3″ tilting LCD on the back.

Unlike other mirrorless camera the most unique feature X-T1 is that there are external dials for shutter speed, ISO and exposure compensation and in addition to this almost all Fuji lenses feature an aperture ring (except for XC series lenses). Fuji X-T1 also has wifi functionality but no NFC. It does not have a built-in flash but one is provided with it so you can attach it to the hotshoe.

Fuji X-T1 produces one of the best out of camera jpegs that I’ve ever seen from any camera. Coupled that with various film simulation modes and there is hardly any need to do any post processing or shooting RAW. On the negative side, the video from this camera (in fact any Fuji camera) is just plain horrible with lots of artifacts and moire. You are better off shooting video with one of the newer phones than this camera, it is that bad.

Sony A7 II

When Sony released the original Sony A7 back in 2013 it created a big stir in the camera industry because it was the first ever auto focusing full frame mirrorless camera. In the end of 2014 so unveiled the follow up of A7 camera which was an evolution of the original. It featured the same 24 megapixel full frame sensor but body design was changed to incorporate a better grip and more custom functions. The biggest update that Sony A7 II brought was the inclusion of IBIS (In Body Image Stabilization) which meant that any lens that is attached to the camera will become stabilized. This single feature alone made A7 II an instant hit with the people who had a large collection of legacy lenses or people who prefer using light weight manual legacy glass. Other than the IBIS, A7 II also brought some improvements in the AF department and overall camera performance.

I currently own Sony A7 II and use with some few manual lenses. Thanks to the focus peaking, magnified view and stabilization manual lenses are a joy to use Sony A7 II. Sony A7 II features built-in EVF, 3″ tilting LCD, Wifi and NFC. Unfortunately, it neither has a built-in flash nor one comes with it so if that should be one of the first accessories you should get with it.

The biggest issues with Sony A7 series (FE mount) is the lack of native lenses. Though Sony is working hard to bring out new lenses there isn’t a lot of choice out there, if you want native AF lenses. This issues can somewhat be mitigated by using A-Mount (Sony/Minolta mount) with an adapter. This opens up a lot more choices but due to the adapter the camera system isn’t as small as it is with native lenses. Also, the adapter (Sony LE-EA4) has it’s own AF module and is based on SLT technology so it completely by passes Sony A7 II’s native AF module. On the other hand, if auto focusing is not important, you have a lot more options and you can use almost any lenses from any manufacture with the help of cheap adapters. This include lenses from Nikon, Canon, Leica, Contax, Zeiss, Olympus etc.

Olympus OM-D E-M1

With the availability of large sensor mirrorless cameras available in similar (and cheaper) price range it is difficult to recommend E-M1 based on the ultimate IQ but as a system Micro 4/3 delivers the best portability, lens and body options than any other mirrroless system in the market. I started my photographic journey with Micro 4/3 and through out the years I’ve kept many Micro 4/3 cameras and E-M1 is without doubt was one of the best.

Olympus advertised E-M1 as a “Pro” camera and rightfully so. It features a magnesium alloy body that is dust, splash and freeze proof. It features the typical 16.3 megapixel sensor found in most Micro 4/3 bodies. It also has built-in EVF, a 3″ tilting touchscreen LCD along with the host of connectivity features including Wifi. E-M1 is probably the only camera that was built from ground up to provide better focusing with the legacy 4/3 lenses. Though I’m not sure if there is a very big number of them out there but it did open up a lot more high end lens possibilities for the Micro 4/3 users.

Even though the OM-D E-M1 has the smallest sensor out of the mirrorless cameras that I have on this list, it is no way incapable of producing exceptional results. In good light it produces results that are on par with the rest of the camera but in low light it does lag behind a bit compared to the others. Like Fuji, Olympus jpegs are really nice as well (though I prefer Fuji ones) but if you want the most out of your 16 megapixel images, it is better to shoot RAW specially in low light situation where excessive noise causes lack of detail and other issues.

Like other recent Micro 4/3 cameras Olympus E-M1 is the fastest focusing mirrorless camera out of all cameras in this list and it is the only one that has touchscreen. Also, this camera is one of the most customizable camera that I’ve ever used. You can customized almost all aspects of the camera down to which way the dials should rotate for changing settings.

One of the biggest advantage of Olympus E-M1 over the other mirrorless cameras is the massive lens library that Mirco 4/3 format offers. Everything from pro level f2.8 zooms to fast f1.2 prime lenses, pancake and power zoom lenses Micro 4/3 has it all.

DSLR Cameras:

Using a DSLR is a new thing for me as I’ve been shooting mirrorless cameras since I started photography but as I get more comfortable with seeing the world from a window (OVF) instead of a TV (EVF) and learning to expose correctly without the instant feedback of WYSIWYG EVF/LCD, I’m really enjoying the benefits it offers over the mirrorless systems.

Nikon D750

Considered to be one of the best DSLR that Nikon has produced in a long time, Nikon D750 feature 24.3 megapixel full frame sensor that outputs amazing results in both good and low light. This is Nikon’s first DSLR to feature a 3.2″ tilting screen and built-in Wifi. The camera also offers excellent 51 point auto focusing system that works marvelously for static subjects as well as tracking moving ones. On the video front it offers multiple options included 1920 x 1080p at 60 fps and unlike the cheaper D6xx model it also has power aperture feature (you can change aperture during video recording without existing the Live View).

This is the first DSLR that made me switch from my long term mirrorless systems and from what I’ve read on the forums, I’m not the only mirrorless user who was pulled to the “dark side” by Nikon D750. I currently also own the Sony A7 II that has the same sensor as the D750 but thanks to Nikon processing I’ve found that D750 produces better results specially in low light and when it comes to auto focusing speed, accuracy and operational speed there is simply no comparison Nikon D750 is better in every way.

Nikon 5500

Though Nikon D5500 is an enthusiast level model it is the most technology filled camera model that Nikon has produced. It features an excellent 24.2 megapixel sensor as the D7100/D7200 with no low pass filter that results in exceptionally sharp pictures. Mated with the excellent 39 AF system D5500 is a very capable camera to capture both static and moving subjects. D5500 is Nikon’s first camera to feature fully articulating 3.2″ touch screen that is perfect for video recording and taking pictures from various angles. It also has built-in Wifi but no NFC.

Unfortunately, not everything is rosy as Nikon continues its trend to purposefully exclude certain functions from the lower end bodies to sell more expensive ones. For example even in this day and age when almost all similarly priced (and even cheaper cameras) have built-in support for controlling off-camera flashes D5500 does not have it. Also, there is no power aperture or the ability to fine tune AF. So if your lenses ever need fine tune, you’ll have to send them to Nikon (along with the camera). Similarly, there is built-in Wi-Fi but no NFC, even though D7200 offers both.

With that said, don’t let the negatives scare you away from a very capable camera that offers excellent image quality and enough modern feature to make any camera enthusiast happy.

Conclusion:

I’m sure I’ll get a lot of complaints from my photographer friends because I did not include their favorite camera in the list but just to reiterate that I complied the above list based on my hands on experience with most of the cameras and my research. I haven’t included excellent cameras like Sony A6000, Nikon D7100/D7200, Panasonic GH4, Panasonic GX7, Olympus OM-D E-M5 Mark II and others because I don’t have any personal experience with them but they are all excellent cameras as well and should be included in everyone’s list of new camera research.

With that said, depending on what level you are as a photographer you’ll find a camera in the above list that will suit your requirements. For beginners, I would highly recommend getting a bridge or a mirrroless camera as it would not only be easier to use compared to DSLRs but will also help in learning photography (especially with the WYSIWYG EVF/LCD).

Set Your Price on a New Camera and Greentoe will Negotiate with the Retailers For You: www.greentoe.com

May

Product Review : Canon EF 70-200mm f/2.8L IS II USM Telephoto Zoom Lens

Categories: Uncategorized

Tags: Canon, Canon EF 70-200mm f/2.8L IS II USM Telephoto Zoom Lens, lens, telephoto

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The Canon EF 70-200mm f/2.8L IS II USM Telephoto Zoom Lens is the bomb in the telephoto class of lenses. This hefty lens weighs in at 3.3 pounds and is 7.8 by 3.5 inches without the tripod collar. This is a stationary glass lens meaning it doesn’t telescope out or moves when focusing or zooming, it is done internally. Externally it has two rubber grip rings with the zoom ring being closest to the base or the camera. It is marked with 70, 100, 135 and 200 mm. The second rubber grip is for manual focus. Due to the hefty weight of this lens it works best used on a tripod.

This Canon lens uses an ultrasonic motor to operate. Externally there are several switches and tweeks that can be made. A limiter switch allows you to choose between full or limited focus range from 2.5 meters to infinity. A stabilizer switch is included that can be enabled or change the mode between one and two. The difference is one is for stationary shots while two is designed for motion shots like sports activity.

All this tech talk needs to be broken down to layman terms. A 70-200mm lens gives you the same amount of lens filling experience if an object is 15 feet away (this is the 70mm) or 150 feet away (200 mm). These are the numbers you are looking for when choosing a zoom lens to determine length and quality of the zoom feature.

The f/2.8 refers to F-Stop, a feature of how much light a lens allows into the camera. It is like the opening of an eye, the smaller the number the wider the eye opens and the higher the number the eye is more squinted. The Canon EF 70-200mm f/2.8L IS II USM Telephoto Zoom Lens excels in this arena with the f/2.8. The ability to let in a lot of light allows for sharp clear pics even when fully zoomed. An added bonus to the Canon EF 70-200mm is the sweet bokeh, or photographer talk for background blur. It keeps the subject crisp with a delightful blur that if so sought in photography.

The optical performance of the Canon EF 70-200mm f/2.8L IS II USM Telephoto Zoom Lens exquisite at all ranges with only a slight barrel distortion at 70mm. This gives straight lines a bit of a curve which is not noticeable in action shots but in landscapes or architectural shots where lines are critical you will notice the wobble but it is easily corrected in post processing. This was the only minor complaint about this lens.

This is a lens that becomes a workhorse of a professional photographer for its short and zoom telephoto range. The MSRP of this lens is as hefty as the lens itself at $2,499.00. Those who make a living with their photos won’t hesitate to spend this money because it is worth every penny in the crispness side to side and top to bottom in the entire frame throughout the entire zoom range.

Set your price on a Canon EF 70-200mm f/2.8L IS II USM Telephoto Zoom Lens here: https://www.greentoe.com/CanonEF70-200mmf-2-8LTelephotoZoom

Apr

Product Review : Canon EOS 6D Digital Camera (Body Only)

Categories: Uncategorized

Tags: Camera review, Canon, Canon 6D, Canon review, DSLR, DSLR camera

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Overview

Between expensive and very expensive DSLR fare, the Canon EOS 6D is perhaps one of the more affordable options on the market. Both casual photographers looking for a major upgrade and beginner professionals will benefit from the lower cost and good quality produced by this camera body.

As one of the many inexpensive full frame DSLRs, it does sacrifice a number of basic features found in its professional grade counterparts. What’s left is a pretty good near professional grade DSLR: wireless support for GPS and Wi-Fi, a full frame sensor, HD video and image capture under a high ISO range and continuous shooting at 4.5 frames per second. All of that is contained in a compact, easy to handle body that’s compatible with most lenses.

Underneath a compact chassis is a full frame camera suited for casual and beginner professionals. This camera is especially suited for those who need exceptional video and image quality and wireless connectivity in remote areas.

Key Features: Its full frame sensor, high ISO range and Wi-Fi/GPS connectivity. People looking for a ‘bargain’ full frame DSLR camera with good video and image quality will surely like this one.

Features At A Glance

Full frame CMOS sensor @ 20.2MP
Continuous shooting mode shoots 4.5 frames per second
Manually controlled 1080p HD video recording
11-point AF array system, featuring a one cross-type AF point
3-inch LCD with 1,040,000 dots
Saves to SD memory
ISO Range: Auto, 100 – 25600 in 1/3 stops, including 50, 51200, 102400 as option
Auto-Focus Technology

Pros

The Canon EOS 6D produces great video and photo quality when paired with a great lens, mainly thanks to features like its full-frame sensor.
The body is pretty lightweight, easy to hold and has an overall great design.
Wi-Fi and GPS support make using this camera on the go a pleasure. Its Wi-Fi friendly remote camera control utilizes smartphones and tablets.
The camera also outputs excellent quality RAW and JPEG files across the ISO spectrum.
The Quick Control menu makes accessing its shooting settings rather simple.

Cons

While good quality, video and images are prone to artifacts when it comes to fine detail. Video is considered more prone to artifacts.
The Canon EOS 6D doesn’t include a built-in flash.
Some of the ‘basics’ for cameras of this price aren’t included, such as multiple card slots, full coverage viewfinder and the aforementioned built-in flash.
Burst rate is much slower than its competitors.
Experts may not like the Canon EOS 6D’s 11-point AF array with just one cross-type AF point.
The Canon EOS 6D isn’t compatible with EF-S lenses.

Why Should You Buy Canon EOS 6D Digital Camera (Body Only)?

If you’re a user searching for a good quality full frame DSLR camera, the Canon EOS 6D Digital Camera (Body Only) might be your best bet. It’s perhaps the most affordable at its price range and provides just enough amenities for casual and beginner professional photographers, despite its shortcomings for serious enthusiasts.

Those who need better quality, however, probably won’t like the video and image output of the Canon EOS 6D.

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Apr

Product Review: Canon EF 24-70mm f/2.8L II USM Zoom Lens

Categories: Uncategorized

Tags: camera lens, Canon, Canon EF 24, Canon EF 24-70mm f/2.8L II USM Zoom Lens, Greentoe, lens review

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A good zoom lens can be a bit hard to find… but not if you’re looking for a Canon lens like this one. The Canon EF 24-70mm f/2.8L II USM Zoom Lens gets a bit tricky with distortion at certain shooting thresholds, but it ultimately produces great quality images with its rather fantastic zoom range.

The lens maintains a constant f/2.8 aperture when used through its zoom range. As for performance, the experts agree that it puts on a great optical performance and pairs well with full-frame Canon camera bodies.

Features At A Glance

F Mount L-Series Lens
Aperture Range: constant f/2.8 maximum aperture
Measures 4.4 inches by 3.5 inches, weighs 1.8 pounds
Ultrasonic Focus Motor
Aspherical, Super UD and UD Elements
Compatible with 35mm and Full-Frame Digital Sensor formats
Focal Length: 24 mm to 70 mm
One Shot AF mode allows more accurate auto-focus
Reinforced against the elements, fingerprints and smearing

Key Characteristics

The lens has a build well suited for high quality image output and protects against several elements. Lens measures 4.4 inches by 3.5 inches, weighs 1.8 pounds and outputs high definition images. Front element requires 82mm filters.

Its constructed with reinforced water resistance and dust sealing. The fluorine lens coating on both rear and front lens prevents excessive fingerprint buildup and smearing.

Newer optical design enables the lens to output high quality images, utilizing a Super UD lens elements and two UD lens elements to help reduce chromatic aberration in the lens’ wide angle outer area. This setup also reduces color blurring around edges and helps the camera output better looking images at a high resolution and contrast.

Its 9-blade circular diaphragm helps the camera produce great-looking subtle backgrounds.

Compact and resilient design makes it a suitable lens for packing away and taking on a trip.

Key Features

Fast auto-focusing makes using this with a great camera body more precise – auto-focus utilizes optimized algorithms, ring USM and a high speed CPU.

One Shot AF mode allows more accurate auto-focus in all modes; also features a manual focus override.

Zoom lock level keeps zoom position locked for safer transport.

Aperture L-Series lens uses constant f/2.8 maximum aperture to effectively output images, especially those in low light and with a shallow depth of field.

Pros

The Canon EF 24-70mm f/2.8L II USM Zoom Lens provides sharp-looking images at all zoom ranges.
The lens has constant f/2.8 aperture throughout its entire zoom range.
The design of the lens is relatively compact and can be carried anywhere on the go.

Cons

The Canon EF 24-70mm f/2.8L II USM Zoom Lens isn’t as stabilized as competitors.
Sometimes, this lens produces distortion in images if you set the camera at certain settings. For example, shooting at 24mm produces a slight amount of distortion, as well as shooting at 50 and 70mm.
The lens uses a telescoping design, which isn’t preferred by some experts.

Why Should You Buy Canon EF 24-70mm f/2.8L II USM Zoom Lens?

If you’re looking for a relatively good walk-around lens and don’t mind the price, this lens may be what you’re looking to buy. A good and inexpensive alternative to this lens is its f/4 counterpart, the Canon EF 24-70mm f/4L IS USM.

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Apr

Product Review: Canon EF 16-35mm f/4L IS USM Lens

Categories: Uncategorized

Tags: camera lens, Canon, Canon EF 16-35mm f/4L IS USM lens, low dispersion, protect filter

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Overview

When measured against other Canon lenses, the Canon EF 16-35mm f/4L IS USM Lens looks to be one of the more inexpensive ones. But an inexpensive lens doesn’t mean that its manufacturer took some shortcuts to make the product.

This lens shines when it comes to reducing chromatic abnormalities in images, thanks to its refined components. Its constant f/4 maximum aperture significantly contributes to helping bolster its performance across its entire zoom range—along with its much needed Ultra-Low Dispersion elements and large diameter aspherical element. Rounding out those essentials are its Optical Image Stabilizer, which prevents motion blur and helps capture the best looking wide angled images.

Features At A Glance

EF Mount L-Series Lens
Aperture Range: f/4 maximum aperture
Measures 3.25 inches by 4.44 inches, weighs 1.35 pounds
Optical Image Stabilization
Two UD + Three Aspherical Elements
Compatible with 35mm and Full-Frame Digital Sensor formats
Focal Length: 16 mm to 35 mm
Refined Auto-Focus allows more accurate auto-focus

Key Characteristics

The Canon EF 16-35mm f/4L IS USM Lens is a wide angle zoom lens with a constant f/4 aperture, which provides a consistent performance within its zoom range.

Lens’ optical design includes three aspherical elements: two Ultra-Low Dispersion elements and one large diameter aspherical element. The components help reduce chromatic abnormalities in images and also produce high resolution and sharpness across all edges in images.

Fluorine lens coating on front and rear lenses reduces ghosting and flare, maintaining neutrality in image colors and boosting image contrast.

Its 9-blade circular diaphragm helps the camera produce great-looking out of focus images.

Key Features

Ring-type Ultrasonic AF Motor maintains lens length during use. The lens full-time manual focus override also works to finely tune image precision up to 11 inches within the lens’ zoom range in all modes.

The Canon EF 16-35mm f/4L IS USM Lens also utilizes an optional 77m Canon Protect filter, keeping it resistant against water and dust.

Wide range zoom lens is best used with full-frame and APS-C sensors.

Pros

Constant f/4 aperture provides a consistent performance within its zoom range.

Its three aspherical elements – two Ultra-Low Dispersion elements and one large diameter aspherical element – reduce chromatic abnormalities and also improve image resolution, stabilization and sharpness.

Fluorine lens coating on front and rear lenses reduces ghosting and flare, while maintaining color neutrality and boosting image contrast.

The Canon EF 16-35mm f/4L IS USM Lens, when paired with the optional 77m Canon Protect filter, is resistant against water and dust.

The lens’ full-time manual focus override finely tunes image precision up to 11 inches within the lens’ zoom range in all modes.

Cons

The Canon EF 16-35mm f/4L IS USM Lens is considered heavier than competitors.

Sometimes, this lens doesn’t output enough sharpness in images. For example, images shot by this lens aren’t as sharp in the corners as some experts would like.

The lens is dust and water resistant with an optional Canon Protect filter when competitors are already built with such features.

Its f/4 aperture may not be enough for most image shooting scenarios, as f/2.8 is preferred.

Why Should You Buy Canon EF 16-35mm f/4L IS USM Lens?

The Canon EF 16-35mm f/4L IS USM Lens is a good lens if you need a wide angle lens that shoots in most types of lighting without breaking the bank. This camera lens is great for shooting landscapes and various types of scenery, thanks to its wide angle construction.

Photographers who shoot in low light conditions, such as during nighttime hours. Others use a lens of this class to shoot events like weddings and even video. For its price, you really can’t go wrong with this lens, even if you may have to sacrifice the sharpness of other Canon zoom lenses in its class.

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