The best and worst of Canon Ef 24-70 mm

Here at Canon Best Wide Lens we try to find the best information possible.  This is an article I found on the Canon EF 24-70mm lens.  The author seems very positive about this lens.  You my wish to take a look at.

Why would anyone want to buy the Canon ef 24-70 mm? Well will only revisions Amazon I'd say that's pretty much the best lens for Canon cameras.

But let's take a look at some of the technical specifications before we just flat out say that this is the best lens!!

Technical specifications of the Canon ef 24-70 mm

Lens construction: 16 elements in 13 groups.
-Maximum aperture: 1: 2: 8
-Focal length: 1.25 ft
-77 mm Filter Size (USM) AF actuator
-Adjust focus: front centered Method
-Diagonal angle of view: 74 to 29 degrees
-Zoom System: rotating type

Canon ef 24-70 mm is much better than its predecessors due to be sealed and sealed against dust and moisture-of the main concerns of both digital and film photographers. The lens is so easy to use and has basically each setting that you will require that you it is unlikely that still need another lens!

The lens is versatile in any number of photographing given situations. Although it is a little heavier than comparable zooms the ease of use and the number of settings easily overcomes this slight increase in weight.

Pros

-Ideal for film and digital shooters.
-Very crisp Images with excellent contrast and saturation.
-One year warranty with Amazon
-Versatile on any number of shooting situations.

Cons

-Lens is heavier than extends comparable consumer class.

Where can I buy the Canon ef 24-70 mm away?

The lens can be gained through a number of retailers. through personal experience I almost always found that the best price can be obtained through an online store and not through shops "bricks and mortar".

These online stores are often really "bricks and mortar" stores choose also trade online due to the large number of customers who find it faster and easier to buy online and have the product delivered to your home.

Save over $ 500 off the RRP of the Canon ef 24-70 mm click here!

As a bonus, you will automatically receive a one-year warranty!

 

I hope you enjoyed the article.  If you would like more like this let me know. 

Which lens should use photography means for the sale of goods?

The type of lens, you should use to photograph your product will depend on their size.

When shooting smaller size products

Macro lenses

If the item you're selling is small in size, then you should opt for a macro lens like Canon EF-S 60 mm f/2.8 macro. That will be good. With it, capturing close-up shots or even size images of life will be easier!

Most PowerShot point-and-shoot camera from Canon has macro settings. The flower icon on the back of the camera or the dialing mode indicates the macro definition. If your camera does not have the internal macro feature or a macro lens, there is no need to fret.

Middle focal lenses

A basic medium lens ' focal length capable of closing-focus has a distance of focus low around 1.5 sq. ft. examples this lens are the EF 50 mm f/1.4 and f/1.8. tables of the image are filled with small objects you can cut funds with your image editing software.

Capture details Little patterns

Macro lenses can capture the small details of patterns. therefore, although you use macro lenses to shoot the product that is not small in size, the details of your product standards will produce an impressive image.If the point of sale of your product is their trademark, on demand, subscription or the date of manufacture, remember to provide a close-up of characters to prove that the item is genuine.

When shooting larger size products

Wide-angle zoom lenses

When photographing large objects as sets, mats and golf carts, be sure to use wide angle zoom lenses. Examples of this lens are the Canon EF 24-105 mm f/4 L USM lenses and the Canon EF-S 5-250mm f/4.0-5.6 IS kit. these lenses provide versatile photograph methods.

Avoid Dark Corners

If you use the new EOS cameras, make sure that you enable peripheral illumination correction from the camera to avoid dark corners that appear in your image. newest canons EOS that I meant are the EOS 50 d, 5 d Mark II, Rebel t1i, etc.

Try this tip! tell me if you found this tip helpful!

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What to look for when purchasing a Canon L series lens

Canon L series offers a variety of interchangeable lenses. Canon lenses is considered the best on the market. The Canon L series lenses are a favorite among professional photographers and amateurs alike. Many new photographers do not understand why your camera does not come with a lens already. Your Canon camera, unlike simple point and shoot cameras, not limited to manufacturers built in camera. To capture amazing pictures and shooting the types of photos you're interested in, it makes more sense for you to buy a lens that fits your needs. This way, you're not paying more money for a lens that you won't use.

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Choosing the right lens for you will depend a lot on the type of photography you'll be doing. The matter of using a normal lens or a telephoto lens or perhaps a wide-angle or not will be determined by the situation. For example, if you're a family meeting and his grandmother asks you to take a family photo and you take the time to squeeze all the photo and it simply isn't working.Your lens is not large enough. If you are outside enjoy mother nature and want to capture a breathtaking photo of a deer mama and her Faun and you quickly grab your camera a get the perfect shot, only later to see what all you have are trees and blurry blob ... your lens was very short.

The lens Canon l series offers a variety of lenses that will lead the trial and error of his photography. Imagine not having to squeeze your entire family in a single shot, or get really that mother and baby deer in the field and all you had to do was change your lens. You can get your wide angle lens for family or your telephoto lens for shooting of nature.

Of course it is good for each lens is important to know also. Wide angle lenses let you adjust more people in one shot. For example a great lens Canon L series 28 mm is moderately broad, whereas a 14 mm lens would be a lens you'd like to use for shooting a landscape. Telephoto lenses are similar to telescopes in that they bring far closer objects;They are also good for narrowing that is seen in a photo. If you are taking pictures of people in close range and shooting the waist for a normal lens is fine. Zoom Lenses give you the possibility to adjust the field of vision.Instead of doing all in the family sit together to squeeze in shooting, rotate the zoom ring until you reach everyone in the photo.

Decide on the right lens to use for your type of photography is important.Know the type of photography and what each lens to is important. Using a Canon L series lens will help you capture the most amazing image possible.

For information about the latest Canon lenses, visit my site for the best prices for lenses Canon cameras. If you are an enthusiast of the camera, you have to know the characteristics of a lens with another. my site can widen their perspective and learn more about these lenses Canon.

Zoom with a lens-Canon 70-300 mm is produces surprising results

There have been tons of reviews written as reviews for cameras and lenses. It's refreshing when someone departs from the standard written nerd, techy and only gives his opinion in simple English.

I hope that this report, I'm not going to CAL is a revision, will make sense to the average camera buff, or someone who is still struggling to figure out which lens is best for your needs.

It's about the lens Canon-70-300 mm zoom lens for digital SLR cameras.

To start with the pros:

The lens has very good optical quality. It compares very well to programming very highly rated lens 70-200 mm Canon, that now there are 5. many comments indicate that the 70-200 mm lenses are much better, but only read what they say people who bought the Canon 70-300, and you should be amazed as they all like it.

To compare prices between these lenses, the 70-300 mm is cheaper than all but the Canon 70-200 mm f/4 (without S).

A further comparison with the 70-200 mm lenses, is less bulky and more easy to manipulate by long periods of time, especially if you compare it with the versions of f/2.8 of 70-200. Those are very heavy.

Con: side

The lens is the one that extends when it zooms. Many photographers like zoom lenses with a zoom interior movement, i.e. that the lens never changes size.In addition, there is no skin with this.

Take your time to do your research before making your decision about buying any lens. a place I recommend you look is the online camera stores such as Amazon and B & H Photo.Browse the comments for the product you're thinking.These people are not paid for their opinions, so there is no reason for them to manufacture their stories.

Canon lens 70-300 mm is great for someone who shoots a wide variety of images.

It works very well for portraits (super in some 150 mm). great for sports, especially outdoor sports like football or baseball children. not so good for the sport indoor unless the lighting is good. Many use it as a magnifying glass nature for birds in flight or at the Zoo images even when you can't get too close to the animals. it works for street photography when you want to be the photographer "unnoticed".

Finally, the Canon 70-300 mm is great for someone with a budget that does not have funds to buy lenses Canon "L" that professional photographers as great value. until you reach the point that your images are making a comfortable life, consider the Canon lenses-70-300 mm f/4-5.6. If you do, you won't have any buyer's remorse.

Is a Canon Lens-70-300 mm f/4-5.USM.

Get actual specifications about this lens at http://www.canoneoslenses.org/70-300-canon-lens/ excellent.

The power of luxury L Canon lens

Canon offers a line of professional lenses, known as the lens of l. While the lens is a lens with professional L is also a favorite lens between non-professional shutterbugs. When it comes to well known names in the industry of camera Canon is one of the best. Canon started in 1933 by a man with a dream, and in a time of year that the company that was started in an apartment the first camera Canon was born. In the 1920s another Canon was sold in the global marketplace, people all over the world know the name Canon.

Is there a way to inform a lens Canon other lenses, is the banner of Red tell-tale involves the end of the lens. The next time you're watching sports on TV or if you are outside of the field to take a look around and see how many red stripes that you see. Canon products are considered one of the best in the industry. people who live with their cameras use Canon because they know he is the best.There are those who think that the L in this series of lenses means low dispersion; Canon, however, believes the L in lenses means luxury.

The lens L will help you capture incredible images. A relatively new lens in the series is the Canon EF 24-70 mm f/2.8 L USM.This lens is great for extended coverage and the wide angle shot. This means that if you're a digital photographer or a shooter movie this lens will work for you. Amazing optical and a Board that is sealed to keep out moisture and dust, allowing you to get photos cleaner.

The lens L is faster than its predecessors. He also easier to use and provides virtually any configuration you can think of to help you get the perfect shot. Unparalleled in sharpness, contrast and saturation, this lens will allow you to capture any image is any kind of lighting except for settings very very weak. The lens of luxury has a distortion that is well controlled, where as other lenses don't let you focus all colors to the same point of convergence.

If you are looking for Canon lens that most people would consider the best of the best in Canon products line, then you'll want the Canon 70-200 mm f/4 L USM. your narrow diameter causes an ideal lens for small hands. Although not considered a low-light lens, allow you to get stunning color.Rings to adjust its focus and zoom are sized appropriately and are easy to make.The most common uses for this lens include sports shots and portraits, candids.

There are a number of different lenses available in the l series, these are just two.Take the time to do a little research online to compare the different characteristics of each lens to make sure you're getting the right lens for you; you can also compare price to make sure you're getting your lens for the best possible price. If you are serious about taking great photos than make sure you get a Canon L series lens.

For information about the latest Canon lenses, visit my site for the best prices for lenses Canon cameras. If you are an enthusiast of the camera, you have to know the characteristics of a lens with another. my site can widen their perspective and learn more about these lenses Canon.

The 18-200 mm lenses Canon Does it all

If you own a Canon Rebel Digital or one of the xxD Canon digital SLR cameras, Canon 18-200 mm lenses deserves a look of you.

Its official name is Canon EF-S 18-200 mm F3. 5-5,6 IS telephoto lens. A moniker, huh? The designation of EF-S means that is specifically for what are known as chambers "sensor culture".Also labeled as APS-c sensors. Thus, if you're shooting with a Canon 7 d or with a full frame models, Canon 18-200 mm lens will not be mounted to your camera.

Benefits of owning a super Zoom lens

The main obvious benefit of owning one of these super Zoom lenses is that it can stay on your digital SLR almost constantly. This is a great advantage for travel and vacation when you don't want to drag a camera bag or heavy backpack across the landscape.

Is also great for getting quick shots. you don't have to stop and affix only the right lens for your camera body. often the shot is gone by the time you finish setting up to take it.

In fact, having to change lenses is one of the blessings and curses of digital SLR owners. We actually buy the cameras so we can change the lens, then we are frustrated when necessary.

Continuing with the benefits, this lens has a bit more worth mentioning.

Firstly, as mentioned is the focal length, which is 11 x. taking into account the monumental variation in the range, the image quality is exceptional.

In addition, there IS (image stabilization), which is supposed to give you an additional 4-stops opening without having to use a tripod.This is important because the widest aperture is f/3 only.5 and increases thereafter to a maximum of f/5.6. This is typical of super-zoom lenses, Canon or some other manufacturer.

One of the advantages that more is the bokeh is produced when using a wide opening.Photographers are always comparing bokeh.Briefly, is when you try to get the main theme of your photo into sharp focus and have the other areas of the picture in focus squiggels blurred. 18-200 does a good job with this, but is not considered the best.

The last benefit has to do with a comparison with the "Kit lenses" that promotes Canon. sometimes, new buyers buy lens 18-55 mm lens starter and an additional 55-250 mm for focal lengths of midsize. these two lenses are not bad as the image quality goes, but they are not of high quality construction.

The Canon 18-200 mm lens is built much better than the kit lenses.

Disabling Side

You'll find this true of most super zooms, whether Canon, Nikon, Sigma, Tamron lenses or. There is a compromise in the quality of the image to get the focal ampla. most have distortion in wide angles and color aberration issues shorter and longer focal lengths.

This is not to say that the images are bad-the lens produces images really good the problem areas are quite minimal and you might not even notice them without someone pointing to you but if you are looking for pixel-perfect image, you will need to pay more money or using a lens with a focal length more specific.

Finally, consider a look-alike of Canon.

Third-party Manufacturers have produced some really good lenses that fit Canon digital SLR cameras. If the benefits and the problem areas are identical, why not consider save some money for one of these? Is a thought.

When looking at the 18-200 mm Canon lens, you will be pleasantly surprised at how well it really accomplish.

But take a look at other lenses in the same category. you can do this in Canon EOS lenses.

Database of Canon EOS lens

Channels of Canon EOS lens

Canon now produce over 60 different lenses for Canon EOS bodes. Most EF series that they work on all Canon EOS SLR camera bodies if the 35 mm full-frame digital, or cropped digital sensor.EF-S series lenses are designed for use with a 1.6 x crop bodies sensor (APS-C), which are currently Digital Rebel T1i method, and T2i, EOS 50 d and EOS 7 D are also work with an earlier in the same series of bodies such as the Rebel XT, XTi, XSi and EOS 20 D, 30 D and 40 d EF lenses only.-S will not fit on the early crop sensor APS-C DSLR bodies such as the EOS D30, D60, and 10 D, and they will fit Dr 1 and APS-h series full frame 1Ds cameras DSLRs.

When you include all lenses Canon EOS system conducted since the introduction in 1987 there are over 140 different lenses Canon EOS.

Currently 143 lenses different database.The database was last updated at : 48 9/October 8th 2010 (US Mountain time zone)

This database is to collect the information on all lenses for canon EOS cameras produced for. work in progress, inevitably you will not be surprising. If there were no errors, so if you spot anything wrong or think something is missing you contact me via the form report database of EOS lens, I'll do my best to add or correct the values.

The place to start is here: list all lenses EOS database.

If you found this article interesting, please tell others about it.

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TS-E new Canon 17/4 l and TS-E 24/3.5 L II tilt and shift contact lenses

Canon Today announced a new tilt/shift lens 17mm, the TS-E 17/4L, and an update to the current tilt/shift lens 24mm, the TS-E 24/3.5L II.

The new TS-E 17/4L is the widest tilt/shift lens yet offered. It has full 35mm frame coverage and when used on an APS-C crop conditions camera such as the EOS 50D professionals will provide the same angle of view as a 27mm TS-E would on a full frame camera. From the illustration it looks like the highly curved front element protrudes significantly in front of the lens barrel, so some care will be needed to avoid damaging it. A lens hood looks like an excellent idea with this lens.Obviously front caption filters won't be usable with the TS-E 17/4L. I'd assume it has a rear physical for filters, as the EF 15/2.8 fisheye does, but I haven ' t found any reference to a rear filter holder yet.

Both lenses allow independent rotation of the axis tilt and shift. Previously on the TS-E 24mm (and 45 and 90mm), the axes could be setup parallel or perpendicular, but they could not be easily adjusted in the field.

The current version of the Canon TS-E 24/$1150 4L sells for around, but the new version will be $2199 MkII and the TS-E 17/4L will list at $2499 when they start shipping in May.Street prices are normally the same as the "list price" for new lenses, after a few months through it usually drops slightly.Looks like you should buy now if you want to save around $ 1000 and don't mind the "Mk I" version (which is a very good lens!).

Canon Press Release:

Key features of the TS-E 17mm f/4L and TS-E 24mm f/3.5L II include: Tilt and shift lenses compatible with all Canon EOS cameras Ultra Wide 17mm/wide focal length 24mm, check for architecture and landscapes High precision lens elements for low distortion and high resolution to the edge of the image +/-6.5 Tilt and Shift +/-12mm (TS-E 17mm f/4L) +/-8.5 Tilt and Shift 12mm (TS-E 24mm f/3.5L II) Tilt and shift mechanism rotates +/90 allowing shift in any direction Tilt mechanism rotates +/90 allowing the tilt in any direction relative to the shift Aspherical lens elements minimize and UD chromatic aberration Sub-wavelength structure and super spectra coatings-minimise ghosting and flare Circular aperture for creative, TS-E blurred highlights 17mm f/4L has a floating internal focus mechanism delivers high image quality throughout focus range.

Focal Length & Maximum Aperture16 elements in 11 groups
1 Aspheric, 3 UD elements18 elements in 12 groups
1 Aspheric, 4 UD elements84 (without tilt or shift)
Image circle or 58.6mmManual overall focus, focus, linear extension systemManual overall linear extension system 0.69 ft./0.21m (maximum close-up magnification: 0.34x)
0.82 ft./0.25m (maximum close-up magnification: 0.14x)
Max.Weight3% Or 2.5%, Length 12.6 in./88.5 x 106.9mm, 27 oz./780g 3.5 x 4.2 in./88.9 x 106.7mm (maximum lens length),/820g 3.0 oz.
       

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Macro lenses

First, what exactly is a "Macro" lens. To a lens maker it appears sometimes to be a lens with "macro" printed on it! I've seen "macro" applied to any lens that will close focus to a magnification of about 0.25x (1/4 life size). However that's not really what most photographers would mean by a "macro" lens.

A true macro lens is optically corrected to give a flat field, minimum distortion and high sharpness when focused at its closest distance, and at that distance provide a magnification of at least 0.5x (1/2 life size), though most true macro lenses will provide 1x (life size) magnification.

A simple lens (such as a typical 50/1.8) focuses by linear extension, which is just a fancy way of saying that you move the whole optical assembly closer and further from the sensor/film in order to focus. If you move it far enough, you can get 1x magnification. For a simple 50mm lens, if you put it 100mm from the sensor/film plane, it will give a 1x magnified image of an object that's 100mm from the lens. However there's a catch. Optical aberrations increase as you focus on nearer and nearer objects by moving the lens further and further away from the sensor/film. Field curvature, distortion and spherical aberration increase. You can make a 50/1.8 lens focus closer by using extension tubes of course and I've seen it said that since extension tubes contain no optics they can't degrade image quality, but that's not really the case. Moving the lens further from the sensor/film than it was designed to be introduces additional optical aberration.

So how do you get a lens that performs well both focused at infinity and focused at life size 1x magnification? Well, you use what are called floating elements. As you focus the lens, the elements of the lens move around in relation to each other in order for compensate aberrations at different focus distances. This may actually cause a change in effective focal length, but that doesn't really matter much. What it does is allow the design to be optimized for both close and distant focus. Obviously this is a more complex design than a lens with fixed elements and more elements may be required, so the cost is higher. For example the $85 Canon EF 50/1.8 II has 6 elements, while the $250 Canon 50/2.5 macro (which focuses to 1/2 life size) has 9 elements as shown below.

It's generally true that macro lenses are very well corrected and so yield very sharp images. Even 3rd party macro lenses are usually quite good.

Magnification can be specified in three equivalent ways, descriptive, magnification and ratio. "Life Size", "1x" and "1:1" all mean that the lens will cover an area equal to the size of the film or sensor. So for a full frame 35mm camera, that means you can fill the frame an area as small as 24mm x 36mm (15mm x 22.5mm for an APS-C camera) "Half life size", "0.5x" and "1:2" all mean that the lens will cover an area twice as wide and high as that of the sensor. So for a full frame camera that means you can fill the frame with an area as small as 48mm x 72mm (30mm x 45mm for an APS-C camera) "5x" or "5:1" means that the lens will cover an area 1/5th the linear size of the film or sensor. So for a full frame camera that means you can fill the frame with an object as small as 4.8mm x 7.2mm (3mm x 4.5mm for an APS-C camera).

Macro lenses typically come in 3 focal lengths, "normal" - 50mm, 90 or 100mm and telephoto - something like 180mm. Each has it's advantages and disadvantages. From the macro point of view, increasing focal length means increasing working distance. A larger working distance may mean that it's easier to get light onto the subject (since the camera is less in the way). It can also make working with live subjects (e.g. butterflies) easier. However longer focal lengths mean larger, heavier and more expensive lenses. Macro lenses can, of course, be used for non-macro work, and again the focal length may be a consideration. A 50mm macro lens can double as a "normal" lens on a full frame camera. A 100mm macro lens can double as a portrait lens and a 180mm macro lens can double as a short telephoto.

Depth of field depends on magnification, no matter how you get there, so the DOF of a 180mm macro lens at f8 and 1x magnification is exactly the same as that of a 50mm macro lens at f8 and 1x magnification. Depth of field gets smaller very quickly as magnification goes up and is symmetrical about the focus point. Here are some examples of the approximate DOF calculated for an APS-C DSLR. As you can see, it's pretty shallow. 1x - DOF @ f2.8 = +/- 0.1mm 1x - DOF @ f8.0 = +/- 0.3mm 1x - DOF@ f16 = +/- 0.6mm 0.5x - DOF @ f2.8 = +/- 0.3mm 0.5x - DOF @ f8.0 = +/- 0.9mm 0.5x - DOF @ f16 = +/- 1.8mm 5.0x - DOF @f16 = +/- 0.075mm

Since DOF is so small, it's usually a good idea to use manual focusing for 1x macro shots so you get the DOF exactly where you want it. Sometimes focusing is better done by moving the camera forwards and backwards rather than using the lens focusing collar and Just about always you will want the lens mounted on a tripod. A focusing rail can be very useful for precise positioning of the camera left and right as well as focusing. It's tough moving the tripod exactly 3mm to the left! The Adorama focusing rail (shown on the left) allows precise movement both back and forth and left and right and is something the dedicated macro shooter might want to invest in.

Canon currently make 6 macro lenses for EOS cameras: MP-E65mm f/2.8 1-5X Macro EF 50/2.5 macro EF-S 60/2.8 macro USM EF 100/2.8 macro USM EF 100/2.8L IS macro USM EF 180L/3.5 macro USM

This is a very specialized macro lens. It gives from 1x to 5x magnification. It's a "macro only" lens in that it's not designed (and can't be used) for non-macro work since it won't focus at non-macro distances. It's a manual focus lens and manual exposure control is required with many EOS bodies. It's a dedicated "macro only" lens designed for high magnification work. The optics uses a 3-group floating system, which moves three lens groups independently for focusing. On a full frame camera it will cover an area of 24x36mm at 1x and an area of only 4.8mm x 7.2mm at 5x. Note the working distance (space between the subject and the front of the lens) varies from about 4" at 1x to only about 1.5" at 5x.

This is a "normal" macro lens which will focus from infinity to 1/2 life size at which point it will cover an area of 48mm x 72mm with a full frame camera (30mm x 45mm with an APS-C DSLR). To get to 1x magnification you have to attach the Canon Life Size converter, which is a combination of a matched multiplier and an extension tube. It effectively converts the lens into a 70mm macro which will focus to life size. The 50/2.6 macro doesn't have a USM focusing motor.

The EF-S 60mm f2.8 Macro USM is designed for use only on APS-C DSLRs such as the Digital Rebel series and the EOS 20D/30D/40D. It has coverage for the APS-C sized sensor, but not full frame and it won't even mount on a 1.3x or full frame DSLR. If will give life size magnification (i.e. coverage of an area of 15mm x 22.5mm). The lens employs an inner focusing system in which the first lens group is fixed in position and the second through fourth lens groups move independently in a three-group floating system. The EF-S 60/2.8 has a working distance of 90mm (about 3.5") at 1:1 magnification.

Probably the most popular macro lens for use on full frame cameras. The 100/2.8 macro focuses to 1x and has a USM motor with full time manual focus. The 100/2.8 macro used internal focusing with three independently moving lens groups, meaning the lens length remains constant and aberrations are corrected for all focus distances. At 1x the working distance is 149mm (just under 6"). During focusing the front of the lens does not rotate making use of front-mounting accessories like polarizing filters and macro ring lites easy.

A new 100mm macro lens from Canon, again with a ring USM motor and full time manual focus. This version is now an "L" series lens and is optically stabilized using Canon's new "Hybrid" IS system. This not only corrects for pitch (up/down rotation) and yaw (left/right rotation), but also for vertical and horizontal motion which becomes very important when the lens is close focused and working in the macro range. If you intend to do macro work without a tripod, this is THE lens to use and is the only lens from any manufacturer with an IS system specially designed for macro work.

The 180/3.5L macro is capable of close-ups up to 1X without any adapter and allows more working distance than the 100mm macro (about 12"). Three UD (Ultra-low Dispersion) glass lens elements correct chromatic aberrations and floating elements ensure sharp definition at all subject distance. A ring USM provides silent AF and full-time manual focusing. As the lens length does not change during focusing, accessories such as Macro Ring Light at the front end of the lens, can be easily used. Maximum magnification can be increased to either 1.4x or 2x by using the EF Canon 1.4x or EF 2x multipliers. This is the only Canon macro lens which is fully compatible with the Canon 1.4x and 2x multipliers, which turn it into a 252/4.5 (with the 1.4x) or a 360/7 (with the 2x).

Third party macro lenses can be quite good and they are usually cheaper than the Canon equivalents. I usually try to stick with Canon lenses, but if their cost is too high or they don't have the lens you want, in this case a 3rd party lens can be a reasonable choice. They are all sharp lenses. Note that the Sigma 50.2.8 macro goes to 1x, while the Canon 50/2.5 macro only goes to 0.5x unless you also buy the life size extender.

One unique 3rd party macro lens is the new Tamron 60mm f2.0 DiII macro. It's the fastest macro lens (1x) available right now. Being a DiII lens it's only for crop sensor cameras (like the Canon EF-S series lenses), but it can do double duty as both a macro and fast portrait lens. It's very sharp too. At 1x it gives you a working distance of about 4" [See Full Review].      

If you have an APS-C DSLR like the EOS 50D, I'd go for the EF-S 60/2.8 USM. It gives a decent working distance, it's very sharp, it goes to 1x and it can double as a portrait lens and it's about 1/2 the size and weight of the EF 100/2.8 USM. It's also significantly cheaper. If you want something faster, look at the Tamron 60/2 macro.

If you have a full frame DSLR like an EOS 5D MkII or EOS 1D series body, I'd go for the EF 100/2.8 macro USM (the image stabilized "L" version if you can afford it). Again the working distance is good, the lens is very sharp, it goes to 1x and it can double as a portrait lens. The IS version makes handheld work much easier.

The MP-E 65/2.8 and EF 180/3.5L are very good, but expensive and specialist lenses and the 50/2.5 macro only goes to 0.5x without the life size extender (which doubles the cost).

If a macro lens is outside your budget and you want to do macro work, using an extension tube or a high quality 2-element close-up diopter (which screws onto the front of your lens like a filter) is certainly an option. If you have a telephoto zoom like the Canon EF 70-300/4-5.6 IS USM, a 58mm Canon 500D closeup diopter can give you a good quality zoom that will go to about 0.7x and will provide you with a very good working distance. It won't be quite as good as a dedicated macro lens, especially in the corners of the image if you are shooting a flat subject, but it may be good enough. A 58mm Canon 250D will give you almost 1.2x, with somewhat less working distance though Canon don't recommend that combination. Canon recommend the 500D for use with lenses in the 70-300mm range and the 250D for lenses in the 35-135mm range. Another plus of these lens combinations with the 70-300IS is that they provides macro with image stabilization. None of the dedicated macro lenses have IS.

For more info on extension tubes and closeup diopters see www.bobatkins.com/photography/eosfaq/closeup2.htm

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Lens testing at home

A question that seems to be following Web Photo forums more often is someone to ask how you can test their new camera lens "to make sure they received good." This is a fairly recent phenomenon that correlates well with the rise of digital SLRs. The reason is probably that the users can now take a shot and then test it in detail the beauty (or possibly booby) in a few seconds.

If you look at something close enough you can find defects, so that more people are reporting what they see any lens, making more and more other people their nervous about lens has any failures! is a kind of spread of viral infection of uncertainty.

There is no doubt that there are damaged, the brand enses camera lenses also made news by major manufacturers of the camera, lens, taken straight out of the box there are certainly many do not many as expected if you read the site popular photo forums, but they exist. So how do you test the lens to ensure that you do not have one of them?

Most people do not want to do extensive scientific testing of camera lenses, such as possible by using a program like Imatest. excellent package of Imatest is a software tool designed to analyze all kinds of defects, vignetting and chromatic aberration, distortion, image resolution. However it is quite complex, it is not free (according to the trial version is available). Unless you are seriously interested in writing the tests or lens reviews professional lens, that Imatest may be more than what you need and want.

So that's what that's simplified, easy, easy to understand? Well first I suggest simply exit, take some pictures. Make prints. Are you going to make prints of photos ???????, eventually so only makes sense to judge the lens on the basis of the prints. It is very difficult for most to judge the quality of the image based on looking at the monitor screen. If you are displaying an image at 100% she probably won't look good.This is typical with a monitor and a 10 MB looking at something that represent a small segment of the print which is around 24 "x 36".This is a great print.Print larger than many people make a whole life ever! if you usually do 4 x 6 or 8 x 10 prints, make 4 x 6 or 8 x 10 prints.There is no need to print the entire image to print just a section of the small image. for example, if you simply print 4 x 6 1/4 of the image, printing will be representative of the quality you see 8 x 12 print.

Of course it is a good idea to do a little more as regards checks if you have any doubts about the quality of the lens/image, which is what I am dealing with the new links below the next series of articles that describe the tests can be performed easily without buying any software or who need a computer science degree or optics.

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Depth of field

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So exactly what is depth of field? Well, in any photograph there will be a range of distances over which objects appear to be in sharp focus. This range of distances is called the "depth of field". The important word in that sentence is "appear". Strictly speaking, a perfect lens produces sharp images on the film or image sensor (with the sharpness limited only by diffraction) of points which lie in a plane at some distance from the lens. Images of any point either in front of or behind that plane will be less sharp, and the farther away the points are from the plane, the less sharp they will be.

Points in the plane will be imaged as diffraction limited spots which can be as small as a few thousandths of a mm in diameter. Points focused outside the plane will be imaged as small circles, whose diameters grow as the points move further away from the plane in focus. These small circles are referred to as "circles of confusion". If the circles of confusion are small, then the image made up of them will appear sharp, but as they grow larger the image becomes "fuzzy".

In the diagrams above the black lines represent light rays from a subject that is in focus. Light is focused onto the focal plane of the camera (shown in green) aa a very small spot. The red lines represent a point that's further from the lens. Light rays from this point come to a focus in front of the focal plane, and by the time they intersect the focal plane they've diverged to form a larger spot who's size is defined by how far apart the red lines are when they cross the green focal plane. This larger spot is shown in red.

The blue lines represent light from a point closer to the lens. These lines cross (focus) at a point that's behind the focal plane. When they cross the (green) focal plane they form a spot who's size is defined by how far apart they are when they cross, and this is shown by the size of the blue spot.

If the spots are smaller than the circle of confusion value, we can say that the red and blue rays come from points within the depth of field of the lens. It should be evident from the figure that the size of spots formed by the red and blue rays are smaller in the lower figure (representing a smaller aperture) than in the upper figure (representing a larger aperture). Thus in the upper figure with the larger aperture the red and blue points may lie outside the DOF, but in the lower figure they may lie inside. This illustrates why why stopping down gives you a greater depth of field.

The question is then, how large can the circles of confusion get before in image is no longer seen as sharp? That depends on a number of factors including how much the image on the film is enlarged before viewing, what distance it is viewed from and what your subjective opinion of sharp is. If we assume that the closest distance at which most people have sharp vision is about 10" and that at that distance an average person might be able to see points spaced as closely as 5 points/mm, then we can allow the circles of confusion in an image to be as large as 1/5mm (0.2mm) with a reasonable hope that the image will still appear sharp. If we are looking at an 8x12 (or 8x10) print from a 35mm slide, the image on the slide has to be enlarged by a factor of 8, thus the circle of confusion in the slide itself must be 8 times smaller than that in the print, i.e. 1/40mm (0.025mm) in this case.

If we wanted to look at a 16x24 print from a distance to 10", the circles of confusion in the slide could be no bigger than 1/80mm (0.0125mm), conversely if we wanted to look at the 8x10 image from a distance of 20", we could allow the circles of confusion to be as large as 1/20mm (0.05mm) in the original slide. This should make it clear that the value of the circle of confusion required for a sharp image is not a fixed quantity, but varies depending on the degree of enlargement of the negative or slide and how it will be viewed. For 35mm work a value of between 0.025mm and 0.035mm is often chosen, representing a value based on close viewing of an 8x10 print. For medium or large format work a larger circle of confusion is permissible, since the negatives or slides don't have to be enlarged as much as those from 35mm equipment to make a print of a given size.

There's an important point to consider when thinking about the circle of confusion size and that is the effect of diffraction. The diameter of a perfectly focused point using a "perfect" lens is a function of aperture. At f2 the point size can be as small as 2.7 microns 0.0027mm), while at f22 the smallest point size possible is 30 microns (0.030mm) and at f32 it's 43 microns (0.043mm). [Note these numbers are approximate and depend of the wavelength of light being used, but they are accurate enough for photographic purposes].

If you chose to use a circle of confusion of, let's say, 30 microns (0.030mm) for your depth of field calculations and you calculate the extent of the depth of field at f32, the calculation becomes somewhat meaningless since your spot size will always be larger than your chosen value for the circle of confusion. If your definition of the size of the circle of confusion is that it represents the largest spot size that will give you acceptable sharpness, then this means that at f32, nothing will be acceptably sharp! You can read more on this topic in my article on diffraction and how it affects image sharpness.

If we focus a lens at infinity, objects at closer distance within the depth of field will also look sharp. The distance at which the closest object still looks sharp is called the hyperfocal distance. In this situation, depth of field "beyond infinity" is wasted. If instead of focusing the lens at infinity, we focus it at the hyperfocal distance, the depth of field will now extend from 1/2 the hyperfocal distance to infinity, so we have now maximized our utilization of the available depth of field. The hyperfocal distance is related to the focal length of the lens, the f-stop in use and, you guessed it, the allowable diameter of the circle of confusion! The three are related as follows:

Hyperfocal distance = (Focal Length)2/(f-stop x cof)

where cof is the diameter of the circle of confusion and all the measurements are in the same units (usually mm). In the past, most lens manufacturers included depth of field scales on their lenses, often based on a value of 0.035mm for the circle of confusion. While this value may be OK for casual work, the value of 0.025mm is better for critical use. Table 1 gives the value of the hyperfocal distance (in meters) for common focal lengths and apertures based on this, 0.025mm, value.

 

So looking at the table for a 24mm and f8 we see the hyperfocal distance is 2.44m. That means if we focus at a distance of 2.44m, the depth of field will extend from 1.22m to infinity.

Hyperfocal distance focusing is used mostly by landscape photographers who want pictures with everything in focus, from nearby flowers to distant mountains. However, hyperfocal distance calculations are not much use to wildlife photographers who just want to get the entire head of an animal in sharp focus when it is only a few feet away! They need to know what aperture to use and where to focus to get everything from say, 1.9m to 2.1m in "sharp" focus. Well, it turns out for relatively close up work the depth of field extends about (though not always exactly) equally in front of and behind the point in focus. Furthermore, the depth of field is fixed by the magnification ratio and the aperture, and doubling the f-stop (e.g. from f8 to f16) doubles the depth of field. Table 2 shows the total depth of field (in cm) for various apertures and magnification ratios from 1:1 (life size) to 1:50 (1/50th life size).

For a 50mm or longer focal length lens, the numbers in the unshaded boxes represent a region in which the depth of field behind the plane in focus is no more than 25% greater than the depth of field in front. Numbers in the unshaded area plus the lightly magenta shaded area represents the same region for a 200mm or longer lens, and the whole table is valid for a 500mm and longer lenses.       

 

The formula used to generate these numbers is:

Total Depth of field = 2 * cof * f-stop x (m+1)/(m2)

where cof is the diameter of the circle of confusion (0.025mm was used for the table) and m is the magnification (life size = 1, 1/50 life size = 0.02). If you use mm for cof, the answer will also be in mm. Note that this formula is an approximation, but is very good in the 1:1 to 1:10 range., There is a more complex exact solution, but for practical purposes, even at 1:50, the approximation is more than adequate for lenses of 200mm or more.

Thus it doesn't matter whether you use a 50mm macro lens or a 200mm macro lens for a 1:1 shot. The depth of field is exactly the same in both cases (but you have less working distance and a different background with the 50mm lens of course), and extends equally in front of and behind the plane of focus. As the magnification drops, to say 1:10, the total depth of field of both lenses remains equal, but it is no longer equally distributed in front of and behind the plane of focus. While both lenses will show slightly more depth of field behind the plane of focus than in front of it, the shorter focal length lens shows this shift to a greater extent. For example, at f16 and a 1:10 magnification ratio, the 50mm lens has 17% more depth of field behind the plane of focus than in front of it, while the 200mm lens has only 4% more. At 1:50 these numbers become 233% for the 50mm lens, but only 22% for the 200mm lens. At larger aperture the shift is less pronounced, for example at 1:50 and f5.6 the numbers are 32% for the 50mm lens and only 7% for the 200mm. Thus for wildlife photographers using large aperture telephoto lenses for close up shots, it's usually a pretty good approximation to assume equal depth of field in front of and behind the plane of focus.

So, if depth of field extends from infinity to 1/2 the hyperfocal distance at one extreme, and is distributed equally about the plane of focus at the other extreme, what happens in between? Well, as the plane in focus becomes more distant, the depth of field grows more rapidly behind the point in focus than it does in front of it. Thus you will see general statements made, like "depth of field extends 2 times more behind the focused distance than it does in front of it". Such statements are a gross generalization and are somewhat misleading since they are true only for a particular lens at a particular aperture focused at a particular distance. For example a 50mm lens at f11 focused at 3m has about twice as much depth of field (1.4m) behind the lens as in front of it (0.7m). However a different focal length lens focused at the same distance, or the same lens at a different aperture will give a very different ratio of depth of field behind and in front of the lens. You can actually use the hyperfocal distance we calculated earlier to calculate the near and far points in acceptable focus with the following expressions:

Near Point in focus = (D x H2)/(H+D-F)

Far point in focus = (D x H2)/(H+F-D) (if this expression is negative, then infinity is the far point in focus)

Where H is the hyperfocal distance
D is the distance at which the lens is focused
and F is the focal length of the lens
(of course H, D and F must be expressed in the same units)

You could use this formula to calculate depth of field in the macro region too, but the difficulty is in defining D. Do you measure the distance to the film plane, to the front of the lens or to somewhere in between? The answer is usually "somewhere in between", but that's another (and a complex) story. As you can see, it's much easier to use magnification when the subject being photographed is close to the lens. When the subject is distant, errors due to uncertainty in exactly where to measure to become insignificant. The distance D, for a magnification m is actually given by:

D = [(1/m) + 1 ] x (focal length)

and if you measure D from the subject to somewhere in the middle of your lens, you usually won't be too far wrong. Thus at 1:1 with a 50mm lens you will be about 100mm from your subject, and at 0.1 (1:10 or 1/10 life size) you will be about 550mm or 55cm away.

Armed with these expressions and tables you can now predict depth of field under any set of circumstances. If you are fortunate enough to have a lens which itself has a clearly marked depth of field scale on it you might like to compare it's predictions with your calculations. Some lenses have markings based on a 0.035mm circle of confusion, which many critical photographers feel is too large. The use of a 0.025mm circle of confusion means that for any given lens setting, you need to stop down 1 stop more than depth of field markings based on 0.035mm would suggest. Many lens makers are leaving depth of field marking off their new lenses, so you may need to carry around tables like those presented here if you are concerned about depth of field. Even cameras with automatic "depth of field" modes, like the Canon EOS series only approximate the correct lens settings, so you might want to check the camera's suggestions against those you calculate for yourself!

(1) One thing to remember about sharpness at the limits of the depth of field is that by the very definitions used, objects at the limits will be at the limit of "acceptably sharp". Sometimes this might not be sharp enough. If you want to make sure that distant objects (e.g. mountains) are really sharp, focusing at the hyperfocal distance might not be good enough. Before depending on DOF calculations for important shots, I'd strongly advise doing your own testing. You have to see what looks sharp to you when viewed in the way you view the images and when taken with the lenses that you use on the film of your choice. Calculated DOF is a good guide and a good place to start, but only you can decide if your images meet your requirements for sharpness. For example you might want to trade off increased sharpness at "infinity" for slightly less sharpness close up if you are taking a landscape shot where the distant scenery needs to be as sharp as possible. In that case you would focus at a distance somewhat greater than the hyperfocal distance that a "normal" DOF calculation would suggest.

(2) All of the above calculations are based on what is called "geometric optics", which makes the assumption that light travels only in straight lines and can be focused to an infinitely small point, i.e. that diffraction does not exist. The use of geometric optics can be justified because DOF calculations are only an approximation anyway, based on subjective definitions of things like "acceptably sharp". If you really want to do detailed analysis of DOF, you need to use a more advanced optical theory and calculated things like the MTF (modulation transfer function) of the defocused image. This is too complex to deal with in any simple way, so I haven't even tried to deal with it here. My web page http://bobatkins.com/photography/technical/dofdiff.html presents some results from the use of the more complex theory. The simple geometric optics approach usually tends to be a bit optimistic in its predictions.

(3) Depth of field is a fuzzy concept depending on subjective definitions of sharpness. In practice approximations are just as useful as precise calculation.

Here's a very simple Depth of Field calculator. It doesn't check if diffraction comes into play because of a small aperture and it makes some approximations, but it's generally quite accurate. For more information, including calculation of just how out of focus any out of focus areas will be, see these articles and the associated downloadable calculators.

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Upgrades of 500/4 L IS, and 600/4 L IS coming

I don't have much to say about EF really 500/4 L IS II and 600/4 L IS II since Canon did not really revealed much except that they are working on them and that the prototypes will have teams climb at Photokina in September (2010). They are of course identical updates along the lines of the recently announced 300/2.8 L IS II and 400/2.8 L IS II. Expect an increase in the price of course!

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Replacement Lens Cap with String Leash Strap for Canon Powershot SX10IS, SX10, SX20IS, SX20, and IS Digital Camera

This cap is brought to you exclusively from The Camera Hunter. If you want to purchase the cap in the picture with the smooth front and 7" strap to secure it to your camera you must purchase your cap from The Camera Hunter. If you choose to purchase a cap from someone else piggy backing this listing you are taking your chances on what you will get. This is a brand new top quality snap in cap. Will fit all the Canon Powershot digital cameras in the title. Will not fit other models.

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Canon Uv Filter 58MM -dell

The Canon 58mm UV filter is a multi-purpose, fine-weather filter that is designed to optimize your photography experience. Used by many photographers to protect the front element of their lens from abrasions, dust, and moisture.UV filters, absorb ultraviolet rays that often make outdoor photographs hazy and indistinct.

They should be constantly fitted to a lens to provide improved clarity and color balance, as well as to provide additional protection to your lens. UV filters are perfect for digital photography and traditional 35mm SLR applications, including black and white photography.

They also have a very subtle warming effect, which can be useful to counter the "cool" colors you sometimes get in bright sun or in shade.

Key Features:
? Fits 58mm lenses
? Includes Filter case
? Absorbs ultraviolet rays to produce crisp, clear photographs
? Ideal for protecting your valuable lens from scratches and dust
? Natural light pictures will be sharper, crisper and better balanced

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Canon EOS Rebel T2i 18 MP CMOS APS-C Digital SLR Camera with 3.0-Inch LCD and EF-S 18-135mm f/3.5-5.6 IS UD Standard Zoom Lens

The new flagship of the EOS Rebel line, Canon EOS Rebel T2i brings professional EOS features into an easy to use, lightweight digital SLR that's a joy to use. Featuring a class-leading 18.0 Megapixel CMOS Image Sensor and increased light sensitivity for low light photography, the EOS Rebel T2i also has an advanced HD Movie mode for gorgeous Full HD movies. Able to capture up to 3.7 frames per second, it's ready to go the minute it's picked up. Advanced Live View, a new wide-area screen, plus features like Canon's brilliant Auto Lighting Optimizer and Highlight Tone features ensure brilliant photos and movies, easily. With some of the most advanced features of any digital SLR, it's simply the best Rebel Canon has ever created. Improved layout with dedicated Live View/Movie shooting button New compatibility with SDXC memory cards, plus new menu status indicator for Eye-Fi support Compatible with the full line of Canon EF and EF-S lenses Specifications Lens - EF-S 18-55mm f/3.5-5.6 IS Lens (focal length is equivalent to approx. 28-90mm in 35mm format) Type - CMOS sensor Effective pixels - Approx. 18.00MP Type - Digital, single-lens reflex, AF/AE camera Recording Media - SD memory card, SDHC memory card, SDXC Memory Card Compatible Lenses - Canon EF lenses including EF-S lenses Lens Mount - Canon EF mount Monitor - 3.0 TFT LCD monitor Viewfinder - Type - Eye-level SLR (with pentamirror); Coverage - Vertical/Horizontal approx. 95% Live View Functions - Still photo shooting and video shooting Image Type - Still - JPEG, RAW (14-bit, Canon original), RAW+JPEG; Video - MOV (Image data - H.264, Audio - Linear PCM) Image File Size - Up to 24.5MB (5184 x 3456 pixels) in Large or RAW Video File Size -

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Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens

The Journey Continues. Canon's new EOS Rebel T1i is packed with features, both refined and new. In addition to its admirable performance with an all-new 15.1 Megapixel Canon CMOS sensor, DIGIC 4 Image Processor, a 3.0-inch Clear View LCD with anti-reflective and scratch-resistant coating, and compatibility with the EOS System of lenses and Speedlites, the EOS Rebel T1i adds remarkable Full HD video capture at resolutions up to 1920 x 1080. An HDMI port allows for quick connections to high definition TVs and monitors for easy viewing of your stills and video. The entire operation is simple and easy even if you are a beginner. You'll have uncompromised EOS Digital performance with power and flexibility right in the palm of your hand.

High Resolution Still Capture
New 15.1 Megapixel CMOS sensor with DIGIC 4 Image Processor for faster processing of fine detail and natural color reproduction, 14-bit A/D conversion for smooth color tones and gradations.

Canon's CMOS (complementary metal oxide semiconductor) sensor captures images with exceptional clarity and tonal range and offers the most pixels in its class. It offers many of the same new technologies as used by Canon's professional cameras to maximize each pixel's light gathering efficiency. Its APS-C size sensor creates an effective 1.6x field of view (compared to 35mm format). Canon's DIGIC 4 Image Processor dramatically speeds up all camera operations for intuitive operation and offers improvements in both fine detail and natural color reproduction. It works in concert with the EOS Rebel T1i's image sensor to achieve unprecedented levels of performance in all lighting situations.

DIGIC 4 Image Processor
With the EOS Rebel T1i, analog to digital signal conversion is executed by a 14-bit processor, which generates digital data with incredibly smooth tones. A feature that originally appeared in top-of-the-line pro digital SLR cameras, the 14-bit conversion gives incredibly smooth transiti

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Canon EF 70-200mm f/4 L IS USM Lens for Canon Digital SLR Cameras

Canon EF 70-200mm f/4L IS USM lens offers the highest possible optical quality with no change in aperture over the full focal range of the lens. This allows photographers to set exposure at the widest aperture and zoom all the way through to 200mm without having to decrease shutter speed. Developed for use with a Canon SLR camera, this autofocus telephoto zoom lens offers optimized use with the Canon EOS series digital cameras. Of particular note, Canon has introduced an image stabilizer (IS) that adjusts to meet the demands of professional photography. IS reduces dramatically the image blur caused by camera shake. Gyro sensors detect unwanted vibrations, triggering the corresponding movement of a correcting lens group perpendicular to the optical axis. This alters the light path, returning the image to its correct position on the sensor or film plane. For shooting immobile subjects, Mode 1 corrects for movement in the image along both the horizontal and vertical axes. For shooting while panning horizontally to follow a moving subject, Mode 2 turns off vertical correction and prevents the effect of dragging the subject back through the frame. The lens' Ring-type USM employs ultra-sonic frequency vibrations to drive auto focus with unrivalled speed and near-silent operation. A powerful CPU and improved AF algorithm contribute to speed performance. The EF 70-200mm f/4L IS USM includes distance metering information, providing compatibility with the E-TTL II flash system of late model cameras such as the EOS-1D Mark II, EOS-1Ds Mark II, EOS 5D and EOS 400D. When used in conjunction with Canon's range of EX Speedlite flash units, the lens passes distance information to the flash algorithm for markedly improved flash exposure metering. Includes Lens hood and soft pouch

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Canon EF 24-105mm f/4 L IS USM Lens for Canon EOS SLR Cameras

The L-series is Canon's flagship professional lens range, designed to include outstanding image performance, ultimate operability and weather resistance. The EF 24-105mm f/4L IS USM offers a lightweight alternative to the renowned EF 24-70mm f/2.8L USM. offers the highest possible optical quality with no change in aperture over the full focal range of the lens. This allows photographers to set exposure at the widest aperture and zoom all the way through to 105mm without having to vary the shutter speed. Image Stabilizer (IS) dramatically reduces image blur caused by camera shake. Gyro sensors detect unwanted vibrations, triggering the corresponding movement of a correcting lens group perpendicular to the optical axis. This alters the light path, returning the image to its correct position on the sensor or film plane. The 3 stop advantage means that photographers normally shooting a 105mm lens handheld at 1/125 sec can obtain a shake free result with a shutter speed as low as 1/15 sec, for vastly extended options in low light conditions. The ring-type USM motor found in the EF 24-105mm f/4L IS USM employs ultra-sonic frequency vibrations to drive auto focus with unrivalled speed and near-silent operation. A powerful CPU and improved AF algorithm contribute to speed performance. Good holding torque stops the lens with precision and accuracy, the instant it arrives at the correct focus point and without overshoot. Photographers can choose manual focus instantly and at any time simply by moving the manual focus ring without first having to switch out of auto focus mode. Circular aperture producing attractive background defocus Inner focusing, ring USM and new AF algorithms for fast and quiet autofocusing Manual focusing enabled even during AF mode (full-time mechanical manual focus) Only environmentally friendly lead-free glass used in lens construction Filter diameter 77 mm / Dimensions (dia x len)

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Canon EF Lens Mount: Bayonet mount, Canon EF- S lens mount, Canon L lens, Canon FD lens mount, Canon Extender EF, Canon EOS 300D, Canon EF- S 18- 200mm ... lens, Autofocus, Canon EF- S 18- 55mm lens

The EF lens mount is the standard lens mount on the Canon EOS family of SLR film and digital cameras. EF stands for "Electro-Focus": automatic focusing on EF lenses is handled by a dedicated electric motor built into the lens. Mechanically, it is a bayonet-style mount, and all communication between camera and lens takes place through electrical contacts; there are no mechanical levers or plungers. In 2003, Canon introduced the EF-S lens mount, a derivative of the EF mount that is strictly for digital EOS cameras with a 1.6x crop released after 2003. EF lenses can be mounted on EF-S bodies, albeit with cropped image, while EF-S lenses cannot be mounted on EF bodies.

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Canon EF 24-70mm f/2.8L USM Standard Zoom Lens for Canon SLR Cameras

MODEL- 8014A002 VENDOR- CANON

FEATURES- EF 2470mm f/2.8L USM Lens
This new lens does what many pros throught could not be done-
replace the previous L-series 2870 f/2.8 lens with something even
better. Extended coverage to an ultra-wide angle 24mm makes it
ideal for digital as well as film shooters and the optics are even
better than before with two Aspherical elements and a totally new
UD glass element. It is now sealed and gasketed against dust and
moisture and a new processing unit makes the AF faster than ever.

-- SPECIFICATIONs -------------------------------------
Focal Length & Maximum Aperture: 24-70mm 1:2.8
Lens Construction : 16 elements in 13 groups
Diagonal Angle of View : 74 degrees - 29 degrees
Focus Adjustment : Front-focusing method
Closest Focusing Distance : 0.38m/1.25 ft.
Zoom System : Rotating type
Filter Size : 77mm
Max. Diameter x Length Weight : 3.3" x 4.9" 2.1 lbs.


MANUFACTURER WARRANTY:  1 YEAR LIM

Price: $2,363.42

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Canon EF 16-35mm f/2.8L II USM Ultra Wide Angle Zoom Lens

Broaden your perspective with the Canon EF 16-35mm ultra-wide-angle zoom lens. Specifically designed for improved edge-to-edge image quality that meets the strict requirements of professional and high-end amateur photographers alike, the lens lets you bring more area into focus while providing greater depth of field. The lens features three high-precision aspherical lens elements--ground, replica, and GMo--that produce even better image quality than the original Canon EF 16-35mm USM lens. The circular aperture, meanwhile, produces a beautiful and natural background blur when shooting at wider apertures. Other details include internal focusing, a ring-type ultra-sonic monitor (USM), and new AF algorithms for fast and quiet autofocusing. The lens carries a one-year warranty.

• Focal length: 16-35mm
• Maximum aperture: f/2.8
• Lens construction: 16 elements in 12 groups
• Diagonal angle of view: 108 degrees (at 10 feet) to 63 degrees
• Focus adjustment: AF with full-time manual
• Closest focusing distance: 0.92 feet
• Filter size: 82mm, P=0.75mm/1 filter
• Dimensions: 3.5 inches in diameter, 4.4 inches long
• Weight: 1.41 pounds

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Canon EF 50mm f/1.2 L USM Lens for Canon Digital SLR Cameras

Product Name: EF 50mm f / 1.2L USM Telephoto Lens

Marketing Information:

The EF 50mm f/1.2L USM is a peerless new standard lens featuring an ultra-large aperture for a narrow depth of field and soft background blur so loved by photographers everywhere. The EF 50mm f/1.2L USM is suitable for any shooting situation; its lens coating and construction are optimized to minimize the ghosting and flare that frequently occurs when lenses are used with digital cameras. This high-performance, weather-resistant lens delivers all the superb image resolution and contrast you expect in a Canon L Series Lens.

Product Type: Telephoto Lens

Technical Information

Focal Length: 50mm

Aperture Range: f/1.2

Physical Characteristics

Dimensions: 3.4" Diameter x 2.6" Length

Weight: 19.2 oz - lens only

Miscellaneous

Compatibility:

EOS SLR Cameras

Price: $1,799.99

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Canon L-Series Lenses: Canon L Lens, Canon Ef 70-200mm Lens, Canon Ef 135mm Lens, Canon Ef 200mm Lens, Canon Ef 1200mm Lens

Chapters: Canon L Lens, Canon Ef 70-200mm Lens, Canon Ef 135mm Lens, Canon Ef 200mm Lens, Canon Ef 1200mm Lens, Canon Ef 28-80mm Lens, Canon Ef 24-70mm Lens, Canon Ef 17-40mm Lens, Canon Ef 24-105mm Lens, Canon Ef 28-70mm Lens, Canon Ef 100-400mm Lens. Source: Wikipedia. Pages: 48. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: An L lens is a line of SLR photography lenses made by Canon. L lenses are Canon's top-of-the-line lenses. The "L" officially stands for "Luxury", a reference to the lenses' high price and build quality. The use of "ASPH" was common to notate aspherical elements throughout Canon's and other manufacturers' histories. Canon produces both L-series zoom and prime lenses for their obsolete FD lens mount and for their current EF lens mount used on all Canon EOS cameras (digital and film). The lens on the Canon PowerShot Pro1 was designated L-series, and was the first fixed (non-interchangeable) lens so designated. L-lenses have superior optical performance and are typically built with a solid construction to withstand constant use and harsh conditions. They can be recognized by a red ring around the front part of the lens. Most recent L lenses have sealing to help resist dust and water. L-lenses are typically used by professionals and serious amateurs due to their high price and large mass. Most L series lenses share a number of common characteristics: There are some lenses which include one or more of these technologies but which are not designated L-lenses. L-lenses are often equipped with USM and/or IS, but the optical performance is the key criterion. Larger sized L-lenses, such as the 70-200 mm and 100-400 mm zooms and longer focal length primes (300 mm+), usually have an off-white barrel (sometimes referred to as the color "putty") to reduce heat absorption under t...More: http://booksllc.net/?id=5900855

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Canon EF 70-200mm f/2.8L USM Telephoto Zoom Lens for Canon SLR Cameras

Canon 70-200/2.8 EF-L USM Zoom Lens USA

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Lenses series "L" a new 6 from Canon

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Along with the new Canon EOS 60D (see hands on preview here) Canon today announced six new professional "L" series lenses: Canon EF 8-15mm f/4L Fisheye USM (~$1400) Canon EF 70-300mm f/4-5.6L IS USM (~1500) Canon EF 300mm f/2.8L IS II USM lens (~$7000) Canon EF 400mm f/2.8L IS II USM (~$11000) Canon Extender EF 1.4x III (~$500) Canon Extender EF 2x III (~$500)

They're certainly not cheap, but if things run true to form, they will be very sharp!

Since I only have the details in the press release, I'll let Canon speak for themselves here:

Canon Focuses On Professionals By Introducing Six New L-Series EF Lenses And Accessories Canon Introduces the World's Widest Fisheye Zoom Lens, a New Telephoto Zoom Lens and Two New Super Telephoto Lenses with Optional New Extenders

LAKE SUCCESS, N.Y., August 26, 2010 ? Canon U.S.A., Inc., a leader in digital imaging, rounds out its Summer product introductions with four new L-series lenses and two new accessory extenders for professionals and advanced amateurs. Leading the introductions, the EF 8-15mm f/4L Fisheye USM lens is the world's widest fisheye zoom lens, providing professional photographers and cinematographers with a unique optical tool for capturing 180? angle-of-view shots on all EOS Digital SLR cameras. Photographers looking for a broad focal length range with excellent image quality will enjoy the Company's first L-series 70-300mm telephoto zoom lens, the new EF 70-300mm f/4.5-5.6L IS USM lens, delivering outstanding sharpness, contrast and color fidelity in a compact, lightweight form factor. Canon is introducing two new versions of its popular super telephoto lenses, the new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM super-telephoto lenses delivering incredible image quality at all apertures for professional photojournalists, sports and wildlife photographers. For professionals and advanced amateurs looking to push their L-series Canon telephotos to the limit, the Company is proud to upgrade its two popular extenders with the new Canon Extender EF 1.4x III and Extender EF 2x III for additional telephoto reach and exceptional clarity. Photographers will immediately notice that the latest Canon L-series telephoto lenses and extenders have a more neutral white tone compared to earlier models. This new shade of white will be used with all L-series telephoto lenses and extenders beginning in the second half of 2010. The introductions of these Canon lenses have been timed with Canon's latest camera introduction, the Canon EOS 60D Digital SLR camera, designed for advanced amateurs and emerging professional photographers.

"Canon's core has always been our optics, and we are constantly challenging ourselves to produce better and more advanced optical systems for our customers. These six new products advance the state of the art in Canon lens technology and provide new and innovative tools for professionals and advanced amateur photographers," stated Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A.

With its unique focal length range, the EF 8-15mm f/4L USM is the world's widest fisheye zoom lens. It delivers 180? diagonal angle of view images for all EOS SLR cameras with imaging formats ranging from full-frame to APS-C, and provides 180? circular fisheye images for full-frame EOS models. Professional photographers and cinematographers will revel in the unique perspectives afforded to them through this lens, particularly when coupled with the highly popular full-frame EOS 5D Mark II DSLR camera. Canon's new Fisheye zoom lens features both UD and aspherical lens elements to enhance image quality and is equipped with rubber gaskets and seals to enhance weather resistance. Canon's proprietary SWC (Sub Wavelength Structure Coating) is used to minimize flare and a new fluorine anti-smear coating is applied to the front and rear elements to make lens cleaning easier than ever.

The Canon EF 8-15mm f/4L Fisheye USM lens is expected to be available in January of 2011 for an approximate retail price of $1,400.

Compact and lightweight, yet durable and professionally sharp, the EF 70-300mm f/4-5.6L IS USM lens is the ideal telephoto zoom lens for advanced amateurs looking for that extra reach to bring a subject in tight and close. Providing the power and durability to maximize every shooting opportunity, the Canon EF 70-300mm f/4-5.6L IS USM lens features two UD ultra-low dispersion glass elements for enhanced sharpness, L-series weather and dust sealing for shooting in harsh conditions, improved mechanical design, and streamlined ergonomics to help avoid inadvertent mode switch operation. The shapes of the lens elements and their coatings have been optimized to minimize ghosting and flare to produce high-contrast and high-resolution throughout the zoom range. A sophisticated floating system optical formula optimizes image quality at all distance settings and reduces minimum focusing distance by more than a foot. An updated optical image stabilization system compensates for camera shake up to an equivalent of four full shutter-speed steps, a full step improvement compared to earlier EF 70-300mm lenses. A new fluorine anti-smear coating is applied to the front and rear elements.

The Canon EF 70-300mm f/4-5.6L IS USM lens is expected to be available toward the end of October for an approximate retail price of $1,500.

The Canon EF 300mm f/2.8L IS II USM is the 6th generation of a venerable family of Canon 300mm f/2.8 lenses that began in 1974, and have become famous for their exceptional sharpness, contrast and color fidelity. Ideal for a wide range of applications ranging from professional photojournalism and sports photography to nature and wildlife, Canon's 300mm f/2.8 lenses have always led the industry with new technical advances in every generation. The EF 300mm f/2.8L IS II USM lens carries on this tradition with improved image quality, lighter weight, improved Image Stabilization and enhanced durability making it a great option for handheld work in the field. The optical formula of the new lens has been upgraded with the inclusion of two fluorite lens elements for improved image quality and reduced chromatic aberration. Helping to reduce arm fatigue, Canon has reduced the overall weight of the lens by 8 percent to 82.9 oz., making it the lightest weight lens in the Canon EF 300mm f/2.8 series. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation and has been enhanced through the incorporation of a rolling-ball-friction system in place of sliding parts in the compensation optics barrel for a minimum-friction structure. The overall durability of the lens has also been enhanced through increased usage of magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches and a new fluorine anti-smear coating applied to the front and rear elements.

The Canon EF 300mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $7,000.

Quintessential for many sports assignments including baseball, football, soccer and golf, Canon's professional 400mm f/2.8 lenses provide the light gathering capability and long telephoto reach that photographers need to freeze the action and fill the frame . The Canon EF 400mm f/2.8L IS II USM is the 5th generation in Canon's 400mm f/2.8 series and the successor to the current EF 400mm introduced in 1999. The new lens has been engineered for the ultimate in optical performance through the use of two fluorite lens elements for improved quality and reduced chromatic aberration. Helping photographers in the field, Canon has reduced the overall weight of the lens by a substantial 28 percent from 189.4 oz to 135.8 oz, making it Canon's lightest weight 400mm f/2.8 lens ever. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation and has been enhanced through the incorporation of a rolling-ball-friction system in place of sliding parts in the compensation optics barrel for a minimum-friction structure. The overall durability of the lens has also been enhanced through increased usage of magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches and a new fluorine anti-smear coating is applied to the front and rear elements.

The Canon EF 400mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $11,000.

The two new EF extenders are direct replacements of the current extenders offered by Canon as essential accessories for professionals. These new extenders have been designed to provide faster autofocusing and improved autofocus precision with compatible EF lenses. Each extender includes an anomalous dispersion lens element for reduced chromatic aberration and enhanced optical image quality. Each extender also features a newly developed microcomputer that increases AF precision when the extenders are used with a IS Series II EF super-telephoto lens. Both extenders are equipped with rubber gaskets and seals to enhance weather resistance. A new fluorine anti-smear coating is applied to the front and rear elements of both extenders.

The Canon Extender EF 1.4x III & Canon Extender EF 2x III are expected to be available in December for an approximate retail price of $500 each.

In addition to an anti-reflection multi-coating, the front and rear elements of all newly announced EF lenses and extenders are treated with Canon's new fluorine anti-smear lens coating. The fluorine layer is highly oil- and water-repellent so that any oil smears or water droplets on the lens can be wiped off quickly and easily without the aid of solvents using a soft dry cloth. These four new lenses and two new extenders are the first of their type to employ fluorine coating, and it is expected that this new feature will enhance the usability of the lenses during adverse shooting conditions.

The new Series II EF super-telephoto lenses can correct camera shake up to four full shutter speed steps, compared to two shutter speed steps for the original versions. This improvement is made possible by a new low-friction stabilizer mechanism that is not only more efficient than the previous design but also smaller and lighter. Other enhancements to the IS systems of both new super telephoto lenses have enabled quieter operation ideal for use during video capture.

Providing professional sports and wildlife photographers with greater tracking flexibility, Canon has introduced a third Image Stabilization mode option to its new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM lenses. When mode 3 is selected on the lens, the image stabilization effect will not be seen in the viewfinder. When the shutter button is pressed halfway, the lens will begin detecting camera or lens movement and only during exposure, when the shutter is fully depressed, will the Image Stabilization engage and provide the equivalent of four stops faster compensation for blur-free images. The new Mode 3 is particularly useful when a photographer does not want to see the IS working in the viewfinder while tracking a moving subject.

Helping moviemakers achieve smoother and more appealing focus shifts when filming on EOS DSLR cameras, Canon has included a new Power Focus (PF) mode on the Company's two new super telephoto lenses. This mode allows manual rack focusing to be operated smoothly by turning a playback ring that is normally used for the focus preset function. Both low-speed and high-speed focus shifting are available.

Additionally, a new security slot attachment has been included on both new super-telephoto lenses to allow a wire-type security lock to be easily affixed, a great safety feature for professionals shooting from high vantage points above arenas and crowds.

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