The Canon EF 24-70mm f/2.8L II USM Lens is clearly the best performing Canon full-frame-compatible general purpose zoom lens available.It is the best from both an image chất lượng perspective và from an AF speed/accuracy perspective.This lens is very sharp/has excellent contrast across the frame even at f/2.8 & is well built, focuses extremely fast và contains a most-used range of focal lengths.The cons? Price và lack of image stabilization.
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The second best Canon full-frame-compatible general purpose lens is now the Canon EF 24-105mm f/4L IS USM Lens.Before the 24-70 L II arrived, I spent a lot of time helping people decide between the then-best choices, the 24-70mm f/2.8L Lens & the Canon 24-105mm L IS Lens.These pro-grade lenses are both impressive, but most people I was working with wanted both the f/2.8 max aperture & image stabilization.Choosing between these two important features was a dilemma.
And much lớn my disappointment, the dilemma is still not resolved - the 24-70 L II does not have image stabilization.For some, the 24-105 L IS remains the best full frame general purpose lens choice.
As of the Canon EF 24-70mm f/2.8L II USM Lens review date:Excluding the Canon EF 8-15mm f/4L USM Fisheye Lens, Canon has not released a non-IS zoom lens since the Canon EF 16-35mm f/2.8L II USM Lens five years prior (2007).Aside from two cheap EF-S 18-55mm kit lenses, the only other non-IS Canon Zoom Lens released after 2003 was the Canon EF-S 10-22mm f/3.5-4.5 USM Lens.
Canon omitted image stabilization lớn achieve the absolute ultimate image unique possible with the least-complex design.Obviously, I"m disappointed with Canon"s decision lớn omit IS, but I am definitely not disappointed by the image unique this lens delivers - or by its AF speed.
Shooting with a full frame Canon EOS DSLR?The 24-70 L II"s focal length range falls squarely in the recommended general purpose lensfocal length range.Shooting with an APS-H (1.3x) or APS-C (1.6x) DSLR?The 24-70mm range is still a great choice, with the realized angle of view shifted longer within the most commonly needed range.
For a focal length range example from a 5D Mark III sensor"s perspective, I take you khổng lồ the Harrison Wrights Falls in Ricketts Glen State Park (Endless Mountain Region, Benton, PA).
The extremely useful 24-70mm focal length range is complemented by a constant-over-the-entire-focal-length-range, wide-as-it-gets-in-a-Canon-zoom-lens, f/2.8 max aperture.Combined, the real world uses for the Canon EF 24-70mm f/2.8L II USM Lens are endless.
The 24-70 L II will be the bread & butter wedding lens for a significant percentage of professional photographers.The 24-70mm focal length range allows a large group shot or a close-up picture of the bride without a lens change.And these shots will be accomplished in the typically dark-as-a-cave venues weddings typically occur in.The fixed f/2.8 max aperture allows wide xuất hiện camera settings to remain constant with focal length change - allowing the photographer to focus on getting the job done.
As portraits are a staple of wedding photography, the 24-70 L II makes a great portrait lens.On a full frame body, group, environmental và moderately tight portraits work best.
Full frame 70mm is too wide for a tight head shot - for my taste at least.Save those shots for the longer focal lengths in the Canon EF 70-200mm L IS II USM Lens.On a APS-C/1.6x body, more working space is needed for group photos at 24mm, but tighter 70mm portraits are more pleasing due to the longer distance they will be framed from.
Since shooting a wedding is not too dissimilar from photojournalism in many regards (and many wedding photographers employ photojournalistic techniques),the 24-70 L II is also a great photojournalism lens choice.
Indoor và low light sports photographers are often working in similar conditions as wedding photographers & photojournalists.But their subjects are often moving faster.An f/2.8 aperture is generally the narrowest I recommend for indoor sports.Thus the 24-70 L II is a great choice for short range sports kích hoạt and it works especially well in combination with the 70-200 f/2.8 IS II mounted lớn a second body.
Regardless of your profession, the 24-70 L II will work just as well in your home as it does in the church, gym or other indoor venue.Capturing the memories of family life is, in my opinion, one of the most important photography pursuits.You can sell the lens later if finances become tight, but those precious family moments will never be back for capture later.
The 24-70 L is also a very good landscape lens (though it would be an even better choice if it had IS), especially on a full frame body.It will work fine on a crop body, but the full frame 38.4mm angle of view equivalent is a little long for the wide over of a dedicated landscape lens.Add a Canon EF-S 10-22mm USM Lens to lớn your 24-70 L II kit if landscapes are your goal.Or get the EF-S 17-55 or EF-S 15-85 instead.
The Canon EF 24-70mm f/2.8L II USM Lens was announced on February 7, 2012.For the next 7 months, all we had to look at other than the press release, product images & delay notices were the MTF charts.
And the estimated retail price - but the MTF charts felt much better to lớn look at.The price and MTF charts both indicated that we should expect great things from this lens.
Roger Cicala of LensRentals.com confirmed that contrast and resolution expectations were met upon receiving his first batch of Canon EF 24-70mm f/2.8L II USM Lenses,which of course increased my anticipation - và expectations.
With my first two retail-purchased lenses in hand, what I was seeing reflected this expectation, but involved a complication.
I often preorder more than one copy of Canon"s new lenses as I lượt thích having at least two sets of image chất lượng results to work from. I seldom see much variation between the multiple copies, especially between Canon"s higher grade L lenses.Unfortunately, two copies of the Canon EF 24-70mm f/2.8L II USM Lens were not enough.
My first copy (now "Sample 2" in the ISO 12233 chart results) was extremely sharp wide xuất hiện (f/2.8) across the entire focal length range -until 70mm at f/2.8 where its performance is only average và even trails the original Canon EF 24-70mm f/2.8L USM Lens in the center of the frame. An ISO 12233 chart retest of this lens delivered identical results.Real world shooting confirms the thử nghiệm results.This lens is so sharp at the rest of the focal lengths & at 70mm f/4 that I was hesitant lớn return it.
A significant backfocus problem at 70mm (note that manual focus is used for image unique evaluation) made the keep or return decision a no-brainer as I need to lớn be able khổng lồ use this lens on non AFMA-capable DSLRs.
Copy 2 (now "Sample 3" in the ISO 12233 chart results) of the 24-70 L II was very sharp in the center of the frame at f/2.8 throughout the entire focal length range - including at 70mm.The problem with this lens is that the mid and outer portion of the image circle is not as sharp at f/2.8 as copy 1. This is perhaps a misalignment problem.
With what I believe is a properly tuned lens in hand, I can continue this review.The ISO 12233 chart results I think most accurately reflect the image unique you should expect from this lens are shown as the default("Sample 1") lens in this tool.
The Canon EF 24-70mm f/2.8L II USM Lens is an incredibly sharp lens with excellent contrast across the entire focal length range & the vast majority of the image circle.The main image unique reasons khổng lồ stop down the aperture beyond wide open f/2.8 is togain DOF (Depth of Field), reduce vignetting and/or to simply gain a longer exposure duration.
Full frame corners are especially impressively sharp at 24mm f/2.8.A trend I"m seeing with the many copies of this lens I"ve tested is that corners may be slightly less sharp in the middle of the focal length range (35-50),and if I had to pick a weakest focal length for overall image sharpness, it would be 70mm.Still, this lens delivers very impressive image quality.
The "II" is considerably sharper than the "I" at f/2.8 and still noticeably sharper at f/4.The "II" retains better contrast at even narrower apertures, but the differences are not as exaggerated.
As you will notice in the autofocus tốc độ sample picture (horse jumping) below,there is a noticeable amount of vignetting in 24mm f/2.8 full frame corners - about 3.5 stops.About 2 to 2.5 stops of peripheral shading is present throughout the rest of the focal length range at f/2.8.This corner shading is similar to lớn what the 24-70 L I shows, but the "II" provides a modestly larger sweet spot over most of the range.Stopping down khổng lồ f/4 removes a stop or more of shading from the corners.Shading remains just-noticeable in the corners at very narrow apertures at the wide over of the focal length range.
Full frame body owners will probably want to lớn use a slim CP filter with this lens - to lớn avoid the additional vignetting the thicker filters deliver at 24mm.B+W"s flagship XS-Pro CP filters are my current choice.
APS-C/1.6x sensor format DSLR owners will not likely notice vignetting when using this lens - even at 24mm f/2.8.
The 24-70 L II will show some flaring with a bright light source in the frame - especially with a stopped-down aperture.Most will appreciate the II"s 35mm flare pattern much better than the I"s: example.While different, the II has slightly more flare in many direct comparisons - perhaps because of the larger front lens element?
Typical for a zoom lens is the 24-70 L II"s barrel distortion at the wide over that transitions lớn pincushion distortion from the low 30s onward.Distortion amounts at the focal length extremities are moderate - enough lớn be noticeable if straight lines are present near the edges of the frame.The 24-70 L II has very slightly more distortion than the 24-70 L I - but the difference is not likely relevant to lớn most.
APS-C format results will have negligible amounts of distortion save 24mm where a small amount of barrel distortion might be visible in some photos.
While distortion can be corrected during post processing, this process is destructive - moving pixels around - & results in reduced overall image quality.Another issue presented by distortion is seen in the viewfinder.I have enough trouble keeping a camera level when shooting, but having a curved horizon in the viewfinder makes leveling the camera especially challenging.The electronic level feature available in the newer/better DSLR models has been especially beneficial khổng lồ me in this regard.
CA (Chromatic Aberration) is barely noticeable at 24mm & quickly becomes negligible until about 50mm where CA starts creeping back into the corners.CA worsens through 70mm where the amount is still not bad for a zoom lens focal length extremity.The 24-70 L II has slightly less CA than the 24 L I at 24mm, but the I has less CA at 70mm (by a larger differential).CA is generally easy to lớn correct in post processing.
The 24-70 L II turns in reasonable background blur chất lượng (often referred khổng lồ as bokeh).Following is a bokeh comparison (click on the image - opens in new window) between five 24-something lenses with a few additional L prime lenses thrown in the mix.
All lenses and focal lengths were tested using a stationary (tripod-mounted) Canon EOS 5D Mark III.The same focus target was used for all kiểm tra shots và manual focus was used lớn obtain ideal focus for each focal length tested.Focal length marks on the lenses were used for establishing the focal length setting for each shot.
The relatively wide angle focal lengths found in these lenses need a close subject & relatively distant background to lớn create a strong background blur.Perhaps the biggest difference you are going to see below is that the 24-70 L I acts as a longer focal length lens than most of the other lenses compared hereat this relatively close focus distance.Again, click on the image below lớn see the full comparison.
Overall, differences (other than the enlargement of the blurred subjects/specular highlights in the 24-70 L I và 50 L examples)are not very easy to lớn see - & the differences will not be very significant in your image results.One exception is the comparatively harsh background blur unique created by the Tamron 24-70 VC.Unique also is that the Tamron framed the kiểm tra scene a bit higher than all of the other lenses.
With 9 rounded aperture blades (up from 8 in the I), the 24-70 L II will create 18-point stars (up from 8-point stars) from specular highlights when very narrow apertures are used.
The color and contrast this lens delivers is impressive for any lens, let alone a zoom lens.Remember the image quality differences between the Canon EF 70-200mm f/2.8L IS USM Lensand its replacement, the Canon EF 70-200mm f/2.8L IS II USM Lens?While the image unique difference between the 24-70 L & 24-70 L II may not be quite as large overall, the differences at f/2.8 definitely remind me of that upgrade.
Following is the Canon EF 24-70mm f/2.8L II USM Lens mounted on a Canon EOS Rebel T4i.