Lens Canon 24-105mm: review, specifications, reviews. Canon EF 24-105mm f / 4L IS USM

Canon, along with more traditional f / 2.8 lenses, is developing the L-series with f / 4 lenses. They are smaller, cheaper and lighter than conventional ones, but they have high quality and characteristics such as tightness and strength.

The f / 2.8 series includes such professional Canon lenses as 70-200, 24-70, 16-35 (IS). F / 4 represent the models 70-200, 24-105, 17-40 and IS. In this review, we will talk about EF 24-105mm / 4L IS USM.

Features Overview

The fact that the device belongs to the series L, you can tell at once, as soon as the lens falls into the hands. And not only because of the presence of a red ring at the front edge - this is indicated by its strength and reliability. Metal fastening is much less susceptible to wear than plastic, and protection from dust and moisture will come in handy when shooting during a small rain. The ultrasonic ring motor accurately, quickly and almost silently finds an ideal focus. Manual mode is also available.

EF 24-105mm / 4L - Canon lens, the technical characteristics of which provide him with an excellent set of focal lengths. Probably even better than 24-70 mm / 2.8L. 24 mm provide a true wide angle. Both lenses cover the normal range in the 50 mm area, but this model also covers the portrait, as many call focal lengths of 80-100 mm. Full-format cameras with such parameters provide excellent frames such as "head and shoulders". A 70mm 24-70 limitation means that this lens is less suitable for such pictures.

In addition, this model perfectly removes landscapes, groups of people and buildings. This is one of those general purpose lenses, without which it is difficult to manage and with which you can have a great vacation. To fans to remove with the big focal lengths the model will provide also such possibility. Of course, 105 mm is not enough to engage in photo-hunting - it will have to be supplemented with telephotooptics 100-400mm / 4.5-5.6L.

At a weight of 670 g, the lens is much lighter than the 28-70mm / 2.8 model, whose mass is 950 g. True, this does not make it lightweight or compact.

The maximum aperture equal to f / 4 is not the limit of desires, but at least it is constant throughout the entire focal length range and the whole fission is better than most zoom lenses in their upper limit. To shoot indoors, in low light conditions, high ISO settings will be required. But on the other hand, another advantage of Canon EF 24-105mm / 4L is the built-in image stabilization system, which allows to increase the shutter speed by 3 times. So if the photographer received sharp photos without IS at 105 mm for 1/125 s, now he can take pictures for 1/15 s. That's why the lens is well suited for indoor shooting, especially during the day, although IS can not prevent blur of images of moving objects, only a shorter exposure is able to cope with it. F / 2.8 optics EF 24-70, which does not have a stabilizer, or 17-55 is more suitable for capturing images in low light conditions. Of course, a flash can always come to the rescue, but it destroys the atmosphere of natural light.

When the lens (along with 70-300 IS) first appeared in 2005, the first samples under certain conditions suffered from glare. The design was quickly fixed, and since 2006, the lenses have been manufactured without this shortcoming.

Optics consists of 18 elements, including one Super UD and three aspherical ones, which allowed to increase image quality and minimize aberrations, even when the aperture is wide open.

This lens for the Canon camera is fully sealed, which means that there are gaskets under the focus switch and zoom rings, and also on the mount. The latter is completely effective only when the optics is used with a sealed chamber. This is basically a device series EOS 1. Canon for additional protection recommends the use of a 77-mm ultraviolet filter, if the lens is used in the rain.

Design features

The lens is perfectly balanced with the cameras 40D or 5D. It is not lightweight, but rather compact, and it is convenient to hold it in your hand. The only thing that a little confuses users is that the zoom ring is located behind, and the focus ring is located in front. Other professional lenses for Canon with USM-motors (for example, 20-35, 28-135 IS, 17-85 IS) differ in that they have them opposite. This can quickly get used to, but according to users, they often get confused and change focus when they want to change the zoom.

The design is very durable, although it uses plastic more widely than in the other all-metal L-series lenses. Scaling and focusing are performed smoothly and without jerking, like the entire lineup of the line. The black color, of course, makes the device a bit more "secretive" than the white Canon EF 70-200mm / 4L lenses.

The lens hood that comes with the kit costs $ 60 if you buy it separately. It is quite small, but as the lens zooms up to 24 mm, it is simply necessary. It has a petal shape that provides the greatest possible coverage, but nevertheless it is not very effective when the optics stretches to 105 mm. This is the problem of all zoom. One of the advantages of a shallow blend is that you can reach it and rotate the lens polarizer. Designed for use in a full-size camera. The lens hood also works well on other digital SLRs, although not as efficiently, even in a 24mm position, so a smaller viewing angle requires a deeper blend to get rid of vignetting.

The 77mm filter is suitable for some other lenses, such as EF 300mm / 4L, 20-35mm / 3.5-4.5, 400mm / 5.6L, 17-40mm / 4L, 16-35mm / 2.8L, EF-S 10-22mm Etc. Please note that the EF 16-35mm / 2.8L II requires a 82mm filter. Perhaps this is the only Canon lens that needs a larger size. With a lowering adapter, the 77 mm filters can also be used on smaller optics. However, in this case it is already impossible to install a blend.

According to user feedback, the available focal length set is best used on a full-frame camera. APS-C-body normal lens turns into a tele-zoom, since with 24 mm on APS-C give the same angle of view as 35 mm with full frame format. But the Canon EF 24-105mm / f 4L IS USM fits very well with 10-22mm / 3.5-4.5 on the 40D type mirrors. If there are both lenses, no one will regret the lack of 23 mm, having the equivalent of 16-168 mm in terms of a full-size camera.

Performance

Mostly said here concerns full-size matrices (such as EOS 5D), but the Canon 24-105 f / 4L lens can be used by others in the manufacturer's digital SLRs, including EOS 20D, 30D, 40D and Digital Rebel series. Since the cameras with the APS-C-sensor, in fact, cut the full-frame image, their performance, relating to things such as distortion, vignetting, edge sharpness and chromatic aberration, will be even better than full-format images. This is because the APS-C sensor simply captures the "golden mean" in the center of the frame, where most aberrations are lower than at the edges. The price for this is the loss of some angle of view and the need to increase the cropped image 1.6 times to get an equivalent size of the picture. This reduces the overall quality like printing from small negatives compared to large ones.

Distortions

Distortions range from a moderate barrel distortion of 24 mm to very small changes in the 50 mm range and a soft cushion distortion of 105 mm. Distortion probably will not be very noticeable on most conventional shots, but if the subject is an architecture with a lot of vertical and horizontal lines at the edges of the frame, then this can be a problem. Of course, distortion can be corrected - Canon's own DPP RAW converter can automatically apply corrections to RAW images obtained with 24-105 / 4L. When shooting slides or negatives for conventional optical printing (which is very unlikely, but possible), you should probably choose a lens with minimal distortion. For all other cases, the scale distortion is a fact of life and can be corrected with little or imperceptible influence on image quality.

Vignetting

As you would expect, vignetting becomes noticeable on full-size photographs using a wide-open aperture. At 24 mm at the maximum aperture, you can see the dark corners, especially in a photo with a uniform tone (for example, a blue sky). Vignetting on 50 and 105 mm is not as strong as at 24 mm, but it is there. Again, it becomes noticeable when shooting scenes with uniform angles. Setting it to f / 5.6 greatly reduces the strength of the vignetting. Since the APS-C matrix cuts the image from the center of the full frame, this effect is not noticeable on such SLR cameras, even at the maximum aperture opening of 24 mm. Some owners of APS-C, who have already used full-size lenses and switched to the appropriate cameras, can expect a surprise when they see that most (if not all) of their optics began to show vignetting.

After the image is automatically corrected, the lightening of the corners becomes noticeable. This function can also simultaneously correct distortions and chromatic aberrations. Users note that when printing large images, all standard paper sizes cut corners, since no standard corresponds to a ratio of 2: 3. Therefore, the dark parts of the photo will be cropped in any case.

Boke

Bokeh, or the quality of the defocused image, is more than worthy for the f / 4 optics, especially at longer focal lengths. Defocused edges are slightly overloaded and sharp, but for such optics this is normal.

The degree of blurring strongly depends on the ratio of the distances from the camera to the subject and from the subject to the background. While it is located closer to the camera than the background, bokeh will please.

Although the lens can not compete with more wide-aperture lenses, especially with EF 85mm / 1.2L, 24-105mm / 4L, 105mm is quite good separating the subject from the background.

Stabilization

Canon claims that enabling the image stabilization function allows you to increase the shutter speed by 3 times. Pictures at 24 mm with a shutter speed of 1/6 s are fairly clear and even about 50% of frames taken at 1/3 s are successful. At a distance of 105 mm, most of the good photographs can be made at 1/13 sec. Of course, the frames are not quite the same as if they were shot from a tripod, but clear enough. These figures are consistent with Canon's statement of three additional divisions. When shooting with such slow shutter speeds (1/3 sec to 24 mm, 1/13 s to 105 mm), it's always a good idea to capture at least two or three frames, this will significantly increase the chances of getting at least one sharp image. It's all about percentage. The more photos you take, the higher the chances of making a good shot.

Sharpen

The Canon 24-105 mm f / 4L lens allows you to get clear pictures on all apertures both in the center of the frame and in the corners, even when using the full-frame EOS 5D sensor. There is only a slight increase in sharpness when the aperture is closed to f / 5.6, which indicates how good the optics are at f / 4. Perhaps it is less clear by 105 mm than 24 mm, but nevertheless provides sufficient sharpness at these focal lengths. The fact that the Canon 24-105 / 4L lens is very clear with a wide open aperture is impressive. Since the relative aperture is smaller, the absence of a need to narrow the diaphragm to obtain clear pictures is an undoubted plus.

Lens Canon 24-105 reviews of users comparing its sharpness with optics 24 / 2.8, called more sharp in the corners, but also with a greater level of vignetting and distortion. The sharpness in the center remains, and with smaller relative holes, the optics provide good quality, even at the edges.

On APS-C matrices, the result looks even better, since the corners of the full frame are cut off and the sensor only sees the central part of the image where the aberrations are smaller.

Chromatic aberrations

According to the owners, chromatic aberrations are within acceptable limits at all focal lengths. The very faint color of the edging is noticeable at the edges of the full frame, but if you shoot in RAW mode, automatic correction in DPP allows you to fix it, or you can use a graphics editor such as Photoshop. Distortion levels at 24 mm are comparable with 24mm / 2.8, although, perhaps, slightly less.

Glare

Users note that the glare is well controlled. The Canon 24-105 / 4L lens at the rear has a rectangular diaphragm, which undoubtedly contributes to their low level. When the model was first introduced in 2005, it had a small problem with glare at 24 mm, but it was quickly eliminated, and since 2006 this defect was no longer observed.

Integration with EOS

The lens provides information about the distance to the subject to be shot, providing compatibility with the E-TTL II flash in 1D and 5D. When used with EX Speedlite, it transmits distance data to the exposure calculation program, which significantly improves the result. In addition, while maintaining the dust and water resistance of a professional camera, the lens is equipped with a sealing ring in the place of attachment to the camera, as well as numerous seals of moving components. The shape of the autofocus and image stabilization switches has been changed to avoid accidental on or off.

Accessories

Optics are sold in a standard modest bag with a blend. There is also a lens cap of Canon 24-105 mm f / 4L. Although the hood is not made of modern plastic with a rough surface that protects it much better from scratches than the shiny plastic used here, according to the owners, it does its job well to prevent the appearance of glare - unwanted reflections in the photos caused by the sun that is In the frame, and haze - loss of contrast and color saturation, also caused by a source of bright light, which is not necessarily present in the picture.

The hood is made in the form of petals and is so small that it opens access to the 77 mm filters. The use of circular polarizers and gradient filters, which need to be rotated before each image, is not caused by user feedback, since the front element of the device does not rotate during zooming or focusing.

Canon 24-105 Lens: Features Overview

According to users, 24-105 / 4L is one of the best standard general-purpose zoom lenses. It is very sturdy, equipped with an excellent ultrasonic ring-type focusing motor and an image stabilizer, which allows a 3-fold increase in the holding time compared to the usual conditions. The maximum aperture is constant throughout the entire focal length, which, in the opinion of the owners, is not very attractive for wide-angle shooting, but very good for 105 mm. Users do not recommend using this optics with APS-C cameras because the effective range of 38-168 mm is not very practical.

The lens is very clear, and its resolution exceeds the more expensive 24-70mm / 2.8L. With wide-angle zoom, the real problem is distortion of the image and curvature of the focal plane (the other focal lengths are OK). Closer to the corners in the focused parts of the frame appear colored bands, but out of focus this effect is not so noticeable. A round diaphragm provides a good bokeh. As with all wide-angle lenses, there is a shadow in the corners of the frame, but it can be reduced by reducing the aperture or programmatically (in the event that it interferes).

Although the lens is not small and not light, it is much more convenient than the larger and heavier 24-70mm / 2.8L.

Long-term users who have made a lot of photos are very satisfied with the lens. This is truly universal optics, and it can be taken with you on trips to nature. For professional work, the owners recommend using 24-70 / 2.8L because of its narrower focus range, which has more light and provides more creative possibilities. According to the owners, the lens Canon 24-105 (price - 999 US dollars) is worth its money, but the buyer himself must decide what is more suitable for him. The variant with f / 2.8 with the size and cost of the EF 24-105 / 4L would be ideal, but the manufacturer still does not make such an optics.

Verdict

Canon EF 24-105mm / f 4L IS USM is a really good lens. According to the owners, on full-format digital SLR cameras, the range of its focal lengths is ideal for general purpose optics, including its use for landscapes and portraits. The lens allows you to shoot with a wide open aperture and produces very clear images, and stabilization of 3 times increases the allowable shutter speed. Clear photos are obtained by holding up to 1/3 sec at 24 mm and 1/12 s at 105 mm. Somewhat reduces the overall impression of pronounced vignetting and distortion, especially at 24 mm. This can easily be corrected by digital post-processing, but it is always better when there is no such need. If the Canon lens was designed to eliminate vignetting and distortion, it would probably be much larger, heavier and more expensive and would lose some of the focal lengths. If this is so, then the compromise found justified itself.

In the case of digital SLRs, the focal length of the Canon 24-105 / 4L is equivalent to 38-168 mm of a full-frame camera, so the user loses in wide-angle coverage. However, the image quality is very high, since the edges and corners of the frame, where the vignetting and aberrations are strong, are cut off. If you carry a Canon EF 24-105 lens in pairs with 10-22 / 3.5-4.5, then it will provide coverage of 10-105 mm.