This easy-to-use standard zoom lens will cowl an oversized zoom space starting from 24mm fisheye to 105mm portrait-length exposure, and its Image Stabilizer Technology steadies camera shake up to a few stops. created with one Super-UD glass part and 3 rounded lenses, this lens minimizes aberration and distortion. The result’s glorious image quality, even at wide apertures. Canon’s ring-type USM provides silent however fast AF, along side full-time manual focus. Moreover, with dust- and moisture-resistant construction, this can be a sturdy yet refined lens that meets the strain of advanced amateur photographers and skilled photographers alike.
Test Notes With EOS-20D
This has been one in all the most-requested lenses on the positioning for us to check, therefore we’re more than happy to finally be ready to share our take a look at results with everybody. – And what a lens it is! this may come back as no surprise if you’ve got scan the glowing user reviews below, but it is usually sensible to ascertain our take a look at results fall right in line with users’ experiences.
Early samples of this lens had flare issues once shooting wide open, however Canon stood behind their product commendable, and provided free fixes to all or any house owners stricken by the matter, and current production models have sensible flare characteristics. whereas still a nuisance to possess to send your lens certain repair, it’s nonetheless nice to ascertain a manufacturer take such a proactive stance towards creating things right for his or her customers.
In our testing on a sub-frame camera, the 24-105 ranged from amazingly sensible at 24mm to simply glorious at 105mm. At wide angle, this lens is exceptionally sharp from corner to corner, sharpness is superlative, decreasing solely slightly at f/11 as optical phenomenon limiting comes into play. As you progress toward the exposure finish, the lens gets slightly softer up to concerning 70mm, and so maintains that level of sharpness more or less unchanged till 105mm. At 105mm, it’s slightly soft wide open, rising once you stop down to f/5.6, but then softens slightly again as you continue to f/8 and beyond. Still though, even in ranges where it’s “soft,” it’s noticeably higher than most zooms you will find.
Worst-case optical aberration is a bit high at maximum wide angle, but the low average levels there point to the CA being confined mostly to the corners. CA drops to terribly low levels over most of the remainder of the lens’ zoom vary, rising only slightly at 105mm. Geometric distortion ranges from moderate (~0.6%) barrel at 24mm to slight (~0.2%) cushion from 50-105mm. The zero distortion inflection purpose happens right around 35mm. Shading (aka vignetting) is exceptionally low, well below 1/4 EV at all focal lengths and apertures. Paying plenty of cash for a lens will not perpetually purchase you excellent performance, however the Canon 24-105mm f/4 L is one lens that simply justifies its worth.
Full-Frame take a look at Notes:
As perpetually once moving from a sub-frame camera to a full-frame one, the 24-105mm lost alittle sharpness within the corners, and chromatic aberration, distortion, and shading all got somewhat worse. That aforementioned tho’, corner sharpness and CA we have a tendency tore each far better than most zooms we take a look at, and stopping right down to simply f/5.6 created dramatic enhancements in sharpness. Worst-case chromatic aberraton did increase perceptibly, but the common CA levels remained terribly near those we have a tendency to found on the 20D body, once again suggesting that the worst CA is proscribed to a comparativelylittle space round the edges and corners.
The unhealthy news with this lens comes within the areas of distortion and shading (vignetting). At 24mm, barrel distortion redoubled to a awfully noticeable one.2%, whereas the cushion distortion from 50-105mm jumped to zero.5% (also terribly noticeable, we have a tendency to in person notice cushion far more obtrusive than barrel, though neither is precisely welcome). light declension took an enormous jump, reaching A level of over 1EV at 24mm and f/4, and decreasingg only gradually as we stopped down. At longer focal lengths it absolutely was less, however still on the order of 1/2 eV wide open.
While this can be an exceptional lens on sub-frame cameras it falls to simply “very, terribly good” on full-frame bodies. the great news although, is that this lens is well supported in DxO’s Optics professional software: As of this writing (in late july, 2006), profiles area unit on the market for the 124-105mm for the 1Ds, 1Ds Mark II, and EOS-5D, likewise as for the EOS-20D and 1D Mark II and 1D Mark II N. we have not run our take a look at pictures through Optics professional, but venture to guess that a lot of of the distortion, vignetting, and CA are handily treated, to not mention most of the softness within the corners.
Bottom line, the Canon 24-105mm f/4 L may be a very glorious optic, however one that struggles alittle on the perimeters and within the corners with full-frame bodies. As such, it’s an nearly ideal candidate to be used with DxO Optics professional, particularly if you are shooting with a full-frame dSLR.