The 70-200 lens is a staple in most pro photographer’s diet.  The photographic possibilities with that focal are wide ranging and Canon has a 70-200 to suit almost everyone’s needs, 4 different versions in fact.  The previous image stabilized version was brought out in 2001 and quickly became the new standard for such lenses.  In 2010 Canon introduced the new MKII version of the lens featuring an improved 4-stop image stabilization and theoretically improved image quality.  How does it stack up to the previous version and how does it compare to the 70-200 f4 L IS ?  Read on to find out more…..

First a little personal 70-200 history.  When I first made the jump into professional photography I picked up a 70-200 2.8 L IS and a Canon 1MKIIN.  I was blown away by what I could create with that combination and it was by far my most used lens.  Landscape, portrait, sports it could do it all.  One thing I realized though was that I was very rarely using the lens wide open as the majority of my shots were outdoors.  When Canon released the 70-200 f4 L IS in 2006 I watched the reviews flood in and was surprised to see that almost unanimously people found the image quality to be greater on the 4 L IS version.  Seeings as I did not feel the need for f2.8, I sold mine and purchased the f4 L IS version to save some considerable weight in my pack.  For the last few years the little f4 IS lens has taken over the role as my most used lens and done me proud.  I’m continually amazed by the quality of the shots it produces from such a small package.  When Canon announced the new MKII f2.8 though I was curious to see if the improvements featured in the f4 IS had been carried over, and if the MKII really justified the heavy price increase that came with it.  I was able to borrow the lens for some time to see how it performed, and see if there was room again for the f2.8 version back in my pack.

Left to right:  70-200 f4 L IS , 70-200 f2.8 L ISII , 300mm f4 L IS

Physical changes

Physically there is a huge difference between the f4 and f2.8 versions of this lens.  The f2.8 weighs in at 1490g and the f4 almost exactly half that at 760g.  The f2.8 is slightly longer but I find the difference in diameter makes far more difference in my pack.  The new MKII f2.8 feels better built than the f4 IS and the first version of the f2.8 IS, with a much sturdier feel and resistance to the focus and zoom rings. The f2.8 also features a much wider focus ring than the 2001 MKI version and comes in at 180g heavier than its predecessor.  The increase in weight is something I’m definitely not a fan of though especially when you see Canon making such huge efforts to decrease the weight of some of their other new lenses like the 400mm f2.8 IS II.  I was really surprised that they felt it necessary for a 12% increase.  The new 300mm f2.8 is 8% lighter and they made a big deal about that!

The 70-200 f2.8 L IS II comes with a dedicated lens case and lens hood.

Another physical difference from the earlier version is the lens hood (ET-87).  It now features the textured look that Canon has adopted for their hoods, helping increase resistance to scratches and decrease reflections.  There is also a small push button that locks the hood into place.  As before it mounts by rotating it into position, but to release it you must now depress the small button.  It feels solid and I think this is a nice addition for people shooting in frantic places where lens hoods might get dislodged by a crowd.

Image Stabilization

The MKII also features an improved IS system.  The previous version contained a 3-stop IS and is replaced here with the new 4-stop version.  On top of this gain in hand-hold-ability, the new IS is also much quieter than both the original MKI version and also that which is in the f4 IS lens.  For stills photos this is not much of a consideration for me but for video shooters out there it might well be.  The controls on the side of the lens remain unchanged though with a focus range limiter switch and option to select either IS mode 1 or 2.  As before, mode 1 is for general usage in low light and mode 2 is for controlling camera motion in one direction while you are panning with your subject.  IS in the modern lenses is so good that there is no real need to go into huge details about what it can do. Suffice to say that it works and it works well.  There have been many many times when IS has allowed me to get a shot at a low shutter speed that otherwise would not have worked.  I’m a firm believer that it is worth every penny over the non-IS version.

70-200 f2.8 L IS II – MTF Charts

So how did the lens perform in testing then ?  As I had my personal 70-200 f4 L IS on hand as well I have made a few comparison shots with my usual test subject, the $5 bill.  As usual, take this for what you will, I am human but I did my best to be accurate.  Tripod, mirror lockup, liveview focusing, multiple images at each setting.  With a zoom lens there are so many permutations so I have had to limit things somewhat but you can get a bit of an idea for some of the key f-stop and focal length combinations. These are all 100% crops of an area on a $5 bill that was set up at the minimum focus distance from this lens, 1.2m.

Test Results

70mm – Wide open the new f2.8 does a good job of resolving the detail.  It’s no prime lens and images would benefit from a bit of sharpening but the results are usable with plenty of contrast.  At f4 the f2.8 lens has improved considerably and the f4 IS lens has now impressively entered the fray.  Considering this is wide open for the f4IS lens it makes a very impressive entrance and is very nearly as sharp as the f2.8 at that aperture.  It is much sharper than the f2.8IS was at it’s wide open setting.  At f8 things are almost neck and neck, if anything the f4IS lens actually seems to have the edge.  F16 and F32 are considerably and equally effected by diffraction at the 70mm length, f32 is totally unusable in my opinion.

135mm – At 135mm the 70-200 f2.8 L IS II performs similarly when wide open at f2.8 as it did at 70mm.  At f4 again the f4 IS lens puts in a remarkable performance considering it is wide open and matches the sharpness of the 2.8 IS lens at the same aperture.  At f8 the f4IS lens seems to be sharper than the f2.8 lens (!) though not by much and really they both put in great performances for a zoom lens at this point.  Both lenses exhibit much less degradation in quality towards the smaller end of the aperture than they did at 70mm.  F16 becomes totally usable and f32 might also be usable in a pinch.  You can certainly stop it down much much further at mid zoom range and still get sharp images.

200mm – Wide open and fully zoomed is almost always the hardest area for a lens to perform and at 200mm the f2.8 IS puts in a surprisingly bad performance.  This is something that I first noticed when I was experimenting with the new shorter MFD and shooting some flowers in my yard.  The flowers all exhibited a ghosting effect that I have not seen before on any of my other lenses.  In some cases it was so bad in fact that I was almost tempted to say that the lens is faulty, but it seems to perform fine in other areas. Most other real world examples fared far better than this test suggests but there is still room for improvement. High contrast subjects suffer worst, a white object on a black background for example.  At f4 the image is much improved but I would still not say that it is very good.  The f4 IS lens matches performance with it and is somewhat forgiven for being soft because it is wide open.  For f8 , f16 and f32 things are on par once again  and in fact at 200mm both lenses achieve the best performance at f32.  A great improvement over f32 at 70mm.

Confused?  Yep!  This is the problem with zoom lenses, there is just so much going on inside the barrel that you have to take all settings into account to produce the very best image.  The two most notable things I took from this test was that the 70-200 f4 L IS is pretty much just as good as the 70-200 f2.8 IS II at all available apertures.  For the price of that lens it is really quite remarkable.  The second surprising thing to me was the poor performance of the f2.8 IS II at 200mm, especially wide open.  I haven’t seen anyone else out there comment on this so I am still somewhat confused by it.  I’d like to get another lens off Canon to double check things but please chime in with comments below if you have experience with this lens.  For the majority of the focal range though the f2.8 makes very usable images and they are much better than the previous version that I used to own.  Bear in mind as well that most people would apply some sharpening to the images during their processing though and in real world shooting it is not nearly as noticeable.  Take a look at the black and white image below for example that is shot at 200mm and f2.8.  Looks just fine right ?  For most uses, pixel peeping a 21MP image is overkill.  It can still produce great images with those setting.

After the semi-clinical testing it was time for some real usage in my work.  Having the lens for a couple of months really allowed me to integrate it into my daily shooting….. or not in some cases.  Right off the bat I knew this thing was sharp but what I found interesting was that when I was packing my bag to go and shoot, there were still plenty of times when I reached for the f4 IS instead.  Now some of you might be thinking WOW wait!  What?!  You have access to Canon’s latest and greatest $2400 lens and you aren’t going to use it?  Yes ! I have far too many lenses to take them all on a shoot and each time I go out it is tailored specifically for what my subject is for the day.  As you can see from the test images above, the f4 IS is plenty sharp!  And while it feels like any other lens when I put it in my pack, the f2.8 feels like slotting a brick in there.  I have chosen some images below from a few different situations, some from a commercial shoot for the ski resort Whistler Blackcomb, some from some journalistic work at the mountain bike festival Crankworx and a couple more extras that I felt illustrated some useful points.

Canon 1D MKIV + 70-200 f2.8 L IS II

1/1000 f8 ISO500 @123mm

1/1000 f9 ISO320 @70mm

1/5000 f4.0 ISO500

1/2000 f2.8 ISO100 @200mm

1/1000 f2.8 ISO1250

The minimum focus distance for the MKII lens is 47.2″ which is a considerable improvement over the 59.1″ of the older version.  If you like to shoot a lot of close up nature photos then that 12″ will make a big difference.  You can really get in there and pick up some nice details with this lens.  Check out the two photos below.

1/500 f8 ISO1200

1/160 f10 ISO1600 @150mm

Conclusion

From a build quality point of view this is one of the best built, most solid lenses out there.  It really feels like it will last you a lifetime of daily use and is in the same league as the 300mm f2.8 and other super tele lenses.  From an image quality point of view it is also the best performing zoom lens that I have used but produces drastically different results in different areas.  Vignetting wide open at 70mm is minimal and MUCH improved over the first version of this lens especially on a full frame body and is better than the f4 IS.  At 200mm vignetting is slightly more pronounced but seems to be all but gone by the time you stop down to f5.6. Chromatic aberration seems to be well controlled throughout the range, but there is the issue of poor sharpness and ghosting wide open in some situations at 200mm. I did not notice it in the majority of situations but it did rear its head in a few cases and for some reason it suffered badly in my test shots of the $5 bill making it look far worse there than it appeared in real world shooting.  Users of the original 70-200 2.8 IS will know that it is somewhat susceptible to lens flare with backlit subjects and direct light sources aimed at it.  The new coatings that are applied to modern lenses have gone a long way to combat this problem and I didn’t have a single case of weird flare artifacts on my images.  Its hard for me to judge AF speed against the old one as I never used it on a MKIV but suffice to say AF speed is blindingly quick and a tiny bit faster than on the f4 IS.

So would I recommend this lens despite the couple of flaws that are noted ? ABSOLUTELY YES.  Am I going to keep it for my work?  No, not for now.  What I found was that for the majority of my shooting and subject matter I still did not prefer the f2.8 over the f4 version simply because of the weight difference.  At the same apertures, the two lenses are almost identical in performance.  So the choice between the two just comes down to your need for the wider f2.8 aperture or the weight saving of f4.  Who needs f2.8 then ?  Lots of people!  For indoor sports the faster shutter speed at f2.8 will be well worth the extra money and bulk.  For me though, the best use of this lens is for wedding shooters, photojournalists and event photographers.  All these categories of shooting demand a versatile lens that can be used indoors and outdoors very quickly.  Covering the Crankworx bike festival in a journalistic capacity really showed me the benefits of having the wider aperture and I found myself using an aperture between f2.8 and f4 all the time.  The isolating DOF at these apertures is great for story telling in your images and normally I would be happy to achieve this by switching about my prime lenses, but when time is of the essence and an event is unfolding right in front of you there is just no time for swapping glass.  For landscape shooters I still maintain that the f4 IS is the better choice.  At higher apertures there is no difference between these lenses and it’s just not worth carrying the extra weight around, likewise for travel photographers and people like myself who shoot a lot of outdoor action sports.  Would I upgrade to this lens if I still has the MK1 2.8 version?  Tough question as it will probably cost you in the region of $1000 by the time you have sold the old one and bought the new one.  There is a lot you can do with $1000….. but I would be inclined to say that yes it is worth it if you use it day in, day out for your business.  Especially on a full frame camera, my MK1 was always slightly”mushy” wide open and the MKII is definitely improved in this area between 70mm and 170mm.  It softens up at the far end of the zoom scale but still produces some great shots.  Combine that with the hugely improved resistance to lens flare and much better vignetting control and it is a winner.  Bottom line I think everyone should have a 70-200 in their arsenal and for me having IS is a must so it comes down to these two choices.  Both will produce stunning shots but only the f2.8 will do so in very low light levels for fast moving subjects.  Whether you need the f2.8 IS version or the f4 IS will really come down to what you are shooting and not any differences in the images these lenses produce.

Please support this site and help me to continue to add to it by purchasing the lens through this link to my good friends at B&H Photo for the 2.8 HERE and the 70-200 f4 L IS HERE

As winter gets a little closer every day, the ski magazines begin to hit the shelves again.  Always an exciting time of year for me as I begin to see the fruits of my labor from last season.  The first one I’m posting up here was just published in Powder Magazine (though Australian readers may have seen it a few months ago in some mags over there too).  This is the first in a series of ads that I shot in the spring time for the ski resort Whistler Blackcomb.  Some of you will recognize Whistler as one of the host resorts for the 2010 Winter Olympics, and many other will be very familiar with WB simply because it is one of the most famous ski resort in the world, and luckily for me also my home mountain.

The first thing that is different about this shot is that it was deliberately not shot on a day with particularly nice weather.  Whistler Blackcomb along with their design agency Origin Design had decided that they wanted to achieve a different look this year from the regular bluebird powder day photos that normally fronted their campaigns.  They decided to go with a black and white design and so we decided it would be better to shoot on a slightly cloudy day to try and get a bit more character in the sky.  On top of the cloudy stipulation we also needed fresh snow on the trees to make the perfect shot.  Getting these things to come together was a bit of luck but after a couple of false starts we got some promising looking weather.  I shot the image using a Canon 5dMKII. I also had a Canon 1DMKIV with me as backup but the full frame 21MP sensor of the 5DMKII was the best choice for the job for a couple of reasons.  Firstly we were shooting at the end of the day so the light levels were quite low and secondly when you are hanging out of the side of a helicopter you need to use a much higher shutter speed than you normally would for a landscape photo due to all the vibrations.  The final exposure was 1/2000 , f10, ISO640.  640 is pretty high but necessary to get a fast shutter speed and enough DOF in the low light. The full frame sensor of the 5DMKII produces stunning images even at ISO640.  The lens I chose was the Canon 24-105mm f4 L IS because I wanted versatility in my compositions.  We had a number of ideas on how we would frame the shot, and when the side of the helicopter has no door, there is no room for messing about trying to change lenses; versatility was key so the 24-105 was perfect and had IS to help with the vibrations from the engine.

Canon 5dMKII , 24-105mm f4 IS, 1/200 f10 ISO640

This is another of my favorite images from the shoot that did not end up getting used.

Prints of the image above are available, please inquire to orders@dancarrphotography.com

You can also view some of the ads that I shot for them last year in this blog post here.

Browsing some websites and forums this morning I noticed a lot of discussion about the new Canon 60D and how it compares with the 7D.  I can understand this, at first glance it might seem like the 60D has made the 7D somewhat obsolete but that really is not the case.  A closer look at the specs reveals a camera that more carefully fits into the “advanced amateur” category than previous XXD line cameras because of course the 7D did not exist when the 50D was released.  The camera that is best for you will depend partly on your budget (there is a $400 price difference) but also partly on your intended shooting medium.  Video or photos ?  This question is a new one that has to be considered with all of today’s cameras, as if we needed more right?!  Many potential buyers will want to shoot both but I would wager most have a preference for one or the other.  There is also the consideration that these days there are plenty of film makers who are looking to add HDSLRs to their shooting and often they do not care for the photo features.

First off lets take a look at how the main features compare:

1. The obvious physical difference is the articulated screen on the 60D and for video shooters this is nice addition.  For photos though I personally can’t see it being better than holding your eye up to the viewfinder which would give you far more stability in your shot.  But one thing to consider if you want the 60D for video shooting is that all of the latest LCD viewfinders for DSLRs have been designed to have the finder attached to a mounting on the bottom of the camera.  This means that they will NOT work with the 60D if you intend to swivel the screen AND look at the screen through the viewfinder.  Take a look at the Zacuto Z-Finder for example and you can see what I mean.  That’s not to say that this problems wont get fixed, but for now it might be a consideration becuase using a viewfinder makes it far easier to focus, articulating screen or not.  Of course you could just close the screen and be fine, but if the articulating screen was a deciding factor in your decision then there isn’t much point in that.

2. The next thing to consider is that the 7D has dual DIGIC 4 processors.  The processor is the brains of the camera and having 2 of them dramatically speeds up the pace at which the camera can shoot, and write images to the memory card.  This is the main reason that we see a shooting speed of 8FPS on the 7d and only 5.3FPS on the 60D.  Its also responsible for the much higher JPEG buffer on the 7d.  Having  dual DIGIC 4 also leaves power left over to handle image processing and control noise reduction in high ISO images, the result of which will be better low light performance in the 7D images even though they are using the same APS-C 18MP sensor.  So speed and ISO performance are the next things to consider, do you want to shoot sports ?  Do yo want to shoot indoors a lot, or at night ? If you answered yes to either of those, and pure image quality is a priority then the 7D would be my choice.  In my experience the difference between 5.3 and 8FPS in shooting speed feels like even more than a 2.7FPS difference.

3. Autofocus sensors also differ greatly between these cameras so again this one is going to be important to consider if you want to shoot faster moving subjects like sports, or wildlife that might be running/flying.  The 60D features 9 AF points and the 7D features 19 AF points.  On top of this the “brains” of the 7Ds AF sensor are far more advanced and include more specific focus modes like zone and spot AF focusing.  The 7Ds AF system is far more “intelligent”  whereas the 60D really maintains the same system from the fairly dated 50D.

4. Audio controls differ between the cameras and this is an area where things are a bit backwards.  The 7D lacks the manual audio control that was introduced to the 5dMKII at the beginning of the year, but interestingly the 60D has been given these manual controls.  If you plan on shooting audio on board the camera then this can make a considerable difference to the sound quality.  To me this seems odd.  Every other feature apart from the articulating screen, has been designed to put the 60D firmly in the middle between the T2I and the 7D.  This suggests to me that there might be a firmware update coming in the future for the 7D…..maybe.

5. Lens micro adjust is a feature that allows you to tailor the autofocus system to each and every lens in your arsenal.  Not all lenses are made equally and many will front or back focus very slightly. For the most part it is not noticeable to anyone but the pixel peepers, but if pure image quality is your main concern then I find it very useful.  I calibrate all my lenses with micro adjust and on some it has made a huge difference.  The 60D does not have this feature but the 7D does.

6. The 7D has a 100% coverage viewfinder.  This means that what you see through the viewfinder is what you get in your image.  The 60D only displays 96% of the image and that can make a difference when you are making an image with very specific composition. Having used 100% viewfinders in my 5dMKII and 1 series cameras I know there is no way I could go back to using anything else.  But if video is you main reason for buying one of these cameras then its not a problem because both screens display 100% of the image so liveview shooting is not affected.

7. Durability, weather proofing and body construction are the final main differentiation for me.  There are other minor details you can see in the table above but the construction differences between the 2 are what I would consider to be the final main point for consideration.  The 7D features a weather sealed magnesium body (shown in the diagram on the right) and the 60D is made entirely of polycarbonate plastic.  Granted, the polycarbonates that Canon are using these days are incredibly strong, not your average plastic, but a magnesium body is still going to withstand more extreme uses.  What is interesting is that the 60D predecessor the 50D did have a magnesium alloy body.  This to me is a clear indication of how Canon wanted to widen the gap between the 7D and the T2i.

Conclusions

Which one to buy then?  Purely my opinions here but I would say that if you are looking at either of these purely for shooting video then the manual audio and flip out screen gives the 60D the edge with 2 caveats. Firstly you have to be planning on not shooting the videos in extreme low light and secondly not shooting in inclement weather conditions.  If either of those two things are likely then the 7D takes the lead again.  If you are looking at either camera just for shooting photos then the 7D is the hands down winner.  Faster, better low light, better AF and 100% viewfinder.  I think the $400 difference in price is justified in that respect.  Now for the tricky part, you want to shoot both stills and video in equal amounts…..  this will come down to your preferred subject matter.  If you shoot wildlife and sports then the 7D will give your photos the edge.  If its just landscape photos where AF speed is not a factor then I think you will find the 60D a very competent camera.

The 7D can be purchased from B&H Photo here.  And also from Amazon here.

The 60D can be purchased from Adorama here and from Amazon here.

Today is a pretty huge day for Canon shooters with the announcement of the new 60D and 4 new lenses as well as new teleconverters and information on even more lenses to come in the future!  I have posted detailed information and my thoughts on all these announcements but as there were so many I am doing a summary here for those who just want to bare minimum info.  If you want to read the full posts then scroll down or click the links!  Whew!  Big day and also new traffic record for my website so thanks to all those that logged in to check out these exciting new products.

Update 3: Adorama has the 60d up for order now here

Update 2: Amazon has the 60D up for pre-order here

Update: B&H will keep you informed when all of these new items become available for purchase

Canon 60D – Full article here.

Main points of interest:  18MP sensor, 3″ swivel screen, full video functions of the 7d and a nice looking ergonomic re-design.

Available in September for approx. $1099  (new battery grip BG-E9 $270)

Canon EF 70-300 f4-5.6 L IS – Full article here

Main points of interest:  Small size (143mm) and weighs in at just a tiny bit over 1KG.  4-stop image stabilization, full weather sealing and minimum focusing distance of 1.2m

Available in October for approx. $1500

Canon EF 8-15 f4 L - Zoom Fisheye – Full article here

Main points of interest:  First lens of its kind, circular fisheye on a full frame and ability to be a full frame 180 degree fisheye on all crop factors.

Available in January for approx $1400

Canon EF 300mm f2.8 L IS II - Full article here

Main points of interest:  Weight reduced by 8%.  New 4-stop IS. power focus mode for smooth focus racking during movie shooting.  Multiple feet available for tripod/monopod attachment, built in collar.

Available in December for approx $7000

Canon EF 400mm f2.8 L IS II – Full article here

Main points of interest:  Weight reduced by an enormous 28%!!  Otherwise mush the same as the 300mm.  New 4-stop IS. power focus mode for smooth focus racking during movie shooting.  Multiple feet available for tripod/monopod attachment.

Available in December for approx $11,000

Canon 1.4x TC III and 2x TC III – Full article here

Main points of interest:  Well not much really… they are designed to pair perfectly with the new big white tele lenses and predictably they apparently offer hugely improved contrast and sharpness.

Available in December for approx. $500 each

Canon EF 500mm f4 L IS II and 600mm F4 L IS II are in development – Full article here

Main point of interest:  Sort of a half announcement.  Canon confirms the 500 and 600 will see an upgrade next year to include all of the new features of the new 300 and 400.  It will be really interesting to see if they can shave off 25% + weight of either of those 2 lenses !  That would be incredible.

Availability sometime next year and price TBA ( but it will be huge!)

Canon has also announced that they will be making updates to the current 500mm and 600 mm lens designs following in the footsteps of the new 300mm and 400mm announced today.  Little more information was given except that they will be available next year, and on display at Photokina in October.  For me the really big news in these updates is the weight reduction.  All the “big whites” already produce incredible images so it would be hard to improve on them in that respect.  The 28% reduction in weight of the 400mm 2.8 though is an amazing achievement.  If they could do that to the 600mm then it would be very interesting.  Many wildlife and nature people choose the 500mm instead of the 600mm becauase the later is so much heavier.  If they could bring the new 600mm in line with the current 500mm then it would be some food for thought!  And then the 500mm… how low can they go!?  On top of this they have extended a new look to the lenses which began last year with the 800mm f5.6.  Personally I think they look great, not that it makes you take better photos but hey I keep my 300mm 2.8 on my desk to look at as a paperweight too.  Don’t you ?

600mm f4 L IS II

500mm f4 L IS II

Full press release:

London, UK, 26 August 2010 – Canon today announces the development of two new super telephoto lenses for its leading range of EOS Digital SLR cameras – the EF 500mm F/4L IS II USM and the EF 600mm F/4L IS II USM. The new lenses will be displayed for the first time in Europe during Photokina 2010 in Cologne, Germany.

Developed as part of Canon’s acclaimed L-series of professional lenses, the new lenses will achieve new and advanced levels of image quality. Each will include the highest quality components, featuring high specification Image Stabilizer technology alongside the use of optical materials such as Fluorite, to correct aberrations ensuring high resolution images rich in detail and contrast.

Succeeding the widely-respected EF 500mm F/4L IS USM and EF 600mm F/4L IS USM, the EF 500mm F/4L IS II USM and EF 600mm F/4L IS II USM are being developed for photographers who require high performance, fast aperture and a longer focal length. Redesigned, lightweight bodies will provide added mobility alongside enhanced protection against dust and water, making them ideal for the toughest shooting conditions.

Both new lenses have been designed to reflect Canon’s renowned high standards for the elite L-series, combining exceptional-quality optics with easy-to-reach controls and signature designs. The models will be released as part of Canon’s continued development of its EF lens line-up, offering enhanced performance and improved functions that cater for the needs of photographers from beginners through to professionals.

On top of all the other exciting things they released today, Canon has also been busy working on new updates to the big white lenses.  This time round the 300mm f2.8 and 400mm f2.8 have seen the update, but we are told that the 500mm and 600mm are also being worked on.  Given the already stunning image quality from these lenses I doubt we will see much improvement in that area but regardless, the lenses have received the full array of Canon’s coating technology and the addition of 4-stop IS.  On top of this Canon have also worked to get the weight down on these lenses, shaving 150g off the 300 and an enormous 1.5KG off the weight of the 400mm!  The 28% reduction in weight of the 400mm is particularly impressive and I think it will invite a whole new type of shooter to use it.  Interestingly they have also been thinking about the movie makers out there with the introduction of a new Power Focus mode.  This allows a movie maker to rack focus by using the ring at the front of the lens previously designed for preset focus.  There is also an option as to what type of foot you have on the lens collar, a long foot for tripod mounting or a shorter foot for monopod use.  Rounding off the improvements is the inclusion of an internal collar on the 300mm (previously already present on the 400mm), a connection point for kensington security cables and a new IS mode that implements the IS just at the point of shooting, allowing the photographer to not see the effects of IS through the viewfinder while panning between multiple subjects.

The new 300mm is to ship in December 2010 at an expected street price of of US$7000 in the U.S.  The 400mm will be about $11,000 (!!) B&H will keep you informed when all of these new items become available for purchase

MTF Chart for the new 400mm f2.8 L IS II

Full Press Release

London, UK, 26 August 2010 – Canon today enhances its premium L-series with the launch of the new EF 70-300mm f/4-5.6L IS USM– two high quality super-telephoto lenses designed to meet the demands of professional photographers. Offering optical excellence and consistently high performance, the new lenses combine super-telephoto focal lengths, fast aperture and outstanding image quality, providing photographers with reliability and exceptional results.

Succeeding the well-respected EF 300mm f/2.8L IS USM and the EF 400mm f/2.8L IS USM, both new models will appeal to nature, wildlife and sports photographers. Each features a completely redesigned optical system and the latest iteration of Canon’s original Image Stabilizer (IS) technology, while an all-new magnesium alloy construction and titanium components ensure the designs are both robust and lightweight. The EF 400mm f/2.8L IS II USM is the lightest lens in its class*, offering unrivalled mobility due to an incredible 28% reduction in weight (1.5KG) compared to its predecessor, while the EF 300mm f/2.8L IS II USM offers photographers an 8% weight reduction.

Ultra high performance optics
Manufactured using the very best optical components, the new EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM mark a significant step forward for Canon’s L-series, which is already renowned for its outstanding quality. Both lenses feature 16 elements in 12 different groups, using high performance fluorite lens elements that correct chromatic aberration to deliver high resolution and high contrast shots of the best possible quality – allowing photographers to capture images rich with edge-to-edge detail.

The optical elements also feature Canon’s latest Super Spectra Coatings, optimised for both the position and type of each lens element. A SubWavelength Structure Coating (SWC), which uses microscopic cone-shaped structures smaller than a wavelength of visible light, reduces ghosting caused by light bouncing back from the imaging sensor. Fluorine coating is also used on the front and rear elements of the lenses, repelling dust and dirt for clearer shots. The coating is also water repellent, keeping the front element free of water marks and smearing by ensuring water runs off the lens quickly.

New, improved IS and rapid AF
Both models feature Canon’s new Image Stabilizer system, providing outstanding results when the photographer is moving around and when capturing moving subjects. A 4-stop advantage offers greater image quality during handheld shooting, allowing users to shoot at speeds up for four times slower than normally required with minimal additional blur. Operation of IS mode 2 has been improved when shooting panning motion and a new third IS mode has been added, assisting users when quickly switching between subjects by activating the IS unit only during exposure.

Both lenses offer a constant f/2.8 aperture, allowing photographers to shoot at faster shutter speeds and capture clear shots of fast-moving subjects. The wide aperture also allows users to creatively isolate their subjects from the background, with a nine-blade circular iris creating dramatic and striking background blur that instantly adds beauty to an image.

Fast, quiet Auto Focusing (AF) is provided by a ring-type USM, new dedicated AF algorithms and a new high-speed CPU, which offer quick and accurate focusing during shooting. Photographers can also utilise full-time manual focusing functionality, which enables the adjustment and fine-tuning of focus even when the AF system is activated, providing even greater control over image capture. A new Power Focus mode aids focusing during video shooting, allowing the photographer to smoothly adjust focus during filming by twisting the focus recall ring.

All-new premium L-series design
Developed in line with Canon’s philosophy for the elite L-series, both the
EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM boast a refined design that reflects their status as market-leading, benchmark lenses. Both feature a new design layout, with carefully-positioned controls that improve operation in everyday use. The AF stop buttons are now location-adjustable, improving ergonomics by allowing users to custom-select the position of the lens grip, where the AF stop buttons are located.

A choice of dedicated tripod mounts provides added flexibility, allowing photographers to use a long or short foot suitable for monopods or tripods. A new rotational mechanism for the tripod collar also provides a smoother movement when turning the lens from portrait to landscape orientation. In addition, both models feature a new high quality exterior texture, while a new shade of white casing indicates the new advanced design and higher precision that each lens offers. A new Kensington-type wire security lock has also been added, allowing photographers to keep their lenses secure during location-based shoots.
A robust weatherproof design makes both lenses suitable for use in extreme conditions when paired with a weatherproof EOS body.

Complementary, high quality lens extenders
Both new models are compatible with the new set of Canon lens extenders designed for L-series super-telephoto lenses – the Extender EF 1.4x III and Extender EF 2x III.  Manufactured to complement the new optical systems featured in both lenses, the Extender EF 1.4x III and Extender EF2x III will allow professionals to instantly extend the focal length of either lens by 1.4x or 2x respectively – enabling the capture of high quality, detailed images of subjects that may typically be beyond reach.

Today Canon has upgraded their ever popular XXD line, replacing the 50D with the 60D.  The specs indicate that this is a little more of an upgrade than the previous ones in this particular lineup so this is a big announcement for Canon.  First off here are the important specs, with particularly interesting ones in bold: ( NB the 60d is now available for pre-order from Amazon.com here)

• 18MP APS-C sensor
• 96% viewfinder
• ISO range 100-6400 (Hi:12800)
• 1/250 x-sync
• Movie mode 1080p – 30/25/24 fps  & 720p 50/60
• SD Card  (sdxc/hc)
• 3″ flip out, rotating screen
• 14 bit
• 5.3fps
• Digic V processor
• 9AF Points (all cross type)
• 63 zone metering
• Manual audio controls with wind filter on the microphone.
• Wireless flash control
• Dedicated movie button
• Comprehensive ergonomic re-design
• New BG-E9 battery grip
• Same batteries as 5dII and 7d
• New filter modes including toy camera mode and miniature mode
• Ability to tag and rate images within the camera
• 58 JPEG burst

So what are we seeing here then ?  Well video was obviously going to be added as that is the norm these days.  All the frame rates of the 7d are there but you also get the manual sound options of the 5dMKII.  That is a little unexpected and the 7d owners will not be happy about that !  Wireless flash control is a great feature that has trickled down from the 7d too.  But the big feature here is obviously the swivel screen.  Now this is interesting, one half of the market has been demanding this and one half seems un-interested.  I quizzed some of my readers about this earlier and the resounding response was that they didn’t want to have the swivel screen , just something extra to break.  Now granted a lot of my readers are action and adventure sports photographers but I was still surprised by the underwhelming response to the screen.  It seems that people are worried about its durability and also the potential for moisture to get in there due to all the extra seams and moving parts.  Another notable change is the move to SD cards from CF cards and again this seems to be a feature aimed at the lower end of the market.  I used to know a lot of semi-pro photogs using the 40d or 50d, but it really seems like Canon are trying to push a gap in the lineup and make the 7d the camera of choice for the part time professionals, and have the XXD line be for high end amateurs.  For the projected $1099 price though you are getting a huge amount of features and no doubt a camera that is very capable of making great images and recording beautiful video.  In fact some folks who just want to make videos may be torn between the 60d and the 7d.  The 7d has dual digic 4 processors where the 60D only has one.  The result of that ?  Well the high ISO noise reduction will be better on the 7d.  But honestly unless you need a more rugged body for professional work , then for video the 60D might be the way to go with that flip out screen.  Unless you plan on using it with a viewfinder like the Zacuto Z-Fsinder which would not allow you to flip it out.  Still photos is another matter though, once you take into account the better AF system of the 7d, the much higher FPS and better low light capabilities the 7d wins hands down over the 60D for photos.  As it should do with the price gap between them.

The 60D will be available towards the end of September for approx. $1099.  Amazon already has the 60D up for pre-order here.  B&H will keep you informed when all of these new items become available for purchase

UPDATE: Adorama had the 60d up for order now

Full Press Release :

London, UK, 26th August 2010 – Canon today announces the latest addition to its world-famous EOS series of Digital SLR (DSLR) cameras – the new EOS 60D. Replacing the EOS 50D, the EOS 60D is designed for photographers who want to take their skills to the next level, offering high performance, a series of creative features, a Vari-angle LCD screen and enhanced ergonomics – empowering photography enthusiasts to capture outstanding stills and Full High Definition (HD) video for unique, creative results.

High speed, high resolution

With an 18 Megapixel APS-C sensor, the EOS 60D offers high levels of detail and a magnification of 1.6x the focal length of the lens to capture poster-size images in a variety of aspect ratios*1. Canon’s powerful DIGIC 4 technology rapidly processes image information captured from the CMOS sensor’s four-channel output, providing outstanding colour reproduction, as well as high-speed shooting at 5.3fps in bursts of 58 full-resolution JPEGs.

A standard ISO range of 100-6400 is extendable to 12800, providing smooth images with minimal noise in low light conditions. A 9-point, all cross-type autofocus (AF) system also provides swift and accurate focusing, with an extra-sensitive centre point for lenses faster than f/2.8, allowing photographers to artistically employ a shallow depth of field during portraiture or for more atmospheric shooting.

The EOS 60D features Canon’s iFCL metering system, first introduced with the acclaimed EOS 7D, with a 63-zone Dual-Layer sensor. Information on subject location is gathered from the Auto Focus system, and is combined with colour and luminance readings for consistent accurate exposures whatever the situation. The Integrated Speedlite transmitter also provides in-camera control of multiple EX flash units for more creative lighting.

Shoot from all angles

A new 7.7cm (3.0”) Vari-angle wide LCD monitor features a 3:2 aspect ratio and a 1,040k dot resolution, providing added flexibility and allowing photographers to view their images in incredible detail. The Vari-angle wide LCD helps frame shots from difficult angles, and can be positioned with Live View enabled to achieve the desired composition if shooting isn’t possible using the viewfinder. The ability to capture wildlife portraits, overhead shots or ground-level photography is instantly enhanced, and the surface of the screen features an anti-reflective, water-repellent coating to protect the screen allows easy viewing in bright light and from a variety of angles.

Empowering creativity

A new Basic + function makes it easy for photographers to add their own creative touch to images without worrying about changing settings. Photographers can add ambiance to a scene by shooting according to lighting and scene type, with Portrait, Landscape, Close-Up, Sport, Night Snapshot or Creative AUTO modes all available. Different effects can be achieved by shooting with Basic + enhancements such as Daylight, Cloudy or Sunset or pre-set Picture Styles including Vivid, Soft, Warm or Monochrome.

Designed to provide power for those who wish to extend their creative vision, the EOS 60D features a host of new functions that help capture better images and in-camera effects to add an extra dimension. The powerful DIGIC 4 processor supports in-camera RAW image processing, allowing photographers to edit settings such as brightness, contrast, white balance or correct distortion or chromatic aberration. The edited image can then be resaved as a JPEG, ready to be printed or uploaded to a PC or the web.

For photographers who want to add post-production effects to their images without the need for expensive software, the EOS 60D also features a range of new creative filters that can be applied in-camera. Filters including Grainy B/W, Soft Focus, Toy Camera Effect and Miniature Effect provide images with a different feel, allowing photographers to create a themed collection – using Grainy B/W to give images a reportage style, for example – or easily smooth skin tone in portraits with Soft Focus.

EOS Movies: Full HD video with complete control

Offering photographers the freedom to go beyond stills, the EOS 60D captures 1920x1080p HD video with a variety of user-selectable frame rates, including 30, 25 and 24fps, as well as 720p video at 60 and 50fps. Movie Crop mode is also available, recording with the central 640×480 pixel area of the sensor to create an effective magnification of approximately seven times the focal length of the lens.

Full manual control in Movie mode allows photographers to employ their own exposure and focus settings and take advantage of the effects achieved from Canon’s wide range of EF lenses. An external stereo microphone terminal and the ability to adjust sound recording level ensures the audio track recorded matches the visual quality of the video, capturing broadcast-quality sound.

For those who want to share images with friends and family, an integrated HDMI port is compatible with Consumer Electronics Control (HDMI-CEC), allowing video and images to be viewed on any compatible HD-ready TV and controlled via the TV remote.

Designed for flexibility

The EOS 60D features a completely redesigned body, combining an ergonomically enhanced, curved shape with a new button layout to make it quick and comfortable for photographers to change settings. Frequently used camera controls are grouped together for easy access, while the Quick Control Dial, Multi-controller and SET button have all been merged into one Multi Control Dial, enabling photographers to operate menus and enter settings quickly using their thumb. The mode dial also features a lock button, preventing unintentional changes to settings mid-shoot.

A dedicated Quick Control access button allows photographers to instantly reach the most common shooting settings and playback controls. Customising the functions of a number of buttons is also possible, allowing photographers to tailor the camera to suit their individual needs. To help achieve landscapes with perfectly level horizons, a horizontal Electronic Level can be displayed in the viewfinder or in Live View to assist composition and remove any potential need for post-production correction.

The EOS 60D is one of the latest Canon models to support high-capacity SDXC memory cards, providing up to 2TB of available space, allowing photographers to keep shooting HD video and full resolution RAW and JPEG stills without changing cards. For better management of larger image libraries on the camera, EOS 60D photographers can add a rating of 1 to 5 to their favourite images, allowing them to be easily located and viewed on-screen. Once transferred from the camera to a PC, the tags can also be viewed using a number of image editing and management programs, including Canon’s DPP software.

On top of the 60d announcement and the other lens updates Canon has today introduced a second brand new L lens to their lineup alongside the 8-15 f4 L.  There exists a non-L 70-300 and also a 70-300 DO lens but this is the first L version of the lens.  The non-L lens was a good seller but the DO version was not due to a high price for the diffractive technology and also poor sharpness.  The new lens features Canon’s latest 4-stop image stabilization as well as

The lens has also been designed to come in at a price point that allows many more people to take advantage of it.  A focal range of 70-300 is quite large and makes this a very versatile lens.  Ideal for people who want to perhaps travel with only a couple of lenses.  If the image quality is good enough then I can see travel photographers using this alongside a 24-70mm lens.  On a full frame camera that really would be all that you would need.  This will also make a great lens for the DSLR video shooting crowd.  Particularly those who already have some nice wide aperture primes less than 70mm, and need a long reach zoom for the odd occasion.  Using the engineering plastic that was seen on the 100mm f2.8 L IS Macro lens Canon have kept the weight of the lens down too ( just a touch over 1kg).  It doesn’t quite compete against the 28-300 range of the new FX Nikon lens announced last week in terms of focal range, but its still an interesting product that I hope to be trying out as soon as they hit the shelves.  To keep things lightweight for my backcountry skiing photos I use the 70-200 f4 L IS but I would definitely like to compare this new 70-300 with that.  The extra 100mm range would be very nice!

It is expected to be available towards the end of October for about $1,500. Adorama has the lens up for order now and they won’t charge your card until it ships so you can get in line! And also  B&H will keep you informed when all of these new items become available for purchase

More info after the jump!

Full press release:

London, 26th August 2010 – Canon today announces the latest addition to its renowned L-series of professional lenses, the EF 70-300mm f/4-5.6L IS USM, designed to answer growing demand for a high performance zoom lens which offers outstanding mobility and versatility. The EF 70-300mm f/4-5.6L IS USM offers a 4.3x telephoto zoom range of 70-300mm, with a variable aperture of f/4-5.6.

The compact (143mm) design also features the build quality that photographers have come to expect from Canon’s acclaimed L-series lenses. With its impressive focal range and travel-friendly size, the EF 70-300mm f/4-5.6L IS USM is ideally suited to professionals and advanced amateur photographers wishing to capture portraits, nature and action shots in superb detail.

Canon signature image quality

Thanks to two ultra-low dispersion (UD) elements and a floating lens group, the

EF 70-300mm f/4-5.6L IS USM captures stunning high-contrast, high-resolution images with low levels of chromatic aberration throughout the zoom range. The lens makes use of Canon’s Super Spectra coatings, reducing ghosting and flare to ensure the highest possible image quality and minimising the requirement for extensive post processing.

Canon’s advanced optical Image Stabilizer (IS) provides photographers with a four-stop IS advantage, enabling the capture of sharp images even when shooting at maximum zoom or in low light conditions, by allowing the use of slower shutter speeds than would usually be possible with handheld shooting.

An eight-blade circular aperture also offers excellent bokeh ideal for portraiture, producing a more pleasant background and creatively isolating the subject.

Autofocus (AF) is fast and quiet thanks to a ring-type USM AF motor, combined with the independent lens CPU and advanced AF algorithms to enable accurate, reliable focusing in all conditions. As with all Canon L series lenses, full time manual focus override is possible, allowing photographers to manually focus, even when the AF motor is engaged. With a minimum focusing distance of 1.2m (3.9ft) throughout the zoom range, photographers can achieve sharp results, even when close to the action.

L-series – robust performance in all conditions

Honouring the L-series heritage, the EF 70-300mm f/4-5.6L IS USM offers exceptional build quality, ideal for daily use by professionals and advanced amateurs. The lens includes environmental protection, allowing photographers to shoot in harsh conditions – even in the extremes of the desert or rainforest. Canon’s new Fluorine Coating also makes cleaning the lens easier, preventing smears or streaking.

Professional accessories

As part of the L-series range, the EF 70-300mm f/4-5.6L IS USM is supplied with a lens hood ET-73B and lens case LP1424 as standard. In addition, an optional, dedicated tripod mount C (WII) can be directly attached to the lens. This allows it to be stabilised easily and the camera switched quickly from vertical to horizontal and back, without having to reposition the camera body on the tripod, perfect for fast-paced action with a variety of subjects.

Among the other Canon announcements today Canon also released details of upgraded versions of their teleconverters.  There isn’t a lot to comment on here as there are no major feature updates.  They have been re-styled slightly to fit in with then look of the new super teles, and they also have the magical Canon coating on the elements that reduces flare.  Between version 1 and version 2 of the teleconverters there was only a very small improvement so it will be interesting to see if there is a bigger step up to version 3.  Nikon made some significant improvements with their TCs last year so it would be great to see something similar. One thing that has me curious though, the previous TCs were designed to work with the older big white lenses and these designed for the newer.  So will the new ones work as well on the new lenses as the old ? We will have to wait and find out!

They are expected to ship in December for $500 each.  B&H will keep you informed when all of these new items become available for purchase

Full Press Release:

London, 26th August 2010 – Canon today unveils two lens extenders designed for its L-series range of new super-telephoto lenses. Designed for photojournalists, nature and sports photographers who need to get close to distant and challenging subjects, the Extender EF 1.4x III and Extender EF 2x III increase the focal length of a lens by a factor of 1.4x and 2x respectively while still delivering superb image quality. To ensure the best possible image quality in all shooting conditions, they also combine enhanced environmental protection, redesigned optics and improved data communication between lens and camera.

Canon professional image quality

Allowing professional photographers to shoot distant subjects without having to carry a number of heavy lenses with them, these new extenders ensure there is no compromise on image quality. The Extender EF 1.4x III features three lens groups of seven elements, and the Extender EF 2x III features three groups of nine elements, ensuring improved optical performance. All optical elements use Canon’s Super Spectra coating, reducing ghosting and flare to minimise post-processing requirements. A new Fluorine Coating on the front and rear elements makes marks, such as spots left by water or fingerprints, much easier to clean than standard coatings.

To facilitate the accurate transfer of imaging data between the lens and camera body, both models feature an integrated processor which ensures all focusing, metering and ID information is available – allowing the photographer to capture crisp, well-exposed images. When combined with the latest range of premium Canon L-series lenses, these extenders enable higher AF accuracy compared to previous generations, ensuring professionals achieve perfectly sharp shots, even when capturing moving subjects.

Redesigned for high performance

The Extender EF 1.4x III and Extender EF 2x III have been designed to complement the latest range of L-series lenses, matching their appearance and offering a visible differentiation from previous models. A carefully positioned lens release mechanism also makes it easy to mount the extenders quickly, reducing the time that the camera and lens are exposed to the environment. The extenders offer the exceptional build-quality expected from Canon’s professional products, and are resistant to both dust and water, allowing photographers to use them in extreme shooting conditions.

Canon has today announced a brand new lens for their EF lineup, the 8-15 f4 L lens. Of all of the rumors I read in the run up to these announcements I think this is the one lens that nobody was expecting. Until this point, the only Canon fisheye was the 15mm f2.8 but this was an old design that pre-dated digital crop sensors and Canon never released a lens that was wide enough to be a full 180mm fisheye on either of their crop sensor formats. This lens aims to address that problem by providing a circular 8mm fisheye at one end, zooming to a 15mm fish at the other end. In between these extremities lies points in the focal length that will provide a full 180 degrees of view on both 1.6 and 1.3 crop cameras and of course at the 15mm end, the same view on a full frame camera as is currently available with the 15mm prime lens. Additionally, going wider than a horizontal 180 view will produce a circular fisheye type image that vignettes in the corners but provides a full circular view. Something which no Canon lens has ever done before. This is a niche look to images, but it can be fun and Sigma has been making lenses that do this for sometime with some success. Cleverly then Canon has, with this lens, answered a lot of requests. Nikon users have long had the brilliant little 10mm fish for their crop cameras and now Canon users have something of their own. In the past few years the Tokina 10-17 had proved to be very popular amongst many people that I know as the only way to get a full 180 degree fisheye view on a 1.3 crop 1 series camera so presumably Canon wanted to address this too.

A clever zoom lock feature allows the lens to be locked into the best position for your particular crop of camera.

Personally I have a sigma 15mm f2.8 fisheye but it has always frustrated me that its not a full fish on a 1.3 crop and as I also use full frame cameras I didnt want to get multiple lenses of this type. This lens then is something I have been waiting for though honestly I did not think that they would make it and when I heard about it a few weeks ago I was quite shocked. I will definitely be getting one of these to test out so stay tuned! I think this could be a very cool lens!

This diagram shows the versatility of this lens.

It looks like we might not see this lens until  January of 2011 for an approximate retail price of $1,400. Adorama are taking orders right now so yo can get in line.  They will not charge your card until the lens actually ships.   B&H will keep you informed when all of these new items become available for purchase

MTF - @8mm

MTF - @15mm

Full Press Release Info:

London, UK, 26 August 2010 – Canon today unveils the world’s first fisheye zoom lens offering both circular and full frame images, thanks to an extreme wide-angle focal range of 8-15mm. Replacing the EF 15mm f/2.8 fisheye, the new EF 8-15mm f/4L Fisheye USM is the latest addition to Canon’s L-series range of professional lenses, providing outstanding image quality, constant aperture throughout the zoom range and a robust design for reliable shooting in challenging weather conditions.

When paired with Canon’s full-frame DSLR bodies, such as the EOS 5D Mark II or the EOS -1Ds Mark III, professional photographers can choose to capture circular or full-frame fisheye images, allowing them to view a scene in a completely new and unique way. This new level of choice provides enhanced creative flexibility when shooting scenes such as the night sky, where the full 180º horizontal and vertical fields of view (FOV) allow every detail to be captured with incredible clarity in one single image.

When used with EOS bodies featuring APS-C or APS-H sensors, the EF 8-15mm f/4L Fisheye USM produces a more traditional, full frame fisheye view. A zoom-lock mechanism on the lens body allows the range to be limited to the focal length that ensures the best possible full-frame view without unsightly vignetting around the edge. ‘C’ and ‘H’ markings can be found next to the zoom operation ring, indicating the wide-angle zoom position where vignette-free shooting is possible with either sensor, allowing photographers to achieve optimum results with any EOS body.

Advanced optics for professional imaging

The EF 8-15mm f/4L Fisheye USM showcases over 70 years of Canon’s optical engineering heritage, boasting 14 lens elements in 11 different groups, including one aspherical and one Ultra-low Dispersion (UD) element to correct chromatic aberration and produce high-quality, high-contrast shots with excellent colour reproduction.

Ghosting and flare caused by strong light sources can be a particular challenge when shooting at such a wide angle, and, in order to counteract these artefacts, all lens elements have been covered with Canon’s Super Spectra Coating. The inner surface of the front element also features Canon’s SubWavelength Structure Coating (SWC), which uses tiny cone-like structures, shorter than the wavelength of visible light on the surface of the lens element, to gradually slow light down until it is at the same speed as it travels through glass, removing the risk of flare occurring before the light reaches the sensor.

To maintain optimum image quality, the front and rear lens elements also feature a Fluorine Coating which actively repels water, dust and dirt, making it easier to clean the lens and leaving it unobstructed by particles.

Fast, accurate focusing and low light performance

The ultra-wide angle zoom of the EF 8-15mm f/4L Fisheye USM offers a fresh take on sporting action or architecture shots, while the constant f/4.0 aperture allows faster shutter speeds to be employed for natural-looking images in low light.

A ring-type ultrasonic motor (USM), provides quick and accurate focusing when shooting and enables a full-time manual focus functionality allowing photographers to adjust the focus of any shot, even when the AF system is activated, for even greater control over image capture and improved creative flexibility.

Built for professional performance

The EF 8-15mm f/4L Fisheye USM features a high-grade physical design that reflects its elite performance. High resistance to both dust and water enables it to be used in a range of challenging situations, and, when used with a professional EOS body, it allows continued shooting in the harshest weather conditions. The external design also features the new exterior texture, for a high quality look and feel indicative of all new L-series models.

High quality accessories

The EF 8-15mm f/4L Fisheye USM is supplied with a dedicated lens cap, lens pouch and a felt-lined lens hood EW-77 for use when using the zoom at the 15mm setting, preventing lens flare.