The company produces office, industrial, photo and video equipment. Canon cameras and lenses accounted for 19% of the global photographic equipment market as of 2010, making the company a leader in this sector. This brand is the leader in the digital SLR camera market with a share of 44%. In reviews of photographic equipment, users note the strengths and weaknesses of the brand’s models, but the fact that they buy it more often remains a fact. Modern models of this brand have two types of mounts:
- E.F. Compatible with Canon EOS cameras of any class - both full-frame and cropped.
- EF-S. Designed for APS-C cameras with a crop factor of 1.6 and not suitable for Full-Frame cameras.
Amateurs and professionals can buy the following types of Canon lenses: zooms, primes, long-focus lenses, wide-angle lenses, ultra-wide-angle lenses, macro lenses, models for portrait photography.
The Canon optics line is divided into three categories based on price. Budget lenses are not equipped with an ultrasonic motor; they have simple lenses without special characteristics. Mid-price optics, or USM optics, have an ultrasonic motor, image stabilization, protection from dust and moisture, good quality the resulting images. Canon L series lenses are professional photographic equipment, which is accordingly reflected in prices. They are characterized by increased mechanical reliability and high aperture ratio.
Marking
The markings of famous brand lenses indicate the type of mount, focal length, and largest aperture. In addition to these characteristics, the following indices may be indicated:
IS - indicates the presence of a built-in stabilization system in the design;
- DO - the device is equipped with diffractive optical components, which affected the reduced dimensions and weight of the lens;
- TS-E - makes it possible to correct the perspective by moving the optical unit;
- I/R - indicates internal focusing;
- UD - use of low dispersion glass for making lenses.
According to reviews from users of Canon lenses, AL optics using aspherical lenses are interesting. It allows you to correct aberrations when focusing on near objects.
) cameras is almost always a long and often nervous process. Most good lenses are not cheap, and when you pay at least four zeros, you want to get in return some new features that were not there before - better sharpness, greater aperture, beautiful bokeh (preferably all this at the same time). In other words, if you pay that kind of money for a piece of metal, plastic and glass, then choose a model that will at least compensate for the moral damage caused by the notorious toad, which you nevertheless strangled and decided to buy :)
What can we expect from the new lens?
Owners of DSLRs are divided into two groups. The first group (ordinary amateur photographers) shoots all their lives with a whale lens and “doesn’t give a damn.” Second ( creative personalities) one way or another they are trying to upgrade their system if possible. The lens is usually at the forefront of the upgrade queue. The reasons are different for everyone. Someone, having learned to take photographs more or less tolerably, has “hit the ceiling” and no longer has enough zoom, aperture, “drawing,” “plasticity,” etc. Someone simply read articles and reviews on the Internet and got the idea to change the lens. Just change what? To answer this question, first you need to formulate a clear list of complaints - what exactly does not suit you about your technology. It is better if there are at least three of them. A typical example is replacing a kit lens with a fast prime (for example, “fifty kopeck 1.8”). The reasons may be:
- The kit lens does not draw the edges of the frame well enough - it darkens them, makes them blurry and chromatic
- The kit lens is too dark, and I like to take pictures without flash. To do this, you have to raise the ISO very high, and then deal with noise.
- I want to learn how to take portraits with a “professionally blurred” background, but the kit lens does not allow me to realize this idea. The blur on the long end is weak, its design is dull and its colors are dull!
If this sounds like you, then you’re heading straight to the store to buy a 50mm prime lens. You should act in exactly the same way when choosing a lens for reporting, travel photography, telephoto, macro, etc. First, try to shoot in this genre with what you have, and if you’re not satisfied, formulate a list of requirements and set priorities. As a rule, the choice is narrowed down to 1-2 models. Then the scenario is simple - save up money, go to the store, try and buy the one you like best. If you just want to change the “whale” lens to something else just because “they say on the Internet that it is bad,” you don’t have to read further.
How do expensive lenses differ from cheap ones?
There is a common belief that expensive lenses are much sharper than cheap ones. This was true 5 years ago, maybe even less. Now even budget optics have grown greatly in terms of resolution and can easily surpass the “top” analogues of 5 years ago in terms of detail. But the problem is - the detail seems to be good, but somehow everything is wrong - a boring picture. The most important difference between expensive optics and cheap ones is their “artistry”. It cannot be measured by any laboratory tests. For example, the top-end “Elka” Canon EF 50mm 1: 1.2L USM fails the tests for resolution and chromatic aberrations against the background of the new “fifty kopeck 1.8 stm”, but its picture turns out to be “magical”. There is no cheap “plasticity” in it, like in a budget “fifty kopeck”.
An analogy can be drawn with two audio systems with the same characteristics “on paper”, but one of them is a plastic boombox, the second is a stationary system with multi-way wooden speakers. The boombox is several times cheaper, but it is only suitable for pop and chanson. Classics and jazz “do not sound” on it. It is better to listen to them on more serious equipment. Audiophiles have the concept of “warm and rich tube sound,” which, in their opinion, is much better than “dry transistor sound.” This is despite the fact that 99% of listeners do not notice the difference.
It's the same with optics. The “artistry” of a lens is determined by many difficult-to-measure quantities. The nature of the picture depends on the quality of the optical glass, the complexity and balance of the optical system, the shape of the aperture hole, and some secret delights of the manufacturer that are not advertised. Even if two models are identical in their stated characteristics, it is quite possible that in practice the differences will still be noticeable. Based on its technical characteristics, one can only indirectly assess the likelihood that the lens will be “artistic”. To fully “test” the lens, you need to shoot for long term. Nevertheless, since the data is given in the description, let's try to figure out what's what.
Focal length - variable and constant
Focal length determines the angle of view of the lens. Lenses come with variable and fixed focal lengths. They are called "zooms" and "fixes", respectively. 
Zoom and fix
Zoom lenses are convenient due to their versatility. As a rule, a standard lens makes it possible to photograph a wide range of subjects - landscape, interior, portrait in a setting, close-up portrait, sometimes macro. But the other side of the coin, as a rule, is a compromise in image quality, especially with lenses with large zoom ratios. For example, at the short end, the lens covers a large angle of space, which is convenient for landscape photography, but at the same time it “washes” the edges and bends objects. At long focal length you can take close-up portraits, but the blur pattern in the background will not be interesting. Zoom lenses with a wide range of focal lengths, for example, the Canon EF 18-135mm F/3.5-5.6 IS STM are convenient for travel and walking, where it is important to be able to quickly move on from shooting general plans to large ones, and vice versa.
For creative photography, either “shorter” (small magnification) but fast zooms or primes are better suited. Fixes are most often tailored for one specific task. For example, only for landscape (wide angle, 24 mm) or only for portrait (moderate telephoto, 85 mm). There is a category of universal primes with equivalent focal lengths of 35, 40, 50 mm. They have a fairly wide field of view, which allows them to be used for landscape photography and, say, full-length portraits. But the viewing angle is not enough to cover vast spaces, and, on the contrary, the angle is too large for shooting close-ups.
Primes are sharper, brighter, more compact, more artistic and almost always cheaper than zooms, but noticeably inferior to them in versatility
Lens aperture
Aperture is a characteristic that shows how much light transmission a lens has. In practice, aperture is expressed in terms of the maximum open aperture. The higher the aperture, the wider you can open the aperture and take photographs with a faster shutter speed (or low ISO). For example, a lens with an aperture of F/2.8 transmits 2 times more light than F/4, and the shutter speed can be reduced by the same amount. The relationship between F numbers and light transmission is nonlinear - each subsequent F number from the series 1.4, 2, 2.8, 4, 5.6, 8, 11 indicates 2 times less light transmission than the previous one.
Aperture plays important role in the field of application of the lens. Firstly, it affects the ability of the lens to blur the background (for example, in a portrait). This is why lenses with apertures of F/2, F/1.4, etc. are most often used for professional portrait photography. Secondly, high aperture lenses give the photographer an advantage in those types of shooting where you need to achieve fast shutter speeds without raising the ISO sensitivity, for example, shooting sports events. Prime lenses almost always have faster apertures than zooms.
Zooms, in turn, are divided into lenses with constant aperture and variable aperture. For example, the Canon EF 24-105mm F/4L IS USM lens allows you to open the aperture up to F/4 throughout the entire range of focal lengths, this is convenient when shooting in manual mode if you need to shoot at an open aperture (for example, when there is little light). The cheaper Canon EF 24-105mm F/3.5-5.6 IS USM in the wide-angle position allows you to open the aperture up to F/3.5, and at the long end - only up to F/5.6. This means that in “M” mode you will have to constantly adjust the shutter speed or ISO so that the brightness of the picture does not “change” when the focal length changes. Also, constant aperture is very important for videographers - when “zooming in” and “rolling back”, the exposure level of the picture remains constant.
It should be borne in mind that at an open aperture, lenses often produce a “soft” picture (in simple language - “soapy”). Moreover, even professional high-aperture primes blur the edges of the frame when the aperture is open. However, for the same Canon 35/1.4L the “open” aperture is F/1.4, but already at F/2 it is very sharp. The cheaper Canon 35mm F/2 lathers at F/2. Closer to F/4 their sharpness becomes comparable. A fast lens always has a larger range of “working” apertures, shifted towards small numbers. This is a significant advantage for many areas of photography, but the greatest benefit is in portrait and reportage photography.
Bayonet
A mount is a mechanism for attaching a lens to a camera. In practice, this characteristic indicates the compatibility of the lens with a certain family of cameras. Most often, each manufacturer has several systems, and not always compatible friend with a friend. For example, Canon has backwards compatibility of EF (full frame) lenses with EF-S (crop factor) cameras. That is, you can install a full-frame lens on a carcass with a cropped frame, but vice versa - you cannot. If you have a full-frame camera, you shouldn’t buy a “cropped” lens for it - Canon’s won’t exactly fit; Nikon and Sony’s full-frame cameras work like a cropped one (then what’s the point of a full frame?).
Most often, lenses have metal mount bayonet mount, but in the cheapest versions it is plastic. This is considered bad. Personally, I cannot give a single intelligible argument against the plastic mount of a light and compact lens. For a long time I used Canon 18-55, Canon 50/1.8 II with plastic shanks - nothing happened. Maybe I was doing something wrong? :) By the way, Canon recently made me happy - in addition to the lens, it also released a !
The problem of compatibility of cameras with non-native lenses is solved with the help of special adapters, however, this is not always possible. Mirrorless cameras are considered the most “omnivorous” cameras. They have a short flange distance and can be used with almost any lens (via appropriate adapters). For example, Canon EF lenses can be mounted on a Micro 4/3 mirrorless camera (but not vice versa!). The performance of autofocus and aperture depends on the capabilities of the adapter.
Number of aperture blades
The shape of the aperture hole affects the lens pattern in the out-of-focus area (bokeh). Ideally, the shape of the aperture hole should be circular, in which case the bokeh discs will have a perfectly round shape. In practice, the aperture opening is formed by several blades, which, moving relative to each other, imitate the pupil. If there are relatively few aperture blades, for example 5 or 6, then the light spots in the blur zone will look like 5- or 6-gons. Like that...
Bokeh Canon EF 50mm 1:1.8 II (5-blade aperture) This effect is called “nuts”. In some cases, the “nuts” look interesting, but if they are present in all photographs, they quickly become boring and you want to change the lens with the same one, but with more aperture blades, to get this result:
Bokeh Canon EF 40mm 1:2.8 STM (7-blade aperture) A lens with a 7-blade aperture has more regular blur discs. If we look at the above picture more closely, we see a characteristic “twisting” of the bokeh - the disks at the edges have a more elongated shape than in the center. This effect is called " cat's eyes"(they are really similar in shape). This is a consequence of spherical aberrations, which are not fully corrected by aspherical lenses. Formally, this is a disadvantage, but in the right hands, “twisted bokeh” can become an excellent artistic technique.
Optical system: elements and groups
This line is often present in the lens description - the number of elements and groups is indicated. For an inexperienced amateur photographer, these are simple numbers, but in general, the more lenses a lens has, the greater the likelihood that it will produce a high-quality picture - the manufacturer was very meticulous in eliminating distortions and did not regret introducing additional elements.
A good sign is the use of low-dispersion glass elements - it reduces the level of chromatic aberrations. Aspherical elements help to maintain the correct geometry of the image, that is, to minimize the “barrel-shape” and “cushion” of the image, and also partially get rid of “soap around the edges” and “cat’s eyes” in the bokeh (see).
The number of elements is related to the range of focal lengths (zoom factor) and aperture ratio. If the lens has a fixed focal length, its optical design may be relatively simple (less than 10 lenses), but it will be optimized specifically for that focal length. Thanks to this, prime lenses are generally sharper, faster than zooms, and also cheaper and more compact.
For zooms, the optical design is more complex, since the lens must provide good image quality, if possible, over the entire range of focal lengths. It is necessary to introduce additional elements to compensate for distortion. This leads to an increase in size, weight and cost of the lens. Superzoom lenses have even more complex circuit, but it is often far from perfect, especially when it comes to budget models - there is a complete compromise between size, price and quality, usually not in favor of the latter.
As already mentioned, the number of elements and groups is indicated in the characteristics of the lens, but there are nuances... Elements also have their own classes and categories - worse and better, cheaper and more expensive. Naturally, those low-dispersion and aspherical elements that cost $300 and $3000 lenses differ somewhat in quality (this is my personal guess).
Autofocus type
Autofocus is a thing that greatly facilitates the work of a photographer. Almost all modern lenses have automatic focusing, but it comes in different types. Depending on the type of autofocus, the scope of application of even lenses that appear to be identical in other characteristics may vary. Autofocus is driven by an electric motor, which comes in different types.
- "Regular motor"- the simplest and cheapest. It is installed in the cheapest lenses. As a rule, speed and accuracy are no problem, but the motor makes a characteristic buzzing sound. This sound will be clearly audible, for example, in a video recording. There are situations when you need to maintain maximum silence when shooting - in this case, such autofocus is also a bad help. However, such situations in Everyday life are unlikely to meet, and for simple amateur photography this type drive is quite suitable.
- Ultrasonic drive used on more advanced lens models. They are marked USM (Canon), SWM (Nikon), SSM (Sony), HSM (Sigma), USD (Tamron). Distinctive feature- it is almost inaudible, despite the fact that the lens focuses faster than with a conventional motor. Many lens models with ultrasonic drive have the ability to set focus manually without switching to MF mode - this function is called FTM (Full Time Manual). It can be useful if autofocus needs to be told which object to aim at. A typical situation is shooting through glass or a chain-link fence (in a zoo, for example). If autofocus is aimed at dust on the glass or at the reticle, we simply tighten the ring, suggesting that we need to look for the object in a more distant zone.
- Stepper drive optimized for silent focusing in video mode. This type The drive is used in mirrorless cameras and in some DSLR lenses designed for video shooting. For Canon, these lenses are designated STM. Stepper motor autofocus is the quietest. In photography mode, it is comparable to ultrasonic, although much depends on the capabilities of the carcass. When shooting video, the focusing speed is not too high, but this is done on purpose so that it is smooth, without the characteristic focus “jerking” that irritates the viewer. The focus ring in STM lenses does not have a direct mechanical connection to the autofocus mechanics and is controlled “by wire” - this may take some getting used to. Full use of a stepper STM lens on a DSLR is only possible on bodies that support this function. On old carcasses, such a lens will behave like a regular ultrasonic one.
- "Screwdriver"- a morally outdated type of autofocus, however, it is used in “top” Nikon, Sony, Pentax cameras for backward compatibility with older lenses. Its essence is that the focusing motor is located inside the camera, and the rotation from it is transmitted to the lens using a special pin (“screwdriver”). The lens does not have a built-in motor, but only a gearbox that is connected to a screwdriver when installing the lens into the mount. “Screwdriver” lenses can also be used with “screwdriverless” bodies of younger models, but you will have to focus manually. Almost all “screwdriver” lenses have “motorized” modern analogues, which work without problems on bodies without a “screwdriver”.
Don't discount manual focus lenses. Almost always these are fixes from third-party manufacturers - some are more expensive (Leica, Carl Zeiss), some are cheaper (Samyang, Zenitar, Helios). Among them there are very outstanding glasses that have no analogues. For example, the super-fast Leica Noctilux 50mm F/0.95 (though its cost is comparable to small apartment in the suburbs!). There are also more affordable options. For example, Samyang optics. At first, the community of amateur photographers greeted it coolly, but after trying it, they recognized that in terms of price/quality ratio, these lenses have practically no equal among manual optics.
Non-autofocus lenses are popular among professional videographers who are accustomed to manual focusing. They can also be used for leisurely creative photography. I would not take a lens without autofocus as a regular lens (and I do not advise you) - practice shows that the percentage of photo defects with a “manual” lens in everyday shooting is too high, especially if you have a camera with a small viewfinder (this applies to most amateur DSLRs), which in principle is not designed to work with non-autofocus optics.
Removable and irremovable defects of optics
It is known that nothing is perfect and in absolutely any, even the most high-quality and expensive lens, there is something to get to the bottom of. All manufacturers have successful and unsuccessful models, and all models have successful and unsuccessful examples of a given model. First of all, let’s determine what risks we are exposed to by purchasing an “unsuccessful copy.” Here are the main ones.
- Front or back focus- a defect, the consequence of which is a constant autofocus miss (“undershot” or “overshot”).
- Alignment violation. Typically, a lens has maximum sharpness in the central zone and decreases towards the edges of the frame. This is fine. It is abnormal if the “spot of sharpness” is shifted relative to the center and at the same time one corner turns out to be sharp, the other is noticeably blurred.
- DOF skew. A similar situation occurs when there is front focus in one part of the frame and back focus in the other.
- Mechanical faults- all sorts of jamming and extraneous sounds, autofocus or stabilizer not working. These shortcomings are easily identified when examining the lens and such lenses are usually not purchased.
The first disadvantage (front/back focus) is a removable defect, can be treated in service center during the adjustment operation. Some cameras have an autofocus micro-adjustment function and allow you to perform the adjustment yourself. The second and third defects are related to manufacturing defects and cannot be eliminated on your own, only under warranty. Although, if the defect is not pronounced, it is difficult to notice it, and proving to the service center the need to replace the lens is even more difficult.
Each model also has design flaws that are common to all copies of this model. Even, rather, not disadvantages, but features.
- Low resolution- usually it is characteristic of “superzooms”. There's no escape, it's impossible for everything to be good - quality, price, functionality. You can, of course, try to increase the sharpness programmatically, but this will make the picture “coarser.” We consider this feature to be an irreparable shortcoming.
- Vignetting- darkening the corners of the frame. It especially often appears on zoom lenses when shooting at the short end with an open aperture. Easy to fix programmatically.
- Distortion- the effect of convexity or concavity of the picture. It can be relatively easily corrected programmatically if the editor “knows” the profile of a given lens.
The corners are shaded, this is vignetting. Straight lines are curved (see yellow arrows) - this is distortion
- Chromatic aberrations- purple and green borders around contrasting objects, such as branches against the sky. Easily removed programmatically.
Green and purple fringing - chromatic aberration
- Fringing- chromatic aberrations in the blur zone. Characteristic of all fast lenses, especially noticeable when the aperture is open. It is possible to eliminate it programmatically, but it is more difficult than conventional CA.
- Ugly bokeh- “boring” or overly “rude”. Weak or “boring” bokeh is characteristic of lenses with low aperture, for example, whale lenses. When shooting at the long end, the background in the portrait is blurred, but too weakly, the outlines of objects appear in it, which distracts attention. “Rough” bokeh - when instead of round disks, angular figures appear in the blur zone, for example, “nuts” in the shape of an aperture hole. The disadvantages of bokeh are caused by design features lens and correcting them programmatically is difficult and often impossible.
Thus, we can conclude that there are not so many fatal shortcomings! The decisive factors remain resolution and blur pattern. The rest can be corrected programmatically - in Photoshop or by the camera itself (not all cameras have such capabilities). When comparing resolution in the Lens Database section, you should keep in mind that in any batch of lenses there are sharper and less sharp ones. There is also an error in measuring resolution. That is, a difference of 2-3% should not be alarming.
Give preference to modern lens models
As I collected information for the Lens Database section, I came to the conclusion that about 3 years ago there were noticeable changes in new optics models, and in better side. Apparently, this is due to the fact that manufacturers temporarily suspended the “megapixel race”, since there was no point in further increasing it - there were really few optics that could render such a high resolution, especially in the budget niche. As a result, the growth of megapixels stopped, but updated versions of old lenses began to appear, which showed noticeably better picture quality - obviously, with an eye to the next round of the “megapixel race”.
If you look at Canon, the new Canon EF-S 18-55mm f/3.5-5.6 IS STM kit lens demonstrates very good resolution both in the center of the picture and at the edge, surpassing “serious” but older lenses in this parameter. If we compare it with the very first version of the Canon EF-S 18-55mm 1: 3.5-5.6 (which washed out the picture even on 6-megapixel matrices), then in general there will be heaven and earth! The same can be said about the updated “fifty-kopeck” Canon EF 50mm f/1.8 STM, which, in terms of sharpness, tears some “Elks” to shreds. New lenses are more expensive than older versions, but most often the price difference is justified.
Don't mess with superzooms
In this case, superzooms mean “super-universal” lenses that can change the field of view from wide-angle to powerful telephoto, for example. Most often, there is a temptation to purchase a similar lens from former owners of ultrazoom point-and-shoot cameras, but sometimes, in pursuit of versatility, DSLR photographers buy a superzoom instead of a kit lens. I talked to many owners of similar lenses, and most of them were disappointed in their purchase. And that's why.
- The “working” range of focal lengths is at least 1.5 times shorter than stated. The lens provides acceptable image quality (comparable to a “whale lens”) somewhere up to 135-150 millimeters. Then there is a noticeable deterioration in detail. At the long end the picture is frankly “blurry”.
- Severe geometric distortions and chromatic aberrations. At the short end, the lens gives a noticeable barrel (the picture looks convex), then the geometry begins to “walk” between the “barrel” and the “cushion”. Green and purple borders are noticeable around the branches - chromatic aberrations. All this can be corrected programmatically, but the processing complexity increases by 2 operations for each photo. What if there are 1000 photos? Modern cameras can partially correct these distortions, but only in jpeg.
- Low aperture at the long end. This makes the lens practically unsuitable for photographing birds, butterflies, squirrels and other animals. Yes, the lens has stabilization, but it will not help “stop” the flapping of a tit’s wings. As a result, it turns out that the feeder is really sharp (as much as possible on the long end), and instead of a bird there is a blurry spot. To achieve good result, you have to raise the ISO many times.
A “superzoom” at the long end (100% crop, central fragment) will give approximately the same quality.
Long zoom lenses are often marketed (by marketers?) as reportage lenses. But I would see how they could use this lens to photograph some kind of “action” in a dimly lit dark room of a concert hall or nightclub, preferably without flash...
Superzooms, especially cheap ones, despite their apparent versatility, are technically far from perfect, which inevitably comes at the price of picture quality. You need to have really good reasons to decide to buy a lens like 18-270mm. In most cases, it is still wiser to divide the tasks between two lenses - a standard lens and a telephoto lens.
Optimal lens for travel - 5-8x zoom
A travel lens should be as light, compact and versatile as possible. In order not to carry around a heavy backpack with optics, a smart solution would be to buy one lens that can serve as a wide-angle, portrait and moderate telephoto lens. Such lenses are available in all systems. For Canon these are models , . For Nikon - , . Those with a shorter initial focal length are noticeably more expensive, but they provide a wider viewing angle at the short end - this becomes a big plus when shooting on narrow streets. These lenses are intended for cropped cameras only.
The travel zoom allows you to photograph both close-up (24 mm) and long-range (105 mm). Photos were taken full frame. At full frame, lenses with a range of 24-105 mm (Canon, Sigma), 24-120 mm (Nikon) perform well as a “travel zoom”. There are versions with variable (F/3.5-5.6) and constant aperture (F4).
Lenses with constant aperture are larger, heavier and more expensive, but they are more convenient for working in manual mode - the “fully open” aperture does not change when you turn the zoom ring and the exposure level remains constant. With variable aperture, as the focal length increases, the picture becomes noticeably darker - this is especially noticeable when recording video. If you take most of your pictures in Auto, P, TV (S) or AV (A) modes, you most likely won’t notice a fundamental difference, so in this case there’s not much point in overpaying for a constant aperture - the device itself selects the shutter speed and/ or ISO.
The lens for indoor photography must be fast
If we are talking about shooting with flash, then there is not much difference. Plus or minus two stops of aperture is easily compensated by the power of the flash, especially if the flash is external. But if you prefer, for example, from a window, you should get a fast lens. If it is a zoom, it is desirable that the aperture be constant and equal to F/2.8. An example of such a lens is . There are also original optics from Canon, Nikon, Sony. It is more “predictable” in terms of quality, but costs 2 times more than the “non-original”.
A fast zoom lens is not a cheap pleasure, and not every amateur photographer can afford to just pay $800-1000 for such glass to take photographs “for the home, for the family.” But there is also a cheaper alternative - entry-level fast primes, for example. The cost of these lenses is relatively low, but when used skillfully, they are quite capable of producing a technically high-quality and sometimes even artistic picture.
F/2.8 aperture is often enough to do without a flash. At full frame, this category includes zooms of the 24-70/2.8 family (an expensive solution) and 35, 40, 50 mm primes - generally much cheaper. At the time I bought it for such purposes - it took root perfectly in my collection until a compact mirrorless camera appeared.
The best lens for portraits - a fast prime
Portrait is a “DOF-dependent” genre, so for it it is better to immediately take a lens with a large aperture. Lenses with a fixed focal length of 50 mm or more are best suited for portrait photography; the aperture ratio should not be less than 1:2. The most typical portrait focal length on crop is 50 mm, on full frame 85 mm. There are quite a lot of “fifty kopecks” on the market, as they say, for every taste and budget. In the budget niche, the almost uncompromising option is 50 mm 1: 1.8 - all manufacturers have them, they cost about the same and give approximately the same picture.
Portrait with a kit lens and a fast prime
If you have the opportunity/desire to spend 20-25 thousand or more on a portrait lens, then you have a choice between 50/1.4 and 85/1.8 lenses. Personally, in my opinion, in most cases, for a cropped lens, a focal length of 50 mm is more convenient than 85 mm - with a “fifty kopeck” you can shoot waist-deep portraits not only on the street, but also indoors. 85 mm is best used for close-up portraits - shoulder-length and close-up (face in full frame). It is problematic to use 85 mm in a small room - the lens is too narrow for a crop lens.
If we talk about Canon, it is noticeably inferior in terms of image quality and autofocus accuracy, despite the fact that they cost the same. Moreover, the Canon 50/1.4 has practically no advantages over it (2 times cheaper), with the exception of the 1.4 aperture, in which the picture, to put it mildly, is not too sharp. Unfortunately, I don’t have such data for Nikon and Sony.
If you are choosing a portrait camera from the “above average” price category, then in addition to super-fast Canon and Nikon lenses, I would recommend considering the Sigma 50mm 1: 1.4 “Art” option - interesting glass, gives a sharp and beautiful picture starting from an open aperture. Although it is inferior in aperture to the 50/1.2 lens, it is noticeably more interesting than the “original” 50/1.4.
The optimal lens for landscapes is a wide-angle
There are a lot of options here. If we are talking about amateur landscape photography, interesting option looks like an ultra-wide-angle lens with an equivalent focal length of 16 mm (on a cropped lens - from 10 mm). Photos taken with an ultra-wide angle capture a good sense of spaciousness and spaciousness. The ultra-wide angle gives a bright pronounced effect perspective - as if it “pushes back” objects in the background, making them small, and the foreground, on the contrary, seems to stretch it. This effect is not always in demand. If you require a natural transfer of space and correct proportions (as in a painting from life), it is better to focus on a focal length of 35-40 mm (for crop - about 24 mm). Photos taken with a 40mm lens look as if we are looking at the landscape with our own eyes.
Aggressive perspective (14 mm) and more relaxed (~30 mm) In this regard, typical landscape lenses for full frame have a focal length range of 16-35 mm or 17-40 mm. For crop, this is, respectively, approximately 10-24 mm. The aperture of a landscape lens is not a very significant value, since shooting is most often done at a closed aperture (F/8) to ensure maximum depth of field.
Fixies teach photography
From my own experience, I know that using a lens with a fixed focal length disciplines the photographer and motivates him to take a more careful approach to the composition of the frame. When you see that there is not enough space in the viewfinder for everything you need to fit into the frame (or vice versa, everything is too small) and there is no way to simply turn the zoom ring (due to its absence), you start looking for a more advantageous shooting point, try different variants cropping, in the end, you are more likely to get a better composition than when shooting on the go with a zoom lens.
If you choose a prime “for every day,” the optimal focal length, in my opinion, is about 35-40 mm (in full-frame equivalent). This lens will allow you to take photographs a large number of different stories. Some people prefer “fifty dollars”. In this regard, I like the pancake lens (for crop there is an analogue -). These lenses combine compact size and good image quality. You have to pay for this with a relatively low aperture ratio of F/2.8 for a prime lens, but this is quite enough for daytime and evening shooting.
Is it worth buying Sigma, Tamron, Samyang, Tokina, Yongnuo and other non-original lenses?
In fact, there is a difference between non-original and non-original. Among many amateur photographers there is a strong belief that for full-fledged work For any device you need to buy only original accessories. This point of view is really competent and correct - the original manufacturer knows all the subtleties and nuances regarding the coordinated operation of the camera, lens, and external flash. In practice, this finds a lot of confirmation. The most hassle-free external flashes for Canon cameras are Canon ones. For Nikon cameras - Nikon flashes. Any wedding photographer or reporter photographer will tell you this.
I strongly recommend avoiding budget lenses from “third companies”. This is especially true for “superzooms” such as Tamron 18-270mm or Sigma 18-250mm. In terms of cost, they are comparable to original optics with approximately 2 times lower zoom ratio, for example, 18-135 mm. I had experience shooting with the Tamron 18-270mm lens and to be honest, the result was very disappointing.
However, Sigma and Tamron also have older lines of optics. They are positioned as professional models, in terms of their characteristics, they almost reach the original lenses of professional series, but at the same time they cost one and a half times less. For example, a fast Sigma EX 70-200mm 1:2.8 HSM telephoto camera. Let's compare its cost with original Canon lenses:
Widget from SocialMartThe original “top” lens in this comparison is an uncompromising thing in all respects, but not everyone can afford its price. The "light" Sigma costs the same as the "dark" Canon. All things being equal, it looks like a very reasonable purchase. However, as practice shows, Sigma owners more often complain about the same problems with autofocus than owners of original Canon 70-200 telephoto cameras - at least 2.8, at least 4. But there are also those who are 100% satisfied with Sigma.
If we briefly describe the advisability of purchasing non-original optics, then the phrase “depending on your luck” is appropriate here.
How sharp is the lens? How clear an image can it provide? This question is answered lens resolution. We have already encountered the concept of resolution in the context of digital imaging. We found that the higher the resolution of a digital image, the higher quality and more detailed it is. In the case of the lens, everything is the same. The higher its resolution, the more detailed the image can be obtained from this lens. However, lens resolution is measured in a completely different way, not in the number of dots (as is the case with a digital image). After all, the lens projects an image onto the camera matrix that is not divided into small pixel elements. And its resolution is therefore more difficult to measure. Moreover, the sharpness of the lens will depend on the aperture at which you shoot, and in the case of zoom lenses, also on the selected focal length. To give general characteristics sharpness of the lens, a whole laboratory study is carried out, and based on its results, so-called MTF charts are compiled. How MTF graphs are read, as well as the graphs themselves for each Nikon lens, can be found on the official Nikon website: https://nikoneurope-ru.custhelp.com/app/answers/detail/a_id/27512
However, the photographer does not work in laboratory conditions, and the sharpness of the final image is influenced by a lot of side factors, both technical (for example, high ISO, incorrect shutter speed, inaccurate focusing, lack of depth of field), and other circumstances. For example, the front lens of the lens may be dirty, in bright sun the lens may catch a glare, the sharpness of the lens may be spoiled by a protective filter or other attachments, when photographing outdoors there may be smog or fog, very often the sharpness of the frames is spoiled by incorrect computer processing.
Therefore, it is best to judge the sharpness of a lens not by graphs, but by correctly taken photographs from this lens. After all, we will evaluate our photographs not mathematically, but with our own eyes and feelings.
There are a lot of examples of pictures from any optics on the Internet today. They can be found both on the official websites of lens manufacturers and in tests on popular photo hosting sites. For example, the website Pixel-Peeper.com contains millions of pictures taken by users of the Flickr photo hosting site using one or another photographic equipment.
By the way, having looked on the Internet for examples of photographs taken with a particular lens, we will once again be convinced that even with the highest quality lens you can take a bad shot - it all depends on the skills of the photographer. To evaluate the sharpness of an image using photographic examples, it is worth paying attention to both the center of the frame and its edges. In the center of the frame, the lens always has the highest resolution, while towards the edges it can decrease noticeably. There is nothing terrible in the very fact of a slight decrease in sharpness towards the edge of the frame: after all, significant objects are rarely located at the very edge of the photograph. When assessing lens sharpness, it is worth keeping in mind that at the widest aperture, the image is often not as sharp as with F8-F11. At closed apertures, sharpness begins to gradually decrease again. Therefore, you should not use F16-F32 diaphragms unnecessarily.
If the resolution of the lens is not enough during its practical use, when we fully enlarge the images, we will see that even with absolutely accurate focusing they will not produce a completely sharp image. Often in this case, photographers say “the lens is soapy.” The simplest, inexpensive lenses, such as the kit lenses that come with the camera, are often “soaped.” Of course, you can get great pictures with “whale” optics, but advanced photographers prefer, whenever possible, to replace them with more advanced lens models, depending on their tasks.
Using a photographic example, let's compare the sharpness of three lenses of different classes: an entry-level zoom, a professional zoom lens and a prime lens. We have selected typical representatives of each class, so that the comparison results will be, to one degree or another, characteristic of all representatives of these categories of optics. All frames were taken on a Nikon D5300 camera with an aperture of F8, that is, at the peak of sharpness of these lenses. Let's compare fragments from the center of the image at 100% magnification.
Each photographer decides for himself: what sharpness is enough for his tasks and chooses the appropriate optics. We will talk about choosing optics for certain types of photography more than once in the following lessons. Already now you can familiarize yourself with the materials in the “How was it filmed?” section. to see what lenses are used to shoot in certain situations.
Subjective characteristics: Lens design and bokeh beauty
These characteristics are called subjective because they cannot be measured and are assessed by photographers based on their own tastes and creative experience. Many photographers, especially those engaged in technical rather than creative photography, are not at all interested in such concepts as “drawing” and bokeh.
Since each lens model has one or another optical system, the image they project onto the matrix can differ not only in sharpness, but also in its artistic character. This type of image produced by a lens is what photographers call a “pattern.” The concept of “bokeh” is adjacent to the concept of drawing. Bokeh is the area of blur in a photo. Different lenses produce different bokeh. The nature of bokeh depends on the optical system of the lens and the design of its aperture mechanism. It is believed that the rounder the aperture hole is, the more pleasant the bokeh will be and the more regular the round highlights from point light sources in the background will be. Manufacturers often install special rounded aperture blades into the lens to produce beautiful bokeh.
The concepts of pattern and bokeh are most often used in relation to high-aperture optics and prime lenses, since such lenses are considered to have a pronounced, characteristic pattern. Which lens has a more beautiful design and better bokeh is a decision for each photographer for himself.
Camera lens design and controls.
Let's figure out what parts and controls are located on the lens and why they are needed.
Bayonet mount. Using it, the lens is mounted on the camera.
Lens name. Below we will learn how to decipher all the symbols used in the names of Nikon lenses.
Switch between automatic (A) and manual (M) lens focusing.
Turns on and off the optical stabilizer (VR - Vibration Reduction) of the lens. Available only on lenses equipped with this same stabilizer.
Focus ring. Necessary for manually focusing the lens.
Scale of the selected focal length. Available on most zoom lenses, except for the simplest ones. On lenses with fixed focal length it is also absent as unnecessary.
Zoom ring. Available only for zoom lenses. Necessary for changing the focal lengths of the lens (and at the same time the viewing angle of the lens).
Mount for lens hood. A lens hood is a kind of “visor” that protects the front lens from glare that may occur when shooting in bright sun. In addition, the hood can perform protective function, making the front lens of the lens more difficult for fingers to reach and protecting it from physical damage when the lens is dropped.
Thread for installing filters on the lens. Each lens has a specific thread diameter. This diameter is measured in millimeters: 52 mm, 67 mm, 72 mm, 77 mm. Special filters are produced for each thread diameter. The most common light filter is a protective one. Its function is to protect the front lens of the lens from mechanical damage. A separate lesson will be devoted to light filters, because this is a very broad topic. How to find out the diameter of the thread for the filter of your lens? It is usually written next to his front lens. If suddenly it is not written there, you can always find the characteristics of the lens on the Internet or instructions for it. In addition, you can look at reverse side lens caps. They often indicate the diameter.
10.Focus distance scale. Not available on all lenses. Helps you understand what distance the lens is currently focused on. Especially useful for subject and landscape photography.
Read the name of the lens. Nikon Lens Technologies
What is the focal length of the lens, what is the aperture ratio? Will it fit your camera? All this can be learned from the name of the lens. Let's learn to read it. First of all, the manufacturer is indicated in the name of the lens. Lenses manufactured by Nikon are called Nikkor - this is the proprietary name for the family of optics. In the name of the lens, this word can be used along with the name of the manufacturer.
The rest of the lens name is made up of abbreviations denoting certain technologies and standards, and numerical characteristics: focal length and aperture ratio.
We already know that the focal length of a lens is indicated in millimeters. In the case of zoom lenses, the shortest and longest focal length of a given lens is indicated through a dash. For example: “18 - 55mm”. If we have a fixed lens in front of us, then its focal length is indicated by one number. For example: “50 mm”. The lens aperture, like the focal length, can be constant or variable. Some zoom lenses have variable aperture. Then the lens aperture is also indicated through a dash at the shortest focal length and at the longest. For example: F/3.5-5.6. If the lens has a constant aperture, the aperture is indicated by one number. For example: “F/1.4”.
Among the abbreviations in the name of a modern lens from Nikon, the following can be used:
AF (Autofocus)- autofocus lenses without a built-in motor for automatic focusing. They use a motor built into the camera. Not all modern cameras have a built-in focusing motor: budget Nikon cameras do not have one.
Such lenses are called “screwdriver” lenses, just like cameras with a built-in focusing motor. This name comes from the fact that the autofocus drive, peeking out of the camera mount, looks like a screwdriver. This drive turns a special “screw” on the lens, thereby moving groups of lenses and focusing the lens.
If such a lens is installed on a camera without a built-in focus drive, autofocus will not work. Only manual focusing will be possible.
Today, cameras starting with Nikon D7100 and older have a built-in focus drive: Nikon D600, Nikon D610, Nikon D750, Nikon D800, Nikon D800E, Nikon D810, Nikon D4, Nikon D4s.
Cameras younger than Nikon D7100 do not have a built-in focusing drive: Nikon D3200, Nikon D3300, Nikon D5200, Nikon D5300 and others.
Today, “screwdriver” lenses are considered almost obsolete; all new lenses are equipped with their own motors and have the abbreviation “AF-S”.
AF-S (AF-Silent Wave Motor)- autofocus lens with built-in autofocus motor. When using this lens, autofocus will work on any Nikon DSLR camera.
SWM (Silent Wave Motor)- ultrasonic focusing motor. Used in AF-S lenses.
G (G-type)- Lenses without aperture control ring. The control ring is not needed when using modern cameras, so they decided to get rid of it. However, G series lenses cannot be used on older, fully mechanical cameras such as Nikon FM3a, Nikon FM10
Micro (Macro)- lenses designed for macro photography. They have a short minimum focusing distance, which allows you to shoot very close-up subjects.
PC-E (Perspective Control)- tilt-shift lenses, lenses with perspective correction.
ED- the lens uses special lenses to reduce chromatic aberrations.
AS- the lens uses aspherical lenses.
IF (Internal focus)- lens with internal focusing. When focusing, the front element of the lens remains motionless. This increases the reliability of the lens.
RF (Rear Focusing)- almost the same as IF. Only focusing is carried out by rear optical elements with low weight, which means it takes less time.
DC (Defocus Control)- blur zone control function. By turning it on, you can achieve more beautiful bokeh.
VR (Vibration Reduction)- a very important function: image stabilizer.
N (Nano Crystal Coat)- by applying nanocrystals to the lenses, the lens's susceptibility to glare is reduced, and a more contrasting image is obtained.
AF-D, D (AF-Distance Information)- lenses that transmit information to the camera about the distance to the object. Today, all lenses have this feature. Lenses marked with the abbreviations AF-D and D are not the newest lenses.
DX- the lens is designed for cameras with APS-C format matrices. The lens produces a small image size, just right for the smaller APS-C sensor. So if you put it on a camera with a full-frame sensor (and this is quite possible), there will be very strong darkening at the edges of the frame. Modern full-frame Nikon cameras have a compatibility mode with DX optics. In this mode, the camera will receive an image not from the entire area of the matrix, but from an area equal in area to the APS-C format matrix. That is, there will be no vignetting (darkening of the edges), but the full-frame camera will turn into a crop camera.
FX- a lens designed for use with full-frame cameras. Can be fully used with APS-C cameras.
CX- lenses designed for use with Nikon 1 system cameras. Incompatible with Nikon SLR cameras with a Nikon F mount.
Now we can easily decipher the names of Nikkor lenses, learn about their main characteristics, technologies and standards.
More information about the technologies and abbreviations used in lens names can be found on the Nikon website: http://www.nikon.ru/ru_RU/product/nikkor-lenses/glossary
This topic of studying lenses is not over. In the following lessons we will learn how lenses are classified by viewing angle, how the transfer of space and perspective changes on lenses with different focal lengths, and how to work with depth of field.
Initially, Canon cameras used Nikon lenses, and there was no fierce competition between the companies. The spirit of competition originated in the 80s of the 20th century. Consumers have suffered from competition: components for SLR cameras are no longer universal. Canon lens mounts are now only suitable for Canon cameras.
When purchased, cameras are equipped with a simple kit lens. It is not distinguished by high-quality optics or aperture ratio, but it gives the amateur the opportunity to experiment with different genres. But as they master the art of photography, beginners get a taste for it and want to get sharper, richer photographs. A logical question arises: which Canon lens should I choose? There is no clear answer to this.
First of all, you need to decide on your genre preferences. For portraits, optics with a fixed focal length are considered the best, for insects - macro lenses, and for wildlife or sporting events - long-focus. For each type of shooting, Canon produces dozens of models: from budget options for 200–300 dollars, to expensive professional optics costing more than 10 thousand dollars.
Regardless of the price, there are more and less successful models. Lens lines are constantly updated. Our rating presents the best modern Canon lenses produced in 2015–2016, which have received recognition from photographers. The review is based on performance properties and reviews.
The best standard prime lenses for Canon cameras
Every professional photographer has prime lenses. High-aperture optics shoot without flash in low-light rooms and provide pleasant background blur. Standard lenses do not distort the geometry of space and convey the image as the human eye is accustomed to seeing it. The only drawback of fixes that will shock ordinary people is the lack of zoom. To zoom in/out of an object, you need to move closer to it or move further away.
3 Canon EF 85mm f/1.2L II USM
Beautiful photos in dim light
Country: Japan
Average price: 94,000 rub.
Rating (2019): 4.5
An ultra-fast prime will reveal itself in all its glory in the twilight. Now your photographs in museums, salons and design spaces will acquire a previously indescribable atmosphere. The technique will very accurately and confidently convey color shades, contrast and details. This lens is an indispensable tool for complex scenes at dusk, for working with chiaroscuro, volume, plasticity, multiple light sources and other highly artistic experiments.
Of the positive and negative opinions, we will highlight the most striking ones. This Canon product is praised for its sharpness in the frame, careful color accuracy, reliable micro-contrast in the shadows - portraits in the dark turn out especially well, skin tones are transferred amazingly. There are also disadvantages: a heavy lens block, slow focusing and a very shallow depth of field. But they are willing to forgive all the shortcomings for the rare quality of the optics to convey volume digitally, and even critics agree with this.
2 Canon EF 40 mm f/2.8 STM
Profitable price. Excellent semi-professional lens
Country: Japan
Average price: 13,990 rub.
Rating (2019): 4.6
The indisputable advantage of the lens is its versatility. Looking at the technical characteristics, professionals may wrinkle their noses - “neither this nor that,” but among amateurs, the Canon EF 40 mm f/2.8 STM lens claims to be the best. It does not fall under the usual classifications: it is not yet a portrait lens, but it is not fully a wide-angle either. A slight distortion of space with such viewing characteristics is inevitable, but it is not noticeable. At the same time, the focal length, which is shorter than that of fifty dollars, allows the photographer to work in small rooms, as well as shoot landscapes and portraits on the street.
Experts and consumers note the high build quality, which is not typical for inexpensive models fixes. Metal bayonet ring, high-quality plastic with rubber inserts. The lightness and compactness of the lens helps when traveling. The pictures leave a pleasant impression. Smooth color transitions, goes a little into pastel colors. Tenacious autofocus.
At the maximum aperture of 2.8, you shouldn't expect spectacular bokeh, but the background blur is pleasing to the eye. Owners of SLR cameras note that in terms of bokeh intensity, the lens is not inferior to a budget fifty-kopeck lens with an aperture ratio of 1.8. But they are not so comfortable taking photographs in dimly lit rooms. Without a flash, it is unlikely that you will be able to achieve a decent result when using light from a window in the back of the room. Loud motor noise spoils the sound. The manufacturer promises smooth STM focusing, the lens is adapted for video shooting.
1 Canon EF 50 mm f/1.4 USM
The optimum ratio of price and quality. Most popular standard lens
Country: Japan
Average price: RUB 17,490.
Rating (2019): 4.8
A Canon lens rarely lingers in store windows. It became the most popular standard lens for two reasons:
- Every amateur photographer dreams of “fifty dollars”
- This model represents the best value for money
The price remains affordable for amateurs, but the quality of the optics is sufficient for shooting portraits with a professional camera. Compared to cheap “fifty dollars” from Canon, the EF 50 mm f/1.4 USM lens looks solid. The weighty design – 290 grams – creates a pleasant first impression. And it is not deceptive.
Classic portrait photography gives a sharp picture and effective background blur. Beautiful bokeh appears thanks to the eight-blade diaphragm. The lens is one of the fastest, and it’s pleasant to work with it without flash, even in dimly lit rooms. But users note that opening the aperture 1.4 is actually inoperative. Chromatic aberrations appear and image quality deteriorates. The lens is suitable for both crop and full-frame cameras. But on budget DSLRs the capabilities of optics will not be fully revealed, best option shooting – half-length portrait. Full-length portraits and landscapes will not look so advantageous, but it is possible to achieve a good result.
The ultrasonic autofocus motor is fast and quiet, but the autofocus often misses. The disadvantages of the lens include the unreliability of the design: the plastic manual focus ring requires delicate handling.
The Best Standard Variable Focus Lenses for Canon Cameras
A novice amateur photographer will find lenses with variable focal lengths the most comfortable. By twisting the zoom ring, you can zoom in and out of objects while standing still. A similar function is available in digital point-and-shoot cameras, so it seems familiar. However, versatility is reflected in the quality of images. With the same settings, genre optics will give a better picture. It is important to understand that approaching/removing objects changes not only the filling of the frame, but also the viewing angle. A kit lens with a focal length of 18–55 turns into a wide-angle at minimum focusing values, and into a portrait lens at maximum. But the capabilities of the kit are limited; for fans of travel and reportage photography, it makes sense to pay attention to lenses with a wide range of focal lengths and coated optics.
3 Canon EF-S 17-55mm f/2.8 IS USM
An excellent replacement for a kit lens for full-frame cameras
Country: Japan
Average price: 41,100 rub.
Rating (2019): 4.5
Among optics for full-frame cameras, the lens is considered expensive. The impressive cost inevitably dictates high demands on the quality of optics. Judging by the reviews, the glass meets the expectations of amateur photographers.
The narrow range makes it possible to achieve high optical efficiency: sharp shots are obtained at all focal lengths. Unlike budget models, the Canon EF-S 17–55 mm f/2.8 IS US has a working 3-stage stabilizer. It is comfortable to shoot at short shutter speeds without a tripod. The lens is light, suitable for shooting indoors without flash near a window.
Some amateur photographers note the effect of vignetting and distortion, but the “barrels” and “pillows” cannot be called pronounced. The only significant drawback for such expensive glass is the unreliable body. With prolonged use, the weighty “trunk” becomes loose and begins to fall out under its own weight. But despite the shortcomings, this optic will be the best replacement for a kit lens for partial-frame cameras.
2 Canon EF-S 18-135mm f/3.5-5.6 IS STM
The optimum ratio of price and quality. Wide range of possibilities at a low price
Country: Japan
Average price: RUB 24,999.
Rating (2019): 4.5
Despite its affordable price, the lens has a solid appearance and impressive weight (480 grams). The characteristics are similar to the kit lens, which is purchased complete with the camera, but benefits from an increased range of focal lengths - from wide-angle to long-focus lenses. Among the advantages, owners of half-frame cameras note the tenacious autofocusing. From the stabilizer in the low price categories don't expect much, but it's working.
What makes it even more versatile is the quiet STM motor, adapted for video shooting. The stepper motor focuses smoothly and quickly, without creaking sound or temporary loss of clarity.
The main drawback is the low aperture, but for a budget lens this is predictable. EF-S 18–135 mm f/3.5–5.6 IS STM is an excellent option for the beginning amateur photographer, representing the best value for money.
1 Canon EF 24-105mm f/4L IS II USM
Versatility. Manufacturability
Country: Japan
Average price: 68,890 rub.
Rating (2019): 4.8
When looking for a versatile solution, be sure to take a look at a standard zoom with professional performance. Versatility lies in a large selection of shooting scenes in which you will get stable quality and clarity of pictures. Portrait, landscape, holiday, travel, video recording - nothing is impossible with the agile Canon L-series zoom. The lens is suitable for full-frame Canon cameras with EF-S mount, as well as cropped APS-C sensors.
It is no coincidence that TIPA, a global organization of representatives of the press reviewing photography topics, gave the model primacy in the category of standard zoom lenses in 2017.
The best telephoto lenses for Canon cameras
The dimensions of telephoto lenses attract increased attention from others. The body hides several optical lenses and motors that allow you to focus on distant objects. Some professional models reach a meter in length.
Televisions are difficult to manufacture, expensive, but have a limited scope of application. They are indispensable when photographing wildlife or sports events, but are not used as standard optics.
Variable focal length lenses are more popular; prime lenses are used by professionals for strictly defined purposes. For example, 135mm glass is in demand among photographers specializing in wedding photography and outdoor Love Story photography. Optics are valued for their sharp images, effective background blur and the ability to work at a distance without violating the personal space of lovers.
3 Canon EF-M 55-200mm f/4.5-6.3 IS STM
STM focusing technology. Comfort at work
A country: Japan (made in China)
Average price: 17,500 rub.
Rating (2019): 4.6
Here is one of the most optimal long-focus zooms for photographing animals, sports and distant objects. The optical system is designed for mirrorless cameras. External features– in a laconic “clean” design, in a wide zoom ring with miniature notches for a comfortable grip. Gray matte plastic looks high quality and reduces the weight of the device (only 260 g). The technical hardware works in two main directions: it provides silent and smooth focusing with an STM motor (ideal for video mode) and optical stabilization with an efficiency of 3.5 steps.
According to commentators, the model provides good picture quality (clarity of details, color saturation, excellent dynamic contrast) and is one of the best in terms of lightness and compactness. Manual focus is quite fast and accurate. The closest focal length is 1 m, so the lens is also suitable for the portrait genre: at open apertures you will get excellent background blur.
2 Canon EF 135mm f/2L USM
The best telephoto lens with constant focus
Country: Japan
Average price: RUB 51,980.
Rating (2019): 4.8
Among professionals, this L-series lens has gained fame as one of the sharpest. The definition of “ringing sharpness” is exactly about it. Other advantages include: a confidence-inspiring build, focusing speed, rich image, soft and smooth bokeh. The lens does not distort and will be a godsend for portrait photographers who prefer to shoot in nature or deserted streets. You will have to move far away, so they should not get into the frame extra people and objects.
High aperture in combination with a full-frame camera “pull out” the picture at dusk or in a darkened room. The EF 135 mm f/2L USM is comfortable to work with even during concert photography.
With excellent characteristics, professional optics have an adequate price; this is the best price/quality ratio in the Canon telephoto lens line. According to photographers, glass has virtually no flaws. The most demanding ones complain about the lack of a stabilizer, dust and moisture protection. The options are certainly convenient, but they are not decisive when choosing optics.
1 Canon EF 70-200mm f/4L USM
The best telephoto lens with variable focal length
Country: Japan
Average price: RUB 35,940.
Rating (2019): 4.9
The L-series telephoto lens has reliable design. Zoom and focusing are hidden under a monolithic body that protects the optics from moisture and dust. With such glass, a professional photographer is not afraid of any weather vagaries.
Despite the modest aperture, the shots are sharp across the entire range of focal lengths. The Canon EF 70–200 mm f/4L USM is suitable for shooting details, reports, portraits outdoors and in spacious studios. In an apartment you can’t turn around with him, but this follows from technical characteristics. The ultrasonic motor works tenaciously and almost error-free. The focus switch will become an indispensable assistant for sports photographers.
With all its advantages, this model is lightweight, which makes handheld shooting possible. The only disappointment is the complete absence of a stabilizer, which is so necessary for telephoto lenses to compensate for hand shake when focusing at long distances.
The best wide-angle lenses for Canon cameras
As the name suggests, wide-angle lenses have a wide angle of view, fit a lot of space into the frame and convey its volume. They make renting rooms comfortable standard apartments and the architecture of narrow streets. But a non-standard viewing angle inevitably produces dispersion and distortion of space. The rounding at the corners of the frame is especially noticeable with ultra-wide-angle lenses (the so-called “fisheye”). Therefore, wide angles are not suitable for portrait photography. People's facial proportions change: the nose, forehead and cheekbones visually increase. However, when photographing animals, the feature of wide angles can be used for creative solutions.
3 Canon EF-S 10–22 mm f/3.5–4.5 USM
The best ultra-wide-angle lens for full-frame cameras
Country: Japan
Average price: 32,000 rub.
Rating (2019): 4.6
The lens is suitable for shooting large landscapes and tight spaces, since almost the entire surrounding space fits into the frame. At the same time, distortion is inevitable: knowing this feature of wide-angle lenses, professional photographers use it as a creative technique. It's nice that chromatic aberration and dispersion are not as significant for a wide-angle lens. The lens copes well with backlight. Distortions are present, but with skillful composition they are not noticeable. The sharpness cannot be called ringing, but it is maintained even at the edges of the frame.
The Canon EF-S 10–22 mm f/3.5–4.5 USM has an excellent focusing distance of 24 centimeters, which makes it possible to highlight foreground details. Thanks to the ultrasonic motor, autofocus is fast and silent. The optics feature reliable build quality comparable to professional lenses.
The price is close to the luxury series glass, but the aperture ratio does not inspire optimism. The optics are a bit dark for a full-frame camera, but you won't find a better Canon ultra-wide-angle lens in this segment.
2 Canon EF 28 mm f/1.8 USM
Best Wide Angle Prime Lens
Country: Japan
Average price: RUB 27,600.
Rating (2019): 4.7
The main advantage of a wide-angle prime lens is its high aperture. This is one of the best lenses for working in dimly lit, tight spaces. Tenacious autofocus and silent operation easily make it comfortable for work. Adding smooth background blur to this, we get an excellent standard lens for crop cameras. At the same time, glass has no restrictions on its use for full-frame cameras.
The Canon EF 28 mm f/1.8 USM is suitable for shooting landscapes, architecture, objects and even full-length portraits. It is better to avoid close-ups to prevent distortion of facial proportions.
With all its advantages, at the maximum open aperture the optics produce blurry frames, but beyond that the picture is quite sharp. In general, DSLR owners rate the image quality as high. Another unpleasant disadvantage is chromatic aberration: even amateurs pay attention to the purple edging of contrasting lines. To bring your pictures to perfection, you will need knowledge of photo editors to correct the defect.
1 Canon EF 17–40 mm f/4L USM
The optimum ratio of price and quality
Country: Japan
Average price: 38,200 rub.
Rating (2019): 4.8
One of Canon's most versatile wide-angle lenses. When shooting with a full-frame camera at short focal lengths, it becomes ultra-wide-angle. At the same time, it remains possible to narrow the viewing angle to 40 millimeters and get a picture close to how the human eye sees it. On cropped lenses, the EF 17–40 mm f/4L USM will be an excellent replacement for a standard lens.
Professionals note the durability of the optics: with such a durable design, protection from moisture and dust, there is no fear of damaging the equipment when shooting in difficult conditions. The advantages of the optics include fast, silent autofocus, color reproduction and wide-angle sharpness.
The only significant drawback is that the lens is dark, but on a full-frame camera this is compensated for by ISO. But the low aperture makes the price low: the wide-angle is considered one of the most affordable and best in the L-series. Users note that at short focal lengths, chromatic aberrations and distortions appear in contrasting images, which can be easily corrected in a photo editor.
This article presents to your attention the main and additional (clarifying) characteristics of lenses.
Main characteristics of lenses
- Focal length. Probably the most important characteristic lenses. The focal length determines what will fit in your frame. Therefore, the shorter the focal length (for example, 18 mm), the more objects you can fit in the frame, and vice versa, the longer the focal length, the fewer objects you can capture in the frame. Perspective distortions in the frame also depend on the focal length. For example, at a short focal length, objects may become distorted. The optimal focal length, that is, which is as close as possible to how a person sees the world, is 50 mm.
- Level and nature of optical distortions (aberrations)
- Aperture. Aperture is an indicator of the maximum aperture of the lens and the quality of the optics. For example, the smaller the aperture, that is, the lower the f number (for example f/1.4), the faster the lens. Such high-aperture lenses use high-quality glass and special anti-reflective coatings that reduce reflections. Therefore, fast lenses are considered to be of very high quality.
- Maximum aperture. Maximum aperture is the maximum possible aperture value for a given lens. The maximum aperture is different for different lenses. For zoom lenses (often seen on point-and-shoot cameras), the range of the maximum possible aperture is often indicated. For example, f/3.5-5.6 for a lens with a focal length of 18-105mm means that at 18mm the maximum aperture will be f/3.5, and at 105mm it will be f/5.6. All lenses show maximum image quality at average aperture values f:8 – F:16. As everyone knows, what less value aperture, the shallower the depth of field and the more blurred the background.
- Resolution. Resolution, in simple terms, is the ability of a lens to separately convey very small details of the subject being photographed. Resolution is usually greater in the center and decreases towards the edges of the lens.
- Bayonet type or thread diameter for attaching to the camera. This characteristic is mainly used for detachable lenses. It is indicated on the lens and shows what diameter filters can be used with this lens.
Additional and clarifying characteristics of lenses
First of all, they include such characteristics as working distance or working distance. Used for interchangeable lenses. This is the distance between the reference plane of the mounting frame and the focal plane of the lens. The working distance in most cases is determined by the type of bayonet, and is very important for threaded types of fastening.
Next additional characteristic is minimum focusing distance (MDF) or maximum macro zoom. From the name alone it is clear that this characteristic is used for macro lenses (for example, 55 mm, 1:1) and it is determined by the focal length and frame design.
Continuing the topic of lenses, it is worth noting such a characteristic as presence of aspherical lenses. Aspheric lenses are lenses in which one or both surfaces are not spherical.
Well, probably one of the last on the list of characteristics, but not the least in importance, is design and features of the frame and mount. Let's consider an example, a “Pump-action” frame - changing the focal length and focusing is carried out by one ring, the axial movement of which changes the focal length, and turning it adjusts the focus. But more traditional is the presence of two different controls that separately regulate sharpness and focal length.