Canon EF 70-200mm f/2.8L IS USM Telephoto Zoom Lens Review
Canon EF 70-200mm f/2.8L IS USM Telephoto Zoom Lens Review
The Canon 70-200mm F2.8 L IS USM is sort of merely a superb lens, which is able to reward users with quality pictures in virtually each state of affairs. On full-frame 35mm, sharpness is extremely sensible even wide open, changing into wonderful corner-to-corner when stopped down. additionally, chromatic aberration is remarkably low, distortion well underneath management, and vignetting no worse than we'd expect during this category. Considering that this lens conjointly has build quality a minimum of on a par with something comparable (including dirt and moisture sealing), and excellent autofocus and image stabilization systems, it looks honest to mention the it's most likely the foremost all-round accomplished full-frame 35mm quick telezoom currently obtainable. the sole real negative may be a bound susceptibility to flare with robust lightweight sources either in or near the frame, as will solely be expected from such a posh style.
However this wonderful full-frame performance will return at some price to APS-C users; perceived sharpness is reduced (due merely to the additional magnification imposed by the smaller sensor), and this amplifies the impression of softness wide open. after all on APS-C the lens still advantages from the 'sweet spot' effects of very low distortion and negligible vignetting, therefore within the grand theme of things this is often one thing of a case of swings and roundabouts, with completely different advantages enjoyed by users of every format.
A comparison to Nikon's AF-S VR 70-200mm F2.8G is especially fascinating. the 2 lenses are near-identical in specification and worth, however their characteristics are substantially completely different. The Nikon lens clearly outperforms the Canon for sharpness on the smaller DX/APS-C format, but this comes at the price of rather compromised performance on full frame, with considerably higher distortion, vignetting and chromatic aberration, and very soft corners. This leads us to conclude that the 2 lenses were optimized differently, the Canon for full frame and therefore the Nikon for DX, and illustrates how the various demands of the 2 formats seem troublesome to reconcile in an exceedingly single lens style.
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