Canon EF lxx-200mm f/2.8L IS Three USM Lens Review
For most photographers, a high quality 70-200mm f/2.8 image stabilized lens is 1 of the most of import and most frequently used lenses in the kit and Catechism’s current version of this lens is always at the top or very close to the top of our most pop lens list. The reasons for this popularity include usefulness, functioning and affordability.
For many photographers, the lxx-200mm focal length range is second only to a general purpose normal zoom lens in terms of need and usefulness. Canon’s flagship 70-200mm lens is optically impressive and its splendid autofocus performance ensures that the total optical impressiveness is realized. Image stabilization adds to the already-great versatility and, on superlative of that, a cracking build quality – including weather sealing – makes this professional-duty lens reliable and fun to use. The relative affordability of this lens, especially compared to longer focal length f/2.8 options, is the reason that many choose this lens and the size and weight deviation is similarly compelling.
Canon’south flagship 70-200mm f/2.8L IS Lens has long been ane of my most-used lenses and my first choice for a cracking variety of needs.
When Canon introduces a replacement lens, it has always improved upon its predecessor and that is again the instance with this lens. However, the advantages of this lens are not going to exist wildly-compelling in convincing version Two lens owners to make the upgrade to the version Iii choice. Canon called it a “refresh” and it is simply that. Still, information technology is an excellent and useful lens.
What are the Differences Between the Catechism 70-200mm f/ii.8L IS 3 Lens and the Canon lxx-200mm f/2.8L IS Two Lens?
- The 3 has ASC (Air Sphere Coating) in addition to Super Spectra Coating, designed to reduce flare and ghosting.
- The 3 has fluorine coating on the front and rear lens elements, keeping them cleaner and making them much easier to clean.
- The III has Canon’s newer, whiter paint colour, matching the other recently-introduced telephoto lenses.
- The III has minor typographical changes including the words “Prototype Stabilizer” and “Ultrasonic” printed below the focal length range and next to the focus distance window. The gold “Epitome Stabilizer” has been removed from the mount area.
I know, at this point you are thinking that I’m missing many items from this list, but … sorry, that’s all that has been delivered. The optical design is the aforementioned. The internal build quality is the same. The IS organization is the same. The overall lens blueprint is the same.
A same-ness that we can peculiarly appreciate is the cost. Rarely has Canon introduced a new lens version without a solid price increment, but this lens, at least without rebates factored in, hit the streets at the same price point.
Fortunately, the “2” is a very impressive performer and the III is, as expected, that too. As I said, the Two has been at or near the top of our about-popular lens list for a very long fourth dimension and the 3, shown to the right of the 2 beneath, at present takes the baton in that regard.
Focal Length Range
I have long-endemic two Canon 70-200mm lenses and both of these zoom lenses are, individually, among my most-used, despite the fact that I as well have other lenses covering significant portions of this focal length range. That this focal length range is then incredibly useful is the reason that I so often choose a seventy-200 lens for any my need is.
What is a 70-200mm lens useful for? The list of uses for a short-mid-telephoto focal length range is incredibly long, but I’ll share some of my favorite uses.
At the top of my favorite uses for a lxx-200mm lens list is portrait photography and if y’all are taking pictures of people, this lens has your name on it. Containing a superset of the classic 85-135mm portrait focal length range, lxx-200mm lenses are ideal for capturing pleasing perspectives of people. This lens invites subject framing ranging from full body portraits at 70mm to tight headshots at 200mm and these mid-telephoto focal lengths naturally push the focus distances far enough away to avoid perspective baloney, including large-appearing noses, just non then far that advice with the subject area becomes difficult.
A set of focal lengths illustrating portrait apply is shown below (captured with a different lens).
The “portrait photography” designation is a broad one that covers a broad diverseness of potential still and video use at a wide variety of potential venues, including both indoors (abode, church, schoolhouse, etc.) and outdoors (yard, embankment, park, parade, playground, etc.). Portrait subjects can range from infants to seniors, from individuals to large groups (if enough working distance is available). Engagements, weddings, parties, events, theater, stage performances including concerts and recitals, speakers, kids’ events, families, small-scale groups, senior adults, graduating seniors, fashion, documentary, lifestyle … all are slap-up uses for the seventy-200mm focal lengths. There is often adequate infinite in even a small studio for portraiture with the bending of view provided by this lens. It is not hard to employ this lens exclusively for portrait shoots.
That portrait photography is 1 of the best revenue-producing photography genres helps justify the acquisition cost of this lens (you cannot buy stock photos of near people) and yous probable noticed the paid applications in the only-shared list of portrait uses.
Catechism U.South.A’s president and C.O.O, Kazuto “Kevin” Ogawa, introduces the Canon EOS R. I was attending a Canon proclamation event and, aside from expecting some new gear to exist announced, just vague information was provided virtually the event. With needs mostly unknown, a lens (or lenses) that would embrace a wide range of assignments was needed. The Canon EF 70-200mm f/two.8L IS III USM was my chosen lens and information technology was the perfect choice.
People are also often photographed participating in sporting and other action scenarios using this focal length range (the image higher up was captured with the II). While the 200mm focal length may exist modestly too broad for large field sports photography, it works very well for closer activeness such as that found at track and field meets and on the basketball game court. Basketball game is typically played indoors and with the f/2.eight aperture (more than on this shortly), indoor activity sports are within this lens’ capabilities.
Past virtue of the longer focal lengths and aided strongly by the wide f/2.8 aperture, the background of 70-200mm images can be diffusely-blurred and that attribute is especially great for portraits captured where the background cannot be fully controlled, including at sporting events and performances captured from a seat in the audition.
While portrait photography generally refers to images of people being captured, some of us also refer to certain types of wildlife photos as portraits. These images typically include the animal at least near filling the frame and for that task, this focal length range often falls short of the need. Unless the wildlife subject is very large and/or very shut, the longest native focal length in this lens (I’ll hash out the teleconverter options later in the review) volition usually be found too short for this task (without cropping). If capturing environmental wildlife portraits or captive (zoo) wildlife, this focal length range may be perfect. This is a keen focal length range for photographing pets, including dogs and cats.
When mural photography is mentioned, many immediately retrieve of wide angle lenses. All the same, telephoto focal lengths are an extremely important part of a mural kit. Telephoto focal lengths tin create excellent landscape images, especially when in that location is a afar discipline to be emphasized, rendered big in the frame, such equally a mountain. It is and so like shooting fish in a barrel to take groovy telephoto landscape images that it feels (slightly) similar cheating.
Hither is a 200mm sample prototype (again captured with a dissimilar lens) showing a compressed landscape, emphasizing lines and colors over depth:
Some other bang-up utilize of telephoto lenses for landscape photography is to focus on closer details, allowing a strong background blur to isolate those within the prototype. This focal length range is especially cracking for capturing clouds and sunsets.
Cityscapes are substantially landscape images with cities in them and this focal length range is often a great selection for more than-distant city views. Street photography, often done in cities, is another great employ for the lxx-200mm range.
A 70-200mm lens is my most-used studio lens, working especially well for production images and many other full general studio applications. Nigh of the product images on this site were captured within the seventy-200mm range and this range is platonic for larger products including vehicles (this instance gear up was captured with this lens’ predecessor).
Here are a couple of boosted 70-200 focal length range examples (all captured with other lenses).
Mount a lxx-200mm lens on an APS-C-format photographic camera and the angle of view becomes like that of a 112-320mm lens on a full frame camera. While the narrower angle of view does not greatly modify the uses list for this lens, these angles of view brand broad-framed portraits less ideal and virtually will adopt this angle of view range for sports and wild fauna pursuits.
The entire set of sample images captured with this lens’ predecessor are directly applicable to this review as well.
This lens has a very wide f/2.eight max aperture and that this stock-still max aperture is available over the entire focal length range is a huge asset. What are the advantages of a wide aperture? More than light reaches the imaging sensor, allowing activity (both subject and camera) to be stopped in lower light levels via a faster shutter speed and/or a lower, less-noisy ISO setting to exist used. In improver, a wide aperture permits a shallower, better-subject area-isolating depth of field to exist created.
While those photographing landscapes with this lens may not notice the wide f/2.8 discontinuity mandatory (and those hiking to remote landscape destinations may not appreciate the weight that accompanies an f/2.eight lens), those capturing portraits or photographing low light events, including sporting events, will definitely appreciate the faster shutter speeds and/or lower ISO settings made possible by the additional calorie-free reaching their imaging sensors. F/2.viii is the widest aperture available in a 70-200mm zoom lens and, even with the improvements nosotros’ve seen in DSLR cameras’ high ISO performance, f/2.eight remains the narrowest discontinuity I want to use when photographing many indoor activities. In addition to stopping action in low lite, the wide aperture invites handholding the camera in much lower light levels.
I often talk about the compositional advantages of a make clean border and one way to achieve such is to blur whatever is in this location into oblivion. This lens has that feature. Zoom to 200mm, open up the discontinuity wide to f/two.eight, motility in shut to your discipline and lookout man fifty-fifty a very decorated and distracting groundwork melt abroad.
This is the specific discontinuity required to enable the higher precision AF capabilities (most often the heart AF indicate) in some cameras, further aiding in ideal image quality. An additional f/2.8 reward is the brilliant viewfinder image it makes bachelor.
What are the disadvantages of a broad discontinuity? Increased size and weight accompany this aspect. The other wide aperture disadvantage i can count on is increased price over similar focal length range lenses with narrower apertures. From my perspective, the advantages far outweigh the disadvantages for near uses.
Hither is a link to a complete seventy-200mm focal length and aperture comparison.
The above image illustrates this lens’ ability to create a strong background blur at 200mm f/ii.eight.
Image stabilization has now been available in photographic camera lenses for a long fourth dimension, but I still honey this characteristic and I oft count on it making a clear comeback in my images. The Canon EF 70-200mm f/2.8L IS Iii USM Lens receives the same IS organization as in the version Ii lens.
Catechism rates the EF 70-200mm f/2.8L IS Two USM Lens’ IS arrangement for 3.5-stops of assistance and that rating of grade carries over to the III. I did not re-exam the IS arrangement in the Iii, but testing with the version II lens showed that I demand a shutter speed of 1/eighty to get a high percent of sharp 70mm images when using the Canon EOS 5D Mark Iii. Turn on IS and my shutter speed requirement dropped to nigh i/iv second which is slightly improve than iv stops of assist. At 200mm, my shutter speed requirements were 1/160-1/200 without IS and 1/15-i/20 with IS, for between iii and 4 stops of assist.
My examination results for this lens did not bear witness a hard floor to the acceptable handheld-with-IS shutter speed but there is a definite diminishing rate of sharp images as the shutter speed lengthens beyond the just-reported speeds. I could attain good 200mm results at 1/6 2nd but the sharpness rate was only about 10% in those attempts. Note: few awake people tin remain motionless plenty for a abrupt photo at these shutter speeds, just in case you were thinking most that application.
This IS system makes an audible, slight-drawn-out click upon startup and again at shutdown with a faint whir heard while IS was agile (in-photographic camera audio recording volition pick upwardly these sounds). The paradigm in the viewfinder does not spring at startup and shows very little drifting. That the scene in the viewfinder becomes motionless is highly desirable for composing an paradigm and the camera’due south AF system has improve precision when seeing a stabilized epitome. Canon contends that this is true even with a subject that is in motion and at action-stopping shutter speeds.
This IS organisation is tripod-sensing. IS modes I (normal) and Ii (panning) are provided.
As usual and perhaps more than usual with this detail lens, prototype stabilization greatly increases the versatility of the lens.
As mentioned, Canon has informed the states that the Canon EF 70-200mm f/2.8L IS III USM Lens has the same optical design as the Ii. That made predicting the Iii’southward image quality easy, specially since I’ve used the prior version of the lens for over 8 years past this time.
When I am carrying the extra weight of an f/2.eight lens, I want that lens to deliver sharp images at f/2.8. Otherwise, what’due south the point? Perhaps merely that an f/2.eight lens can (oftentimes) be expected to produce sharper results at f/4 compared to a similar quality f/4 max discontinuity lens at the same setting.
Is the Catechism EF 70-200mm f/2.8L IS III USM Lens sharp? Aye, quite so. At f/2.8, this lens is very nicely sharp in the center of the frame, particularly for a zoom lens, and that description works for the entire focal length range. F/two.viii center of the frame results at the ends of the focal length range are slightly less precipitous than throughout the central range of focal lengths, merely all the same quite good.
Fifty-fifty with an ultra-loftier resolution Catechism EOS 5Ds R behind it, this lens shows only very slight sharpness degradation into the mid and periphery areas of the image circle at f/2.8. The 200mm corners look remarkably abrupt at 200mm f/2.8.
Terminate down to f/four and sharpness improves slightly with the almost noticeable differences seen at 70mm and 200mm. This lens is very impressively abrupt at f/4 and razor abrupt defines the entire f/v.6 feel with this lens.
In add-on to our standard lab tests, I like to share some real world examples. The images below are 100% resolution crops captured in RAW format using a Canon EOS 5Ds R. The images were candy in DPP using the Standard Moving-picture show Style with sharpness set to “one”. These examples are from the center of the frame.
Wait advisedly to identify the center of the plane of sharp focus in these images, specially in the 200mm f/2.8 where depth of field is very shallow. I wasn’t completely satisfied with the 200mm f/two.8 pumpkin image, the closest-focused of the 200mm samples. The other ii samples show better performance, especially the longest distance instance, the tree body.
At 70mm, there is a rearward focus shift at narrower apertures. The subject remains in abrupt focus, just the foreground does not gain sharpness until about f/8. The focus shift was less noticeable at 100mm and 200mm with subject area remaining nicely centered in the depth of field at 135mm.
Taking this examination to the extreme full frame corners, we find a bear on of sharpness at f/2.8 with f/four results looking very nice.
These are 100% crops from the bottom right corner of EOS 5Ds R frames with pocessing identical to the previous examples. Again, be certain to find the center of the plane of sharp focus.
Mountain a total frame lens on a full frame camera and vignetting tin can be expected at wide apertures and we encounter that attribute with this lens. Just, the amount of vignetting is what matters most and, in that regard, this lens shows a very low amount. At f/2.viii, peripheral shading in full frame corners ranges from one.2 stops at 70mm up to nearly 2 stops at 200mm. These numbers are quite low, but high enough to exist sometimes-noticeable.
Stopping down reduces the shading and at f/4 the amount range drops to about .6 at 70mm and around ane stop over the rest of the range with the 1-end number oftentimes being considered the line between noticeable and un-noticeable shading. The worst-instance shading amount (farthermost corners) range at f/v.6 is about .four to .seven stops deep in the corners. These are zero-to-be-concerned-virtually numbers and peripheral shading is practically gone at f/8.
The result of different colors of the spectrum being magnified differently is referred to as lateral (or transverse) CA (Chromatic Aberration). Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii) with the mid and especially the periphery of the image circle showing the greatest amount equally this is where the greatest divergence in the magnification of wavelengths exists. Zoom lenses used at their max and min focal length extents typically show the virtually lateral CA and that is the case with this lens.
While lateral CA is usually easily corrected with software (oft in the camera) by radially shifting the colors to coincide, merely it is of grade meliorate to not have it in the first place. Any color misalignment present can easily be seen in the site’s prototype quality tool, simply let’southward also look at a set of worst-case examples, 100% crops from the farthermost acme left corner of ultra-high resolution 5Ds R frames.
At that place should be just black and white colors in these images and the additional colors are showing lateral CA. The corporeality at 70 and 200mm is moderate while the amount at 100mm and 135mm is mild. A relatively mutual lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light, or more simply, unlike colors of lite are focused to unlike depths. Spherical aberration along with spherochromatism, or a modify in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic abnormality but is hazier) are other mutual lens aberrations to look for. Centric CA remains at least somewhat persistent when stopping downwardly with the color misalignment effect increasing with defocusing while the spherical aberration color halo shows piffling size change as the lens is defocused and stopping down 1 to two stops mostly removes this aberration.
In the real earth, lens defects practice non exist in isolation with spherical abnormality and spherochromatism mostly constitute, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing paradigm quality at the widest apertures.
The examples below show 100% crops of f/2.8-captured images with both foreground and background blur. The specular highlight fringing colors being unlike in the foreground vs. the groundwork and different from the subject color shows that at least some of these defects exist, though not at abnormal levels.
Flare is caused by bright low-cal reflecting off of the surfaces of lens elements, resulting in reduced contrast and interesting artifacts. The shape, intensity, and position of the flare in an image is variable and depends on the position and nature of the light source (or sources) likewise as on the selected aperture, shape of the aperture blades and quality of the lens elements and their coatings.
The ASC (Air Sphere Coating) is one of the III’s biggest upgrade features and this coating – working alongside super spectra coating – is designed to suppress reflection of light, creating an ultra-low refractive index. While the “II” version of this lens did not perform abnormally in regards to flare, Canon obviously saw a competitive benefit in this comeback, at least from a marketing perspective. Even with the latest coating technology, a 23 elements in xix groups telephoto lens design will still showroom some flare, but the improvement is obvious. Here is the 200mm comparing. The III’south paradigm quality in back-lit situations is improved with greater contrast. If you find yourself shooting outdoors with the sun in the frame or indoors with bright lights in the frame, the version Iii lens is going to perform noticeably improve.
Flare furnishings can exist embraced, avoided or removed, although attempts at the latter are non ever successful. If not embraced, flare effects tin can be destructive to image quality and, as suggested, they can sometimes be extremely difficult to remove in postal service processing.
Nigh zoom lenses accept barrel distortion at the broad cease that transitions into negligible baloney and on into pincushion baloney at the long end. This lens fits that description. The amount of butt distortion at 70mm is slight and at or merely before 100mm, linear distortion is neutralized. The pincushion distortion at 135mm is slight and it is merely slightly stronger at 200mm for an overall very good functioning.
Almost modern lenses take lens correction profiles available for the pop image processing software and distortion can be easily removed using these, just distortion correction is subversive at the pixel level and this technique is not every bit good as using a baloney-costless lens and focal length combination in the first place.
Information technology is easy to encounter how strongly a lens can blur the background (and foreground), but a look at the quality of that blur, referred to as bokeh, is worthwhile. In this example, I retrieve you are going to similar what you see.
The f/eleven case shows out of focus specular highlights in the groundwork. While stopping downwardly to f/eleven imparts some aperture bract shape to the circles and the normal concentric rings are seen, these shapes are rendered very smoothly. The “Total” images are uncropped but downsized for easy viewing and these again look nice.
At f/ii.viii, mild cats eye bokeh, a grade of mechanical vignetting, can be seen in the corners. This is an uncropped 200mm example.
With an even aperture blade count, afar indicate low-cal sources captured with a narrow aperture and showing a star-like effect will have an discontinuity-blade-count-matching viii points. The points on these stars are coming from the blades of the discontinuity. Each bract is responsible, via diffraction, for creating two points of the star outcome. If the blades are bundled opposite of each other (an even blade count), the points on the stars will equal the blade count as ii blades share in creating a single pair of points (the blades of an odd bract count aperture are not opposing and the result is that each blade creates its ain two points). While this lens creates nice-sized stars (I like this feature), the flared points shown below are not the near aesthethically pleasing furnishings I’ve seen.
The Catechism EF 70-200mm f/ii.8L IS Three USM Lens’ upgrade features may be minimal, but this lens will still deliver first-class image quality, just like its predecessor did.
The 70-200mm f/2.8L IS 3 gets Canon’due south excellent USM (Ultrasonic Motor) AF bulldoze system which is of course the same AF organisation every bit the Ii. That is a very positive attribute. This lens internally focuses extremely fast and very accurately under even highly-challenging circumstances, ensuring that the total optical quality of this lens tin be realized.
The focusing motor is silent, but the lens elements moving fast do brand a low-cal clunk sound and a short “shhhh” is heard if performing a long altitude adjustment. FTM (Full Fourth dimension Manual) focusing is supported. Fifty-fifty with the photographic camera powered off, the focusing band is fully functional, a feature that is becoming more of a notable advantage.
A focus limit switch offers the full three.94′ (one.2m) – ∞ range or a limited viii.2′ (2.5m) – ∞ range, potentially improving focus conquering speed with more than-distant subject area distances.
This lens’ subjects change size a quite-noticeable amount during big focus altitude adjustments.
My lxx-200 IS III is not completely parfocal, just only the focus distance setting at 70mm varies strongly from the remainder of the focal lengths. From a few mm past 70mm, my lens holds a virtually-ideal focus distance every bit it is zoomed through 200mm and vice versa.
A focus altitude calibration, in both ft and m, is provided in a window, enabling focus distance settings to be visible at a glance.
The ideally-size and forward-positioned focus ring is smooth with skillful rotational resistance, though my lens has a slight amount of gear play. Equally my fingers recognize the ring movement with lighter resistance not affecting the focus altitude, I do not find the play impeding my focusing power, only information technology is slightly annoying. The 145° of focus band rotation is ideal for 70mm adjustments fifty-fifty at close distances, but slightly fast for precise 200mm manual focusing.
With a 47.ii” (1200mm) minimum focus distance, this lens can produce a 0.21x maximum magnification. Those are good specs for a lens in this class, substantially only bested by the Canon EF 70-200mm f/4L IS Ii USM Lens and the Sony Fe 70-200mm f/2.8 GM OSS Lens.
I ordinarily provide a single comparison table showing the minimum focus altitude (MFD) and maximum magnification (MM) of similar lenses, merely there are so many 70-200mm lenses now available that I decided to evidence two separate charts. The offset shows all of Canon’s EF 70-200mm lenses.
|Canon EF 70-200mm f/2.8L IS Three USM Lens||47.two”||(1200mm)||0.21x|
|Canon EF seventy-200mm f/2.8L IS II USM Lens||47.ii”||(1200mm)||0.21x|
|Catechism EF 70-200mm f/ii.8L IS USM Lens||55.i”||(1400mm)||0.17x|
|Catechism EF seventy-200mm f/2.8L USM Lens||59.one”||(1500mm)||0.13x|
|Canon EF 70-200mm f/4L IS Ii USM Lens||39.four”||(1000mm)||0.27x|
|Catechism EF 70-200mm f/4L IS USM Lens||47.2″||(1200mm)||0.21x|
|Canon EF 70-200mm f/4L USM Lens||47.ii”||(1200mm)||0.21x|
The next chart shows the 70-200mm f/2.8L IS Iii in comparing with like other brand lenses.
|Canon EF 70-200mm f/2.8L IS III USM Lens||47.2″||(1200mm)||0.21x|
|Nikon 70-200mm f/two.8E AF-S FL VR Lens||43.3″||(1100mm)||0.21x|
|Sigma seventy-200mm f/2.8 EX DG Os HSM Lens||55.1″||(1400mm)||0.13x|
|Sony FE seventy-200mm f/ii.eight GM OSS Lens||37.viii”||(960mm)||0.25x|
|Tamron seventy-200mm f/2.8 Di VC USD G2 Lens||37.4″||(950mm)||0.16x|
This lens is not going to supersede your macro lens and broad open discontinuity image quality at minimum focus distance is not stellar at 200mm, but information technology can still capture nicely-enlarged close subjects. Figure a 6.5 x four.three” (165 10 110mm) subject filling the 200mm frame at minimum focus distance. The foreground leaf in the image below measures about 4″ (100mm) (stem not included).
Extension tubes shift a lens farther from the photographic camera, assuasive a lens to focus at closer a distance, though at the expense of long distance focusing. Magnification from telephoto lenses is not profoundly increased past the employ of extension tubes, but there is still some do good to using them. Mounting a Canon EF 12mm Extension Tube II backside this lens provides a magnification range of 0.28-0.06x and that range increases to 0.36-0.14x with a Canon EF 25mm Extension Tube Two in use.
Telephoto maximum magnifications typically increase more strongly when a close-upward lens is used and that is the instance with this lens. A Canon 500D Closeup Lens threaded onto the end of the lens increases the magnification range to 0.14-0.60x.
This lens is uniform with Catechism’s EF 1.4x III and EF 2x III Extenders (teleconverters). Retaining the lens’ native focus distance range, these options besides increment magnification forth with providing a narrower bending of view that is sometimes fifty-fifty more than highly desired.
The addition of a 1.4x extender creates an attractive full frame 98-280mm prototype stabilized lens with a 1-end narrower max aperture (f/4). While the focal length versatility provided by the TC is very nice, magnifying the prototype by 1.4x can negatively impact image quality. Fortunately, the native sharpness of this lens is loftier enough that the touch on is noticeable, simply not terrible at f/4 and the f/v.six results are relatively precipitous.
The ane.4x adds some barrel baloney, simply that increase is just the right amount to showtime the native 200mm pincushion distortion, resulting in a very well-corrected distortion profile at the focal lengths most-typically needed when a i.4x is needed (the long ones). This extender adds a small amount of lateral CA. With the 1.4x mounted backside this lens, autofocus speed remains proficient.
Utilize the 2x extender to create a 140-400mm IS Lens with ii-stops of max discontinuity loss. Fortunately, fifty-fifty with a 2-terminate max discontinuity reduction, this is however a very-reasonable-for-400mm f/v.6 max aperture lens. I am commonly left unsatisfied with the performance of 2x extenders and you are going to find the 400mm f/5.6 image quality degradation noticeable. Still, this combination performs reasonably well in the center of the frame and especially well if stopped down to f/eight. The f/8 max aperture is wide plenty and still very useful for the wildlife and sports photography that these focal lengths are especially well suited for if the lighting conditions are bright.
With the 2x mounted, butt baloney is once again increased and again that increment is only the right amount to offset the native 200mm pincushion distortion, resulting in a very well-corrected geometric distortion contour. Lateral CA again becomes somewhat more noticeable and especially due to the softer corners, it is more visible than at 280mm (with the one.4x in use). While the 2x has a slight impact on AF speed, it is relatively mild and I again encountered no focus hunting in even depression light weather. Just recall that autofocus systems need some contrast under the activates AF point(due south).
Build Quality & Features
Canon’south L Series lenses are the company’s best-bachelor, professional-grade models. The scarlet ring and the “L” in the moniker indicates this lens’ inclusion in this exclusive group.
Feature for 70-200mm lenses is a stock-still size and this lens has that squeamish characteristic. At that place is no extension with zooming and as previously mentioned, focusing is also internal.
This lens has a generally-straight butt design that is very comfortable to use. The butt exterior is high quality technology plastic and metals are used internally for a solid overall feel.
Both rings are substantial in size, smooth in rotation and very piece of cake to use. Similar the focus band, the zoom ring on my lens has a small amount of play in the gears.
The rear-positioned zoom band is a hugely-differentiating feature for the Canon EF seventy-200mm f/2.8L IS III USM Lens (and Canon’s other 70-200mm zoom lenses). Many competing 70-200 models position the zoom ring toward the front of the lens where it creates an awkward balance during utilize. On those models, the left manus nether the zoom ring is well-forwards of the lens’ rest points and that means the right manus must become weight begetting as well. If used on a tripod, the issue is reduced in importance, merely if shooting handheld, the rear-positioned zoom band has a pregnant value to me.
Though yet non pure white, the Three gets a whiter white colour than the Ii, matching the other recently-released L-series telephoto lenses. While a white lens might exist less stealthy, garnering more attending than a black lens, white remains cooler under a vivid sun, reducing the temperature alter and whatsoever negative issues that such contributes to, including part expansion. I’ll let you decide if white appears more professional.
A low-contour switch panel holds four switches. While the switches are too low-contour, they are sized and contoured ideally for use. Their business firm click into position is assuring from both positional and quality standpoints.
While non waterproof (water impairment volition void the warranty), this lens is weather sealed and built for outdoor professional utilise in atmospheric condition that are not ever favorable.
The front and rear elements are fluorine-coated, helping dust and water drops to shed off (or easily blow off) of the front and rear lens elements and makes cleaning other more problematic issues, such as fingerprints, much easier. The fluorine coating makes a noticeable difference that is particularly appreciated in the field.
Creating a lxx-200mm f/2.8 lens ways that the design, including many large-diameter lens elements, is going to exist rather large and heavy. Those attributes are of form weighted according to the lenses a photographer is typically using. Sports and wildlife photographers commonly using Catechism’southward supertelephoto lenses will find this lens small and light while those upgrading from a consumer zoom lens volition notice whatsoever 70-200mm f/two.viii lens large and heavy. Overall, this grade of lens is on the upper side of medium in size and weight.
Once more, I’ll break this comparison table into two. Kickoff, here is the Catechism 70-200mm lens comparison chart.
|Model||Weight||Dimensions due west/o Hood||Filter||Year|
|Canon EF 70-200mm f/ii.8L IS Three USM Lens||52.2 oz||(1480g)||3.5 ten 7.8″||(88.8 ten 199.0mm)||77mm||2018|
|Catechism EF 70-200mm f/2.8L IS II USM Lens||52.six oz||(1490g)||3.5 10 7.eight”||(88.8 ten 199.0mm)||77mm||2010|
|Canon EF lxx-200mm f/two.8L IS USM Lens||51.9 oz||(1470g)||3.4 x 7.8″||(86.0 x 197.0mm)||77mm||2001|
|Canon EF 70-200mm f/2.8L USM Lens||46.2 oz||(1310g)||3.iii 10 seven.vi”||(85.0 x 194.0mm)||77mm||1995|
|Canon EF seventy-200mm f/4L IS Ii USM Lens||28.two oz||(800g)||3.i x 6.nine”||(eighty.0 ten 176.0mm)||72mm||2018|
|Catechism EF seventy-200mm f/4L IS USM Lens||26.8 oz||(760g)||iii.0 x 6.eight”||(76.0 x 172.0mm)||67mm||2006|
|Canon EF 70-200mm f/4L USM Lens||24.9 oz||(705g)||3.0 x 6.eight”||(76.0 10 172.0mm)||67mm||1999|
I’m non certain where Canon shaved off 50g on this model from the predecessor, just overall, I see little differentiation between Catechism’s 70-200mm f/ii.8 models in regards of size and weight. There is a slight weight penalty for the IS feature, but … that feature is worth every ounce/gram of the difference.
Next up is the competing lens comparison nautical chart.
|Model||Weight||Dimensions w/o Hood||Filter||Twelvemonth|
|Canon EF lxx-200mm f/2.8L IS III USM Lens||52.half dozen oz||(1490g)||3.5 10 7.8″||(88.8 x 199.0mm)||77mm||2018|
|Nikon 70-200mm f/ii.8E AF-South FL VR Lens||50.v oz||(1430g)||3.5 x 8.0″||(88.5 ten 202.5mm)||77mm||2016|
|Sony Fe 70-200mm f/ii.8 GM OSS Lens||52.2 oz||(1480g)||3.5 x 7.9″||(88.0 x 200.0mm)||77mm||2016|
|Sigma 70-200mm f/2.8 EX DG OS HSM Lens||50.v oz||(1430g)||3.4 x 7.8″||(86.4 ten 197.6mm)||77mm||2011|
|Tamron seventy-200mm f/2.8 Di VC USD G2 Lens||52.ix oz||(1500g)||3.5 x 7.six”||(87.9 x 193.0mm)||77mm||2017|
For many more than comparisons, review the complete Canon EF 70-200mm f/two.8L IS 3 USM Lens Specifications using the site’due south Lens Spec tool.
Again, if you are looking for real differentiators, you are not going to find them in this nautical chart.
Below is a electric current Canon EF seventy-200mm L lens family picture.
Positioned above from left to right are the following lenses:
Canon EF 70-200mm f/4.0L USM Lens
Canon EF lxx-200mm f/4L IS II USM Lens
Canon EF 70-200mm f/2.8L USM Lens
Catechism EF lxx-200mm f/ii.8L IS III USM Lens
The same lenses are shown beneath with their hoods in identify.
The smaller size of the f/4 lenses is obvious and the new white colour on the latest IS versions is subtly noticeable.
Taking this comparison out of the family:
Positioned above from left to correct are the following lenses:
Tamron 70-200mm f/2.8 Di VC USD G2 Lens
Sigma 70-200mm f/two.eight EX DG Bone HSM Lens
Sony Iron 70-200mm f/2.8 GM OSS Lens
Catechism EF 70-200mm f/two.8L IS III USM Lens
Nikon 70-200mm f/two.8E AF-S FL VR Lens
The same lenses are shown below with their hoods in identify.
Use the site’due south production image comparing tool to visually compare the Canon EF 70-200mm f/2.8L IS 3 USM Lens to other lenses.
To accomplish residuum when tripod or monopod-mounting a lens of this weight and length, a tripod ring is required. I’m non saying that you lot can’t hang a lens such as this one from a camera body mounted direct to a tripod, but I am saying that doing then will not work well from a balance perspective (and your tripod may tip over). The tripod mountain band included in the box is the right balance solution for this lens. This ring is solidly built with niggling flex when locked downward. It is moderately smooth with a bump felt equally rotation passes the release bespeak that enables the separate-designed ring to exist removed over the lens mount.
Those using the Arca-Swiss standard clamp organisation and adding a lens plate to this foot should select a model with non-twist nubs. My choice was the Wimberley P30 Lens Plate. This plate is longer than necessary, but the length gives me greater balance options which are useful for keeping the weight centered over the tripod head while shooting at strong vertical angles.
Lens blueprint 101 says that 70-200 f/2.8 lenses must have 77mm filter threads (or, so information technology seems). Filters of this size are somewhat large, but with then many lenses using 77mm filters, effects filter options such equally round polarizer filters tin can often be shared. Notation that if using protection filters, sharing is not equally swell of an idea. Larger filters toll more than, simply sharing is cost-reducing and fewer filters means less space is required in the backpack.
Canon always includes the lens hood in the box of L-series lenses and this one gets the ET-87 lens hood. This is a relatively large petal-shaped hood that adds significant protection to the front lens element from bright flare-causing lights, from scratch-causing impacts and from grit and rain. This hood is constructed of rather-rigid plastic with a black flocked interior for maximum reflection avoidance.
Likewise included in the box is the Canon LZ1326 Lens Case. And, the caps are of course included besides. Catechism’due south E-77II cap is very nicely designed.
This is a nicely-padded, double-zippered nylon case that permits easy access to the lens. A thin shoulder strap is included and an about-2″ (51mm) belt loop is provided.
Price and Value
I said that ane of the downsides of a wide aperture is an increased cost and 70-200 f/2.8 lenses are priced at a premium over their f/4 counterparts. This lens is not cheap and information technology is difficult to apply the “bargain” label to a lens costing as much every bit this one. However, the farthermost versatility and usefulness of this lens, including its revenue-generating and family unit retentivity capturing capabilities, brand it a very adept value and an extremely highly desired fellow member of most kits.
As an “EF” lens, the Canon EF 70-200mm f/2.8L IS Three USM Lens is uniform with all Canon “EOS” cameras (the EOS “R” and “M” lines require an adapter). This lens comes with a 1-year limited warranty.
The reviewed Canon EF 70-200mm f/2.8L IS III USM Lens was online-retail acquired.
Alternatives to the Canon EF 70-200mm f/2.8L IS III USM Lens
When considering alternatives for the Catechism EF seventy-200mm f/2.8L IS 3 USM Lens, the commencement question to inquire is: “Do I need the f/2.eight discontinuity?” Those photographing indoor events and low light activity will definitely desire f/2.eight. Those photographing landscapes will non likely require information technology. Many other scenarios may or may not need f/2.8.
Those not needing the f/2.8 aperture will notice the Canon EF seventy-200mm f/4L IS Two USM Lens the platonic solution. This lens is smaller, lighter and considerably less expensive. It is as well a well-built, peachy performing lens.
Is information technology worth upgrading from the Catechism EF lxx-200mm f/two.8L IS Ii USM Lens to the Canon EF 70-200mm f/ii.8L IS 3 USM Lens? That is a question I’m asking myself correct now. While the III is certainly the ameliorate lens, the upgraded features do not seem overly compelling. Reduced flare can relieve the day, only that is the master reason to upgrade. Perhaps your 70-200 has taken plenty of abuse and you would feel more comfortable with a fresh lens in your kit. In that instance, the Three could exist just the excuse y’all are looking for.
It is a bit difficult to go excited most a new lens that is generally the same as something I already have. But, every bit I initially wrote this review, the version II predecessor to the Canon EF lxx-200mm f/2.8L IS III USM Lens was the most pop lens on this site and the second-best-selling lens at B&H (out of 999 lenses). It takes special qualities to obtain those positions and this lens obviously has those and information technology has some improvements. In particular, the version III lens’ power to retain better image quality with bright lights in the frame with its improved coatings reducing flaring is going to be significant and my “mostly the same” description goes out the window in those cases.
Why is the need so high for the Canon EF seventy-200mm f/two.8L IS III USM Lens? The very high number of applications for this lens are a main reason for its popularity. The build and optical qualities of this lens certainly bulldoze need. The high-performing AF organization coupled with image stabilization definitely help.
Affordability is another sales-driving factor. While this lens is not inexpensive, f/2.8 lenses with longer focal lengths cost far more and that positions this lens as the budget zoom lens option for low calorie-free action photography and for creating a potent background mistiness. This ever-needed lens is a big money-maker for a significant number of professional person photographers and you will meet it being used at the world’s most-followed events. Even so, because of its usefulness-to-cost ratio, I very ofttimes run across parents photographing with seventy-200mm f/two.8 lenses at locations ranging from local sporting events to indoor stage performances.
When yous know which lens yous should use, it will quite frequently be this ane. When you are not certain which lens you demand, this 1 volition often get the chore done. If yous do not have the seventy-200mm f/2.viii lens pigsty filled in your Catechism kit, or if the seventy-200mm f/ii.8 lens in your kit is not a high-performer, the Canon EF 70-200mm f/2.8L IS 3 USM Lens has your name on it.
Bringing yous this site is my full-time job (typically threescore-80 hours per week). Thus, I depend solely on the commissions received from you using the links on this site to make whatever purchase. I am grateful for your support! – Bryan
My Recommended Canon EF 70-200mm f/2.8L IS III USM Lens Retailers
Rent the Canon EF seventy-200mm f/2.8L IS III USM Lens
The Tip Jar
More Canon EF 70-200mm f/two.8L IS Iii USM Lens Related Data
Bryan Recommends Buying It Hither