Canon EF 70-200mm f/4L IS USM

Pros Optical stabilization system. Fixed aperture through zoom range. Relatively light. Sharp images.

Cons Edges soft when zoomed. Adding a tripod collar is expensive. Bottom Line The Canon EF 70-200mm f/4L IS USM lens captures impressively sharp images and is optically stabilized. It's a good option for shooters who can't afford an f/2.8 zoom.

By Jim Fisher The Canon EF 70-200mm f/4L IS USM ($1,349 direct) isn't as lauded as the company's f/2.8 IS lens with the same zoom range, but it's priced about $650 less, making it an attractive option for shooters who can live with a slower lens. It is similar in design and price to the Nikon AF-S 70-200mm f/4G ED VR lens. It's compatible with full-frame Canon cameras, and can also be used with APS-C bodies, where it acts more like a 112-320mm lens due to the 1.6x crop factor. It's very sharp across the frame at its widest focal length, but performance at the edges suffers when set to 200mm.

Like other Canon L zooms, the lens features a white finish rather than a traditional black. It measures 6.8 by 3 inches (HD) and weighs 1.7 pounds. A hood is included, but not a tripod collar. Adding one helps to better distribute weight when used with a tripod and adds $210 to the cost. It supports 67mm filters and can focus on objects as close as 3.9 feet; that's not quite macro, but you'll still be able to get fairly tight shots, especially at 200mm. The zoom ring and focus ring are both large and comfortable to adjust; the zoom ring is closer to the base of the lens, while the focus ring is near the front element.

There are a couple of toggle switches on the lens. One toggles between manual focus and autofocus, and there's also a focus limiter switch. It can limit the lens to searching for focus from 3 meters to infinity, or set so that the lens functions over its full focus range. There's also a switch to enable or disable image stabilization, and to set the stabilization mode. The default mode always keeps the lens stabilized in every direction, and the second mode doesn't try to compensate for left to right motion—necessary for shots where you pan the camera along with your subject during exposure.

I used Imatest to check the sharpness of the lens when paired with the EOS-1D X. The lens exceeds the 1,800 lines per picture height that we require for a sharp image at every tested aperture and focal length using a center-weighted methodology, but we did see some softness at the edges of the frame at longer focal lengths.

At 70mm the lens is an impressive performer all around, notching 2,415 lines at f/4, with edges that top 2,000 lines. Stopping down the lens to f/5.6 improves sharpness just a bit to 2,519 lines, and it peaks at f/8 at 2,537 lines. There is a bit of barrel distortion here, about 1.4 percent, which gives a slight outward curve to straight lines; that's a modest amount for a zoom lens, and is easily corrected in Lightroom when necessary. If you use the latest version of the software, the lens is profiled; this means that automatic corrections for distortion and falloff are only a click away.

At 135mm f/4 the lens is still sharp, 2,134 lines, but edges are a smidge soft at 1,657 lines. Stopping down to f/5.6 improves the overall score to 2,247 lines, with edges that hit 1,741 lines. Performance is best at f/8; 2,355 lines averaged across the frame, with edges that hit 1,889 lines. Distortion switches to pincushion here, where lines bow a bit inward, but it's still a manageable 1.3 percent.

When you zoom all the way to 200mm you see the weakest performance of the lens, but it's still pretty good everywhere but the edges. At f/4 it manages 1,826 lines, but edges and corners are muddy at 1,294 lines. Stopping down to f/5.6 brings the overall score up to 1,913 lines, with edges that score 1,315 lines. At f/8 you get 2,128 lines across the frame, but the edges are still weak at 1,435 lines. Distortion here is 1.9 percent, still a manageable figure. The Nikon AF-S 70-200mm f/4G ED VR delivers better performance at longer focal lengths; that lens suffers from some edge softness at 70mm, but is sharp from edge to edge at 200mm.

If you're in the market for a telezoom lens for your Canon camera and don't have the budget for the f/2.8 version, the EF 70-200mm f/4L IS USM is an appealing choice, even though its performance suffers at the edges at its longest focal length. For an extra $100 you could opt to go with the larger, heavier EF 70-200mm f/2.8L USM, but that lens doesn't incorporate any type of image stabilization—that's quite useful in a lens of this focal length. Canon's stabilized f/2.8 70-200mm zoom sells for $2,000, and is a better choice for event photographers who often need to shoot in lower light.

View the original article here

Nikon AF-S Nikkor 70-200mm f/4G ED VR

Pros Vibration reduction system. Fixed aperture through zoom range. Sharp images. Fairly light.

Cons Tripod collar is an expensive add-on. Soft edges at 70mm. Bottom Line The Nikon AF-S Nikkor 70-200mm f/4G ED VR is the telezoom for Nikonians who can't handle the cost of the f/2.8 version of the lens.

By Jim Fisher

The Nikon AF-S Nikkor 70-200mm f/4G ED VR ($1,399.95 direct) is the low-cost alternative to Nikon's 70-200mm f/2.8 lens. It only captures half the light at its maximum aperture, but it costs $1,000 less. There's no compromise in terms of build or optical quality—the lens is sharp throughout its zoom range, though edge performance is a bit lacking at 70mm. It sharpens up as you close the aperture, and delivers similar performance to the Canon EF 70-200mm f/4L IS USM lens. It's compatible with full-frame Nikon cameras, as well as APS-C bodies, where it covers a 105-300mm field of view due to the smaller sensor.

The lens features a flat black finish with gold trim. It measures 7 by 3.1 inches (HD) and weighs 1.9 pounds. A hood and protective case are included. It supports the use of 67mm threaded front filters, and there's no rotation of the front element so using a polarizing filter is feasible. An optional tripod collar is available, but it's expensive at $232.95. The minimum focus distance is about 3.3 feet, which is by no means macro, but it does allow for 1:3.7 magnification. Both the zoom ring and manual focus ring are large and comfortable to adjust; the zoom ring is closer to the base lens mount, while the focus ring is situated towards the front element of the lens.

There are a few toggle switches on the lens—one to switch between manual and autofocus, one to set the distance over which the autofocus will search for a lock, another to enable or disable the vibration reduction system, and one to choose standard or active vibration reduction. Standard VR detects panning and does not compensate for it, but active does not differentiate between panning and camera shake.

I used Imatest to check the sharpness and distortion characteristics of the 70-200mm when paired with the 36-megapixel Nikon D800. At its widest angle the lens manages 2,914 lines per picture height using a center-weighted test, much better than the 1,800 lines we require for a sharp photo. Edge performance is a little weak at f/4, only 1,643 lines, but it improves noticeably when you stop down to f/5.6. At that aperture the overall score is 3,265 lines with edges that are 1,834 lines. Things are even better at f/8 where the lens averages 3,490 lines with edges that approach 2,600 lines. Distortion is slightly noticeable—about 1.4 percent barrel, which makes straight lines curve outward, but can easily be corrected in software.

Zooming to 105mm improves performance and reduces distortion. At f/4 the lens manages 2,848 lines, with sharp edges that approach 1,900 lines. Stopping down improves performance a bit; it peaks at f/8 at 3,484 lines with edges that close in on 2,900 lines. Distortion is 0.7 percent, but it's the pincushion variety that makes straight lines curve inward. At 135mm the lens maintains its solid performance, notching 2,899 lines at f/4 with excellent edge-to-edge performance. It peaks at f/8 again, with 3,408 lines. Distortion increases a bit here; the lens shows 1.4 percent pincushion distortion.

At 200mm it's a little softer, 2,181 lines at f/4 with even sharpness across the frame. The best performance is at f/8 where it tops 3,100 lines. The Canon EF 70-200mm f/4L IS USM delivers similar performance, but its edges are at their best at 70mm and softest at 200mm.

The Nikon AF-S Nikkor 70-200mm f/4G ED VR is a solid option for shooters who don't need the light-gathering capabilities of an f/2.8 zoom. If you shoot indoor sports or weddings, you'll likely want to go with the f/2.8 lens—if you're making money from shooting it will pay for itself in time. But for enthusiasts in need of a quality walkaround telezoom, this is a solid option at a price that won't break the bank.

View the original article here

Nikon AF-S Nikkor 70-200mm f/4G ED VR

Pros Vibration reduction system. Fixed aperture through zoom range. Sharp images. Fairly light.

Cons Tripod collar is an expensive add-on. Soft edges at 70mm. Bottom Line The Nikon AF-S Nikkor 70-200mm f/4G ED VR is the telezoom for Nikonians who can't handle the cost of the f/2.8 version of the lens.

By Jim Fisher

The Nikon AF-S Nikkor 70-200mm f/4G ED VR ($1,399.95 direct) is the low-cost alternative to Nikon's 70-200mm f/2.8 lens. It only captures half the light at its maximum aperture, but it costs $1,000 less. There's no compromise in terms of build or optical quality—the lens is sharp throughout its zoom range, though edge performance is a bit lacking at 70mm. It sharpens up as you close the aperture, and delivers similar performance to the Canon EF 70-200mm f/4L IS USM lens. It's compatible with full-frame Nikon cameras, as well as APS-C bodies, where it covers a 105-300mm field of view due to the smaller sensor.

The lens features a flat black finish with gold trim. It measures 7 by 3.1 inches (HD) and weighs 1.9 pounds. A hood and protective case are included. It supports the use of 67mm threaded front filters, and there's no rotation of the front element so using a polarizing filter is feasible. An optional tripod collar is available, but it's expensive at $232.95. The minimum focus distance is about 3.3 feet, which is by no means macro, but it does allow for 1:3.7 magnification. Both the zoom ring and manual focus ring are large and comfortable to adjust; the zoom ring is closer to the base lens mount, while the focus ring is situated towards the front element of the lens.

There are a few toggle switches on the lens—one to switch between manual and autofocus, one to set the distance over which the autofocus will search for a lock, another to enable or disable the vibration reduction system, and one to choose standard or active vibration reduction. Standard VR detects panning and does not compensate for it, but active does not differentiate between panning and camera shake.

I used Imatest to check the sharpness and distortion characteristics of the 70-200mm when paired with the 36-megapixel Nikon D800. At its widest angle the lens manages 2,914 lines per picture height using a center-weighted test, much better than the 1,800 lines we require for a sharp photo. Edge performance is a little weak at f/4, only 1,643 lines, but it improves noticeably when you stop down to f/5.6. At that aperture the overall score is 3,265 lines with edges that are 1,834 lines. Things are even better at f/8 where the lens averages 3,490 lines with edges that approach 2,600 lines. Distortion is slightly noticeable—about 1.4 percent barrel, which makes straight lines curve outward, but can easily be corrected in software.

Zooming to 105mm improves performance and reduces distortion. At f/4 the lens manages 2,848 lines, with sharp edges that approach 1,900 lines. Stopping down improves performance a bit; it peaks at f/8 at 3,484 lines with edges that close in on 2,900 lines. Distortion is 0.7 percent, but it's the pincushion variety that makes straight lines curve inward. At 135mm the lens maintains its solid performance, notching 2,899 lines at f/4 with excellent edge-to-edge performance. It peaks at f/8 again, with 3,408 lines. Distortion increases a bit here; the lens shows 1.4 percent pincushion distortion.

At 200mm it's a little softer, 2,181 lines at f/4 with even sharpness across the frame. The best performance is at f/8 where it tops 3,100 lines. The Canon EF 70-200mm f/4L IS USM delivers similar performance, but its edges are at their best at 70mm and softest at 200mm.

The Nikon AF-S Nikkor 70-200mm f/4G ED VR is a solid option for shooters who don't need the light-gathering capabilities of an f/2.8 zoom. If you shoot indoor sports or weddings, you'll likely want to go with the f/2.8 lens—if you're making money from shooting it will pay for itself in time. But for enthusiasts in need of a quality walkaround telezoom, this is a solid option at a price that won't break the bank.

View the original article here

Canon EF 70-200mm f/4L IS USM

Pros Optical stabilization system. Fixed aperture through zoom range. Relatively light. Sharp images.

Cons Edges soft when zoomed. Adding a tripod collar is expensive. Bottom Line The Canon EF 70-200mm f/4L IS USM lens captures impressively sharp images and is optically stabilized. It's a good option for shooters who can't afford an f/2.8 zoom.

By Jim Fisher The Canon EF 70-200mm f/4L IS USM ($1,349 direct) isn't as lauded as the company's f/2.8 IS lens with the same zoom range, but it's priced about $650 less, making it an attractive option for shooters who can live with a slower lens. It is similar in design and price to the Nikon AF-S 70-200mm f/4G ED VR lens. It's compatible with full-frame Canon cameras, and can also be used with APS-C bodies, where it acts more like a 112-320mm lens due to the 1.6x crop factor. It's very sharp across the frame at its widest focal length, but performance at the edges suffers when set to 200mm.

Like other Canon L zooms, the lens features a white finish rather than a traditional black. It measures 6.8 by 3 inches (HD) and weighs 1.7 pounds. A hood is included, but not a tripod collar. Adding one helps to better distribute weight when used with a tripod and adds $210 to the cost. It supports 67mm filters and can focus on objects as close as 3.9 feet; that's not quite macro, but you'll still be able to get fairly tight shots, especially at 200mm. The zoom ring and focus ring are both large and comfortable to adjust; the zoom ring is closer to the base of the lens, while the focus ring is near the front element.

There are a couple of toggle switches on the lens. One toggles between manual focus and autofocus, and there's also a focus limiter switch. It can limit the lens to searching for focus from 3 meters to infinity, or set so that the lens functions over its full focus range. There's also a switch to enable or disable image stabilization, and to set the stabilization mode. The default mode always keeps the lens stabilized in every direction, and the second mode doesn't try to compensate for left to right motion—necessary for shots where you pan the camera along with your subject during exposure.

I used Imatest to check the sharpness of the lens when paired with the EOS-1D X. The lens exceeds the 1,800 lines per picture height that we require for a sharp image at every tested aperture and focal length using a center-weighted methodology, but we did see some softness at the edges of the frame at longer focal lengths.

At 70mm the lens is an impressive performer all around, notching 2,415 lines at f/4, with edges that top 2,000 lines. Stopping down the lens to f/5.6 improves sharpness just a bit to 2,519 lines, and it peaks at f/8 at 2,537 lines. There is a bit of barrel distortion here, about 1.4 percent, which gives a slight outward curve to straight lines; that's a modest amount for a zoom lens, and is easily corrected in Lightroom when necessary. If you use the latest version of the software, the lens is profiled; this means that automatic corrections for distortion and falloff are only a click away.

At 135mm f/4 the lens is still sharp, 2,134 lines, but edges are a smidge soft at 1,657 lines. Stopping down to f/5.6 improves the overall score to 2,247 lines, with edges that hit 1,741 lines. Performance is best at f/8; 2,355 lines averaged across the frame, with edges that hit 1,889 lines. Distortion switches to pincushion here, where lines bow a bit inward, but it's still a manageable 1.3 percent.

When you zoom all the way to 200mm you see the weakest performance of the lens, but it's still pretty good everywhere but the edges. At f/4 it manages 1,826 lines, but edges and corners are muddy at 1,294 lines. Stopping down to f/5.6 brings the overall score up to 1,913 lines, with edges that score 1,315 lines. At f/8 you get 2,128 lines across the frame, but the edges are still weak at 1,435 lines. Distortion here is 1.9 percent, still a manageable figure. The Nikon AF-S 70-200mm f/4G ED VR delivers better performance at longer focal lengths; that lens suffers from some edge softness at 70mm, but is sharp from edge to edge at 200mm.

If you're in the market for a telezoom lens for your Canon camera and don't have the budget for the f/2.8 version, the EF 70-200mm f/4L IS USM is an appealing choice, even though its performance suffers at the edges at its longest focal length. For an extra $100 you could opt to go with the larger, heavier EF 70-200mm f/2.8L USM, but that lens doesn't incorporate any type of image stabilization—that's quite useful in a lens of this focal length. Canon's stabilized f/2.8 70-200mm zoom sells for $2,000, and is a better choice for event photographers who often need to shoot in lower light.

View the original article here