The Canon RF 50mm f/1.2L USM is, together with the new RF 28-70 mm f/2L USM, the big news in the area of lenses for the new mirrorless Canon EOS R. The ultra-bright standard lens makes clear what high expectations Canon has for the new system.
The Canon EF-M 28mm f/3.5 Macro IS STM is a small and light macro lens for the EOS-M system. It is also one of the few fixed focal points for this system. The lens can focus extremely close and is therefore equipped with built-in lighting so that you can always light your subjects well. To top it off, the EF-M 28mm f/3.5 Macro also has image stabilization.
The Canon EF-S 18-55 mm f/3.5-5.6 DC III is a standard zoom lens that you cannot purchase separately in the Canon store but can buy in the photo trade. It is a kit lens that is only delivered with the Canon EOS4000D. In the photo trade, these kinds of kits are often split, so you can nab this lens for very little money. What do you get for a zoom lens below 100 euros?
The Canon EF 24-105mm f/3.5-5.6 IS STM is a good, attractively priced all-round zoom lens for the full-frame EOS cameras. It is light and compact, and, with a range from reasonable wide-angle to medium-telephoto, you can handle a lot of subjects.
The Canon EF 24-105 mm f/4L IS II USM is the successor to the exceptionally popular EF 24-105 mm f/4L IS USM. Thanks to the big zoom range, i's one of the most versatile zoom lenses and an excellent all-rounder.
According to Canon, the Canon EF 85mm f/1.4L IS USM is the first 85mm with this brightness with image stabilization. The lens is fast, in more than one respect. Is this the ultimate 85mm for Canon EOS cameras?
The Canon EF 70-200 mm f/4L IS II USM is the successor to the famous EF 70-200 mm f/4L IS USM. That lens was one of the sharpest telephoto zooms you could get. Add that to the compact dimensions, a reasonably low weight and good image stabilization, and you have a zoom lens that could hardly be improved. Yet Canon did just that with this second generation. The new EF 70-200 mm f/4L IS II USM is even sharper, better sealed and better stabilized. The price only increased a little, and the dimensions and weight have remained almost the same. Hats off.
A bright 16-35mm zoom is a lens that many documentary photographers cannot do without. The Canon EF 16-35mm f/2.8L III USM was introduced in 2016 simultaneously with the Canon 5D mk4. The large field of view and the high brightness ensure that you can still get your subject in frame well in small or busy spaces and in poor lighting. The time that documentary photographers were satisfied with less sharp corners is over, however. High requirements are also set for these kinds of documentary zooms today. To respond to that, Canon has released a third version of this popular lens.
Canon has released a new EF-S 18-135 mm lens (version 3) for their APS-C bodies, the EF-S 18-135 mm f/3.5-5.6 IS USM. It is the kit lens for the EOS 80D camera, because many photographers find the larger 7x zoom range more interesting than the zoom range of the Canon 18-55 STM IS kit lens. The AF system makes use of a combination of a new ring USM motor and a stepper motor. This provides extra-fast sharpening. The Canon 18-135 mm USM is quieter than the Canon 18-55 mm STM. The lens also has built-in image stabilization good for about 4 stops. We tried the set for ourselves and were impressed. Especially the large zoom range (28-216 mm in 35-mm equivalent) is very handy in practice. You pay a price for that: the brightness is sufficient, but no more than that. All in all, a fine, all-around documentary lens. Thanks to the new Nano USM AF motor, that’s true for both video and photography.
To buy a bright portrait- or concert-photography lens, you have to dig deep. With a Canon APS-C SLR like the Canon 1200D or the Canon 760D, that isn’t needed. The Canon 50 mm f/1.8 STM is bright, compact and inexpensive. That the STM motor provides terrific, constant AF during video is a greaet bonus. Because the Canon 50 mm f/1.8 STM is designed for cameras with a 24 x 36 mm image surface (the lens design dates from 25 years ago), you only use the best part of the lens (the center of the image) with Canon amateur cameras. Less weight, compact dimensions, a low price and better image quality are added plusses. Sounds good, right?
With the arrival of the Canon EF 50 mm f/1.8 STM, we met the successor to a legendary lens, which was introduced a full 25 years ago. The Canon 50 mm f/1.8 II is a popular, affordable, bright lens that serves perfectly on a camera with a full-frame sensor as a universal standard lens that can also be used in low light for all possible subjects. But since the introduction of digital cameras, there have been a great many innovations in the design of lenses. A sensor thus reflects a part of the light, while that was not the case with analog film. Lenses that are designed for digital cameras thus get extra coatings in order to ensure that any internal reflections do not decrease the contrast or create disruptive ghosts. For video, smooth and silent AF is important. And digital cameras make higher demands in terms of resolution than analog cameras do. Those were all aspects on which the Canon 50 mm f/1.8 II was beaten by 50 mm lenses from other brands. To what degree will the Canon 50 mm f/1.8 STM change that?
The Canon 24 mm EF-S STM lens is an all-round wide-angle lens, 38 mm in full-frame equivalent. It is not especially bright (f/2.8). The big advantage lies in its unusually compact and light design. The lens is just 22 mm deep. The stepper motor for the auto focus has replaced the usual USM motor, in order to ensure supple and practically noiseless focusing while filming. Does that really work? And what are the other properties like? We tested everything out on a Canon 760D body.
The Canon 24 mm f/1.4 L II was introduced at the end of 2008. In the digital photography era, that seems like ages ago. But this is still one of Canon's fastest wide-angle lenses with a fixed focal length. Such lenses can be used for available-light photography and are to be found in the bags of many professional photojournalists and landscape photographers. According to Canon, the image quality of the 24 mm 1.4 L II is improved in comparison with its predecessor, thanks to two exceptionally accurate aspherical lenses, which correct aberrations, image curvature and distortion.
If you, as a professional/prosumer Canon photographer with an APS-C camera (Canon 7D MK2, 70D) want a bright AF lens with a fixed focal length around 35 mm, then you almost cannot do without the Canon 24 mm f/1.4 L II—which was introduced at the end of 2008. In the digital photography age, 2008 seems like centuries ago. Even so, there are still, aside from the Sigma 24 f/1.4 Art, which is not currently available, few alternatives with an equivalent brightness. The optically and construction-wise phenomenal Sigma 18-35 mm f/1.8 Art comes close as far as brightness is concerned, but it is also longer and heavier. In addition, it is not a lens with a fixed focal length. And there are many photographers who prefer a fixed focal length.
The Canon 16-35 mm f/4 has been for sale since June 2014, with a list price of € 1099. It is Canon's first ultra-wide angle lens in the L series with optical Image Stabilizer (IS) and, according to the specifications, has a 4-stop advantage over lenses without IS. The Canon 16-35 mm f/4 IS is designed for use on a camera with a full-frame sensor, such as the Canon 6D. Are you considering purchasing a camera with a full-frame sensor at some point but for now are satisfied with your Canon APS-C camera? Then when purchasing a new lens, also look at the performance of the Canon 16-35 mm f/4 IS on a Canon 650D: