Canon Ef 24-105mm F/4l Is Ii Usm Lens Review

Canon EF 24-105mm f/4L IS II USM Lens Review

Everyone loves the 24-105mm f/4L IS version I lens. At least it seems that way. This lens has been a significant part of a very high number of apprentice, enthusiast and professional kits. It is a bang-up full general purpose lens and it was an especially great value when purchased in various full frame DSLR kits. Everyone needs a general purpose lens and since these lenses tend to be the near-used in the kit, in that location is an emphasis on having a high quality version of this most of import lens. And, a version II lens is always better, right? Bettering an already popular lens is a unproblematic recipe for success and the Canon EF 24-105mm f/4L IS II USM Lens has both the lineage and the specs required to brand it Canon's all-time full general purpose lens ever.

For many years, the Catechism EF 24-105mm f/4L IS USM Lens was my most-used lens and my primary full-frame walk-effectually/general purpose lens (and information technology even so may be my most-ever-used lens). Then came the Canon EF 24-70mm f/4L IS USM Lens. This lens, featuring some advantages including an incredible maximum magnification adequacy, fabricated the decision process a tough one. Though I would not accept been surprised to run into the original 24-105L discontinued afterwards the 24-seventy f/4L IS hit the streets, it was not and has remained very pop. I went back and along between these 2 lenses and had both in my kit at the aforementioned time for years.

What does a new, updated 24-105 f/4L IS lens hateful to Canon'south lens lineup? Sure is that the ideal Canon full general purpose/walk-effectually lens decision process remains at least somewhat complicated. Too certain is that another not bad option for this lens category is at present available.

I don't remember Canon updating a lens model without improving it and this one indeed has improvements. The first 24-105 f/4L IS was great and with over a decade of technological advancements available, greater was assured with the Ii. How much greater is the biggest question and many of u.s.a. are at present asking: "Is the EF 24-105mm f/4L IS II USM Lens at present Canon's best general purpose/walk-around lens e'er?" Read on my friend.

Focal Length Range

To exist my most-ever-used lens ways that the focal length range (FLR) must exist useful for the scenarios I almost frequently run across. Specifically, such a lens will cover what I consider to be the heart of the general purpose focal length range, or nigh 28-70mm for a full frame camera. The 24-105mm range is of grade a solid superset of this range. The extra 4mm this lens provides on the wide finish is peculiarly valuable for landscape photography and for capturing images in tight places. The actress 35mm on the long end is useful for a wide range of subjects, but peculiarly for portraiture including tightly framed portraits (such every bit headshots).

While few would consider this to be a "super zoom" lens, the 24-105mm range is the longest full general purpose full frame focal length range that I take found to evangelize the loftier-end, pro-form prototype quality I am looking for (among the currently available lenses). Choosing a longer focal length range ways giving upward something I have not been willing to give up. More than specifically, paradigm quality is oftentimes sacrificed (especially the always-important image sharpness aspect) and size/weight typically go upwardly rapidly.

Still, the 4x, 24-105mm zoom range packs a host of wildly-popular private focal lengths into a unmarried lens, including the well-represented-by-primes 24mm, 35mm, 50mm, 85mm and 100/105mm focal lengths.

This FLR is especially ideal for landscape photography. Information technology is not difficult to create compelling landscape compositions using the 24mm perspective, while nonetheless providing emphasis on a foreground field of study against an in-focus background with the viewer feeling a sense of presence in the scene. At the other end of the range, 105mm works great for modestly-compressed landscapes featuring distant subjects, such every bit mountains, being better emphasized. I apply all of the focal lengths in between when photographing landscapes is my principal objective.

With a great portion of the ideal portrait FLR covered, this lens is ready to capture the world'southward most of import subjects. That of course references people and the things that people are photographed and filmed doing: weddings, parties, events, documentaries, interviews, lifestyle, way, portraiture, sports, candids captured around the house and much more. The broad end works great for ecology-type portraits, the long end is well-suited for relatively tight headshot-blazon portraits and the residuum of portrait needs, including group photos are covered by the focal lengths in betwixt.

This lens is a not bad pick for photojournalistic needs, it is set up to capture a wide range of product images and information technology works great for general commercial and studio photography.

Do you travel? If so, this lens has your proper noun on information technology. Information technology is well suited for capturing much of what you lot will find while sightseeing and information technology volition non be a burden to take with you. That includes interior and exterior compages, cities, countrysides, etc.

As always, an APS-C format DSLR utilizes a smaller image circle. This means that these cameras frame a scene more tightly, with one.6x being the multiplier (FOVCF) used to make up one's mind the full frame angle of view equivalent. Multiplying 24-105mm by i.6x yields 38.iv-168mm, the full frame 35mm format photographic camera angle of view equivalent for this lens used on an APS-C body.

The uses for this angle of view are similar to the 24-105mm range (there is a lot of overlap), but for my gustatory modality, the lens shifts from landscapes toward portraits in its overall usefulness profile when APS-C-mounted.

I mentioned "overlap" in a slightly different context, but I call up this discussion warrants a short word in another sense. While the 24-105mm focal length range appears to match upward perfectly betwixt the Canon EF xi-24mm f/4L USM Lens (or like) and the Canon EF 100-400mm f/four.5-v.6L IS II USM Lens (and those three lenses would brand a great kit), the as well-popular Canon EF 16-35mm f/4L IS USM Lens (or like) and Catechism EF 70-200mm f/two.8L IS 2 USM Lens (or like) kits will accept a lot of redundant focal lengths in them. Let me clinch you that focal length overlap is neat to accept. Having the focal lengths you need in a lens that is mounted at whatever given moment is often crucial for maximizing image making opportunities. Photos will sometimes be missed if a lens modify is required to capture them.

I ever find it helpful to view a comparing sample of the focal length range. All 24-105mm lenses provide the same (or at least close to the same) range of bending of views, and so hither I'm borrowing a comparison sample I similar from the Canon EF 24-105mm f/three.5-5.half dozen IS STM Lens review (captured with a full frame Canon EOS 5D Marking III DSLR photographic camera.

It is difficult to non like those angles of view. Pay specific attention to the 70mm vs 105mm comparison as that deviation between what this lens offers compared to what the to-70mm culling lenses provide.

Max Aperture

The f/iv in the lens proper name refers to the lens' max aperture opening, the relationship of lens opening to focal length. The lower the number, the more light the lens will permit to attain the sensor. Each "end" in aperture change (examples: f/2.8, f/4.0, f/5.half-dozen, f/8, f/xi) increases or reduces the corporeality of light reaching the sensor by a factor of 2x (a large deal).

An f/four lens is one terminate slower than what is typically constitute in the fastest zoom lenses covering this focal length range. A 1-terminate narrower max aperture means that less glass is needed, resulting in lighter weight, smaller size and lower cost. A ane-end narrower max aperture also means that there may be amend options for stopping action in depression light. I emphasize "activeness" as this lens' prototype stabilization arrangement (discussed soon) makes this lens better suited to handheld low light non-activity photography than a non-stabilized f/two.8 option.

An f/4 aperture is 1 stop wider at many focal lengths than many APS-C format kit lenses roofing the aforementioned range. So, I'll call this lens' f/4 max aperture moderately fast. While the f/2.viii variants are twice-ameliorate-suited to stopping depression light action, this lens tin handle moderately low light scenarios, particularly with the latest DSLR cameras and their low-noise technology. Of course, the subject speed and how large that bailiwick is in the frame makes this reference situational.

Once more falling behind the f/2.8 variants (and in front of many of the to-f/5.vi kit lenses) is this lens' ability to produce a strong groundwork blur. Even so, the 105mm f/4 combination along with a relatively shut subject area and afar background is able to nicely mistiness away the background:

An f/4 max aperture is broad enough to produce adept viewfinder brightness, just not broad enough actuate the higher-precision centre betoken AF mode plant in some cameras.

In a zoom lens, the max aperture will sometimes be stated as a range, indicating that the max aperture narrows as the focal length increases. This is non the case in many of Canon'south L series zoom lenses and a very positive feature of this lens is the stock-still max aperture. Manually-fix broad open up exposures can be retained and counted on throughout the entire zoom range.

Image Stabilization

A feature I find critical to have in a walk-around general purpose lens is image stabilization. Unless I am using a camera support, I seldom exit habitation without IS. While image stabilization does not stop discipline motion, information technology allows handholding of the camera in extremely low light situations with still subjects (or permits motion blurring of subjects with precipitous surround such every bit flowing water). The image quality difference made past IS is potentially dramatic.

One situation that I am oft counting on IS for help with is when handholding in medium and low light levels when more than depth of field is needed, assuasive narrower aperture use without a tripod. When using a round polarizer filter with narrow apertures (typical for landscapes and cityscapes), IS can be helpful even under a total dominicus. I ofttimes notice myself trail running while hiking with a camera and family/friends (they don't wait for me) and when I cease to shoot, I am likely breathing difficult. IS makes that work.

In-lens IS is useful for stabilizing the viewfinder, aiding in optimal composition. IS is also very useful for video recording, helping to avoid motion sickness in susceptible viewers.

This IS implementation makes a lite "chssh" audio when starting and stopping, only information technology is very tranquillity while active. Information technology is hard to hear bustling while active fifty-fifty with an ear adjacent to lens. Catechism's IS systems have long been very well behaved, significant that the viewfinder prototype does non leap and I do not observe myself fighting confronting IS while recomposing. The image framing sometimes drifts very slightly while IS is active. The manual instructs to turn off IS when panning with subjects in movement.

Canon has rated this IS system at 4 stops of improvement (upward from iii). In other words, an ISO setting 4 stops higher, ISO 1600 instead of ISO 100 or ISO 12800 instead of ISO 800 for example, would exist necessary to increase the shutter speed enough to compensate for omission of this organisation. That divergence is huge in terms of image quality.

I said that I would be surprised to find this lens' existent world IS aid for me personally to exist less than 3.five stops and 4 stops would not be at all surprising. Those expectations were met and exceeded. At 24mm, I am getting a high keeper rate at .5 seconds, a still good rate at 1 second and even decent at ane.3 seconds (including a string of 6 precipitous images in a row). The latter represents virtually five stops of help for me without bookkeeping for the 5Ds R'due south high density sensor. The keeper rate drop-off is gradual as shutter speeds lengthen. Being able to capture a sharp image at one.6 seconds is quite remarkable to me. Testing IS on a lens that tin can practise this is exhausting.

At 105mm, I was similarly impressed. I had very good results at 1/iv 2d shutter speeds and nevertheless had a decent rate of sharp images at .6 seconds for four-6 stops of help. Again, the keeper rate drib-off is gradual equally shutter speeds lengthen.

These numbers should be considered about the best I tin practise. While I'g not the steadiest photographer, testing is washed indoors on a concrete floor. Apace hike up a large mountain and shoot from an unstable position in the wind and the results will be far less. However, the amount of aid should remain similar and that is very of import.

Image Quality

What was I hoping for from the Canon EF 24-105mm f/4L IS 2 USM Lens in terms of image quality? Well, perfection is always nice. But, we all know that there are no perfect lenses and, at proclamation time, I was sure that Canon did not just invent one.

From a sharpness perspective, the original 24-105 50 was a very good lens, but it left a little room for improvement, especially at the long end. So, I was hoping for slightly increased sharpness overall and peculiarly hoped to run across 105mm improvement.

Our showtime hint to a lens' optical performance often comes from the manufacturer-provided MTF charts, so let's review an MTF chart comparison between three Canon 24-105mm lenses and the 24-70 f/4L IS lens:

The thick lines show dissimilarity while the thin lines show resolution. The solid lines show sagittal (lines radiating from center to the prototype circle periphery) results while the dashed lines show meridional (lines perpendicular to the sagittal lines) results. The black lines indicate a wide open aperture while the blueish lines show results at f/eight. The left side of the chart shows center-of-the-prototype-circle measurement and the correct side shows peripheral measurement. The higher the lines, the better the lens performs. When all of the lines get crushed into the top of the chart, the lens promises to be amazing.

Does the Canon EF 24-105mm f/4L IS II USM Lens have a better nautical chart than its predecessor? Yes. Nevertheless, the departure does not appear to be striking. The MTF charts point to the II's corners performing better at 24mm and the middle appears sharper at 105mm. It also appears that the II would compete well against the 24-70mm f/4L IS, though again, the difference does not appear to exist dramatic. We can't compare 70mm functioning in these charts, just the 24mm results are comparable, nonetheless differing.

Maybe the most interesting signal made in these graphs is how close the 24-105mm f/iii.five-5.6 STM IS Lens competes to the Ii. Continue in mind that the STM lens is f/5.6 max at 105mm as you lot review this comparison.

The lens in mitt of course e'er brings the truth to light.

In the central portion of the frame, 24-105mm f/4L IS Two images accept practiced sharpness that remains remarkably similar throughout the focal length range and unusually similar across the aperture range – until diffraction begins to affect (soften) the results at narrower apertures. The site's image quality tool provides a slap-up view of this lens' performance, but let's take a look at some 100% center-of-the-frame crops from an outdoor scene. The following images were captured in RAW format and processed in DPP using the Standard Picture Manner with sharpness gear up to "one".

Basically, these results say that, with this lens, you can freely select the ideal discontinuity for your prototype with little regard to paradigm sharpness. That is a great feature. Not as great of a feature and notable is a chip of focus shift to the front that occurs when this lens is stopped down.

The full frame corner functioning from this lens is non as consequent across the focal length range. Before diving into the corner clarification, I'll share some 100% extreme-bottom-left crop examples (captured and processed same as higher up).

If your full frame corners must exist tack precipitous at 24mm, this is probably not the correct lens for you. Still, there is some noticeable improvement recognized by stopping down to f/8 (f/11 results were like to the f/viii results). Zooming to 35mm brings almost a noticeable improvement in corner sharpness at f/four and some comeback is seen when stopping down until f/8.

At 50mm, corner operation is quite adept. Meet how precipitous the orange pumpkin in the bottom left of these samples appears? Results at 105mm remain similarly good. While this lens shows very even sharpness in all iv corners, 85mm is a slight exception with the upper correct corner (the corner shown in the image quality tool) being slightly softer than the others.

Keeping u.s. grounded is the comparison to about-perfection motility the mouse over and off of the crops to switch back and forth between the lenses). These are two completely different lenses and the very expensive prime number telephoto should take higher resolution and contrast, but the comparison keeps things in perspective. It shows where the 24-105 L II fits in. And, it has good sharpness across a wide range of focal lengths.

Overall, the Canon EF 24-105mm f/4L IS II Lens compared to the version I lens shows the two more similar than unlike with the new lens showing a slight advantage at 105mm and the 2 trading small-scale wins in other comparisons. Merely, fifty-fifty if you don't remember the image quality upgrade was a domicile run, this lens has other more-compelling feature advantages.

It is expected that a lens will prove some peripheral shading at its widest discontinuity when used on a full frame photographic camera. The corporeality, however, is a variable. In this case, the amount is visible but not strong.

Await a relatively low about-2 stops of shading in the corners at 24mm f/4. By 35mm and through 50mm, the shading amount drops to about one.iv stops (relatively very low) and so climbs back upward to close to two stops. From 70mm through 105mm, vignetting is just barely 2 stops in the farthermost corners. Stop down to f/5.vi and vignetting is cutting by approximately l% over the entire focal length range.

A crude rule of thumb says that shading above 1 stop is sometimes noticeable (though fifty-fifty less may be noticeable on a blue sky or like). At f/viii, nearly ane terminate of shading remains at 24mm, virtually .6 stops remains from 35mm through 50mm and but slightly less (.v-.iv stops) remains over the balance of the range. Just mild improvement is seen at f/11 with nearly a terminate of shading remaining in 24mm corners.

At the 24-105mm f/4L Two's proclamation time, Canon talked almost greater evenness of illumination, so some improvement in vignetting was viewed as quite likely. That happened. The Canon EF 24-105mm f/4L II vs. I Lens vignetting comparison shows the new lens to accept nearly a total stop of improvement in 24mm corners.

If the all wavelengths of light in the visible spectrum refracted identically, a lens designer's chore would be a lot easier. Because they exercise not, we get aberrations caused by various wavelengths of lite existence magnified and focused differently.

The most often noticed type of CA (Chromatic Abnormality), lateral (or transverse) CA, shows as unlike colors of the spectrum being magnified differently with the mid and especially the periphery of the prototype circle showing color fringing along lines of strong dissimilarity running tangential (meridional, right angles to radii) as this is where the greatest deviation in wavelengths magnification exists. I'll telephone call information technology "LatCA" and if it is a general purpose zoom lens, latCA is probably present. Fortunately, lateral CA is easily software corrected (often in the camera) by radially shifting certain colors outward to coincide with the others.

LatCA becomes more pronounced by ultra-high resolution cameras and here are worst-case 100% ingather examples from the top correct corner of 5Ds R images:

Zoom lenses generally accept latCA showing the strongest at the two ends of the focal length range and that is the instance hither. The 24-105 Fifty II transitions from very strong latCA at 24mm to a negligible amount at 50mm and back to a very potent amount again at 105mm. As mentioned, CA can be corrected with software. With the proper lens profile loaded in Canon DPP (Digital Professional Pro), removing latCA is as piece of cake equally checking a box (information technology is similarly piece of cake in other tools as well). The corrected results are designated to a higher place with a "C", only if you lot already looked at the samples, you lot likely figured that out. I didn't think the default 100% correction amount completely took care of the problem in the 105mm image, so I shared a tweaked adjustment likewise.

A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the diverse wavelengths of low-cal, or more than simply, different colors of calorie-free are focused to different depths. Spherical abnormality along with spherochromatism, or a change in the amount of spherical abnormality with respect to colour (looks quite similar to axial chromatic abnormality, but is hazier) is some other common lens aberration to look for. Axial CA remains at least somewhat persistent when stopping downwards with the color misalignment effect increasing with defocusing while the spherical aberration color halo shows little size alter every bit the lens is defocused and stopping downward ane to 2 stops generally removes this abnormality.

In the real world, lens defects practice not be in isolation with spherical aberration and spherochromatism by and large found, at to the lowest degree to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures. Shown below are 100% EOS 5Ds R crops taken from the center of the frame. Notice the how the fringing colour changes from in front of the airplane of sharp focus to backside it in these images.

Stopping downwardly removes the fringing shown higher up.

With 17 elements in 12 groups, it was highly unlikely that this lens would exist completely void of flare. However, Catechism'south ASC coating (more below) promised to keep flare to a minimum. With a broad open aperture and the lord's day in the corner of the frame, this lens shows practically no flare effects at either end of the focal length range. A mild amount of flare furnishings are present in the mid focal lengths at f/4. Flare effects are typically stronger at narrower apertures and they are stronger in this lens, simply the 24-105 L II does a very good job of keeping them under control. I run into a modest improvement over the version I lens in this regard.

Coma is generally recognized past sharp dissimilarity towards the center of an prototype and long, soft dissimilarity transition toward the image periphery. Blackout is almost visible in wide aperture corners and significantly resolves when the lens is stopped down. The pivot-point stars in the night sky are the subject that makes this aberration, forth with some others, most easily recognizable to me. Following is a fix of 5Ds R-captured 100% crop samples taken from near the top right corner of the frame.

The corners are somewhat soft at 24mm, making it hard to discern the bug at piece of work here. The other focal lengths shown above have a moderate (about normal) amount of coma. I stopped the testing at 70mm as motility blur becomes a distraction at long focal lengths without a tracking mount, even with a northern sky as the discipline.

This lens has barrel baloney at the broad end that transitions into negligible distortion and on into pincushion distortion at the long cease. That line can depict most of the zoom lenses out there and this i is included. The site's distortion tool is ideal for testing and comparing lenses in this regard, merely here is a ready of examples with direct lines running parallel to the edge of the frame. These examples are full frame images reduced and vertically cropped to the top of the frame.

At declaration fourth dimension, Canon referenced improvements in linear distortion for this lens, and while the butt distortion remains relatively strong at 24mm, it is noticeably less than the version I lens had. By 35mm, the negligible distortion point has been passed and moderate barrel distortion sets in, remaining relatively abiding from 50mm through 105mm.

Not only is geometric distortion an issue for straight lines running well-nigh the borders of the frame, but information technology makes framing a scene with a directly horizon, such every bit the sea, challenging as in that location are no lines showing parallel to the edges of the viewfinder or viewfinder gridlines. Cameras with electronic levels have a big advantage in overcoming this issue. While there is some variation betwixt zoom lenses in this regard, prime number lenses usually have a linear distortion advantage (unless the zoom lens' negligible distortion focal length is selected).

As mentioned earlier in the review, a normal zoom lens with moderately broad f/4 max aperture is not going to exist the best at blurring the background away. Even so, with a shut field of study and a distant background, telephoto compression tin enable a serious background blur at 105mm. And, the quality of that blur appears nice. Here is a pair of examples showing out of focus specular highlights.

At that place are 337 lenses in our lens spec database and none aside from this one has more 9 aperture blades. And then, the 10 blade design was an interesting selection.

More than blades mean the opening can be kept rounder at narrow apertures and Canon informed me that the 10 blade aperture was indeed selected to ameliorate the out of focus areas and provide a nearly circular effect. An even number of blades ways the same number of points are produced on star effects created from brilliant lights captured at narrow apertures (10 in this instance).

The points on these stars are coming from the blades of the aperture. Each blade is responsible, via diffraction, for creating two points of the star outcome. If the blades are bundled contrary 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 blade count aperture are not opposing and the consequence is that each blade creates its ain two points. For example, nine blades times two points each create 18-point star effects.

Are 18 points meliorate than 10 points? That answer involves some personal preference, but here is an case of the wait this lens' 10 blades create:

As the 24-105 f/4L IS Ii is a make new professional-grade 50-Series lens, my overall epitome quality expectations were automatically high. I wouldn't say that my expectations were exceeded in this case, simply ... they were met. This is a solid-performing lens that, considering all aspects of image quality, exceeds the performance of its predecessor, a lens that a huge number of photographers are very happy with.

Special Lens Elements and Coatings

Notable is that this lens pattern includes 4 aspherical elements including an element with two aspherical surfaces. Specific lens elements in the EF 24-105mm f/4L IS II receive Fluorine and Air Sphere Coating (ASC). Reducing flare and ghosting is the chief goal with increased contrast existence the finish result.

ASC is the latest coating we take seen from Catechism. "This is a hybrid coating consisting of nano particles that trap sheathing-like air between the ASC layer and conventional multi-layer coatings. The Air Sphere particles grade a super low reflective coat on the surface of the lens element to reduce reflection and human activity as a 'crash mat' to dull light downwards to roughly the same speed as light travels through glass, thus preventing the crusade of reflection." [Canon]

ASC has been used on some of Canon's greatest-e'er lenses including the EF xi-24mm f/4L and EF 100-400mm f/4.5-v.6L IS II.

The other blanket, Fluorine, is applied to the front end and rear lens surfaces. Fluorine's non-stick properties prevent dust and water drop adhesion and makes lens cleaning much easier. Fingerprints, for case, easily wipe off of lenses with this blanket (many of Catechism's improve lenses at present have this). This coating is peculiarly valuable on a wide angle lens as dirt on the front end lens chemical element can appear in images.

Focusing

Specially with a general purpose lens that is likely to be used in AF mode much of the time, accurate autofocusing is the key to a lens delivering its ultimate image quality. Every bit Canon'southward Ring USM (Ultrasonic Motor) driven AF systems have long set the standard for both DSLR lens focus speed and accurateness, I saw no reason why the 24-105 Fifty IS II should be any different and I am impressed with what has been delivered.

The Canon EF 24-105mm f/4L IS Ii USM Lens focuses very fast with only some lens group shuffling sound existence aural if close to the lens in a quiet environment. Even more important is that focusing has proven very consistently accurate.

Focusing is internal and FTM (Full Time Manual) focusing is supported. This lens reportedly has been given smoother AF that is especially well-suited for Dual Pixel CMOS AF systems, just the short adjustments are still relatively precipitous and I'd adopt STM or Nano USM lenses for video recording.

Subjects alter size a modest amount during full extent focus pulls. While this aspect is non unusual, photographers intending to use focus stacking techniques involving focus distance aligning, videographers pulling focus and anyone very-critically framing a scene should exist aware of this.

The discipline repeatedly comes in and out of focus while the review re-create of this lens' zoom ring traverses the focal length range. As with most not-cinema lenses, the 24-105 L Two (the review re-create at least) is not parfocal and photographers should refocus afterwards irresolute focal lengths.

The 24-105mm f/4L IS Two's transmission focus ring is nicely sized and positioned toward the front of the lens (where I like it). This band is smoothen, well-damped, has no play and has a rotation amount that provides a practiced balance of precision focusing and focus acquisition/tracking speed. Overall, this lens delivers a very nice manual focusing experience to lucifer the first-class AF performance.

A focus distance calibration is provided (in a window), though a DOF scale is absent-minded (normal for this form of lens).

The 24-105 Fifty II has an MFD (Minimum Focus Distance) of 17.seven" (450mm) for a 0.24x MM (Maximum Magnification) at 105mm. While a pair of lenses in the tabular array below exceed the 24-105 50 II'south MM capability, the 0.24x number is a very skillful i in the overall pool of not-macro lenses and very slightly better than the original 24-105 L.

Model	MFD		MM
Canon EF 24-70mm f/two.8L Ii USM Lens	15.0"	(380mm)	0.21x
Canon EF 24-70mm f/4L IS USM Lens	seven.9"	(200mm)	0.70x
Canon EF 24-105mm f/4L IS II USM Lens	17.7"	(450mm)	0.24x
Canon EF 24-105mm f/4L IS USM Lens	17.7"	(450mm)	0.23x
Canon EF 24-105mm f/3.5-v.six IS STM Lens	15.7"	(400mm)	0.30x
Sigma 24-105mm f/4.0 DG OS HSM Art Lens	17.7"	(450mm)	0.22x
Tamron 24-70mm f/2.eight Di VC USD Lens	fifteen.0"	(380mm)	0.20x

A 0.24x MM will piece of work dandy for flower photography and relatively minor products tin be framed tightly.

To reduce the MFD and thereby increase the MM, mountain an extension tube backside this lens. Infinity and even medium distance focusing are sacrificed with an ET in use behind the 24-105 L II and the resulting lens combination becomes a bit darker from an discontinuity perspective, just the change in magnification is very pregnant. With a Canon EF 12mm Extension Tube 2 in the optical path, this lens has a magnification range spec of 0.60x-0.12x. The specs for using a Canon EF 25mm Extension Tube 2 narrow the magnification "range" to just "0.61x".

Extension tubes provide the greatest MFD decrease and magnification increase at wide focal lengths. Reaching the upper limit of the 12mm ET magnification specs results in practically no working distance in forepart of the lens, making this number rather impractical to reach. Using the 25mm ET results in the available working distance quickly condign as well brusk as the lens is zoomed wider, but it is usable at 105mm.

Brittany added a special new piece of hardware to her collection, then I took the opportunity to utilise it as a subject for exploring this lens' MFD capabilities. These MFD examples were all captured at 105mm, where extension tubes provide the most working distance, at the lens' closest focus altitude. Clarifying: The 12mm ET tin can deliver the nearly the aforementioned magnification/upshot as the 25mm ET at this lens' widest focal lengths, just the example beneath shows what tin exist achieved at a much more comfy working distance. The medal measures about 3" (76mm) in diameter.

This lens is not compatible with Canon extenders.

Build Quality & Features

Of all of the lenses I've used, almost of my favorites are from the Canon L Series. These lenses are built to a higher standard than the average lens; they are ready for professional person use. And, they are generally lots of fun to use.

The Canon EF 24-105mm f/4L IS Ii USM Lens shares obvious design features with both its predecessor and other contempo Canon wide angle and normal zoom lenses in this series. Here is a side-by-side comparison of the old and new lens respectively:

And, hither is a closer await at the Canon EF 24-105mm f/4L IS 2 USM Lens itself:

The textured deep black finish looks sharp and has proven very durable in recently introduced lenses. The zoom and focus rings are nicely integrated into the lens body with only a thin seam showing at the edges. The comfortably polish, nearly-straight overall design includes flush-mount switches that don't dig into fingers during use.

The rear-positioned zoom ring (my potent preference) is polish with a adept rotation amount and proper dampening. This lens extends with focal length increase (and vice versa).

An upgrade from the previous version of this lens is the zoom extension lock switch, enabling the lens to remain retracted to 24mm to prevent unwanted zooming such as that acquired by gravity. This lens doesn't need the switch, but these switches may become useful later a lens has been used (or abused) heavily. That demand tin can vary from lens to lens.

Like nigh of Catechism'southward latest L lenses, the 24-105mm f/4L IS 2 is weather condition sealed, though a filter is recommended to complete the sealing effectually the front lens elements.

While I didn't tear the lens apart (I'll let Roger Cicala do that for me), Canon indicated that this lens had improved build quality. Along with that upgrade and other improvements, this lens takes on a slight increment in weight (4.4 oz/125g), though few of us are going to find this deviation substantial. Also increased modestly (as seen in the comparing image above) is the size of the lens. While it is a bit larger and heavier than the version I lens, a lens of this size and weight is a joy to use, is not a problem for nigh to carry for long periods of time and takes upward only a modest amount of space when stored.

Model	Weight		Dimensions westward/o Hood		Filter	Year
Canon EF 24-70mm f/2.8L Two USM Lens	28.4 oz	(805g)	3.v 10 4.4"	(88.5 ten 113mm)	82mm	2012
Canon EF 24-70mm f/4L IS USM Lens	21.ii oz	(600g)	three.3 x 3.7"	(83.4 10 93mm)	77mm	2012
Canon EF 24-105mm f/4L IS II USM Lens	28.1 oz	(795g)	3.iii x 4.half dozen"	(83.5 x 118mm)	77mm	2016
Canon EF 24-105mm f/4L IS USM Lens	23.7 oz	(670g)	3.3 x 4.two"	(83.5 x 107mm)	77mm	2005
Canon EF 24-105mm f/3.v-5.vi IS STM Lens	18.v oz	(525g)	iii.3 x iv.1"	(83.4 ten 104mm)	77mm	2014
Sigma 24-105mm f/4.0 DG OS HSM Art Lens	31.2 oz	(885g)	iii.v x iv.3"	(88.6 x 109.4mm)	82mm	2013
Tamron 24-70mm f/ii.eight Di VC USD Lens	29.1 oz	(825g)	3.five x iv.3"	(88.2 x 108.5mm)	82mm	2012

For many more comparisons, review the complete Canon EF 24-105mm f/4L IS II USM Lens Specifications using the site's Lens Spec tool.

This lens has grown up. Let'due south visually compare some of these lenses.

Positioned to a higher place from left to right are the post-obit lenses:

Canon EF 24-70mm f/4L IS USM Lens
Canon EF 24-105mm f/iii.5-v.6 IS STM Lens
Sigma 24-105mm f/iv.0 DG OS HSM Art Lens
Catechism EF 24-70mm f/ii.8L Ii USM Lens
Canon EF 24-105mm f/4L IS Two USM Lens

The aforementioned lenses are shown below with their hoods in identify.

Use the site'south product prototype comparing tool to visually compare the Canon EF 24-105mm f/4L IS 2 USM Lens to other lenses (I'll preload a comparison y'all might find interesting).

Yeah, even with an aperture 1/2 as wide, the 24-105 50 2 is very slightly larger than the 24-70mm f/2.8 L Ii. While they weigh practically the same, the extra focal length range is showing some penalty hither.

The 24-105mm f/4L IS II Lens utilizes the ultra-popular 77mm filter size. While not pocket-size, these filters are frequently able to be shared with other lenses in the kit if necessary. Y'all might observe a very slight increase in vignetting when using a standard thickness circular polarizer filter, making slim models such as the B+W XS-Pro my recommendation.

For their L-Series lenses, Canon always includes the hood in the box and that is once more the example. The Canon Lens Hood EW-83M, designed for the EF 24-105mm STM Lens is the model. This petal-shaped hood is relatively small, but it does offering a nice corporeality of protection from both impact and contrast-robbing, flare-inducing calorie-free. The push push release makes hood installation and removal very easy.

The 24-105 L Ii, like the other lenses in its class, is supposed to ship with a Catechism drawstring lens pouch (Lens Case LP1219) in the box. I say "supposed to" because the 24-105 50 II that I received in a Canon EOS 5D Mark Four kit omitted that accessory. Regardless, these pouches offering some minimal padding on the lesser, but primarily protect from dust and scratches (vs. bear upon) otherwise. Cheque out Lowepro's Lens Cases for affordable single lens protection during storage, send and conduct.

Price and Value

One of the hallmarks of Canon'south f/4L lens lineup has been a great value price. While there are less-expensive lenses available, the 50-series offers great build quality and reliability, slap-up AF performance, great image quality and other features to match. While there are wider discontinuity lenses available in this series, their prices are oft as much college as their apertures are wider. Lesser lenses, bearing lower prices, volition non meet this lens' overall package. The 24-105mm f/4L IS II'southward price tag maintains the great value price characteristic.

As an "EF" lens, the Canon EF 24-105mm f/4L IS II USM Lens is compatible with all Canon "EOS" cameras (though the EOS "K" line requires an adapter). The reviewed lens was online/retail-sourced.

Alternatives to the Catechism EF 24-105mm f/4L IS Two USM Lens

As the full general purpose lens is a high need product grouping, ane would expect information technology to exist heavily targeted with a lot of options available. Not so long ago, I would take said that the full frame choices were rather limited, but at present in that location is a decent list of options and many of them are skillful ones. I'll spin through some of them hither.

Get-go, if the f/4 aperture is not wide enough, the lens to go is the Canon EF 24-70mm f/2.8L 2 USM Lens. This lens is an fantabulous accommodating performer, merely you must surrender image stabilization and the 71-105mm focal length range (and considerably more money) with this pick. Pertinent to near is that the f/ii.eight lens is sharper than the f/4. The 24-70 L Ii has much less CA at 24mm, just, reaching its zoom range extent at 70mm, shows more than at that focal length. The 24-lxx L II has less baloney and shows slightly less vignetting in most equivalent comparisons including at 24mm f/eleven. The 24-105 Fifty II shows slightly less flare effects, has a slightly college MM spec (0.24x vs. 0.21x) and uses smaller filters (77mm vs. 82mm). These lenses are similar in size, shape and weight.

Keeping more than money in your wallet is the Canon EF 24-70mm f/4L IS USM Lens and this is the lens that may create the biggest decision challenge for those because the 24-105 L 2. As with any 24-70mm alternative, this lens gives up the 71-105mm FLR. But, it as well gives up some size (iii.iii ten 3.7" vs. 3.3 x 4.half-dozen") (83.4 ten 93mm vs. 83.5 ten 118mm) and weight (21.2 oz vs. 28.one oz) (600g vs. 795g). Less money, size and weight are smashing, but a nice 24-70 f/4L IS advantage is its 0.70x MM (vs. 0.24x).

The paradigm quality comparison between these two lenses does non make the decision whatever easier. The lenses are more than similar than they are different in terms of sharpness. The 24-70 has less CA at 24mm, but more at 70mm. The 2 lenses have a like corporeality of vignetting aside from at 24mm where the 24-105 has an reward even stopped down. The 24-105 shows less flare furnishings while the 24-70 has less linear distortion. I'll let you lot make this decision, but ... I take not decided if the 24-105 50 II is a compelling upgrade from the 24-seventy f/4L IS (a decision I'm personally making at this fourth dimension).

The 24-105 L II's predecessor, the Canon EF 24-105mm f/4L IS USM Lens, has remained very pop despite its historic period (xi years old at II's introduction) and despite the 24-seventy f/4L IS' introduction. This is in part due to the bang-up refurbished and white box price this lens has been available for. The version Ii lens has taken steps forward in functioning, though information technology did proceeds a modest amount of size, weight and cost. Information technology besides gained build quality improvements forth with an improved IS organization, rated for an boosted stop of assistance (four vs. three).

The image quality comparison between these two lenses does not necessarily lead 1 to a decisive determination in regards to sharpness, simply the 2 performs slightly better at 105mm. The II has less vignetting, less distortion and shows slightly less flaring.

While inventory of the version I lens remains available, the decision for many will exist whether the improvements are worth the difference in toll and that is not an easy 1 to brand. At regular toll, I think the 2 is worth the relatively small price divergence, but the version I lens volition remain a pop selection equally long as the low-toll inventory (Catechism-refurbished and white box deals) remains available. Of those already owning the original 24-105 50, the upgrade cost will not be an easy one to justify. I call up the new lens is the better option, only ... it is probably not worth the upgrade cost to a solid percent of these photographers.

Not then long prior, the Canon EF 24-105mm f/3.v-five.6 IS STM Lens was introduced. While there was definitely room for this lens in Canon's lineup, it had kit lens written all over it. To engagement, this lens has not shown upward in kits and its stand-alone price has been heavily challenged by the refurb/white box pricing of the 24-105 Fifty version I. I of the 24-105 STM's advantages is the STM AF organization for smooth Movie Servo AF during video apply, but but 2 full frame cameras featured Dual Pixel AF when the 24-105 II began hitting the street and the 24-105 STM has yet non establish great popularity at this time. But, it is not a bad lens and information technology is considerably lighter, modestly smaller and much less expensive than the 24-105 L Ii.

While ane might think the paradigm quality comparison between these ii lenses would be clearly differentiating, it is not and so. The STM has less CA at 24mm and has slightly less pincushion baloney at mid and long focal lengths. The L lens has a wider aperture over the 42-105mm range, but the STM has a ane/three terminate advantage for a few mms (24-27mm) and has a higher MM (0.30x vs 0.24). The 50 lens is improve-congenital including weather sealing and its Ring USM AF arrangement performs especially well.

Another lens manufacturer floating a 24-105mm f/4 image stabilized lens in the marketplace is Sigma. The Sigma 24-105mm f/4.0 DG OS HSM Fine art Lens, introduced about 3 years prior to the 24-105 50 2, is a very skilful performer, rivaling the original 24-105mm f/4L lens. Compared to the 24-105 L II, the Sigma is slightly heavier, similar in size and lower priced. The Sigma has a higher MM (0.30x vs 0.24) to its advantage. Though I prefer the Canon's AF system, this Sigma lens performed well in this regard.

In the prototype quality comparing, nosotros run into the Sigma turning in slightly sharper results at the wide terminate, the two beingness very similar over most of the focal length range and the Catechism taking the advantage at the long end. At 24mm, the Sigma has less CA and slightly more barrel baloney. The Canon has slightly less vignetting at 24mm and modestly less at the long end. Again, this comparison does not pb to a clear advantage for either lens.

Another lens to consider for full general purpose needs is the Tamron 24-70mm f/ii.8 Di VC USD Lens. At review time, this is the just image stabilized (VC or Vibration Compensation) lens available in Canon mount that covers the 24-70mm focal length range with an f/2.8 max aperture. I don't know why no other lens manufacturer offers this feature set in Canon mount, but it really is a swell one. Of course, 24-70mm is non every bit useful as 24-105mm and that trade-off must be considered.

From an prototype quality perspective, the Tamron is sharper at 24mm f/two.8 than the Canon is at 24mm f/iv, simply the Canon has the edge in the rest of the f/two.8 vs. f/4 comparisons. Stop the Tamron down 1 finish at it has the sharpness edge throughout the shared focal length range and also has less vignetting. Stopped down further, yous will not run across much difference in vignetting, but the Tamron has much less CA at the broad end regardless of the aperture selected. The Canon has slightly less barrel baloney at 24mm, but the Tamron has slightly less pincushion distortion at l-70mm.

The Tamron is very slightly heavier, slightly shorter, modestly wider and takes wider 82mm filters. The Tamron's street price is modestly higher than the Canon's, just Tamron rebates (they are frequent) can reverse this factor. The Canon's AF system is my strong preference.

Summary

The announcement of the Canon EF 24-105mm f/4L IS II USM Lens drew a lot of anticipation. The predecessor was famously popular and a "Two" version was sure to exist even ameliorate. Canon has been delivering some incredibly abrupt zoom lenses recently and hopes were loftier that this would be some other of them. Even so, the provided MTF charts did not signal a large difference in sharpness from the original lens. The Canon Usa press release for this lens amounted to, basically, one judgement inside the much larger Canon EOS 5D Marking Four press release: "The new EF 24-105mm f/4L IS II USM Standard Zoom lens features an improved iv-terminate image stabilization equally well as ghosting and flare reduction with air sphere coating." Though the air sphere blanket could have a positive touch on on image quality, image sharpness was not directly mentioned as being improved from the original lens and one would think that marketing would be quick to tout such an comeback. Then, this lens arrived with some expectations set too high.

Bringing this review around to a realistic view of the Canon EF 24-105mm f/4L IS II USM Lens, nosotros have to expect at where this lens fits in the alternative comparisons above. And, the Canon EF 24-70mm f/ii.8L Ii USM Lens is the only lens that is clearly ameliorate. But, again, that lens is twice equally expensive and lacks image stabilization and some of the focal length range. So, the 24-105 L II is at the acme of the list and that is a cracking identify to be.

No, it doesn't accept perfect prototype quality, but the Canon EF 24-105mm f/4L IS II USM Lens is one of the best general purpose lenses available. It has an extremely useful range of focal lengths in a very-well constructed torso that is set up for professional-duty use. It is nicely sized and has a weight that will not rapidly wearable you downward. And, the excellent image stabilization system volition make a dramatic difference in some low light situations. The fast, accurate and tranquillity AF system will non let you down, the overall lens design volition delight and the price is non terribly high. As the 24-105 L I fades into history, this is the lens that will take its place.

Bringing you this site is my full-time job (typically lx-80 hours per week). Thus, I depend solely on the commissions received from you using the links on this site to make any purchase. I am grateful for your support! - Bryan

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