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| sent on 30 Settembre 2023
Pros: Sharpness, autofocus, build quality, price.
Cons: Chromatic aberrations, lack of automatic corrections, weight.
Opinion: A lens certainly underestimated especially for its age but which in fact deserves the title of "L series". The sharpness is amazing for a lens of this age, at all focal lengths, from the center to the edges even at full aperture. Vignetting is almost always present but it is very soft and natural and affects almost the entire frame, unlike the vignetting of modern lenses which is stronger and limited only to the extremes. Thanks to this feature often you do not even notice the vignetting but if you wanted to remove it I found that the best correction to all focal lengths is that of the Canon 24-85mm ultrasonic, just set the aperture to a few stops less (eg if I shoot at f / 2.8 imposed the correction of that lens to f / 4.5, if I shoot at f / 4 imposed the correction for f / 5.6 etc ...). This fix works well at all focal lengths. Chromatic aberrations are in my opinion the weakest point of the optics of this lens, as for all those of the first generations of L-series. In areas of high contrast they are visible especially at maximum apertures but never disappear completely, even if minimal, not even closing the aperture (clearly at f / 8 you really have to look for them by zooming to 100% but they are there). They are more present at wider focal lengths and zooming are progressively reduced (70/80mm focal lengths with less aberrations). They change color according to the area of the frame, purple in the center and greenish towards the edges. For those who shoot in JPG I would say that aberrations are not a problem, they begin to be seen more clearly if you postproduce in an invasive way, for example by raising the shadows a lot and in these cases they are difficult to remove. The distortion is never excessive, not even at 28mm although I most of the time correct it with the correction profile of the Canon 24-85mm ultrasonic that works quite well. No distortion worthy of note at the other focal lengths. The distortion is barrel type from 28mm to 40mm and bearing type from 50mm to 80mm. The contrast is very good, it loses a bit if you shoot with the direct sun on the lens but nothing disastrous. It is not without reflections but if you do not shoot with direct sun they are not a problem. The construction is great, worthy of the price range. The material is not entirely made of metal as they say on some sites but it is very solid and as evidence of this there is the not insignificant weight of 1Kg, which is not trivial but does not differ so much from the other lenses of the same range (28-70 f / 2.8, 24-70 f / 2.8 etc ...). The autofocus will not be lightning fast like the new generations of USM but it is ALWAYS accurate, it never misses a shot even in low light conditions, especially when combined with a very reliable autofocus body on the central point like the 6d. Automatic correction profiles are missing, for me big negative point, but if you have patience to look for corrections of other objectives that fit the problem well, it solves. I repeat that I recommend the profile of the Canon 24-85 ultrasonic for vignetting at all focal lengths and distortion at 28mm, in my opinion the only corrections needed. The hood is circular, a bit limiting but it is the best you can have since it attaches to the autofocus ring and then turns, I leave it at home. In conclusion, at the price you find it is a great lens to start shooting professionally with full frame bodies and is not too far from the most famous 28-70L and 24-70L. I consider it a middle ground between the 24-70 f/2.8L and the 24-105 f/4L, it has the longest focal length of the first and some wider apertures than the second. I have heard that the color rendering is more "magical" than the lenses of the following series, for those who shoot JPG it can be useful. |
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