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The Canon EF 24-70mm f/2.8 L USM is a standard lens for FF and APS-C, manufactured from 2002 to 2012 (discontinued). The focus is done by Ultrasonic AF Motor (Ring-USM), it does not have image stabilization. The average price, when it has been added to the JuzaPhoto database, is 1050 €;
109 users have given it an average vote of 9.3 out of 10.
MOUNT
This lens is available with the following mounts:
Canon EF: this lens is compatible with reflex fullframe and APS-C Canon EF.
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Pros: Sharpness, Large Aperture, good for low light, fast focus, resistant
Cons: too heavy, at 70 mm a bit soft in the corners. No IS.
Opinion: I have this lens from 5 years now. It is fast, provide good quality of image, sharp. I'm using it as an all around lens. Even if I've dropped it a couples of times , it's still working well and it is a wonderful lens. Maybe it is to heavy comparing with other lenses from its class, but it's an L lens. Wide aperture makes it suitable for many situation that's why I have it all time in my bag.
The following opinions have been automatically translated with Google Translate.
Opinion:Let me start: I make portraits and, in the "feminine" portrait, the sharpness as described by Paolo, the detachment of the floors, and the blurry make it an indispensable "piece". I add a "very personal" consideration/opinion (which is then the reason for my comment). As is well known, zooms generally stretch in canvas position, and fall into a wide-angle position. "This" works in reverse (and this would, in itself, be a VALID reason to rub it as a piece of collector's interest!)! that? Canon never explained it, as far as I know. "In my opinion" the reason lies precisely in the blessed paraluce, rightly praised by Paul. In the indented position (canvas) you enjoy a FULLY efficient lampshon; in an extruded position (wide angle) it correctly offers itself for a few millimeters, so as not to vignette. The standard scheme, which theoretically would have allowed better results in terms of resolution, instead obliges a lampshed calculated not to vignette at 24 mm., but thus, in the tele position, there is virtually no protection from the rays of light accidents. With a more "traditional" construction (EF 24-70/2.8 L Mk. II, for example) therefore, it would probably have been possible to obtain MTF (theoretical!!!) a little better BUT, "in the field", having a TRUE AND FUNCTIONAL lampshon would still have led to better images (no less negatively affected by flares). My opinion is that Canon's mathematicians reasoned in these terms! Then, with the Mk. II, to better conform to the wishes of the "ox park" (always insatiable in requesting the "the more there is, the better" -of resolution, in this case-!) they changed course, according to the wishes of the mktg.. My opinion (that I own both), of course.
Pros:High sharpness, very good backlight hold, AF very fast and very precise, minimal distortion, blurry simply splendid... indeed unique given the focal points at stake, excellent construction, absolutely functional lampshed so much that from this point of view only the previous 28-70/2.8 L is on par, circular diaphragm, very efficient tropicalization, excellent handling.
Cons:Practically no one, perhaps the sharpness could have been a little higher but it must be said that twenty years ago his was a very high standard.
Opinion:I use it little because it covers a range of focal points that you still have to have but that I, for what is my photography, do very little. It is a lens that in the field use, always freehand clearly, is appreciated for its extreme handling and for the excellent balance that shows engaged on my EOS 1 V where, among other things, it allows me to easily use laying times up to 1/4 of a second. The blurr that it generates is absolutely unique and this is, in my humble opinion, its highest quality; the huge lampshon also, in addition to performing its function excellently to all focal points (therefore not only at the minimum focal point like those of all competitors who with their configuration, in fact, perform their function only at the shortest focal point), being bound to the body of the lens and not to its extensible part, also ensures excellent protection from both accidental shocks and atmospheric agents. Ultimately it is a lens that despite the design seniority, and a clarity honestly not irreproachable, for all other characteristics is at least even, often even higher (see for example the lampshed, the blurred and the construction), to the current counterparts.
Opinion:Buy back used after a few years, thanks to a good opportunity,by a user of this forum, which I already knew, we had already had the opportunity to do business races together on my 5D 2 churns out wonderful photos, an excellent autofocus, unfortunately it is very heavy, it is not a lens suitable for long commutes, at least x me I am not very good at writing reviews, but I am very happy to have regained this lens.
Pros:zoom fluidity, optics and superb mechanics, is the only 24-70 canon that I have never brought in assistance,made in japan, always synonymous with quality for me, subject three-dimensionality, chromatic fidelity, an optics with caxxi in short.
Cons:low-than-six pounds.
Opinion:practically the quintessential canon optics, one of the best ever of the tokyo house, also compared to the latest versions in my possession, the only one that has never gone into assistance in 18 years,when the 24-70 f2.8 II sometimes there has been, every pro always has a 24-70 f 2.8 on the stock exchange, a reason there will be. The autofocus is fast, silent, instant even for moving subjects,compared to an f4 is or stm there is no history, even for subjects not well "illuminated", also because the stabilizer is only for the vibrations not of the subject taken if moving or dark,obviously the salty price compared to an f4 is everything. Never brought home photos out of focus even at full opening. What to say about the bokeh, this is an optics that has a blurry all its own even compared to the 85 1.2, the backgrounds seem to merge almost become plastic and blend with each other also compared to the leica 24-90 2.8 that I have in the other kit. The best of the blurry returns it at 70 mm with subject close. However, being a zoom the distortion at 24mm,28 and 70mm it shows, if you want to find the hair in the egg, but just make us a little eye and almost absent at 35mm and at 50mm, I have to say that it is never too annoying. An interesting thing compared to when I had it on film is that you just set in the peripheral lighting camera and you will not have dark corners, but you just have to close to f 5.6 or 6.3 and already becomes very sharp. I have never noticed images with spherocromatism and the chromatic fidelity is really such. But the best part where you see the quality of the optics is the backlight, always well balanced. The minimum focus distance is 0.38 m. A good used one can be found from 350/400 euros,think about it before you take home a f4 stm or L new,I would go on the 2.8 used,as I said there is no history, it's like comparing a supercar to a top-of-the-range sedan.
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The following opinions have been automatically translated with Google Translate.
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