Lens Reviews

Laowa Lenses (AKA Venus Optics) has released the Laowa 12mm f/2.8 Lite Zero-D FF, a newly-redesigned iteration of their popular ultra-wideangle. We tested the autofocus model on a Nikon Zf and the results were WOW! And somehow, in this confusing economy, the price is lower than its predecessor.

Back in the day when prime lenses ruled supreme and snooty purists decried zooms for lack of absolute sharpness, Tele-Converters (TCs) were popular accessories. Photographers wanted to bring distant subjects closer, and TCs provided a means to that end. Also known as tele-extenders, these thick slabs of metal and glass increase the focal length of a given lens while also decreasing the f/stop.

Out of all the telephoto focal lengths, the 400mm is my favorite, so I looked forward to Canon’s updated 400mm f/2.8L. At about $11,499 list price (slightly less on searched street prices) it’s for those who absolutely need a fast, fixed focal length lens in their still and/or video work, and that’s work that pays well.

For Canon lens fans, the wait finally ended when the company took the wraps off the new EF 100-400mm f/4.5-5.6L IS II USM, a relatively compact super-telephoto zoom that has been hotly anticipated and frequently rumored about for years.

There was a time when I’d avoid a zoom lens as much as I’d avoid a swarm of midges. But in the digital age, the zoom lens has taken on new purpose, at least for me. Midges, however, are still a pest that is best avoided—especially when you’re changing lenses. And if you’re out in a marsh shooting spectacular scenic views, the Canon EF 11-24mm f/4L USM lens gives you the needed range of focal lengths so you can reign supreme over any landscape, as you avoid changing lenses while sidestepping concern that those midges will infiltrate your camera.

Back in the day when fixed-focal-length optics reigned supreme, the 35mm lens, along with its wider cousin, the 28mm, was known as the lens a portrait or wedding photographer would use for group or full-length portraits or, especially if it had a fast aperture, the photojournalist would use to grab street candids. Today, with our wide zooms we’re often happy enough with an f/4 maximum aperture and we tend to overlook what faster fixed-focal-length lenses could do to help our photography.

Canon offers five different 70-300mm zoom lenses in its product lineup. Why so many? They obviously think this is a popular and practical focal length range and I happen to agree. I even own one of them myself—the EF 70-300mm f/4-5.6 IS USM—but the EF 70-300mm f/4-5.6L IS USM tested is the mac daddy of ’em all. Part of the reason for its high price tag ($1599) is that it’s the only one of the five lenses that is resplendent in white paint (the better for TV cameras to see), making it part of the “L” series. (See “Just For The ‘L’ Of It.”) Canon’s L lenses typically have wide apertures fixed throughout the zoom range but in this case all five lenses in this focal length range have identical f/4-5.6 apertures.

The new Canon EF 70-300mm f/4-5.6L IS USM telephoto zoom lens features two Ultra Low Dispersion (UD) elements for improved image quality and reduced chromatic aberration. It incorporates a floating focusing mechanism for sharpness from close-up (3.9 feet) to infinity plus an Image Stabilization (IS) system that Canon claims increases usability by approximately four stops. The IS system includes a function that allows it to continue to operate even when the camera or the lens, the latter being a better idea, is mounted on a tripod. There’s an optional ($189.95) Canon Tripod Mount C for mounting on a tripod or monopod but I was unable to get one for testing. The lens is dust- and water-resistant and features a Fluorine coating that resists smears and fingerprints and significantly eases lens cleaning, but that doesn’t make me suggest less vigorous lens protection. More later.