EOS system
Change your lens, change your story
How to read MTF charts
Performance
1
3
0.9
1
Key to icons
Each EF lens is identified by a series of codes which provide important
information about its characteristics.
The symbols below are a quick
reference guide to help you
choose your lens based on the
types of photography you do.
0.8
0.7
2
Making sense of lens names
4
0.6
0.5
0.4
0.3
0.2
100mm
The focal length
of the lens. A range
of values indicates
the maximum and
minimum focal lengths
of a zoom lens.
f/2.8
The maximum aperture
of the lens, expressed
as an F-stop. The smaller
the F-stop, the wider
the maximum aperture.
A range of values
indicates the aperture
at either end of the
zoom range.
L
Indicates a professional
L-series lens – the
ultimate in image
quality, durability
and performance.
IS
Indicates that the lens
uses an Image Stabilizer
to correct for unwanted
camera shake. IS allows
shooting at up to five
stops slower than would
otherwise be possible.
Dependant on the lens.
USM
Refers to Ultra Sonic
Motor. Found in many
Canon lenses, the USM
drives fast, silent and
accurate auto-focusing.
Good for General Use
Good for Close Up
0.1
Good for Portraits
0
0
5
(mm)
Spatial
frequency
10
15
20
Distance from centre of frame
Maximum aperture
S
M
Good for Sports
f/8
S
M
10 lines/mm
Good for Indoor Sports
30 lines/mm
The more the S and M curves are in line, the more natural the
blurred image becomes
1 Contrast lines (thick lines) above 0.8 indicate superior contrast
2 Resolution lines (thin lines) above 0.6 indicate good sharpness
3 Lenses that demonstrate good edge performance have
almost horizontal lines
4 The closer the Sagittal and Meridional lines are together,
the more natural the blurred parts of an image appear
An MTF (Modulation Transfer
Function) chart indicates the
resolution and contrast of a lens
from the centre to the corner of an
image both at the lens’ maximum
aperture and at f/8. The graph is
calculated from the lens’ ability to
reproduce sets of extremely fine lines
both parallel to the image diagonal
(Sagittal) and perpendicular to the
image diagonal (Meridional). One
set of lines is spaced with 10 lines
per millimetre (lpmm) and is used
to indicate contrast. A second set,
at 30 lines per millimetre, indicates
resolution (sharpness).
A Canon MTF chart is made up
of 8 graph lines in two colours.
The 4 black lines represent the lens’
performance at maximum aperture
while the 4 blue lines indicate
performance at f/8. Thick lines show
contrast (10 lpmm) and thin lines
resolution (30 lpmm). The lines
representing sagittal detail are shown
as solid lines. The lines representing
meridional detail are shown dashed.
For zoom lenses, charts are provided
for both the minimum and maximum
focal lengths.
The perfect lens would show both
solid and dashed lines running
horizontally across the top of the
chart – in other words, showing
100% accuracy throughout the frame.
In practice no such lens exists, so you
will see some amount of variance
with even the very best lenses on
the market.
Good for Wildlife
EF 100mm f/2.8L Macro IS USM
Good for Landscapes
Good for Products
Other lens codes
DO Uses Diffractive
Optical elements
Good for Architecture
EF–S Designed for cameras
with an EF–S lens mount
Good for Interiors
MP–E or Macro Designed
for Macro photography
Good for Travel
II or III Lens version
Lenses are sometimes
replaced with
improved models
Good for Weddings
?
Good for Reportage
1
?
Glossary
1
Tip
i
Information
EOS system
Change your lens, change your story
‘Village leader in traditional dress’
by Canon Ambassador Brent Stirton.
Camera: EOS 5D Mark II
Lens: EF 24mm f/1.4L USM
Exposure: 1/200sec f/10 ISO speed: 50
Welcome
Canon has been pushing the development
of ground-breaking imaging technology
forward for more than 70 years. From the
production of the first ever high-quality
cameras for the wider market, to the ongoing
introduction of innovative medical imaging
equipment and comprehensive professional
printing technologies, the reliable and
superior performance of Canon equipment
has helped to make the company one of the
world’s Best Global Brands ever since the
first survey results were published in 2001.*
Our photographers are amateurs, semiprofessional and professionals alike. They all
have unique requirements for their cameras
and lenses but have one thing in common:
a passion for the power of image, and the
stories that those images enable us to tell.
* From the annual BusinessWeek Best Global
Brands survey, ranked by Interbrand.
© Brent Stirton/Reportage by Getty Images.
Canon Ambassador.
Canon photography
Launched in 2008, Canon Europe’s Ambassadors Programme includes top professional
photographers who are all passionate about the power of image. The Canon Ambassadors
are committed and expert Canon users who are universally recognised for their high standards
and are highly respected by fellow professionals. Below are some of those Ambassadors,
alongside some semi-pro and amateur Canon photographers, who will be sharing their
thoughts on some of our technologies throughout this brochure.
How to use this
brochure
EF–S Lenses
18/19
EF–S 60mm f/2.8 Macro USM
Paolo Pellegrin
Canon Ambassador
Documentary/Fashion
Brent Stirton
Canon Ambassador
Photojournalism/
Environmental Portraiture
Ideal fOr
With its ability to focus life-size images onto the image
sensor, the EF–S 60mm f/2.8 Macro USM offers true macro
performance in the EF–S lens series. Having an effective focal
length of approximately 96mm in 35mm format, it produces
breathtaking close-up results. A minimum focusing distance
of just 20cm gets you super close to your subject, filling the
frame with the subject in the highest detail you require.
aCCessOrIes
• Lens Hood ET–67B
• Soft Case LP1016
• 52mm Circular Polarizer PL–C B
• 52mm Close-Up Lens 500D
• 52mm Close-Up Lens 250D
• Macro Ring Lite MR–14EX
• Macro Twin Lite MT–24EX
lens dIagraM
MTF charts
Modular Transfer Function charts accompany
all of our lenses, to give you a deeper insight
into how the lens performs. For more
information, take a look at the inside
front cover of this brochure.
Richard Samaranch Betts,
semi-pro, EOS 500D
Richard has been using Canon cameras ever since he
borrowed (repeatedly) a Canonflex from a friend as a
teenager. After working as a TV cameraman for six years,
it was only natural for Richard to be interested in images
and photography. Inspired by unforgettable journeys
and people he has met, he took up photography
to document his travels. He uses photography to
communicate feelings, situations, poetry, stories
– and to capture moments of beauty.
Nadine Kaegli, amateur, EOS 450D
Nadine is continually inspired by both her home city
of Zurich, Switzerland, and by the other places she
travels to. She developed her passion for photography
because it opened up the possibility of capturing special
moments in her life in a creative way, so that she could
share them with her family and friends.
The ideal option for the highest image
quality in sharpness and contrast 28–55
These lenses give you the freedom
to switch perspectives in seconds 56–75
13
Lens diagrams
Lens diagrams provide an illustration of the
optics within a lens with special elements
made from fluorite or ultra-low dispersion
glass (UD) marked in different colours.
Fergus Kennedy, semi-pro, EOS 7D
UK national Fergus Kennedy is an award-winning wildlife
photographer and marine biologist who developed
a passion for the natural world at an early age. His
work takes him around the world and his photographs
have been published in a wide variety of magazines,
newspapers and books.
EF Fixed Focal Length
EF Zoom
Mtf Chart
Jonathan and Angela Scott
Canon Ambassadors
Wildlife/Travel
The smaller, lighter option with an extensive
wide-angle choice 16–27
the ef–s 60mm f/2.8 Macro usM is the first true Macro
lens in the ef–s series. a dynamic, compact, fast-focusing
lens, it provides dramatic detail that goes beyond the
human eye.
EF–S 60mm f/2.8 Macro USM
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
0.2
0.1
0
0
5
10
Jeff Ascough
Canon Ambassador
Wedding
EF–S
Enter the macro world
features
• Approx. 96mm focal length
(35mm format)
• Compact and lightweight
• High corner-to-corner resolution,
contrast and image quality
• Fast auto focus with near-silent USM
• Full-time manual focus override
• Super Spectra coatings
• Large aperture
Brutus Östling
Canon Ambassador
Wildlife
The EF Lens 08–12
Choosing a lens 13–15
Product name
The exact model name and number
for the featured product.
Accessories
Our accessories are designed to enhance
performance and your experience.
Ideal for
A quick look at what the lens is most
commonly used for.
Macro
Make the most of the tiniest detail that even
the human eye cannot capture unaided
76–85
Tilt and Shift
Shift your perspective and plane of focus
for accurate capture or creative effect 86–93
EOS System Accessories
Expand your photography with a variety
of accessories from remote controls to
Speedlite flashes 94–113
Specifications
A detailed summary of product specifications
including accessory compatibility tables
114–123
Glossary
A quick reference guide to some
commonly-used technical terms 124–127
06/07
Choose Canon
© Jonathan & Angela Scott. Canon Ambassadors.
As established imaging experts,
we’re proud to support the photography
industry by sharing our experience and
we celebrate its achievements in both
professional and amateur image capture.
The events and initiatives described
opposite are just some of the activities
that we are involved in, as a world leader
in imaging technology.
Camera: EOS–1Ds Mark III
Lens: EF 70-200mm f/4L IS USM
Exposure: 1/100sec f/4.0 ISO speed: 200
Promoting the power of image
Highlighting the close relationship between
the image-conscious world of fashion and
photography, Canon has been an official
sponsor of the Paris, Milan and London
Fashion Weeks since 2006. Every year our
Professional Services team offers a highly
popular on-site loan, repair and maintenance
service throughout the course of each
Fashion Week.
Celebrating photographic excellence
The prestigious World Press Photo award
celebrates the very best photography that
documents major world events from the
previous year. World Press Photo culminates
during a weekend in Amsterdam, where the
winners of each category present their work.
Supporting professionals
The Canon Professional Services (CPS)
is an accessible, responsive, informative
and customisable programme that offers
extensive after-sales support and information
for professional photographers and
videographers. It’s free to qualifying
Canon photographers and videographers.
Sharing knowledge and expertise
If you have a question about anything to do
with your digital Canon equipment, visit our
infobank at www.canon-europe.com/cpn
08/09
The EF lens
The original EOS camera system was
introduced to the world in 1987. At its heart
was the EF lens mount, connecting lenses
to the camera body in a fully electronic way
for the first time.
Apart from the physical connection between
lens and camera body, all communication
between these two key components is
electronic, allowing for highly accurate,
real-time data transfer. And because each
lens has a unique performance characteristic,
Canon became the first to build the motor
that drives the focus inside each lens, rather
than using a motor inside the camera body.
1946
Serenar 50mm f/3.5
Canon’s first ever lens.
Serenar means ‘clear,’
symbolising the clarity
that the development
team was aiming for.
1961
50mm f/0.95 lens
When this lens went
on sale, it boasted the
largest aperture of any
photographic camera
lens in the world. This
legendary lens has
gained a reputation as
being brighter than the
human eye, and further
strengthened Canon’s
international standing.
Even with continued development and
evolution of focus systems, Image Stabilizer
technologies, lens element materials science,
weather sealing and design, the original EF
mount design remains unchanged. All EF
lenses are compatible with every EOS camera
ever produced, including the new digital
EOS cameras.
In 2011, Canon celebrated the cumulative
production milestone of 60 million
interchangeable EF lenses – 24 years since
the launch of Canon’s EOS camera system
and the EF lens mount.
1973
TS35mm f/2.8 SSC
This was the first 35mm
camera lens with tilt and
shift functionality, and was
ideal for architectural and
commercial photography,
which until then had been
monopolised by largeformat view cameras.
1989
EF 50mm f/1.0L USM
This standard lens featured
the largest aperture of
any 35mm SLR camera
lens when first launched.
The floating mechanism
helped maintain high
picture quality even at close
focusing distances, while
the electronic manual focus
function allowed full-time
manual focusing with a
very light touch even in
autofocus mode.
Today, there are more than 60 EF lenses
available, with focal lengths ranging
from 8mm to 800mm and a range of
specialist macro, tilt and shift and fisheye
models. Professional photographers are
catered for with the L-series EF lenses.
With special optical elements, build quality
and weather sealing, the L-series represents
the pinnacle of Canon’s lens design.
Matching advances in camera technology,
EF lenses continue to evolve, including the
introduction of leading technologies such
as Diffraction Optics and Subwavelength
Structure Coating to suppress and prevent
the effect of reflections off digital camera
sensors. The EF–S lens mount has been
developed to take advantage of the
compact APS–C sensor size of cameras
such as the EOS 600D and EOS 7D,
paving the way for a new range of compact,
lightweight and high-quality lenses.
1999
EF 300mm f/2.8L IS USM
This lens has achieved
such a high reputation that
it has come to be known
as the symbol of Canon’s
professional lenses. Its
innovative performance
has produced numerous
classic photographs in the
fields of sports, journalism,
and advertising.
2008
EF 24mm f/1.4L II USM
This is the first EF lens to
employ the bio-mimetic
Subwavelength Structure
Coating (SWC) technology.
SWC effectively minimises
lens flare and ghosting
caused by light hitting
lens surfaces at large
angles that is difficult
to prevent using
conventional coatings.
2001
EF 400mm f/4 DO IS USM
The ultra telephoto EF
400mm f/4 DO (multilayered Diffractive Optical
elements). IS USM lens
turned the old ‘big and
heavy’ image of telephoto
lenses on its head,
achieving a significantly
lighter and more
compact design than
conventional models.
2009
EF 100mm f/2.8L
Macro IS USM
This lens is part of Canon’s
prestigious L-series, and
the first to feature an Image
Stabilizer with angle and
shift detection that is
highly effective at close
focusing distances.
10/11
The EF advantage
What sets the EF lens range apart? Innovation. Canon has been pursuing the
perfect lens for more than six decades. This pursuit has generated a raft of
pioneering technologies, the very best of which are found in today’s line-up.
Spherical aberration of spherical lens
Aspherical lenses
Canon was the first company to introduce
aspherical elements for SLR lenses
to counteract the problem of spherical
aberration . These special elements
play an integral part in delivering the
corner-to-corner sharpness and clarity
of top performers in the EF range.
Convergence of parallel light rays by an
Aspherical lens
Fluorite and UD lens elements
球面レンズの球面収差
Fluorite crystal and Ultra-low Dispersion
(UD) glass elements combat chromatic
aberration or ‘fringing’. By virtue of their
special diffraction properties, these materials
keep colours accurate and contrast high.
Lens coatings
Light reflected off lens elements and the
Diffractive optics
image sensor can cause ghosting (secondary
Canon is the first and only company in the
images) and flare to appear in images.
world to incorporate a Diffractive Optical (DO) Canon’s Super Spectra coating absorbs
球面レンズの球面収差
element into an interchangeable SLR lens.
light rather than reflecting it. The new
非球面による焦点の一致化
This approach produces outstanding image
Subwavelength structure coating (SWC)
quality, but these lenses are significantly
goes one step further, effectively eliminating
lighter and smaller than similar
the cause of problematic reflections to ensure
conventional lenses.
crisp, undistorted images.
非球面による焦点の一致化
Fluorite and UD lens elements keep colours accurate
Inside an ultrasonic motor
Ultrasonic Motor
The Ultrasonic Motor (USM) was
introduced with the Canon EF 300mm f/2.8L
USM lens in 1987. Silent and accurate, USM
technology powers the rapid auto focusing
performance of almost every current EF lens.
Canon’s Subwavelength Structure (SWC)
Canon’s Subwavelength Structure (SWC)
anti-reflective coating is what is known as
a biomimetic technology – mimicking a
phenomenon found in nature. Working at
the nanoscale, the SWC coating is inspired
by features found within the eyes of moths.
Image Stabilizer
Pioneered by Canon in 1995, Image
Stabilizer technology uses gyro sensors
to detect and compensate for unwanted
camera shake. Today’s IS systems allow
photographers to shoot up to 5 stops slower
with no increase in blur. Since the image
is stabilised within the lens instead of the
camera, the IS system can be optimised for
each model. What’s more, the auto focus
system has a steady image to work with
and the photographer gets a steady image
through the viewfinder.
Fluorine coating
In 2010 Canon introduced a new coating for
lenses elements. Using Fluorine with its tight
molecule bond, this new coating provides a
tough anti static surface that prevents dust
and water from clinging to any exposed lens
elements ensuring easier cleaning.
12/13
Fixed or Zoom?
Zoom lenses offer several focal lengths within a single lens. Non-zoom or ‘prime’ lenses
provide a single, fixed focal length. Each has its advantages.
Zoom lenses
The big benefit of a zoom lens is convenience.
You can shoot wide or at longer focal
lengths without having to change your lens
mid-shoot. This is a factor to consider if you
regularly shoot in time-sensitive situations.
Having several focal lengths in one package
also reduces the amount of equipment
you’ll need to carry.
Recent developments in lens
technology are making zoom
lenses more portable than ever
before. The EF 70–300mm
f/4.5–5.6 DO IS USM, for example,
packs a wide zoom range into a
unit that is less than 10cm long.
Fixed lenses
Fixed lenses generally offer a wider maximum
aperture. You can shoot in lower light, or use
faster shutter speeds when photographing
action. If you like to shoot portraits, the
shallow depth-of-field offered by fixed
focal length lenses should be considered.
Because they generally use fewer pieces of
glass, fixed lenses are often sharper than their
zoom counterparts at equivalent focal lengths.
A fixed focal length lens is also a great learning
tool when you are starting out because it
forces you to think carefully about each
composition, rather than simply zooming
in on the subject.
Super telephoto lenses are
only available as prime lenses.
The maximum focal length
found in an EF zoom is 400mm,
while prime lenses are available
up to 800mm.
Choosing a lens
The following pages provide a general guide to suitable lenses for different situations.
Ultimately, the right lens is the one that matches your creative vision.
Sports and Wildlife
For sports and wildlife photography, two
factors are paramount: reach and speed.
Whether you’re shooting lions on the
Serengeti or weekend football players in the
park, you need a lens that gets up close yet
allows you to keep your distance. Generally
speaking, you should be looking at telephoto
lenses between the 100mm–300mm
focal length range. By speed, we mean
lenses that focus quickly and transmit
enough light to allow for very fast shutter
speeds. A telephoto lens with a large
maximum aperture will give you
this capability.
Portrait
The best portraits are those that approximate
our human interpretation of faces. In terms
of focal length, that means anything between
50mm and 100mm. A wide-angle lens will
accentuate extremities such as noses and
ears. Telephoto lenses will flatten the face into
something two-dimensional and uninspiring.
Beyond focal length, a key consideration is
maximum aperture. Wider apertures allow
you to achieve finer depth-of-field .
Distracting background detail is blurred
and the focal point of your photograph –
the subject’s face – remains in sharp focus.
the professional’s choice: EF 300mm f/2.8L IS II USM
GREAT BUDGET OPTION: EF 75–300mm f4-5.6 III USM
the professional’s choice: EF 85mm f/1.2L II USM
GREAT BUDGET OPTION: EF 50mm f/1.8 II
The effects of camera movement
are more noticeable at higher focal
lengths. Most telephoto lenses
feature Image Stabilizer (IS)
technology to compensate for this.
If you are shooting handheld without
IS, follow the reciprocal rule: you
need a shutter speed no slower
than 1/focal length. So a focal length
of 125mm would require a minimum
shutter speed of 1/125.
When choosing a portrait
lens, look for a circular aperture.
The shape of the aperture appears
in out of focus highlights, and a
circular aperture leads to more
pleasing background blur.
14/15
Choosing a lens
Focal length comparison
The images below show the same scene taken from the
same location with different focal lengths to show the
effects that can be achieved with different lenses.
Landscapes
A wide-angle lens will allow you to get more
of the scene into your photo while also giving
a greater sense of depth and distance. Aim for
a focal length between 17mm and 24mm,
taking into account the crop factor for
your camera. Most landscape photography
requires a large depth-of-field to get as
much of the scene as possible into focus.
This means that typically, you do not require
a large maximum aperture. What you do
require is high quality optics to capture tiny
details in your scene.
the professional’s choice: EF 24mm f/1.4L II USM
GREAT BUDGET OPTION: EF–S 15–85mm f/3.5–5.6 IS USM
One way to increase
magnification when shooting macro
subjects is to add an extension tube
between the camera and the lens .
Extension tubes don’t have any
glass in them – their purpose is
to move the lens further away
from the image sensor, thereby
increasing magnification and
Macro
Macro lenses allow you to capture tiny objects
at life-size. The main factor to consider when
choosing a macro lens is the focal length.
Shorter focal lengths (50mm–60mm) provide
a wider field of view, which means you will
typically be capturing more background
detail in the image. Since you need to get
right up close to your subject at these focal
lengths, your working distance will be shorter.
Medium or telephoto (90mm–180mm)
macro lenses limit your field of view so that
the subject can take up the entire frame. You
can shoot from a greater distance – useful
when photographing skittish insects (see
page 78–79 for an in-depth tutorial).
the professional’s choice: EF 100mm f/2.8L Macro IS USM
GREAT BUDGET OPTION: EF–S 60mm f/2.8 Macro USM
allowing for a closer working
distance. The trade-off is that you
lose the ability to focus to infinity.
Architecture and Interiors
Perspective distortion is a common
problem when photographing buildings.
The lines of a building tend to converge
when photographed, resulting in a slightly
skewed final image. A Tilt and Shift lens is a
good solution. This is a specialist lens that
allows you to shift the lens axis away from
the centre of the frame. The vertical edges
remain parallel, achieving the same effect
as specialist view cameras. Another benefit
is that the field of view is much wider than
would be possible using a normal lens of
the same focal length. (See page 88–89
for an in-depth tutorial on using Tilt and
Shift lenses).
the professional’s choice: TS–E 17mm f/4L
GREAT BUDGET OPTION: EF–S 10–22mm f/3.5–4.5 USM
Ultra wide-angle lenses (such
as the EF 14mm f/2.8L II USM)
are unsuitable for interior photography
since images at these focal lengths
often show barrel distortion at the
edges of the frame, with straight lines
appearing curved. You can, however,
correct much of this distortion through
the lens aberration correction feature in
Digital Photo Professional software.
8mm
14mm
15mm
20mm
24mm
28mm
35mm
50mm
85mm
100mm
135mm
200mm
300mm
400mm
600mm
800mm
16/17
EF–S Lenses
EF–S lenses are specifically designed for EOS models with
a compact sensor – delivering lenses that are lightweight,
versatile and supremely portable.
With the EF–S range, Canon’s engineers took advantage
of the APS–C sensor size to produce lenses that are not
only lighter and smaller, but also offer photographers far
greater wide-angle choice. Lenses such as the
EF–S 55–250mm f/4–5.6 IS take the range much further.
Owners of EF–S mount cameras now have access to a
complete offering of lightweight lenses extending from
16mm to 400mm (35mm equivalent).
CANON semi-pro
Richard SAMARANCH Betts
“I came back to Ferrera because I always wanted to document what was going
on here. I lived here many years ago, and it was an amazing experience to live
in this countryside in these mountains with the people here and I wanted to
capture that. In this area there are no shepherds left except for Ramon. We first
met when I was 20 and he was 19. The benefit of a high ISO sensitivity rating
means I can shoot freely in low light, I don’t have to use flash and can capture
my subject in its setting where the light is low but also beautiful.”
Camera: EOS 500D
Lens: EF–S 18–55mm f/3.5–5.6 IS
Exposure: 1/100sec f/6.3 ISO speed: 100
EF–S Lenses
18/19
IDEAL FOR
features
• Approx. 96mm focal length
(35mm format)
• Compact and lightweight
• High corner-to-corner resolution,
contrast and image quality
• Fast auto focus with near-silent USM
• Full-time manual focus override
• Super Spectra coatings
• Large aperture
EF–S 60mm f/2.8 Macro USM
EF–S 10–22mm f/3.5–4.5 USM
Enter the macro world
A new perspective
The EF–S 60mm f/2.8 Macro USM is the first true Macro
lens in the EF–S series. A dynamic, compact, fast-focusing
lens, it provides dramatic detail that goes beyond the
human eye.
An ultra wide-angle zoom lens with dynamic expressive
capability for all EF–S mount EOS cameras; exceptionally
small and lightweight for maximum mobility.
With its ability to focus life-size images onto the image
sensor, the EF–S 60mm f/2.8 Macro USM offers true macro
performance in the EF–S lens series. Having an effective focal
length of approximately 96mm in 35mm format, it produces
breathtaking close-up results. A minimum focusing distance
of just 20cm gets you super close to your subject, filling the
frame with the subject in the highest detail you require.
With its effective focal length range of approximately
16–35mm in 35mm format, the EF–S 10–22mm f/3.5–4.5
USM is a remarkable lens with outstanding image quality
that will take your photography into new dimensions
and areas of dramatic expression.
ACCESSORIES
• Lens Hood ET–67B
• Soft Case LP1016
• 52mm Circular Polarizer PL–C B
• 52mm Close-Up Lens 500D
• 52mm Close-Up Lens 250D
• Macro Ring Lite MR–14EX
• Macro Twin Lite MT–24EX
IDEAL FOR
features
• Super wide angle zoom
for all EF–S mount bodies
• Superb image quality
• Lightweight and compact
• Focusing distance of just 24cm
• Fast near-silent USM AF
• Super Spectra coatings
• Circular aperture
• Optional exclusive lens hood
ACCESSORIES
• Lens Hood EW–83E
• Soft Case LP1319
• 77mm Circular Polarizer PL–C B
• 77mm Close-Up Lens 500D
mtf chart
EF–S 60mm f/2.8 Macro USM
1
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0.8
0.7
0.6
0.5
0.4
0.3
0.2
0.1
0
0
5
10
lens diagram
13
mtf chartS
EF–S 10–22mm f/3.5–4.5 USM WIDE
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
0.2
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lens diagram
EF–S 10–22mm f/3.5–4.5 USM TELE
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EF–S Lenses
20/21
EF–S 15–85mm f/3.5–5.6 IS USM
EF–S 17–55mm f/2.8 IS USM
The high performance, all-round standard zoom lens
Change your view. Not your aperture
Combining an extensive zoom range featuring wide
angle and telephoto plus a 4-stop Image Stabilizer,
the EF–S 15–85mm f/3.5–5.6 IS USM provides
outstanding performance and flexibility.
With a constant f/2.8 aperture throughout the zoom
range and a three-stop Image Stabilizer, the EF–S 17–
55mm f/2.8 IS USM provides outstanding performance
and framing flexibility in low light conditions.
With an effective focal length range of approximately
24–136mm (35mm equivalent), the EF–S 15–85mm
f/3.5–5.6 IS USM is a lens that delivers outstanding flexibility
while delivering remarkable image quality. With its wider
angle than many comparable lenses, it captures more of
the scene and adds a greater sense of space and perspective
to your photography.
With an effective focal length range of approximately
27–88mm (35mm equivalent), the EF–S 17–55mm f/2.8 IS
USM is a powerful lens that delivers remarkable image quality.
The wide angle zoom allows you to capture more of every
scene and adds a new sense of space and perspective to
your photography.
IDEAL FOR
features
• High performance all-purpose
5.6x 24–136mm equivalent
EF–S standard zoom
• Four-stop Image Stabilizer
• Automatic panning and
tripod detection
• 0.35m close focusing
• UD and aspherical lenses
• Super Spectra coatings
• 7-blade aperture
• Optional lens hood
ACCESSORIES
• Lens Hood EW–78E
• Soft Case LP1116
• 72mm Circular Polarizer PL–C B
• 72mm Close-Up Lens 500D
lens diagram
IDEAL FOR
features
• Wide angle zoom for EF–S mount
bodies f/2.8 aperture throughout
zoom range
• Three-stop Image Stabilizer
• Fast, quiet auto focus
• Super Spectra coating
• Circular aperture for pleasing
background blur
• Passes distance information to E–TTL II
• Optional lens hood
ACCESSORIES
• Lens Hood EW–83J
• Soft Case LP1219
• 77mm Circular Polarizer PL–C B
• 77mm Close-Up Lens 500D
mtf chartS
EF–S 15–85mm f/3.5–5.6 IS USM WIDE
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EF–S 15–85mm f/3.5–5.6 IS USM TELE
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EF–S 17–55mm f/2.8 IS USM WIDE
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lens diagram
EF–S 17–55mm f/2.8 IS USM TELE
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EF–S Lenses
22/23
IDEAL FOR
features
• Exceptional zoom range for
all EF–S mount bodies
• Superb image quality
• Lightweight and compact
• Image Stabilizer –
up to three stops compensation
• Fast near-silent USM AF
• Super Spectra coatings
• Circular aperture
• Optional lens hood
EF–S 17–85mm f/4–5.6 IS USM
EF–S 18–55mm f/3.5–5.6 IS II
One lens. Many possibilities
Versatile, compact zoom lens
Real freedom of framing in a lightweight, compact and
fast-focusing lens. The EF–S 17–85mm f/4–5.6 IS USM is
an excellent all-purpose lens for EF–S mount EOS cameras.
Compact and affordable, the EF–S 18–55mm f/3.5–5.6 IS
II is an ideal general-purpose standard zoom. Its four-stop
Image Stabilizer provides great performance in low-light
conditions.
The EF–S 17–85mm f/4–5.6 IS USM provides an effective focal
length range of approximately 27–136mm in 35mm format.
This provides plenty of framing options, making it the perfect
all-rounder lens that allows you to express your creativity in
a vast range of shooting situations.
The EF–S 18–55mm f/3.5–5.6 IS II is a high-quality, standard
zoom lens that will appeal to photographers who prefer to
travel light. With a focal length equivalent of 29–88mm in
35mm format, the lens’ wide zoom range is suitable for most
general photography. For close-up work, the working distance
is just 0.25m (25cm) throughout the zoom range.
IDEAL FOR
features
• Lightweight, compact design
• Wide-angle to short telephoto range
• Four-stop Image Stabilizer
• Aspherical lens elements for control
over distortion
• 0.25m close-focusing distance
• Super Spectra coatings
• Circular aperture diaphragm
• High-speed AF
ACCESSORIES
• Lens Hood EW–60C
• Soft Case LP814
• 58mm Close-up Lens 500D
• 58mm Circular Polarizer PL–C B
ACCESSORIES
• Lens Hood EW–73B
• Soft Case LP1116
• 67mm Circular Polarizer PL–C B
Nadine Kaegli,
amateur photographer
“For beginners, I think it’s
best to use some of the
zoom lenses. The variety
of focal lengths gives you
more possibilities to get the
perfect shot and it’s much
easier to play with distance,
perspectives, aperture, etc”
lens diagram
mtf chartS
EF–S 17–85mm f/4–5.6 IS USM WIDE
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mtf chartS
EF–S 17–85mm f/4–5.6 IS USM TELE
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EF–S 18–55mm f/3.5–5.6 IS II WIDE
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lens diagram
EF–S 18–55mm f/3.5–5.6 IS II TELE
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EF–S Lenses
24/25
IDEAL FOR
features
• High power, all-purpose 7.5x,
29–216mm equivalent, EF–S zoom
• Four-stop Image Stabilizer
• Automatic panning and
tripod detection
• 0.45m close focusing
• UD and aspherical lenses
• Super Spectra coatings
• 6-blade circular aperture
• Optional lens hood
EF–S 18–135mm f/3.5–5.6 IS
EF–S 18–200mm f/3.5–5.6 IS
The versatile, all-purpose powerful standard zoom lens
Versatile, long-range zoom in compact form
Offering a multi-purpose zoom range from wide angle
to telephoto, and featuring Canon’s four-stop Image
Stabilizer, the EF–S 18–135mm f/3.5–5.6 IS provides
complete versatility whatever your needs.
Compact proportions with a powerful zoom range
of 11x – make an ideal general-purpose zoom for
photographers on the go. Great low-light performance
is assured by a 4-stop Image Stabilizer.
Offering a 35mm equivalent effective focal length range
of 29–216mm, the EF–S 18–135mm f/3.5–5.6 IS combines
the majority of all the most popular focal lengths in one lens.
Whether it’s a wide angle for landscapes you need, or a
telephoto for sports day, the EF–S 18–135mm f/3.5–5.6 IS
covers all your requirements.
The EF–S 18–200mm f/3.5–5.6 IS is a compact, EF–S lens
with high magnification of approximately 11x. It features
an 18–200mm zoom ratio (the 35mm film equivalent
of a 29–320mm lens) and has a maximum aperture of
f/3.5–5.6. Designed to appeal to entry-level and advanced
amateur users looking for a lens with an optical Image
Stabilizer and large focal length range, it weighs just 595g
and measures 78.6 x 102mm. The lens offers 0.45m
minimum focusing distance at all zoom positions.
ACCESSORIES
• Lens Hood EW–73B
• Soft Case LP1116
• 67mm Circular Polarizer PLC–B
lens diagram
IDEAL FOR
features
• 11x zoom lens – 18–200mm
• Four-stop Image Stabilizer
• Automatic panning and
tripod detection
• Close focusing distance of 0.45m
• Aspherical and UD lens elements
• SuperSpectra lens coatings combat
ghosting and flare
• Zoom lock maintains minimum size
• Circular aperture for pleasing
background blur
ACCESSORIES
• Lens Hood EW–78D
• Soft Case LP1116
• 72mm Circular Polarizer PL–C B
• 72mm Close-Up Lens 500D
mtf chartS
EF–S 18–135mm f/3.5–5.6 IS WIDE
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mtf chartS
EF–S 18–135mm f/3.5–5.6 IS TELE
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EF–S 18–200mm f/3.5–5.6 IS WIDE
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lens diagram
EF–S 18–200mm f/3.5–5.6 IS TELE
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EF–S Lenses
26/27
EF–S 55–250mm f/4–5.6 IS
The all-purpose telephoto zoom for EF–S mount EOS cameras
The compact and affordable EF–S 55–250mm f/4–5.6 IS
offers powerful telephoto performance. Its four-stop
Image Stabilizer with automatic panning detection
effectively suppresses blur in low light.
IDEAL FOR
The EF–S 55–250mm f/4–5.6 IS is a telephoto zoom lens
combining powerful performance with high image quality.
With a focal length equivalent of 88–400mm in 35mm
format, it is ideal for photographers seeking an affordable,
versatile lens for general-purpose telephoto photography.
features
• Affordable telephoto zoom lens
• 88–400mm equivalent focal length
• Four-stop Image Stabilizer with
automatic panning detection
• UD element
• Super Spectra coatings
• Circular diaphragm
ACCESSORIES
• Lens Hood ET–60
• Soft Case LP1019
• 58mm Circular Polarizer PL–C B
• 58mm Close-Up Lens 250D
• 58mm Close-Up Lens 500D
lens diagram
mtf chartS
EF–S 55–250mm f/4–5.6 IS WIDE
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EF–S 55–250mm f/4–5.6 IS TELE
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Camera: EOS 50D
Lens: EF–S 10–22mm f/3.5–4.5 USM
Exposure: 2.5sec f/5.6 ISO speed: 100
28/29
EF Fixed Focal
Length Lenses
For many, Canon EF lenses alone are reason enough
to choose the EOS system. When exacting image
quality is paramount, EF fixed length – or ‘prime’ –
lenses have no equal.
In terms of sharpness, contrast and aperture size, the very
best performers in the EF lens range are fixed focal length –
or prime – lenses. Among the standard prime lenses, the
peerless EF 85mm f/1.2L II USM deserves its reputation
as one of the finest portrait lenses on the market. Leading
telephoto primes include the sports photographers’ favourite,
the EF 300mm f/2.8L IS II USM. Owning a high quality prime
lens need not blow your budget. The least expensive lens in
the range, the EF 50mm f/1.8 II, delivers performance close
to that of some L–series lenses.
© Paolo Pellegrin/Magnum Photos. Canon Ambassador.
Camera: EOS 5D Mark II
Lens: EF 35mm f/1.4L USM
Exposure: 1/100sec f/4.0 ISO speed: 800
EF Fixed Focal Length Lenses
30/31
EF 14mm f/2.8L II USM
EF 20mm f/2.8 USM
An ultra wide-angle lens for professional photographers
A versatile lens that delivers superb wide-angle images
in any scenario
A precision-designed ultra wide-angle lens. This 14mm
f/2.8 optic uses ultra low dispersion (UD) and aspherical
elements to boost image quality, while its rectilinear
design corrects for distortion.
IDEAL FOR
features
• L–series construction with dust
and moisture sealing
• Aspherical and UD lens elements
• Circular aperture
• Super Spectra coatings
• Rectilinear design
The EF 14mm f/2.8L II USM goes beyond human perspective,
taking in a massive 114° field of view. A corrected, rectilinear
design make this an ideal lens for architecture, interiors
and landscapes. Its ultra wide-angle nature gives a strong
separation between foreground and background elements.
With its wide angle of view and extended depth-of-field,
the EF 20mm f/2.8 is a great choice for photographers
shooting landscapes, architecture or reportage.
A lens that can be used almost anywhere.
By offering a field of view of 94°, the EF 20mm f/2.8 USM
is able to take in the complete field of human vision, and
much more. A great lens for the landscape or documentary
photographer. Distortion is highly corrected, for a natural
perspective when shooting architecture and interiors.
IDEAL FOR
features
• Ultra wide angle lens with
angle of view of 94°
• USM focus motor with full-time
manual focus override
• 25cm closest focusing distance
• Super Spectra coatings
ACCESSORIES
• Lens Hood EW–75 II
• Soft Case LP1214
• 72mm Circular Polarizer PL–C B
ACCESSORIES
• Soft Case LP1016
mtf chart
EF 14mm f/2.8L II USM
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20
mtf chart
EF 20mm f/2.8 USM
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20
EF Fixed Focal Length Lenses
32/33
EF 24mm f/1.4L II USM
EF 24mm f/2.8
A high quality, fast-aperture wide-angle prime lens
A compact, lightweight wide-angle prime lens offering
great image quality
The ultimate in fast aperture wide-angle lenses. UD and
aspherical elements eliminate distortion and aberrations
for stunning results. A f/1.4 maximum aperture allows
hand-held shooting in low light.
IDEAL FOR
features
• Wide 84° angle of view
• Fast f/1.4 aperture
• Aspherical and UD lens elements
• Subwavelength structure coating
• USM focus motor with full-time
manual focus
• Floating internal focus mechanism
• Weather and dust seals
• Robust build quality
The EF 24mm f/1.4L II USM has a large maximum aperture
of f/1.4, making hand-held shooting possible in low light.
Such large apertures can be used to restrict depth-of-field,
even at such short focal lengths. Circular diaphragm blades
result in smooth out-of-focus regions (bokeh).
The EF 24mm f/2.8 offers a wide angle of view and
excellent optical quality from a compact and lightweight
package. The ideal prime lens for the landscape
photographer on the move.
Weighing just 270g and measuring less than 70mm in
length, this diminutive and highly popular lens deserves a
place in any kit bag. On EOS cameras featuring APS–C sized
sensors the lens gives an angle of view equivalent to 38mm
on a full-frame camera, making it an ideal everyday optic
for prime lens shooters.
IDEAL FOR
features
• Wide 84° angle of view with
full-frame cameras
?• AFD
? ? rear
? focusing
? ? ?system
? ? ? ?
lightweight
X• Compact
X X and
X X
X X Xdesign
X X X
• Close focusing distance of
0.25m/0.8ft
i • Super
i
iSpectra
i
i
i i reduce
i i i i
coatings
ghosting and flare
ACCESSORIES
• Lens Hood EW–60II
• Soft Case LP811
• 58mm Close-Up Lens 500D
• 58mm Circular Polarizer PL–C B
• 58mm Close-Up Lens 250D
ACCESSORIES
• Lens Hood EW–83K
• Soft Case LP1319
• 77mm Circular Polarizer PL–C B
mtf chart
EF 24mm f/1.4L II USM
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lens diagram
20
mtf chart
EF 24mm f/2.8
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EF Fixed Focal Length Lenses
34/35
IDEAL FOR
features
• Wide 75° angle of view
on full-frame cameras
• Fast f/1.8 aperture
• USM focus motor with full-time
manual focus override
• 25cm closest focusing distance
• Aspherical lens element
• 58mm filter size
ACCESSORIES
• Lens Hood EW–63II
• Soft Case LP814
• 58mm Close-Up Lens 500D
• 58mm Circular Polarizer PL–C B
• 58mm Close-Up Lens 250D
EF 28mm f/1.8 USM
EF 28mm f/2.8
A classic wide-angle focal length with a wide maximum
aperture for low light shooting
A compact, affordable wide-angle lens that’s useful
in a host of different situations
The design of the EF 28mm f/1.8 USM provides a
balance between affordability and optical performance,
while its fast f/1.8 maximum aperture permits
hand-held shooting in low light.
Thanks to its diminutive, lightweight design, the EF
28mm f/2.8 is an ideal all-purpose wide-angle lens for
full frame cameras, and a fast, compact standard
lens on DSLRs with APS–C sized sensors.
The lens’ large maximum aperture of f/1.8 ensures
photographers can use fast shutter speeds in a variety
of different lighting conditions, and blur backgrounds by
controlling depth-of-field. An aspherical lens element corrects
distortion and ensures the image is sharp across the frame.
When fitted to EOS cameras with APS–C sized sensors,
the EF 28mm f/1.8 USM offers a field of view equivalent
to a 45mm lens on a full-frame camera, making this an
ideal fast-aperture standard lens.
Weighing in at just 185g, this is a lens you can take wherever
you go. On EOS DSLRs with APS–C sized sensors it makes
a great standard lens, offering the same field of view
as a 45mm lens on a full frame DSLR.
mtf chart
mtf chart
EF 28mm f/1.8 USM
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lens diagram
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20
features
• Wide 75° angle of view
• AFD focusing system
• Compact and light weight
• 30cm close-focusing distance
• 52mm filter size
• Super Spectra coatings reduce
ghosting and flare
ACCESSORIES
• Lens Hood EW–65 II
• Soft Case LP1011
• 52mm Circular Polarizer PL–C B
• 52mm Close-Up Lens 250D
• 52mm Close-Up Lens 500D
Fergus Kennedy,
semi-pro photographer
“Using a lens with a wide
maximum aperture (small
f-number) can give you great
separation between your
subject and the background,
drawing attention to the main
subject and giving a really
professional look to your
photographs”
IDEAL FOR
EF 28mm f/2.8
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lens diagram
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EF Fixed Focal Length Lenses
36/37
IDEAL FOR
features
• Wide 63° angle of view
• Fast f/1.4 aperture
• Aspherical lens elements
• USM focus motor with full-time
manual focus
• Floating internal focus mechanism
• Moisture and dust seals
• Robust build quality
EF 35mm f/1.4L USM
EF 35mm f/2
A classic wide-angle standard lens with fast aperture
and rapid ultrasonic focusing
An alternative standard prime lens for photographers
who prefer a wider view of the world
Beloved by reportage photographers for its natural
view of the world and fast maximum aperture,
the EF 35mm f/1.4L USM delivers superb image
quality and blisteringly fast AF performance.
On full-frame cameras, the compact EF 35mm f/2
offers a wide angle of view and a very natural perspective,
making it a good alternative standard lens to a
traditional 50mm optic.
The EF 35mm f/1.4L USM has a maximum aperture
many stops faster than that found on a standard zoom
lens, allowing a photographer to keep shooting hand-held
when light levels begin to fall. An Ultrasonic Motor (USM)
enables extremely fast focusing in near silence, and a
floating lens element means consistent sharpness
throughout the focusing range.
A minimum focusing distance of just 25cm enables
photographers to get closer to their subjects while retaining
a more natural, wide-angle perspective. The lens’ fast
aperture means depth-of-field can be restricted for blurred
backgrounds and photographers can shoot hand-held even
when light levels fall.
mtf chart
mtf chart
“My Canon EF 35mm f/1.4L
USM lens. I would shoot
all day on it if I could.
It’s extremely sharp,
has great colour rendition,
and is very fast”
EF 35mm f/1.4L USM
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lens diagram
20
features
• Wide 63° angle of view
• AFD focusing system
• Compact and light weight
• 25cm close focusing distance
• 52mm filter size
• Super Spectra coatings reduce
ghosting and flare
ACCESSORIES
• Lens Hood EW–65 II
• Soft Case LP1011
• 52mm Circular Polarizer PL– C B
ACCESSORIES
• Lens Hood EW–78C
• Soft Case LP1214
• 72mm UV Protector filter
• 72mm Circular Polarizer PL– C B
• 72mm Close-Up Lens 500D
JEFF ASCOUGH,
WEDDING Photographer
IDEAL FOR
EF 35mm f/2
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20
EF Fixed Focal Length Lenses
38/39
IDEAL FOR
features
• Large f/1.2 aperture
• USM autofocus
• Super Spectra coatings
• Circular aperture for excellent
background bokeh
• Provides distance information
for the E–TTL II flash system
• Soft case and lens hood
EF 50mm f/1.2L USM
EF 50mm f/1.4 USM
A 50mm prime lens with a very large maximum aperture
for fine depth-of-field control
The ultimate mixture of versatility and image quality
With its incredible f/1.2 maximum aperture, the super
fast EF 50mm f/1.2L USM is a consummate low-light
performer. A lens that allows fine creative control over
focusing and depth-of-field.
A large maximum aperture of f/1.2 gives outstanding speed
when shooting in low light. The lens also provides fine control
over focusing, allowing extremely shallow depth-of-field for
creative effects.
With its fast maximum aperture and rapid focusing
system, the compact, high performance EF 50mm
f/1.4 USM standard lens can be relied on for superb
performance in any field of photography.
Gaussian optics, combined with two high-refraction lens
elements allow photographers working in all fields to capture
crisp, clean images, even wide open at f/1.4. The lens is ideal
for photographing landscapes and travel scenes as well as
portraits and reportage.
mtf chart
“I love the Canon digital
system as a whole and
especially the luminosity of
the EF 50mm f/1.2L USM”
features
• Fast f/1.4 aperture
• Standard 46° angle of view
• USM focus motor with full-time
manual focus override
• 45cm closest focusing distance
• Aspherical lens element
• 58mm filter size
ACCESSORIES
• Lens Hood EW–71 II
• Soft Case LP1014
• 58mm Circular Polarizer PL–C B
ACCESSORIES
• Lens Hood ES–78
• Soft Case LP1214
• 72mm Circular Polarizer PL–C B
PAOLO PELLEGRIN,
REPORTAGE Photographer
IDEAL FOR
EF 50mm f/1.2L USM
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lens diagram
20
mtf chart
EF 50mm f/1.4 USM
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lens diagram
15
20
EF Fixed Focal Length Lenses
40/41
IDEAL FOR
features
• Standard 46° angle of view
• Fast f/1.8 aperture
• 45cm closest focusing distance
• 52mm filter size
• Super Spectra coatings reduce
ghosting and flare
EF 50mm f/1.8 II
EF 85mm f/1.2L II USM
An affordable, high quality standard lens with a fast
maximum aperture
An extreme portrait lens with a very fast maximum
aperture and swift focusing
The compact and lightweight EF 50mm f/1.8 II standard
lens delivers image quality that belies its price.
A professional short-telephoto lens, precision-made
for low-light shooting and those situations where
extremely shallow depth-of-field is required. Perfect
for creative portraiture.
This is the lightest EF lens in the range, weighing a mere
130g. Its Gaussian optics provide sharp images at all focusing
distances as well as excellent colour balance and contrast.
The L-series is Canon’s flagship professional lens range,
representing the best in precision designed EF optics.
L-series lenses combine superior performance with
superlative handling, and are resistant to dust and moisture.
ACCESSORIES
• Lens Hood ES–62 + supplied
62 adapter
• Soft Case LP1014
• 52mm Circular Polarizer PL–C B
IDEAL FOR
features
• Extreme f/1.2 maximum aperture
• Fast, quiet autofocus
• Super Spectra coatings
• Circular aperture for smooth
background bokeh
• Integration with E–TTL II flash system
• Soft case and lens hood
ACCESSORIES
• Lens Hood ES–79 II
• Soft Case LP1219
• 72mm Circular Polarizer PL–C B
• 72mm Close-Up Lens 500D
mtf chart
EF 50mm f/1.8 II
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
0.2
0.1
0
0
5
10
lens diagram
15
20
mtf chart
EF 85mm f/1.2L II USM
1
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0
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lens diagram
20
EF Fixed Focal Length Lenses
42/43
IDEAL FOR
features
• Fast f/1.8 aperture
• Short/medium telephoto lens
• USM focus motor with full-time
manual focus
• 85cm closest focusing distance
• 58mm filter size
• Super Spectra coatings reduce
ghosting and flare
EF 85mm f/1.8 USM
EF 100mm f/2 USM
A very popular short telephoto lens with portrait
photographers
A specialist lens that will help your portraits stand
out from the crowd
A short telephoto focal length, combined with a large
maximum aperture and fast autofocus speed, make the
EF 85mm f/1.8 USM an ideal optic for any photographer
shooting portraiture.
The EF 100mm f/2 USM is a short telephoto lens
with a wide aperture, making it ideal for portraits.
The lens compresses facial features and ensures the
subject stands out against a blurred backdrop.
The EF 85mm f/1.8 USM produces images that are sharp
and clear at all apertures. A virtually circular aperture
diaphragm gives out-of-focus regions a softer, more even
feel, and lets in-focus subjects stand out against a blurred
background. The lens features a non-rotating front element
during focusing, enabling specialist filters (such as polarisers
and graduates) to be used.
The EF 100mm f/2 USM has a large maximum aperture,
but is still relatively compact. The 100mm focal length lets
photographers maintain a comfortable working distance
from their subjects, and also helps to compress perspective.
Sharp, crisp pictures are obtained at all apertures
throughout the range.
ACCESSORIES
• Lens Hood ET–65 III
• Soft Case LP1014
• 58mm Circular Polarizer PL–C B
• 58mm Close-Up Lens 500D
IDEAL FOR
features
• Medium telephoto lens
• Fast f/2 aperture
• USM focus motor with full-time
manual focus
• 90cm closest focusing distance
• 58mm filter size
• Super Spectra coatings reduce
ghosting and flare
ACCESSORIES
• Lens Hood ET–65 III
• Soft Case LP1014
• 58mm Circular Polarizer PL–C B
• 58mm Close-Up Lens 500D
mtf chart
EF 85mm f/1.8 USM
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
0.2
0.1
0
0
5
10
lens diagram
15
20
mtf chart
EF 100mm f/2 USM
1
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0.8
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0
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10
lens diagram
15
20
EF Fixed Focal Length Lenses
44/45
IDEAL FOR
features
• Large f/2 aperture
• Fast, quiet autofocus
• Super Spectra coatings
• L–series construction and optics
• Circular aperture for soft bokeh
• Integration with E–TTL II flash system
• Soft case and lens hood
EF 135mm f/2L USM
EF 135mm f/2.8 (Softfocus)
A wide aperture, fast-focusing professional telephoto lens
A unique portrait lens with built in Softfocus control
The EF 135mm f/2L USM is a fast, lightweight,
high-quality telephoto lens. It is the ideal tool for
capturing indoor sports in low-light conditions and
for shooting portrait photography.
The EF 135mm f/2.8 is a unique lens. Its Softfocus
control allows sharpness to be adjusted, making it
ideal for portraiture, where a soft glow can improve
skin tones for a flattering result.
The lens’ large maximum aperture lets photographers
shoot with relatively fast shutter speeds, even in low light.
This makes the EF 135mm f/2L USM an ideal optic for those
shooting indoor sports. Despite its high specification, the lens
is relatively lightweight and compact, weighing just 750g.
The EF 135mm f/2.8 features Canon’s Softfocus function.
With this, the photographer can choose between two soft
focus settings as well as using the lens normally for
razor-sharp results.
IDEAL FOR
features
• Softfocus control
• Telephoto lens
• f/2.8 aperture
• AFD autofocus system
• 1.3m closest focusing distance
• 52mm filter size
• Super Spectra coatings reduce
ghosting and flare
ACCESSORIES
• Lens Hood ET–65 III
• Soft Case LP1016
• 52mm Circular Polarizer PL–C B
• 52mm Close-Up Lens 500D
ACCESSORIES
• Lens Hood ET–78 II
• Soft Case LP1219
• 72mm Circular Polarizer PL–C B
• 72mm Close-Up Lens 500D
• Extender EF 1.4x III
• Extender EF 2x III
mtf chart
EF 135mm f/2L USM
1
0.9
0.8
0.7
0.6
0.5
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0
0
5
10
lens diagram
15
20
mtf chart
EF 135mm f/2.8 (with Softfocus)
1
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0.8
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0.6
0.5
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0
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lens diagram
EF Fixed Focal Length Lenses
46/47
EF 200mm f/2L IS USM
EF 200mm f/2.8L II USM
Large-aperture medium telephoto lens for professionals
A high-quality fast-aperture telephoto lens for
professional photographers
The EF 200mm f/2L IS USM is a high-performance
medium telephoto lens for professional photographers.
Its large f/2 aperture ensures optimum results indoors
and in low-light situations.
The L–series is Canon’s flagship professional lens range,
representing the best in precision-designed EF optics.
L–series lenses combine superior performance with
superlative handling, and are resistant to dust and moisture.
The EF 200mm f/2.8L II USM is a part of Canon’s
professional L-series lens range. It features ring-type
USM focusing and two UD elements for excellent
sharpness and imaging performance.
Two UD (ultra-low dispersion) glass elements, combined with
rear focusing technology, enable the EF 200mm f/2.8L II USM
to deliver extremely sharp images. Background blur appears
smooth and natural.
IDEAL FOR
IDEAL FOR
features
• L–series construction and optics
• Two UD lens elements
• Fast, quiet USM autofocus
• Super Spectra coatings
• Circular aperture for excellent
background bokeh
• Passes distance information to
camera for E–TTL II flash system
• Soft case and lens hood
features
• L–series construction
• Large f/2 aperture
• Five-stop Image Stabilizer with
tripod detection
• Super Spectra lens coatings
• Fluorite and UD lens elements
• Ring USM autofocus with full-time
manual focus
ACCESSORIES
• 72mm Circular Polarizer PL–C B
• Extender EF 1.4x III
• Extender EF 2x III
• Tripod Mount Ring A II(B)
JONATHAN & ANGELA SCOTT,
WILDLIFE photographerS
“I’m loving the new EF
200mm f/2L IS USM –
for low light wildlife
photography first thing
in the morning and late
evening when the light is
gorgeous, but there is not
much of it – this is the lens”
ACCESSORIES
• 52mm Drop-in Circular Polarizing
Filter PL– C 52
• Extender EF 1.4x III
• Extender EF 2x III
mtf chart
EF 200mm f/2L IS USM
1
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0.8
0.7
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0.5
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10
15
lens diagram
20
mtf chart
EF 200mm f/2.8L II USM
1
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0
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lens diagram
20
EF Fixed Focal Length Lenses
48/49
EF 300mm f/2.8L IS II USM
EF 300mm f/4L IS USM
Light weight L-series super-telephoto lens, for all types of
action photography
A portable, lightweight telephoto lens for photographers
on the move
High-performance L-series super-telephoto lens, with
4 stop Image Stabilizer with 3 modes ideal for all
types of action photography. The EF 300mm f/2.8L IS
II USM delivers outstanding image quality in a robust
lightweight construction.
The EF 300mm f/4L IS USM offers portability and image
quality. The lens features UD lens elements to improve
optical performance and Image Stabilisation technology
to reduce blur from camera movement.
With a large aperture of f/2.8, the EF 300mm f/2.8L IS II USM
is a high performance super-telephoto lens delivering
exceptional image quality in a durable and lightweight design.
The EF 300mm f/4L IS USM is a compact telephoto lens
featuring an Image Stabilizer that compensates for camera
shake, allowing shutter speeds two stops slower than normal
to be used without blur. Stabilisation can be turned off in one
direction to allow for panning.
IDEAL FOR
IDEAL FOR
features
• L–series construction and optics
• Two UD lens elements
• Fast, quiet USM autofocus
• Super Spectra coatings
• Circular aperture for excellent
background bokeh
• 77mm filter size
features
• High performance
super-telephoto lens
• Part of Canon’s acclaimed L series
• Durable, rugged and lightweight
• 4 stop Image Stabilizer
• Enhanced image quality with
SWC coating
• 3 IS modes
• Quiet and fast autofocus
ACCESSORIES
• 52mm Drop-in Circular Polarizing
Filter PL-C52 (WII)
• Extender EF 1.4x III
• Extender EF 2x III
ACCESSORIES
• 77mm Circular Polarizer PL–C B
• Extender EF 1.4x III
• Extender EF 2x III
mtf chart
EF 300mm f/2.8L IS II USM
1
0.9
0.8
0.7
0.6
0.5
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0
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5
10
15
lens diagram
20
mtf chart
EF 300mm f/4L IS USM
1
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0.8
0.7
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0.5
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0
0
5
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15
lens diagram
20
EF Fixed Focal Length Lenses
50/51
EF 400mm f/2.8L IS II USM
EF 400mm f/4 DO IS USM
High performance, L–series super-telephoto lens,
for sports and wildlife photography
A diminutive super-telephoto that combines high
optical performance with portability
Ultra-high-performance L–series super-telephoto
lens, featuring a 4 stop Image Stabilizer with 3 modes.
The EF 400mm f/2.8L IS II USM delivers outstanding
image quality in a robust design ideal for sports and
wildlife photography.
A pioneering super-telephoto lens that uses
multi-layer Diffractive Optical (DO) technology.
The result is a combination of high performance
with small, lightweight physical design.
With a large aperture of f/2.8, the EF 400mm f/2.8L IS II USM
is an ultra-high-performance super-telephoto lens delivering
exceptional image quality in a durable design using
magnesium alloy and titanium to reduce weight.
A unique approach to lens design. The EF 400mm f/4
DO IS USM incorporates a multi-layer Diffractive Optical (DO)
element, meaning it is smaller and lighter than lenses of
conventional equivalent design. The DO element – developed
by Canon – is a milestone in optical design, combining the
properties of fluorite and aspherical elements in one.
IDEAL FOR
IDEAL FOR
features
• One DO (Diffractive Optic)
lens element
• One Fluorite lens element
• Fast, quiet autofocus
• Super Spectra coatings
• 52mm Rear drop-in filter holder
• Hard case and lens hood
features
• Ultra-high-performance
super-telephoto lens
• Part of Canon’s acclaimed L series
• 4 stop Image Stabilizer
• 3 IS modes
• Durable, rugged design
• Enhanced image quality
• Quiet and fast autofocus
ACCESSORIES
• 52mm Drop-in Circular Polarizing
Filter PL–C52 (WII)
• Extender EF 1.4x III
• Extender EF 2x III
ACCESSORIES
• 52mm Drop-in Circular Polarizing
Filter PL–C 52
• Extender EF 1.4x III
• Extender EF 2x III
mtf chart
EF 400mm f/2.8L IS II USM
1
0.9
0.8
0.7
0.6
0.5
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0
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5
10
15
lens diagram
20
mtf chart
EF 400mm f/4 DO IS USM
1
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0
0
5
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15
lens diagram
20
EF Fixed Focal Length Lenses
52/53
EF 400mm f/5.6L USM
EF 500mm f/4L IS II USM
A portable super-telephoto lens boasting excellent
optical performance
Professional image quality meets high magnification
The EF 400mm f/5.6L USM super-telephoto lens delivers
exemplary optical performance and fast autofocus from
a portable, lightweight design. A popular combination
with wildlife photographers.
This high-performance lens was designed with portability
and ease of handling in mind. The EF 400mm f/5.6L USM
features a UD (ultra-low dispersive) element and one
super–UD element, whose characteristics are similar to
fluorite. This combination results in sharp pictures from
corner to corner. The lens also has a built-in hood and
a detachable tripod mount.
The EF 500mm f/4L IS II USM is a high-magnification,
super-telephoto lens featuring integrated Image
Stabilizer technology. The perfect solution for wildlife,
nature and sports photographers working in the field.
The EF 500mm f/4L IS II USM features a lightweight
magnesium alloy and titanium construction, which reduces
weight without compromising on strength and build quality.
IDEAL FOR
IDEAL FOR
features
• L–series construction and optics
• Large focal length compact size
• One UD and one super UD
lens element
• Fast, quiet USM autofocus
• Super Spectra coatings
• 77mm filter size
• Built in lens hood
ACCESSORIES
• 77mm Close-Up Lens 500D
• 77mm Circular Polarizer PL–C B
• Extender EF 1.4x III
• Extender EF 2x III
mtf chart
EF 400mm f/5.6L USM
1
0.9
0.8
0.7
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0.5
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5
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15
lens diagram
20
mtf chart
EF 500mm f/4L IS II USM
1
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5
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15
lens diagram
features
• High-performance 500mm lens
• Fluorite and UD lens elements
• Fast f/4 max aperture
• Ring-type USM for fast AF
• 4-stop Image Stabilizer
• Protective fluorine coating on
front and rear elements
• 3.7m min focus
• 9 blade aperture
• Power focus for video
• Dust and moisture resistant
ACCESSORIES
• 52mm Drop-in Circular Polarizing
Filter PL–C52 (WII)
• Extender EF 1.4x III
• Extender EF 2x III
20
EF Fixed Focal Length Lenses
54/55
EF 600mm f/4L IS II USM
EF 800mm f/5.6L IS USM
Get close to the action
A super-telephoto lens, boasting very high magnification
and excellent image quality
The EF 600mm f/4L IS II USM is a high-magnification,
super-telephoto lens featuring integrated Image
Stabilizer technology and a fast f/4 maximum aperture.
Perfect for wildlife, nature and sports photographers
working in the field.
The EF 600mm f/4L IS II USM features a lightweight
magnesium alloy and titanium construction, which reduces
weight without compromising on strength and build quality.
The EF 800mm f/5.6L IS USM super-telephoto provides
huge magnification, making it suited to wildlife and
sports photography, as well as specialist applications,
such as surveillance.
The L-series is Canon’s flagship professional lens range,
representing the best in precision-designed EF optics.
L-series lenses combine superior performance with
superlative handling, and are resistant to dust and moisture.
IDEAL FOR
IDEAL FOR
BRUTUS ÖSTLING,
WILDLIFE photographer
features
• High-performance 600mm lens
• Fluorite and UD elements
• Fast f/4 max aperture
• Ring-type USM for fast AF
• 4-stop Image Stabilizer
• Protective fluorine coating on
front and rear elements
• 4.5m min focus
• 9 blade aperture
• Power focus for video
• Dust and moisture resistant
ACCESSORIES
• 52mm Drop-in Circular Polarizing
Filter PL–C52 (WII)
• Extender EF 1.4x III
• Extender EF 2x III
“Now I have the EF 800mm
f/5.6L IS USM and I guess
this will be my new favourite
lens. The lens is super sharp,
I have used it with a double
converter (1600mm) and
the Image Stabilizer is so
good on this one so I could
handhold the lens”
mtf chart
EF 600mm f/4L IS II USM
1
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lens diagram
20
mtf chart
EF 800mm f/5.6L IS USM
1
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15
lens diagram
20
features
• L–series construction
• Four-stop Image Stabilizer
with tripod detection
• Fluorite, UD and super–UD
lens elements
• 4.5kg magnesium alloy build
• Super Spectra lens coatings
• USM autofocus with full-time
manual focus
ACCESSORIES
• 52mm Drop–in Circular Polarizing
Filter PL–C 52
• Extender EF 1.4x III
• Extender EF 2x III
56/57
EF Zoom Lenses
The convenience of multiple focal lengths in one unit.
EF zoom lenses give you the flexibility and freedom to switch
perspectives in a heartbeat. With recent advancements in
optical technology, this versatility does not have to mean a
compromise in quality. The introduction of lenses such as the
EF 70–300mm f/4.5–5.6 DO IS USM – measuring less than
10cm in length – takes the convenience factor of zoom lenses
to a whole new level, while markedly improving performance.
Camera: EOS 1D Mark IV
Lens: EF 70–200mm f/2.8L IS USM
Exposure: 1/320sec f/4.5 ISO speed: 100
© Jonathan & Angela Scott. Canon Ambassadors.
EF Zoom Lenses
58/59
IDEAL FOR
features
• Circular or full frame Fisheye
zoom lens
• Part of Canon’s acclaimed L-series
• Durable and rugged design
• Quiet and fast autofocus
• Full-time manual focusing
• Easier lens cleaning
EF 8–15mm f/4L Fisheye USM
EF 16–35mm f/2.8L II USM
A zoom lens that offers a unique perspective
The professional’s ultra wide-angle zoom lens
A versatile fisheye zoom lens offering a choice of full
frame or circular image. The EF 8–15mm f/4L Fisheye
USM is part of Canon’s high performance L series lenses
and delivers fantastic image quality, even with such a
wide angle view.
A fast, ultra wide-angle zoom lens offering excellent
optical performance throughout the zoom range.
A constant f/2.8 maximum aperture make this an
ideal lens for low-light photography.
There’s no need to buy two specialist lenses when the
EF 8–15mm f/4L Fisheye USM offers, either full frame or
circular fisheye images when used with cameras with a
24x36mm (full frame) sensor. For photographers shooting
with DSLR’s with a smaller sensor, full frame fisheye images
are possible. With a 180 diagonal field of view, capturing the
whole scene in a single image has never been easier.
The EF 16–35mm f/2.8L II USM incorporates three aspherical
elements to ensure corner-to-corner sharpness and clarity
throughout the focal range. Two UD (ultra-low dispersion)
elements virtually eliminate chromatic aberrations.
IDEAL FOR
features
• L-series construction and optics
• Constant f/2.8 maximum aperture
• Fast, quiet autofocus
• Aspherical and UD lens elements
• Super Spectra coatings
• Circular aperture for excellent bokeh
• Passes distance information to
E–TTL II flash metering
ACCESSORIES
• Lens hood EW–77
• Softcase LP1219
ACCESSORIES
• Lens Hood EW–88
• Soft Case LP1319
• 82mm Circular Polarizer PL–C B
LENS DIAGRAM
mtf chartS
EF 8–15mm f/4L Fisheye USM WIDE
1
0.9
0.8
0.7
0.6
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5
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15
20
mtf chartS
EF 8–15mm f/4L Fisheye USM TELE
1
0.9
0.8
0.7
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0
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5
10
15
20
EF 16–35mm f/2.8L II USM WIDE
1
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0.8
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0.5
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5
10
15
20
LENS DIAGRAM
EF 16–35mm f/2.8L II USM TELE
1
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0.8
0.7
0.6
0.5
0.4
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0
0
5
10
15
20
60/61
IDEAL FOR
features
• Superb optical performance
throughout the zoom range
• Fast autofocus speed
• Highly resistant to dust and moisture
• 28cm minimum focusing distance
at all focal lengths
EF Zoom Lenses
EF 17–40mm f/4L USM
EF 24–70mm f/2.8L USM
A high-quality, wide-angle zoom for a variety of subjects
The professional photographer’s standard zoom lens
The EF 17–40mm f/4L USM is an ultra wide-angle zoom
lens that offers excellent image quality and a constant
maximum aperture. Its compact, lightweight body
makes it an ideal travelling companion.
The EF 24–70mm f/2.8L USM is high-performance
standard zoom lens with a wide focal-length range.
It is designed to meet the needs of professional
photographers using digital EOS cameras.
The EF 17–40mm f/4L USM acts as an ultra-wide angle
zoom on film or full-frame digital EOS cameras. On DSLRs
equipped with APS–C sized sensors it acts as a standard zoom,
giving an angle of view equivalent to a 28–70mm lens on
a full-frame camera.
The EF 24–70mm f/2.8L USM lens is a high-performance
standard zoom lens with a fast maximum aperture that stays
constant throughout the zoom range. It is resistance to dust
and moisture and focuses down to just 0.38m.
IDEAL FOR
features
• High-speed AF
• Optimised lens coatings
• Highly resistant to dust and
water droplets
• Minimum focusing distance
of 0.38m at all focal lengths
• Front of lens does not rotate
during focusing
• Manual focus possible in AF mode
• Lead-free glass
ACCESSORIES
• Lens Hood EW–83E
• Soft Case LP1319
• 77mm Close-Up Lens 500D
• 77mm Circular Polarizer PL–C B
ACCESSORIES
• Lens Hood EW–83F
• Soft Case LP1219
• 77mm Close-Up Lens 500D
• 77mm Circular Polarizer PL–C B
LENS DIAGRAM
mtf chartS
EF 17–40mm f/4L USM WIDE
1
0.9
0.8
0.7
0.6
0.5
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5
10
15
20
mtf chartS
EF 17–40mm f/4L USM TELE
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
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0
0
5
10
15
20
EF 24–70mm f/2.8L USM WIDE
1
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0.8
0.7
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0.5
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0
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5
10
15
20
LENS DIAGRAM
EF 24–70mm f/2.8L USM TELE
1
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15
20
62/63
IDEAL FOR
features
• L-series optics
• Lightweight 4.3x zoom
• Constant maximum f/4 aperture
throughout zoom range
• Three-stop Image Stabilizer
• Super UD and aspheric
lens elements
• Fast autofocus
• Super Spectra coatings
• Circular aperture provides
pleasing background blur
• Soft case and lens hood
EF Zoom Lenses
EF 24–105mm f/4L IS USM
EF 28–135mm f/3.5–5.6 IS USM
The professional photographer’s lightweight standard zoom
The ideal everyday standard zoom lens
Offering a greater focal-length range and a more
compact construction than other standard zooms,
the EF 24–105mm f/4L IS USM is the ideal lens for
the professional travel photographer.
The EF 28–135mm f/3.5–5.6 IS USM offers a 5x zoom
range, from wide angle to telephoto. The lens also
features image stabilisation and is compact and
lightweight, making it suitable for everyday use.
The lens incorporates a Super UD (ultra-low dispersion)
glass element to eliminate secondary chromatic aberrations.
Aspherical lens elements correct for spherical aberrations.
The result is crisp, high-contrast, undistorted optical
performance throughout the zoom range, without colour
fringing at high-contrast edges.
A three-stop image stabiliser enables hand-held shooting
in low light conditions, even at the telephoto end of the
zoom scale. Handy for taking pictures when the use of
a flash or tripod is not allowed.
features
• Three-stop Image Stabilizer
• Fast, quiet autofocus
• Super Spectra coating
• Circular aperture for pleasing
background blur
• Passes distance information
to E–TTL II
• Optional lens hood
ACCESSORIES
• Lens Hood EW–78B II
• Soft Case LP1116
• 72mm UV Protector Filter
• 72mm Circular Polarizer PL–C B
ACCESSORIES
• Lens Hood EW–83H
• Soft Case LP1219
• 77mm Close-Up Lens 500D
• 77mm Circular Polarizer PL–C B
LENS DIAGRAM
IDEAL FOR
mtf chartS
EF 24–105mm f/4L IS USM WIDE
1
0.9
0.8
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10
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mtf chartS
EF 24–105mm f/4L IS USM TELE
1
0.9
0.8
0.7
0.6
0.5
0.4
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0
0
5
10
15
20
EF 28–135mm f/3.5–5.6 IS USM WIDE
1
0.9
0.8
0.7
0.6
0.5
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0
0
5
10
15
20
LENS DIAGRAM
EF 28–135mm f/3.5–5.6 IS USM TELE
1
0.9
0.8
0.7
0.6
0.5
0.4
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0
0
5
10
15
20
64/65
EF Zoom Lenses
EF 28–300mm f/3.5–5.6L IS USM
EF 70–200mm f/2.8L IS II USM
The professional photographer’s superzoom
An essential telezoom lens for sports, wildlife or portraits
From wide to telephoto with just one lens. The flexibility
of an 11x zoom range, combined with the quality of
Canon’s L-series glass, make this lens the ultimate
tool for photographers on the move.
The EF 70–200mm f/2.8L IS II USM is a workhorse
telephoto zoom lens designed for professional use.
It has a rugged durable design, a four-stop Image
Stabilizer and specialised lens elements.
With a zoom range covering everything from wide-angle
to super-telephoto, the EF 28–300mm f/3.5–5.6L IS USM
is designed for professional photographers looking to limit
lens changes and reduce overall kit weight. Perfect for
photojournalists and those shooting on the move.
The L-series is Canon’s flagship professional lens range,
representing the best in precision-designed EF optics.
L-series lenses combine superior performance with
superlative handling, and are resistant to dust and moisture.
IDEAL FOR
IDEAL FOR
features
• 11x zoom
• L-series quality
• Image Stabilizer
• Minimum focusing distance 0.7m
• Full-time manual focus
• Dust-proof, splash-proof
construction
• Circular aperture diaphragm
• E–TTL II distance metering
• Lens coatings optimised for digital
cameras
features
• High-performance, L-series
telephoto zoom lens
• Constant maximum aperture
of f/2.8
• Four-stop Image Stabilizer
• Fluorite and UD lens elements
• Improved durability
• 1.2m minimum focussing
• Water and dust resistant
• Ring type USM AF motor
ACCESSORIES
• Lens Hood EW–83G
• Lens Case LZ1324
• 77mm Circular Polarizer PL–C B
• 77mm Close-Up Lens 500D
ACCESSORIES
• Lens Hood ET–87
• Lens Case LZ1326
• 77mm Close-Up Lens 500D
• 77mm Circular Polarizer PL–C B
LENS DIAGRAM
mtf chartS
EF 28–300mm f/3.5–5.6L IS USM WIDE
1
0.9
0.8
0.7
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10
15
20
mtf chartS
EF 28–300mm f/3.5–5.6L IS USM TELE
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
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0
0
5
10
15
20
EF 70–200mm f/2.8L IS II USM WIDE
1
0.9
0.8
0.7
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0.5
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10
15
20
LENS DIAGRAM
EF 70–200mm f/2.8L IS II USM TELE
1
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0.8
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0
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5
10 15
20
66/67
EF Zoom Lenses
EF 70–200mm f/2.8L USM
EF 70–200mm f/4L IS USM
The professional photographer’s telezoom lens
The professional’s lightweight IS telephoto zoom
The EF 70–200mm f/2.8L USM is a professionally quality,
fast-aperture telephoto zoom lens popular with wildlife
and sports photographers, as well as those shooting
weddings and portraiture.
Compact, manoeuvrable and lightweight. The
EF 70–200mm f/4L IS USM is a telezoom featuring
the very finest in L-series optical technology to deliver
outstanding optical performance and operability.
One of the finest telephoto zoom lenses in the EF line,
optically comparable to a prime lens. Four UD-glass elements
to correct chromatic aberrations and multiple zoom groups
allow internal focusing, resulting in high image quality
throughout the zoom range.
The EF 70–200mm f/4L IS USM features a four-stop Image
Stabilizer (IS), making this an ideal lens for handheld work.
Shutter speeds up to four stops slower than would otherwise
be possible can be used with no perceptible increase in image
blur. When panning horizontally, the IS system can be set to
correct only for unwanted vertical shake.
IDEAL FOR
IDEAL FOR
features
• L-series optics
• Light and compact
• Four-stop Image Stabilizer
• Constant f/4 maximum aperture
• Fluorite and UD lens elements
• Super Spectra coatings
• Circular aperture for pleasing
background blur
features
• High performance, L-series
telephoto zoom lens
• Constant f/2.8 maximum aperture
• Four UD lens elements
• 1.5m minimum focusing
• Water and dust resistant
• Eight-bladed aperture
• Ring-type USM AF motor
ACCESSORIES
• Lens Hood ET–74
• Soft Case LP1224
• 67mm Circular Polarizer PL–C B
• Extender EF 1.4x III
• Extender EF 2x III
• Tripod Mount Ring A II(W)
ACCESSORIES
• Lens Hood ET–83 II
• Lens Case LZ1324
• 77mm Close-Up Lens 500D
• 77mm Circular Polarizer PL–C B
• Extender EF 1.4x III
• Extender EF 2x III
LENS DIAGRAM
mtf chartS
EF 70–200mm f/2.8L USM WIDE
1
0.9
0.8
0.7
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5
10
15
20
mtf chartS
EF 70–200mm f/2.8L USM TELE
1
0.9
0.8
0.7
0.6
0.5
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0
0
5
10 15
20
EF 70–200mm f/4L IS USM WIDE
1
0.9
0.8
0.7
0.6
0.5
0.4
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0
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5
10
15
20
LENS DIAGRAM
EF 70–200mm f/4L IS USM TELE
1
0.9
0.8
0.7
0.6
0.5
0.4
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0
0
5
10
15
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68/69
EF Zoom Lenses
EF 70–200mm f/4L USM
EF 70–300mm f/4–5.6L IS USM
A lightweight, compact telezoom delivering professional
performance and accomplished handling
Versatile telephoto lens setting new standards in zoom
and performance
A high-performance telephoto zoom lens.
The EF 70–200mm f/4L USM delivers excellent image
quality in a variety of situations. Its compact, lightweight
design make it an excellent travel companion.
The EF 70–300mm f/4–5.6L IS USM is part of Canon’s
prestigious L series offering performance excellence
with a versatile zoom range and superb image quality
in a robust and compact design.
The L-series is Canon’s flagship professional lens range,
representing the best in precision-designed EF optics.
L-series lenses combine superior performance with
superlative handling, and are resistant to dust and moisture.
With a focal length range of 70–300mm, the EF 70–300mm
f/4–5.6L IS USM is a compact and versatile telephoto zoom
lens delivering exceptional image quality. Ideal for wildlife
and sports photographers, as well as photo journalism
and portraiture.
IDEAL FOR
features
• High performance telephoto
zoom lens
• Part of Canon’s acclaimed L series
• 4 stop Image Stabilizer
• Two UD elements
• Highly resistant to dust and water
• 8 blade circular aperture
• Quiet & fast autofocus
• Compatible with a tripod collar
features
• L-series optics
• Light and compact
• Constant f/4 maximum aperture
• Fluorite and UD lens elements
• Fast autofocus
• Super Spectra coatings
• Circular aperture for pleasing
background blur
ACCESSORIES
• Lens hood ET–73B
• Softcase LP1424
• 67mm Circular Polarizer PL–C B
• Ring type tripod mount C (WII)
ACCESSORIES
• Lens Hood ET–74
• Soft Case LP1224
• 67mm Circular Polarizer PL–C B
• Extender EF 1.4x III
• Extender EF 2x III
LENS DIAGRAM
IDEAL FOR
mtf chartS
EF 70–200mm f/4L USM WIDE
1
0.9
0.8
0.7
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10
15
20
mtf chartS
EF 70–200mm f/4L USM TELE
1
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5
10 15
20
EF 70–300mm f/4-5.6L IS USM WIDE
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
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0
0
5
10
15
20
LENS DIAGRAM
EF 70–300mm f/4-5.6L IS USM TELE
1
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0.8
0.7
0.6
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0
0
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10 15
20
EF Zoom Lenses
70/71
IDEAL FOR
EF 70–300mm f/4–5.6 IS USM
EF 70–300mm f/4.5–5.6 DO IS USM
An affordable telephoto zoom with Image Stabilizer
A unique approach to telephoto zoom design
Advanced three-stop Image Stabilizer (IS) technology
makes the EF 70–300mm f/4–5.6 IS USM an ideal
telephoto zoom for shooting in dim light and at slow
shutter speeds without incurring camera shake.
A unique design amongst telephoto zoom lenses.
The EF 70–300mm f/4.5–5.6 DO IS USM incorporates
a Diffractive Optical (DO) element that delivers
compact size, low weight and superb image quality.
The powerful, yet reasonably priced, EF 70–300mm f/4–5.6
IS USM will appeal to nature and sports photographers
looking to achieve sharper images when shooting handheld.
When fitted to an EOS camera containing an APS–C sized
sensor, the lens gives an angle of view roughly equivalent
to a 112–480mm lens on a full-frame DSLR.
With its multi-layer Diffractive Optical (DO) element, image
stabilisation (IS) and Ultra-Sonic Motor (USM) technologies,
the EF 70–300mm f/4.5–5.6 DO IS USM is a celebration of
precision lens design.
features
• Three-layer Diffractive Optical
(DO) element
• Just 9.99cm in length
• Image Stabilizer
• High speed AF with manual
focus override
• Circular diaphragm
for pleasing bokeh
• Zoom ring lock
features
• Powerful magnification,
yet affordable
• Three-stop Image Stabilizer
• UD lens element and
Super Spectra coatings
• Circular aperture provides
pleasing background blur
• Fast, quiet autofocus
ACCESSORIES
• Lens Hood ET–65B
• Soft Case LP1116
• 58mm Close-Up Lens 500D
• 58mm Circular Polarizer PL–C B
ACCESSORIES
• Lens Hood ET–65B
• Soft Case LP1222
• 58mm Circular Polarizer PL–C B
LENS DIAGRAM
IDEAL FOR
mtf chartS
EF 70–300mm f/4–5.6 IS USM WIDE
1
0.9
0.8
0.7
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10
15
20
mtf chartS
EF 70–300mm f/4–5.6 IS USM TELE
1
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0.8
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10 15
20
EF 70–300mm f/4.5–5.6 DO IS USM WIDE
1
0.9
0.8
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10
15
20
LENS DIAGRAM
EF 70–300mm f/4.5–5.6 DO IS USM TELE
1
0.9
0.8
0.7
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10 15
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EF Zoom Lenses
72/73
EF 75–300mm f/4–5.6 III USM
EF 75–300mm f/4–5.6 III
An affordable, compact telephoto zoom lens with
USM focusing
An affordable, compact telephoto zoom lens
One of the smallest and lightest telephoto zoom lenses
in its class, the EF 75–300mm f/4–5.6 III USM is ideal for
photographers who are working to a budget. Great for
sports, nature and portraits.
IDEAL FOR
features
• Affordable telephoto zoom lens
• USM autofocus motor
• Super Spectra coatings
• Lightweight design
• 58mm filter size
• 1.5m closest focusing distance
The lightest 4x telephoto zoom lens in its class. Ideal for
photographing sports, portraiture, wildlife etc. The lens’
telephoto effect compresses perspective and restricts
depth-of-field, effectively blurring backgrounds. At the
300mm focal length it is possible to fill the frame with
a postcard from a distance of 1.5 metres.
The EF 75–300mm f/4–5.6 III zoom lens covers
many commonly used telephoto focal lengths and
delivers great quality images. The lens is an affordable,
compact partner for any EOS camera.
This 4x telephoto zoom lens is ideal for the budget-conscious
photographer with an interest in shooting sports, wildlife or
portraiture. In common with other telephoto lenses, the
EF 75–300mm f/4–5.6 III compresses perspective and
allows the photographer to restrict depth-of-field.
features
• Affordable telephoto zoom lens
• DC autofocus motor
• Super Spectra coatings
• Lightweight design
• 58mm filter size
• 1.5m closest focusing distance
ACCESSORIES
• Lens Hood ET–60
• Soft Case LP1019
• 58mm Close-Up Lens 250D
• 58mm Circular Polarizer PL–C B
ACCESSORIES
• Lens Hood ET–60
• Soft Case LP1019
• 58mm Close-Up Lens 500D
• 58mm Circular Polarizer PL–C B
LENS DIAGRAM
IDEAL FOR
mtf chartS
EF 75–300mm f/4–5.6 III USM
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
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0
0
5
10
15
20
mtf chartS
EF 75–300mm f/4–5.6 III USM
1
0.9
0.8
0.7
0.6
0.5
0.4
0.3
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0
0
5
10 15
20
EF 75–300mm f/4–5.6 III WIDE
1
0.9
0.8
0.7
0.6
0.5
0.4
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0
0
5
10
15
20
LENS DIAGRAM
EF 75–300mm f/4–5.6 III TELE
1
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0.8
0.7
0.6
0.5
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0
0
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10
15
20
74/75
EF Zoom Lenses
EF 100–400mm f/4.5–5.6L IS USM
A flexible approach towards wildlife and sports photography
The EF 100–400mm f/4.5–5.6L IS USM provides
superlative handling and consistently high image quality.
Its versatile zoom range makes it a popular choice with
professional sports and nature photographers.
The EF 100–400mm f/4.5–5.6L IS USM is an L-series super
telephoto zoom lens, equipped with an Image Stabilizer.
Its fluorite and Super UD-glass elements largely eliminate
distortions and aberrations. A floating optical system also
ensures good picture quality at all focal lengths.
IDEAL FOR
features
• Professional level telephoto zoom
• L-series quality
• Image Stabilizer
• Minimum focusing distance 1.8m
• Fluorite and Super UD lens elements
• Circular aperture diaphragm
• E–TTL II distance metering
ACCESSORIES
• 77mm Close-Up Lens 500D
• 77mm Circular Polarizer PL–C B
• Extender EF 1.4x III
• Extender EF 2x III
LENS DIAGRAM
mtf chartS
EF 100–400mm f/4.5–5.6L IS USM WIDE
1
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5
10
15
20
EF 100–400mm f/4.5–5.6L IS USM TELE
1
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10 15
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Camera: EOS 60D
Lens: EF 70–200mm f/4L IS USM
Exposure: 1.3sec f/8.0 ISO speed: 100
76/77
Macro Lenses
Bringing a miniature world into life-size view.
Macro photography allows you to explore a whole new world
of hidden details. Canon’s EF lens line-up has a number of
options for true close-up and macro photography. With six
macro lenses covering focal lengths from 50mm to 180mm,
including one designed specifically for APS–C sensors, you
can reveal intricate beauty that the unaided eye will miss.
Camera: EOS–1Ds Mark III
Lens: EF 100mm f/2.8L Macro IS USM
Exposure: 1/320sec f/2.8 ISO speed: 200
Macro Lenses
78/79
What is Macro
photography?
There’s a whole world beyond the one we see in our day-to-day lives – a world
of miniature creatures, textures and details just waiting to be discovered.
This miniature world can be a great source of photographic inspiration and can,
if approached correctly, provide images that are unexpected, bizarre and enticing.
Using a true macro lens will help you to
get closer to your subject than any standard
zoom lens could. With macro lenses,
the tiniest details are revealed – even those
otherwise invisible to the human eye.
A macro lens enables magnification of
life-size or greater on the film or digital
sensor – in other words, if the subject is
20mm across in real life, it will be 20mm
across on the digital sensor. The higher
the magnification, the larger the subject
will be when recorded.
Choosing a macro lens
Selecting which macro lens is right for you
can be a tricky business. The crucial points to
consider are focal length and magnification.
magnification graph
0
50mm
1
2
4
If magnification is more important than
working distance, choose a lens that provides
enough for your needs. The EF 50mm f/2.5
Compact Macro can be used with the EF lifesize converter to achieve 1.0x magnification,
rather than the 0.5x magnification it offers on
its own. All other lenses in the Macro range
are also capable of 1.0x magnification. The
MP–E 65mm f/2.8 1–5x lens is a specialist
lens designed to allow you to fully explore
worlds beyond those we can see with the
naked eye, with magnification of up to 5.0x.
Using macro lenses
Using a macro lens well requires different
skills to normal lenses. The two key things
to be aware of are stability and depth-of-field.
At high magnifications, any slight movement
of the camera will translate into camera shake
that can ruin your image. Where possible,
use a tripod to help keep the camera stable.
For the freedom of shooting hand-held, the
EF 100mm f/2.8L Macro IS USM lens features
a Hybrid IS system to counteract camerashake both in normal shooting and in macro
shooting, providing up to two-stops of image
stabilisation at 1.0x magnification enabling
slower shutter speeds to be used without
camera shake occuring.
The closer you get to your subject (and the
higher the magnification), the shallower the
depth-of-field becomes. This is great if you
want to blur the background, but for more
depth, you will need to close the aperture
down and, if the light levels are low,
use a higher ISO setting, longer shutter
speed, or flash.
Not just for macro
With the exception of the MP–E 65mm
1–5x Macro lens, all macro lenses can also be
used for normal photography. For example,
the EF–S 60mm f/2.8 Macro USM and
EF 100mm f/2.8L Macro IS USM lenses
are excellent for portrait photography,
whilst the EF 50mm f/2.5 Compact Macro
is an excellent standard lens and, due to a
very flat field of view, is ideal for copying
artwork and product photography.
hybrid is
The image below has been photographed using
EF 100mm f/2.8L Macro IS USM lens with Hybrid IS,
which enables sharp results without camera-shake
blur even during handheld macro shooting.
5 (Magnification)
0.5
Life size
50mm+ converter
EF
1
100mm 180mm EF-S60mm
1
5
MP-E 65mm
28-135mm
3
Selecting your lens by focal length is best
achieved by working out what subjects you
want to photograph. If it’s inanimate subjects
like a still life composition, or wild flowers
in a wood, then it doesn’t necessarily matter
if you get up close to them – they won’t jump
or fly away. However, for timid creatures like
insects, butterflies or detail shots of reptiles,
you’re better off using a longer focal length
lens to give you more working distance –
the distance between the camera and
your subject.
Working distance at an image magnification
of 0.5x (distance from the end of the lens to
the subject)
0.19
hybrid is on
(compensation for
angle and shift
camera shake)
IS on (compensation
only for angle
camera shake)
IS off
Macro Lenses
80/81
IDEAL FOR
features
• Standard 46° angle of view
• 23cm closest focusing distance
• 1/2 life-size image reproduction
• AFD focusing system
• 52mm filter size
• Super Spectra coatings reduce
ghosting and flare
EF 50mm f/2.5 Compact Macro
EF–S 60mm f/2.8 Macro USM
Standard lens with perfect macro capability
Enter the macro world
Light and compact, perfect as a general-purpose macro
lens or as a flexible standard lens.
The EF–S 60mm f/2.8 Macro USM is the first true Macro
lens in the EF–S series. A dynamic, compact, fast-focusing
lens, it provides dramatic detail that goes beyond the
human eye.
Lightweight and compact macro lens for close-ups up to
0.5x (half life-size) and with the optional life-size converter
1x magnification is possible. The optical system uses a
floating construction for performance at all focusing distances.
With a large f/2.5 aperture, beautiful background blur
is possible. This multi-purpose lens is ideal for portraiture
and other applications besides macro photography.
With its ability to focus life-size images onto the image
sensor, the EF–S 60mm f/2.8 Macro USM offers true macro
performance in the EF–S lens series. Having an effective focal
length of approximately 96mm in 35mm format, it produces
breathtaking close-up results. A minimum focusing distance
of just 20cm gets you super close to your subject, filling the
frame with the subject in the highest detail you require.
ACCESSORIES
• Soft Case LP814
• 52mm Close-Up Lens 500D
• 52mm Close-Up Lens 250D
• 52mm Circular Polarizer PL– C B
• Life-size Converter EF
• Macro Ring Lite MR–14EX
• Macro Twin Lite MT–24EX
IDEAL FOR
features
• Approx. 96mm focal length
(35mm format)
• Compact and lightweight
• High corner-to-corner resolution,
contrast and image quality
• Fast autofocus with near-silent USM
• Full-time manual focus override
• Super Spectra coatings
• Large aperture
ACCESSORIES
• Lens Hood ET–67B
• Soft Case LP1016
• 52mm Close-Up Lens 500D
• 52mm Close-Up Lens 250D
• Macro Ring Lite MR–14EX
• Macro Twin Lite MT–24EX
mtf chart
EF 50mm f/2.5 Compact Macro
1
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lens diagram
mtf chart
EF–S 60mm f/2.8 Macro USM
1
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13
lens diagram
Macro Lenses
82/83
IDEAL FOR
EF 100mm f/2.8 Macro USM
EF 100mm f/2.8L Macro IS USM
A perfect portrait lens of the highest quality with
additional macro capability
Macro lens with Image Stabilizer sets new standards
for performance and features
The EF 100mm f/2.8 Macro USM lens is equally
at home for portraits as it is for macro photography
up to life-size (1.0x).
The EF 100mm f/2.8L IS USM, part of Canon’s prestigious
L-series, and first featuring an Image Stabilizer with
angle and shift detection which is highly effective at
close focusing distances.
The EF 100mm f/2.8 Macro USM is a medium telephoto
lens with a macro feature providing a 1.0x magnification.
With eight aperture blades, creative background blur
is possible to help make the subject stand out. The lens
features a focusing limiter switch which limits the focus
range to improve AF speed.
The lens embodies Canon’s highest standards of L-series
optics, build quality, reliability and performance. A robust
construction includes dust and moisture resistant seals
to help protect against harsh weather conditions.
IDEAL FOR
features
• Canon L-series high
performance macro
• Four-stop Hybrid IS
• Life-size image reproduction (1:1)
• UD lens element
• Water and dust resistant
• Three position distance limiter
• Nine blade circular aperture for
beautiful creative blur
• Ring type USM AF motor
• Optional tripod collar
features
• Canon high performance macro
• Life-size image reproduction (1:1)
• UD lens element
• Focus distance limiter
• 8 blade circular aperture for beautiful
creative blur effects
• 58mm filter size
• Ring type USM AF motor
• Optional tripod collar
ACCESSORIES
• Lens Hood ET–67
• Soft Case LP1219
• 58mm Circular Polarizer PL–C B
• Tripod Mount Ring B (B)
• Macro Ring Lite MR–14EX
• Macro Twin Lite MT–24EX
ACCESSORIES
• Lens Hood ET–73
• Soft Case LP1219
• 67mm Circular Polarizer PL–C B
• Tripod Mount Ring D (B)
• Macrolite adapter 67
• Macro Ring Lite MR–14EX
• Macro Twin Lite MT–24EX
mtf chart
EF 100mm f/2.8 Macro USM
1
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lens diagram
mtf chart
EF 100mm f/2.8L Macro IS USM
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lens diagram
Macro Lenses
84/85
EF 180mm f/3.5L Macro USM
MP–E 65mm f/2.8 1–5x Macro Photo
High performance macro telephoto with excellent versatility
A macro lens capable of going further
With its telephoto specification, life-size close-ups can
be taken from further away without risk of disturbing
the subject. Ideal for wildlife.
This unique macro lens is designed to achieve a high
magnification greater than life-size (1.0x) without the
need for additional accessories.
The EF 180mm f/3.5L Macro USM is a telephoto macro lens
which offers a maximum magnification of 1.0x. Life-size
close-ups can be taken from further away, and at less risk of
disturbing the subject (ideal for insects and other wildlife).
The internal floating focusing system minimizes fluctuations
in aberrations caused by changes in focusing distance.
This ensures the lens is razor sharp from 1.0x to infinity.
The MP–E 65mm f/2.8 1–5x is ideal for very small
subjects, capable of capturing subjects at up to 5x life-size.
The lens design contains UD-glass elements to suppress
chromatic aberrations which often become apparent at high
magnifications. For flash photography, Macro Ring Lite
MR–14EX or Macro Twin Lite MT–24EX can be attached.
IDEAL FOR
features
• Canon L-series high
performance macro
• Telephoto focal length
• Life-size image reproduction (1:1)
• 3 UD lens elements
• 2 position distance limiter
• Ring type USM AF motor
• Supplied tripod collar
ACCESSORIES
• Lens Hood ET–78 II
• Lens Case LZ1324
• 72mm Close-Up Lens 500D
• 72mm Circular Polarizer PL–C B
• 72mm UV Protector Filter
• Extender EF 1.4x III
• Extender EF 2x III
• Macro Ring Lite MR–14EX
• Macro Twin Lite MT–24EX
• Macro Lite Adapter 72C
IDEAL FOR
features
• 65mm focal length (35mm format)
• Manual focus and built in
tripod collar
• 24cm closest focusing distance,
up to 5x life-size
• UD lens element
• 58mm filter size
ACCESSORIES
• Soft Case LP1216
• 58mm Circular Polarizer PL–C B
• Macro Ring Lite MR–14EX
• Macro Twin Lite MT–24EX
mtf chart
EF 180mm f/3.5L Macro USM
1
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lens diagram
mtf chart
MP–E 65mm f/2.8 1–5x Macro Photo
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lens diagram
86/87
Camera: EOS–1Ds Mark III
Lens: TS–E 24mm f/3.5L II
Exposure: 1/20sec f/11 ISO speed: 100
Tilt and Shift
Lenses
Take control of perspective.
Canon TS–E lenses are capable of tilt and shift movements,
which bring many of the advantages of technical view
cameras to the EOS system. Tilt movements alter the angle
of the plane of focus between the lens and image sensor,
making broad depth-of-field possible even at large apertures.
Shift movements slide the lens’ optical axis along the image
sensor plane, enabling you to correct or alter perspective at
almost any angle.
88/89
Tilt and Shift Lenses
Understanding
Tilt and Shift
Tilt and shift lenses are specialist lenses designed to allow you to control both
the perspective and depth-of-field in an image. They are ideal for architecture,
landscape and product or food photography – the TS–E 45mm f/2.8
and TS–E 90mm f/2.8 lenses can also be used for creative portraits.
Photographed using shift
Shift was used to adjust the image to keep perspective
on the building perpendicular all the way to the top.
Shift
Shift is most often used to keep the
perspective of an image looking normal,
for example, stopping buildings looking
as if they are about to fall over backwards
due to converging verticals.
Photographed using tilt
A tulip field that stretches as far as the eye can see.
A TS–E45mm f/2.8 lens’ tilt mechanism is used to
achieve an effect that allows focusing all the way
to the back of the image.
Tilt
Lens tilt is most commonly used for
product photography and landscapes.
With an ordinary lens, all the elements are
aligned so the light passes through in a
straight line to the sensor. Tilt changes this so
that the front of the lens is angled up or down
altering the path of the light and changing the
optical characteristics of the lens. By aligning
the tilt with the plane of the subject, you can
achieve a large depth-of-field, even at wide
apertures and fast shutter speeds.
Photographed using reverse tilt
Reverse tilt greatly reduces the range in which focusing
is possible. This allows you to explore an extensive range
of colour tones.
For greater control, the angle of the lens
tilt may be shifted from up and down, to
side-to-side (otherwise known as ‘swing’).
Again it works in the same way as tilt – a larger
or smaller depth-of-field can be achieved by
angling the front lens elements with or against
the plane of the subject.
While tilt is most commonly used to achieve
greater depth-of-field, reverse tilt, where the
front of the lens element is angled back
away from the plane of focus, will give much
shorter depth-of-field and can be used to
make subjects look like miniature models.
This makes it ideal for architectural
photography where it is essential to have
the upright features properly vertical.
Shift is different to tilt in that, instead of
changing the angle of the front elements,
they can slide up or down. To do this, TS–E
lenses project a much larger than usual
image circle so more image is projected
back to the sensor – the shift function simply
means you look at a part of the image at the
top or bottom of this image circle.
Photographed without using shift
Photograph of the same building as above taken without
using shift. The intrinsic wide-angle perspective causes
the image of the building to lean in at the top.
Like tilt, the shift function can be rotated so
that it works in an up and down or side-toside fashion, depending on your objectives.
While architectural photography is the
most common use of the shift function,
it can also be used in other areas – for
example – using the shift function to
photograph from offside a mirror but still
have it appear that you are square on to it –
all without getting your own reflection in
the scene.
Tilt and Shift Lenses
90/91
TS–E 17mm f/4L
TS–E 24mm f/3.5L II
An ultra wide-angle tilt and shift lens
The high performance, wide-angle lens with exceptional
tilt and shift range
Designed for architectural photography, the TS–E 17mm
f/4L exhibits low distortion and excellent edge-to-edge
sharpness, as well as independent rotation of the tilt
and shift mechanisms.
IDEAL FOR
features
• Ultra wide 17mm tilt and shift lens
• Low distortion and high resolution
• ± 6.5° tilt and ±12mm shift
• Independent tilt or shift rotation
• Aspherical and UD lens elements
• Subwavelength Structure and
Super Spectra coatings
• Circular aperture
The TS–E 17mm f/4L is an ultra-wide angle tilt and shift lens,
providing wide-angle views for cameras with APS–C and
full frame sensors. Tilt and shift movements can be rotated
independently of each other, allowing perspective and depthof-field to be controlled separately, enhancing the flexibility
of the lens.
The TS–E 24mm f/3.5L II has been refined to deliver
superb image quality right to the edges of the frame.
Independent rotation of the tilt and shift mechanisms
permits maximum creative freedom.
IDEAL FOR
The TS–E 24mm f/3.5L II allows tilt and shift movements
to be made independently of each other. This means
perspective and depth-of-field can be controlled separately,
vastly enhancing lens flexibility.
ACCESSORIES
• 82mm Circular Polarizer PL–C B
• Lens Hood EW–88B
• Lens Case LP1319
ACCESSORIES
• Lens case LP1219
Fergus Kennedy,
semi-pro photographer
“Rather than being a simple
representation of the subject,
with a bit of time and thought,
the photographer can put
a bit of their own world-view
into the image – you can see
the emotional connection
with the subject”
features
• 24mm tilt and shift lens
• Low distortion and high resolution
• ± 8.5° tilt and ±12mm shift
• Independent tilt and shift
movements
• Aspherical and UD lens elements
• Circular aperture
mtf chart
TS–E 17mm f/4L
1
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lens diagram
15
20
mtf chart
TS–E 24mm f/3.5L II
1
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lens diagram
15
20
Tilt and Shift Lenses
92/93
IDEAL FOR
features
• 45mm tilt and shift lens
• Natural perspective with
image control
• ± 8° tilt and ±11mm shift
• Rear focusing system
• Non-rotating front element
TS–E 45mm f/2.8
TS–E 90mm f/2.8
A specialist tilt and shift lens offering a natural perspective
A short telephoto lens featuring perspective and
depth-of-field control
The TS–E 45mm f/2.8 is a tilt and shift lens offering an
angle of view similar to that of a 50mm standard lens.
Tilt and shift mechanisms provide complete control
over depth-of-field and perspective.
A standard focal length lens featuring tilt and shift
movements. A floating optical system, and rear focusing
mechanism ensure sharp images from 0.4m to infinity.
The 45mm focal length is ideal for obtaining a
natural-looking perspective.
The world’s first 35mm–format telephoto lens with tilt
and shift movements for perspective and depth-of-field
control. Suitable for a variety of subjects, from product
photography to architecture.
Featuring six elements in five groups, the Gaussian-type
optical system achieves outstanding imaging performance
and natural looking background blur. Focusing is possible
down to 0.5m. The lens is suited to a variety of subjects,
from still-life photography to portraits and landscape work.
Using reverse tilt to manipulate depth-of-field allows the
photographer to achieve unique images, unattainable
with normal lenses.
ACCESSORIES
• Lens Hood EW–79B II
• Lens Hood LP1216
• 72mm Close-Up Lens 500D
• 72mm UV Protector Filter
• 72mm Circular Polarizer PL–C B
mtf chart
TS–E 45mm f/2.8
1
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lens diagram
15
20
mtf chart
TS–E 90mm f/2.8
1
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lens diagram
15
20
IDEAL FOR
features
• 90mm tilt and shift lens
• Telephoto lens with image control
• ± 8° tilt and ±11mm shift
• 58mm filter size
• Non-rotating front element
ACCESSORIES
• Lens Hood ES–65 II
• Lens Case LP1016
• 58mm Close-Up Lens 500D
• 58mm Circular Polarizer PL–C B
94/95
EOS system
Accessories
Protect your investment and
expand your creativity
The EOS system consists of more than cameras, lenses
and flashguns. It also includes an extensive collection
of complementary accessories designed to help you fully
explore the possibilities offered by the Canon EOS system.
Extension tubes, Wireless File Transmitters and Speedlites
will all expand the performance scope of your EOS system,
while hard cases, bags and filters will help to protect your
cameras and lenses.
Lens accessories Including extenders, filters,
lens cases and lens hoods 96–97
Speedlite flash Learn how to enhance your images
with flash, plus all the accessories you will need 98–105
Wireless file transmitters Learn more about WiFi
and how it can help you 106–109
Power accessories Including battery grips, batteries
and adapters 110
Viewfinder accessories Including angle finders
and focusing screens 111
Remote controls Find out which remote control is
the right one for your needs 112
Bags and cases A comprehensive range for the
photographer on the go 113
Lens accessories
96/97
Extender EF 1.4 x III
Filters
Ideal for press, sports and
nature photography, this
compact and affordable
extender increases the focal
length of Canon L-series
telephoto or telephoto
zoom lens’ by a factor
of 1.4x, with higher AF
accuracy and improved
communication between
camera and lens.
Canon provides a variety
of filters to give you more
control over your image
while shooting.
• Extends the master lens
focal length by 1.4x
• Outstanding image quality
• Highly resistant to dust and water
• Improved communication between
lens and camera
• Optimised lens coatings
• Compatible with L-Series telephoto
and telephoto zoom lenses
ND4X–L
Extender EF 2.0 x III
Lens cases
Ideal for press, sports and
nature photography, this
compact and affordable
extender increases the focal
length of Canon L-series
telephoto or telephoto
zoom lens’ by a factor of 2x,
with higher AF accuracy and
improved communication
between camera and lens.
Soft cases are available for all
Canon EF lenses and provide
some protection during
transportation.
• Extends the master lens focal
length by 2x
• Outstanding image quality
• Highly resistant to dust and water
• Improved communication between
lens and camera
• Optimised lens coatings
• Compatible with L-Series telephoto
and telephoto zoom lenses
Protect filters help keep your lenses
in pristine condition by eliminating
the possibility of scratching the front
lens element. ND filters allow you to
reduce the light entering the lens and
so achieve long shutter speeds for
creative effects with moving subjects.
ND8X–L
SKYLIGHT
For the larger EF lenses, custom hard
cases are available which offer more
protection. A case is supplied with all
L-series lenses.
Lens hoods
Extension Tubes – EF 12 II & EF 25 II
The effect of using an
extension tube is that the
distance from the back of the
lens to the image sensor is
longer, allowing you to focus
EF 12 II
EF 25 II ?
?
?
?
?
?
?
?
?
?
?
X
X
X
X
X
X
X
X
X
X
X
i
i
i
i
i
i
i
up closer to the subject.
Extension tubes are typically
used for macro photography
but can also be suitable for
close-up portraits.
i Extenders
i i i
and extension tubes are not compatible with all lenses.
Check the specifications chart for compatibility with individual models.
Extremely helpful when
telephoto shooting in bright
sunlight, lens hoods block
light rays from hitting the
lens surface from the sides,
which can reduce contrast
and cause lens flare.
A lens hood is supplied with
all L-series lenses. Check the
compatibility chart on page
118-120 to find the appropriate
lens hood for your lens.
A Softmat filter can help create a
soft, dreamlike effect that is especially
flattering for portraits, while a circular
polarising filter can be used to reduce
glare on water or intensify blue skies
in landscape photography.
SOFTMAT NO.1
UV
Check the compatibility chart on page
118-120 to find the appropriate case
for your lens.
98/99
Speedlite flash
Understanding
Speedlite flash
Many photographers are surprised that flash can be as useful in bright daylight
as it is after dark. Used well, flash can turn a dull image into a more vibrant,
attention-grabbing one.
Guide Number (GN)
The flash Guide Number tells you how
powerful the flash is for a given ISO setting
and coverage area. The 580EX II for example,
has a guide number of 58. Guide Numbers
for Canon Speedlites are measured in metres
at ISO 100 at the maximum zoom setting
of the flash.
Speedlite Flash units
Speedlite Flash units are not just for adding
light to dimly lit scenes; they open up a whole
range of creative potential. Using flash makes
it possible to add detail or colour, providing
greater depth and a greater emphasis on the
main subject. Understanding the following
flash functions will help to enhance your
flash photography.
Bounce flash
When you fire light directly at a person
or animal you risk red-eye, caused by light
reflecting back off the retina at the back
of the eyeball, as well as harsh, unflattering
shadows. By tilting the Speedlite head so
that light bounces off a wall or ceiling, the
apparent size of the light source is enlarged
relative to the subject, helping light to wrap
around the subject and softening shadows.
For more flattering results, particularly
with portraits, use the tilting flash heads
found on the 270EX II, 320EX, 430EX II
and 580EX II. With the 580EX II and
430EX II, you can also make use of the
built-in catchlight panel to direct a small
amount of light towards the subject giving
eyes a ‘catchlight’, or sparkle.
E–TTL II metering will ensure the right result,
even though light has to bounce off a surface
and travel further.
WITH BOUNCE FLASH
WITHOUT BOUNCE FLASH
Speedlite flash
100/101
To keep rechargeable batteries
in tip-top health, try to
fully discharge them before
recharging.
This will force them through
a complete cycle and help
to prolong their useful life.
Multiple flash control
The Speedlite system gives you the ability
to control several Speedlites wirelessly in a
multiple flash setup. Multiple flash control
is achieved by the use of a master unit
(built-in to some cameras, Speedlites or
ST–E2), which then controls slave units
via pulses of light. These slave units can
be placed around your subject in up to
three groups (A, B and C) to provide three
different zones of light.
For even greater control of light, flash output
for each group can be input manually,
either on the camera or the master flash.
Information is transmitted automatically
to the slave Speedlites.
WITHOUT multiple
FLASH control
Fill-in flash
In many situations flash may be used
to supplement ambient light and fill-in
shadows, rather than as a primary light
source. This is especially true when
photographing people in bright sunlight
where the sun can cast heavy shadows
on faces.
Macro flash
When photographing macro subjects, it is
quite common to find that there is insufficient
natural light to achieve your desired result.
Macro flash is the answer. The MR–14EX and
MT–24EX are macro-specific flashes designed
for lighting small subjects.
Both Tv and Av mode perform balanced
fill-in flash automatically. Flash exposure
compensation can also be used to
adjust the quantity of light released
by the flash, changing the flash-toambient light balance.
WITH multiple FLASH
CONTROL
MULTIPLE FLASH CONTROL
SHOOTING SETUP
WITHOUT MULTIPLE
MACRO FLASH
Speedlite 580EX II
USING MULTIPLE
MACRO FLASH
With either ring (MR–14EX) or twin flash
heads (MT–24EX), you can achieve ratio
control between each flash tube to provide
either flat lighting, or more creative relief
lighting, which will help to bring out texture
and detail. Both flashes can also act as master
units to trigger slave Speedlites and create
more complex lighting setups – by adding
a background light to provide depth to the
image, for example.
MULTIPLE MACRO
FLASH Setup
Speedlite 580EX II
Subject
Lightbulb
Speedlite 580EX II
Speedlite 580EX II
used as master with
flash firing set to off
EOS 5D MK II with
EF 100mm Macro
& MR–14EX Ringlite
102/103
Flash accessories
Speedlite 580EX II
Master your flash
photography with this highpowered, portable Speedlite
flashgun. A Guide Number
of 58 and full E–TTL II flash
metering ensures enough
power and accurate flash
exposures.
Speedlite 320EX
• E–TTL II Flash metering
• Guide Number of 58
• Functions as a wireless
master or slave flash
• 24–105mm zoom head
with 14mm diffuser
• Fast and silent recycling
• White balance communicated
to camera
• Metal mounting foot
• 180 degree swivel and bounce head
• AF Assist beam
• Guide Number 32 (m, ISO100)
• Compact lightweight design
• Bounce-and-swivel flash head, with
24mm and 50mm zoom settings
• Integrated LED video light
• Wireless slave for off-camera
TTL flash
• Remote Release button
• Fast, silent recycling
Speedlite 270EX II
Speedlite 430EX II
A powerful and versatile flash,
the Speedlite 430EX II will
expand your shooting options
with a Guide Number of 43,
wireless slave flash ability,
nine custom functions and
a 24–105mm zoom head.
Featuring Wireless Slave
technology, a bounce/
swivel head and a constant
LED light source for video
work, the Canon Speedlite
320EX opens up new
creative possibilities for EOS
photographers.
• E–TTL II Flash metering
• Guide Number of 43
• Wireless slave flash ability
• 24–105mm zoom head with
14mm diffuser
• Fast and silent recycling
• Metal hot-shoe foot
• 180 degree swivel and bounce head
• AF Assist beam
Explore the creative side
of lighting with the Canon
Speedlite 270EX II –
a compact flashgun that is
as easy to use off-camera as
it is in your camera’s hotshoe.
• Lightweight compact design
• Guide Number 27 (m, ISO100)
• Bounce flash head
• Wireless slave function for
off-camera flash
• Trigger your EOS camera with
Remote Release button
• Variable angle of coverage
• Fast, silent recycling
104/105
Flash accessories
Speedlite transmitter ST–E2
Speedlite bracket SB–E2
Small, lightweight and
portable, the ST–E2 is
a dedicated infra-red
transmitter to control two
groups of remote wireless
slave Speedlites. It also
functions as a focus assist
lamp in low light.
Shooting with a flash
on-camera can produce very
good results, however, for
more flattering light it is best
to position the flash off to
one side of the camera.
• E–TTL II flash control
• Ratio control over two
groups of flashguns
• High-Speed sync
• Up to 10m range outdoors
• AF Assist beam
The SB–E2 helps you do this by
offering a mounting point to the left
of the camera. With different levels
of height adjustment you can modify
the angle from which the flash is
fired. This will help avoid hard, direct
shadows and will also reduce the
chance of seeing red-eye in portrait
images. It is especially useful for
wedding and event photographers,
as it will improve your results,
but is compact and therefore
easily transported and used.
Macro ring lite MR–14EX
Compact battery pack CP–E4
Improve your macro
photography with this
dedicated macro ring lite.
E–TTL flash control and a
Guide Number of 14 provide
ample light and accurate
exposures in all macro
photography situations.
For those photographers
making use of Speedlite
flash in wedding or event
photography, the CP–E4 will
reduce the frequency that
batteries need to be changed
and will also increase the
flash recycling speed,
reducing the time you have
to wait between shots.
• E–TTL II Auto Flash metering
• Guide Number of 14
• Can act as a wireless master flash
• Two flash tubes that can be fired as one
or independently with full ratio control
• Two focusing lights
• Modelling flash capability
• Mounts to the front of macro lenses
A Macro Lite adapter may be required to attach to a lens.
Macro Lite adapters are available in the following filter sizes 52, 58, 67 and 72.
It holds 8x AA batteries
ensuring you can keep
shooting longer.
Macro twin lite MT–24EX
Take control of your macro
photography lighting with
the MT–24EX Macro Twin
Lite. Designed for macro
specialists it provides
creativity and versatility
in both light direction
and power.
• E–TTL II Flash metering
• Guide Number of 24
• Functions as a wireless master flash
• Two flash heads that can be fired
together or independently
• Modelling flash capability
• Mounts to the front of macro
lenses or each head can be
independently placed
A Macro Lite adapter may be required to attach to a lens.
Macro Lite adapters are available in the following filter sizes 52, 58, 67 and 72.
Off-camera shoe cord OC–E3
To improve your flash
photography, the first step is
to move the flash away from
the hotshoe on the camera.
The OC–E3 allows you to
retain a connection to the
camera while positioning
the flash up to 60 cm away.
With the flash off-camera you
can control where shadows
fall and also minimise redeye in portraits.
106/107
Wireless
Understanding
Wireless
Wireless File Transmitters (WFTs) provide a cable-free connection between EOS
cameras and computers, allowing you to download images directly to your computer
without cables and to trigger your camera remotely. They can also be used with a fastwired Ethernet connection, as well as with USB devices such as external hard drives and
GPS units. They are compatible with 802.11a, 802.11b and 802.11g wireless protocols.
REMOTE LIVE VIEW IN EOS UTILITY MODE
In a studio environment WFT units speed
up workflow and avoid the dangers of cable
clutter. For news and sports photographers,
they shorten the time from shooting to picture
desk and on a fashion shoot, an art director
can see images being produced in almost
real-time – even from a different country.
Wireless network basics
There are two types of WiFi network that WFT
units can use: Ad Hoc to connect a camera
directly to a computer; or Infrastructure to
connect to a larger network through an
access point. Although Ad Hoc networks
are easier to set up and simpler to
implement, Infrastructure networks offer
faster data transfer speeds and greater
connection stability.
Ad Hoc networks are used when there
are no access points to connect to – in
remote locations, for example – while an
Infrastructure network is the best choice
for studio work and can be set up through
an access point.
Once the WFT unit is connected to the
wireless network, there are three ways
of working with WiFi depending on what
you wish to achieve: EOS Utility mode,
FTP transfer and WFT server.
EOS Utility mode
EOS Utility mode is, in effect, the same
as having a USB connection to the camera,
without the need for a cable. With EOS
Utility software, this mode allows two-way
communication between your camera
and computer so you can download images
directly to a computer, as well as control your
camera, complete with Live View, wirelessly.
For product photography where awkward
camera angles or positions are required,
this is a very useful mode. With remote
Live View you can change camera settings,
check composition and adjust focus without
having to touch the camera.
WFT server mode
WFT Server mode allows you to control
your camera wirelessly from a web browser
on a computer, smart phone, or other
WiFi-enabled device. See what your camera
sees and control settings and shooting
functions through the web browser.
You don’t even need to be on the same
continent to control the camera settings
and view a Live View image.
Wireless
108/109
LINKED SHOOTING
Wireless file transmitters
DLNA NETWORK WITH CAMERA
CONNECTED USING WIFI
Slave Camera
audio
system
Slave Camera
WFT–E2 II
computer
Slave Camera
Avoid cable clutter, transmit
images wirelessly and
perform Live View shooting
remotely. The WFT–E2 II
adds WiFi functionality to
the EOS–1D Mark IV, EOS 1D
Mark III and EOS–1Ds Mark III.
digital video
recorder/player
DLNA
compatible TV
network
media player
Slave Camera
camera using
wireless unit
Master Camera
monitor
Media server
Selected Canon WFT units are DLNA
(Digital Living Network Alliance) compatible
and can be connect to media players such
as some games consoles as well as some
televisions and digital photo frames. This
allows JPEG images to be displayed on a TV
directly from the camera, without first having
to download the images to your computer.
Linked shooting
If you need to capture images of a subject
from several angles at once, then linked
shooting is the solution. This allows one
master camera fitted with a WFT unit to
trigger up to 10 slave cameras also fitted
with a WFT units, over a range of up to
100m. You can use this feature to capture
pictures from up to 10 different angles –
see the diagram above.
C onnection to
external drive
EOS Utility
C onnection
to GPS via
G
WFT Server
Linked shooting
B
FTP
IEEE 802.11
standards
A
EOS–1D III,
EOS–1Ds III
n
n
n
­—
n
—
n
EOS–1D IV
n
n
n
—
n
n
n
WFT–E4 II
EOS 5D II
n
n
n
—
n
n
n
n
n
n
n
WFT–E5
EOS 7D
n
n
n
n
n
n
n
n
n
n
n
WFT–E2 II
WFT–E4 II
Avoid cable clutter, transmit
images wirelessly and
perform Live View shooting
remotely. The WFT–E4 II
works with the EOS 5D Mark
II to add WiFi capability and a
vertical shooting grip.
• 802.11a/b/g compatible
• WiFi Protected Setup
(WPS) compatible
• USB Host with GPS and
External Hard Disk support
• PTP, HTTP and FTP protocols
• Up to 150m range
• Remote Live View
• Linked shooting
• Vertical shooting controls
WFT–E5
DLNA
WIRELESS FILE
TRANSMITTER
C ompatible
cameras
FTP transfer mode
FTP mode is the simplest operating mode
of a WFT unit. It allows image transfer directly
from your camera to a computer or server.
Images can be automatically transferred as
soon as they are captured, sent individually,
or sent as a batch, sending only the ones
you want to send.
• 802.11a/b/g compatible
• WiFi Protected Setup
(WPS) compatible
• USB Host with GPS and
External Hard Disk support
• PTP, HTTP and FTP protocols
• Up to 150m range
• Remote Live View
• Linked shooting
n
USB
BLUETOOTH
n
—
n
n
n
n
Avoid cable clutter, transmit
images wirelessly and
perform Live View shooting
remotely. The WFT–E5 works
with the EOS 7D to add WiFi
capability, a vertical shooting
grip and USB host functions.
• 802.11a/b/g compatible
• WiFi Protected Setup
(WPS) compatible
• USB Host with GPS and
External Hard Disk support
• PTP, HTTP and FTP protocols
• Up to 150m range
• Remote Live View
• Linked shooting
• DLNA compatible
110/111
Power accessories
Viewfinder accessories
Battery grips
Angle finder
Battery grips attach to the base of the camera and provide
increased battery life by allowing the use of two batteries
at once.
The Angle Finder C attaches
to the viewfinder of your
EOS camera and allows
you to look down into the
viewfinder.
An AA battery magazine can also be
fitted to allow powering of the camera
from AA batteries in an emergency.
Battery grips also provide shooting
buttons for taking pictures in portrait
format. This is more comfortable and
stable and when shooting vertically.
Using a battery grip when shooting
with long telephoto lenses will
also make the camera-lens
system balance better.
This is especially useful with
low-level photography where it
may not be possible to put your
eye to the viewfinder.
The addition of a 2.5x magnification
option makes critical manual focusing
easier as you have an enlarged view
of the centre of the frame.
Batteries
Batteries provide the power for your digital camera.
The batteries for all current EOS models make use
of Lithium Ion technology.
This provides longer battery life and
does not suffer from a memory effect.
They also hold their charge well when
not used for long periods of time.
Lithium Ion batteries offer one of the
best energy to weight ratios of any
battery technology currently available
meaning the batteries can remain
small and lightweight.
AC adapters
An AC adapter will allow you to power you EOS camera from a
main power supply. If you are involved in studio photography,
using mains power avoids the need to change batteries
during the shoot. This is especially useful when shooting
tethered to a computer.
AC adaptors are also recommended
for when you perform a manual
sensor clean, as it will reduce the
risk of the shutter and mirror closing
during cleaning.
For mobile photographers, the
Car Battery Charger allows you to
recharge your battery from a 12 volts
car socket. This removes the need
for mains power and is useful for
photographers working in remote
locations.
angle finder c
Focusing screens
Many EOS models feature
interchangeable focusing
screens. While the standard
screen provided with the
camera is ideal for most
general purpose shooting
there are other screens
available for specialist uses.
When using an EF 85mm f/1.2L II
USM lens for example, you may find
the Precision Matte screens (Ec-S,
Eg-S or Ef-S) provide a better view
and aid in manual focusing.
For architectural photography,
the Precision Matte with Grid screens
(Ec-D, Eg-D and Ef-D) are useful as
they allow you to check verticals.
The EOS–1 Series models feature
a wider range of optional focusing
screens allowing you to tailor the
cameras to your requirements.
Remote controls
112/113
Bags and cases
Remote controls
Bags and cases
The EOS system features three different types of remote
control. The RC–6 is an infra-red control that works with
cameras such as the EOS 550D, EOS 7D and EOS 5D Mark II.
For more information on compatibility see the chart on
page 123.
Canon offers a comprehensive line of accessories for
photographers on-the-go. Canon’s camera cases are
built to help protect EOS models and the bags can
accommodate a number of different camera configurations.
These are all built to the highest standards, and are
a perfect accompaniment to the EOS system.
For cameras that don’t feature an IR receiver such as the
EOS 50D and EOS 1 series, the LC–5 is both a transmitter
and receiver and will trigger cameras from a distance of
up to 100m.
Timer Remote Controller
TC–80N3
semi-hard case EH–19L
COMPATIBILITY OF
SOFT CASES WITH
CAMERA AND LENS
COMBINATIONS
If you don’t require wireless control, then the RS–60E3 and
RS–80N3 offer 60cm and 80cm of cable respectively. For
time-lapse photography or long bulb exposures, the TC–80N3
offers intervalometer options to open new photographic
options to you.
EH19–L
EOS 450D,
500D, 550D,
600D, 1100D
EF 15mm f/2.8 FE
n
EF 20mm f/2.8 USM
n
EH20–L
EOS 5D II
EH21–L
EOS 7D
n
EF 24mm f/1.4 L II USM
n
EF 24mm f/2.8
n
EF 28mm f/1.8 USM
n
n
EF 28mm f/2.8
n
n
EF 35mm f/1.4 L USM
Wireless Remote
Controller RC–6
n
n
n
EF 35mm f/2
n
n
n
n
EF 50mm f/1.4 USM
n
n
EF 50mm f/1.8 II
n
n
EF 50mm f/2.5 MACRO
n
n
Shutter Release
Bulb exposure/
Continuous
shooting
Lock in depressed position
Self timer
Interval timer
Long Exposure
Timer
Exposure Count
Control
LENSES
Infra Red
REMOTE CONTROLS
n
n
n
—
—
—
—
Remote Switch
RS–60 E3
—
Timer Remote
Controller
TC–80N3
Wireless
Controller LC–5
Remote
Controller RC–6
—
n
(3 channels)
n
n
n
n
n
n
n
—
—
—
n
n
n
(1sec – 99hrs
59min 59sec)
(1sec–99hrs 59min (1sec – 99hrs
59sec Intervals)
59min 59sec)
—
n
(1–99)
n
(continuous
shooting only)
—
n
n
—
n
(2 sec only)
—
—
—
—
n
EF 100mm f/2 USM
n
EF 135mm 2.8 SF
—
—
n
n
n
n
EF 135mm f/2 L USM
n
n
n
n
n
EF 16–35mm F2.8 L II USM
n
EF 17–40mm f/4L USM
n
n
EF 24–105mm f/4L IS USM
n
n
EF 28–135mm f/3.5–5.6 IS USM
n
n
EF 70–300mm f/4.5–5.6 DO IS USM
n
n
n
n
n
n
EF–S 10–22mm f/3.5–4.5 USM
n
n
n
n
EF–S 17–55mm f/2.8 IS USM
n
EF–S 18–55mm F3.5–5.6 IS
PROFESSIONAL
GADGET BAG 10EG
n
EF–S 15–85mm f/3.5–5.6 IS USM
EF–S 17–85mm f/4–5.6 IS USM
n
n
n
EF 85mm f/1.8 USM
EF–S 60mm f/2.8 MACRO USM
PROFESSIONAL
GADGET BAG 1EG
n
EF 85mm f/1.2 L II USM
­—
n
EF 50mm f/1.2 L USM
MP–E 65mm f/2.8 1–5x
Remote Switch
RS–80 N3
EOS 60D
n
n
n
n
EF–S 18–135mm F3.5–5.6 IS
n
n
EF–S 18–200mm F3.5–5.6 IS
n
n
EF–S 55–250mm f/4–5.6 IS
n
n
PROFESSIONAL
GADGET BAG 100EG
Specifications
EF-S 17-55mm
f/2.8 IS USM
APS-C 27–88
–
EF-S 17-85mm
f/4-5.6 IS USM
APS-C 27–136
–
EF-S 18-55mm
f/3.5-5.6 IS II
APS-C 29–88
–
APS-C 29–216
–
EF-S 18-200mm
f/3.5-5.6 IS
APS-C 29–320
–
EF-S 55-250mm
f/4-5.6 IS
APS-C 88–400
–
320
260
10°, 7°, 12°
22-27
0.24
(29)2
0.17 (at
Provided
22mm)
–
Ring
USM3
–
NC
77
83.5 x
89.8
385
EF 300mm
f/2.8L IS II USM
–
480
390
22-38
0.35
(36)2
0.21 (at
Ring
Provided 4-stops
85mm)
USM3
–
NC
72
81.6 x
87.5
575
EF 300mm
f/4L IS USM
–
480
0.35
0.17 (at
Ring
Provided 3-stops
55mm)
USM3
–
NC
77
83.5 x
110.6
645
EF 400mm
f/2.8L IS II USM
–
6
22-32 0.35
0.20 (at
Provided 3-stops USM3
85mm)
–
NC
67
78.5
x 92
475
EF 400mm
f/4 DO IS USM
6
22-38
0.25
(36)2
0.34 (at
Micro
Provided 4-stops
55mm)
Motor
–
NC
58
68.5
x 70
200
EF 400mm
f/5.6L USM
6
0.21 (at
Micro
22-38
0.45
Provided 4-stops
135mm)
Motor
(36)2
16/12
6
0.24 (at
Micro
22-38
0.45
Provided 4-stops
200mm)
Motor
(36)2
12/10
7
22-32
1.1
0.31 (at
Micro
Provided 4-stops
250mm)
Motor
13/10
6
17/12
7
19/12
7
17/12
11/9
16/12
22
NC
75.4 x
67mm
101
–
NC
78.6 x
72mm
102
–
NC
–
EF 14mm
f/2.8L II USM
–
22
18
104°, 81º,114º
14/11
6
22
0.2
0.15
Provided
–
Ring
USM3
Yes
NC
EF 20mm
f/2.8 USM
–
32
26
84°, 62°, 94°
11/9
5
22
0.25
0.14
Provided
–
Ring
USM3
–
NC
–
Ring
USM3
EF 24mm
f/1.4L USM II
EF 24mm f/2.8
–
–
38
38
31
31
74°, 53°, 84°
74°, 53°, 84°
13/10
10/10
8
6
22
22
0.25
0.25
0.17
0.16
320
260
10°, 7°, 12°
310
EF 24-105mm
f/4L IS USM
–
38–168 31–136
185
EF 28-135mm
f/3.5-5.6 IS USM
–
42–216 36–176
–
Micro
Motor
–
NC
52
68.2
x 41
130
EF 70-200mm
f/4L USM
–
112–
91–260
320
–
Ring
USM3
72
91.5 x
1025
84.0
EF 70-300mm
f/4-5.6 IS USM
–
112–
91–390
480
–
Ring
USM3
58
75 x
71.5
425
EF 70-300mm f/4-5.6L
IS USM
–
112–
91–390
480
–
Ring
USM3
58
75 x
73.5
460
EF 70-300mm
f/4.5-5.6 DO IS USM
–
112–
91–390
480
–
Ring
USM3
72
82.5 x
112
750
EF 75-300mm
f/4-5.6 III USM
–
120–
98–390
480
52
69.2 x
98.4
390
EF 75-300mm
f/4-5.6 III
–
120–
98–390
480
2520
EF 100-400mm
f/4.5-5.6L IS USM
–
160–
640
7/6
17/12
6
8
32
32
1.3
1.9
0.12
0.12
–
–
–
AFD
Ring
5-stops
USM3
–
–
Yes
Compatible
NC
52
128 x
Compatible
Drop in 208
52
163 x 461 4500g
Drop in
Filter
78.5 x 83 540
Holder
–
270
–
27–64 22–52
–
Yes
Compatible
Ring
USM3
–
0.15
0.19
Yes
–
EF 17-40mm f/4L USM
EF 24-70mm
f/2.8L USM
0.45
0.9
Ring
USM3
0.28
650
22
32
52
168 x 448 3920
Drop in
Ring
USM3
5
8
Compatible
0.24 (at
Provided
40mm)
6/5
10/8
Yes
NC
112–
91–260
320
NC
Yes
Yes
–
–
0.15
52
Compatible
146 x 383 3190
Drop in
Ring
USM3
EF 70-200mm
f/4L IS USM
Yes
1250
Ring
Provided 4-stops
USM3
–
290
0.14
90 x
256.5
0.22 (at
Provided
35mm)
73.8 x
50.5
0.9
77
0.28
58
22
Compatible
22
NC
8
-
7
–
8/6
Ring
USM3
–
16/12
26–56 21–45
Micro
USM
NC
Provided
–
–
–
0.12
EF 16-35mm
f/2.8L II USM
405
–
Yes
3.5
NC
0.15
0.13
32
Yes
0.45
0.85
1940
Ring
USM3
22
22
128 x
232.7
–
8
8
52
Drop in
0.39 (at
Provided
15mm)
7/6
9/7
Compatible
0.15
112–
91–260
320
NC
Yes
22
–
–
Ring
USM3
7
EF 70-200mm
f/2.8L USM
Yes
Provided 3-stops
14/11
–
590
0.11
0.12
–
85.8 x
65.5
0.95
3.5
–
72
16
32
EF 8-15mm f/4L
Fisheye USM
NC
8
52
163 x 343 3850
Drop in
Provided 4-stops
Yes
8/7
Compatible
0.14
Ring
USM3
40º, 27º,46º
Yes
6
–
65
Ring
USM3
32
Provided
80
Provided 4-stops
8
0.15
–
0.17
1040 2° 35’, 1° 40’, 3° 5’ 18/14
0.45
EF 50mm f/1.8 II
2.7
1280
16
40º, 27º,46º
Compatible
–
8
65
–
EF 800mm
f/5.6L IS USM
112–
91–260
320
80
Ring
USM3
390
–
–
Provided 3-stops
0.15
EF 70-200mm
f/2.8L IS II USM
EF 50mm
f/1.4 USM
0.24
4.5
210
8/6
Compatible
32
67.4 x
42.5
40º, 27º,46º
Yes
9
52
65
Ring
USM3
3°30', 2°20', 4°10' 16/12
NC
80
Provided 4-stops
780
–
–
83.2 x
136.2
960
AFD
EF 50mm
f/1.2L USM
72
–
650
–
5
Compatible
595
800
–
7/5
–
Ring
Provided 4-stops
USM3
–
0.23
54°, 38°, 63°
Ring
USM3
EF 600mm
f/4L IS II USM
0.25
45
7/6
–
455
22
56
–
8
45–480 36–390
–
15°, 10°, 18°
5°10', 3°30', 6°10'
–
EF 35mm f/2
175
520
EF 28-300mm
f/3.5-5.6L IS USM
22
216
640
79 x 86 580
8
–
–
72
11/9
EF 200mm
f/2L IS USM
8
NC
54°, 38°, 63°
15°, 10°, 18°
5°10', 3°30', 6°10' 17/13
–
45
175
520
Ring
USM3
56
216
640
–
–
–
–
Provided
EF 35mm f/1.4L USM
EF 135mm f/2.8
(Softfocus)
32
0.18
0.3
EF 135mm
f/2L USM
9
0.3
22
20°, 14°, 24°
5°10', 3°30', 6°10' 16/12
67.4 x
42.5
5
130
520
52
5/5
160
640
NC
65°, 46°, 75°
–
1.5
–
36
EF 100mm f/2 USM
32
AFD
45
24º, 16º, 28º 30'
8
–
–
111
6°50', 4°35', 8°15' 15/11
–
EF 28mm f/2.8
136
390
0.13
0.18
–
0.18
58
0.25
24º, 16º, 28º 30'
2.0
NC
22
111
32
–
7
136
9
–
10/9
–
6°50', 4°35', 8°15' 16/12
Provided
65°, 46°, 75°
EF 85mm
f/1.8 USM
58
67.5 x
48.5
Provided
73.6 x
55.6
36
NC
77
83.5 x
86.9
0.16
AFD
45
–
NC
77.5 x
70.6
1.5
EF 500mm
f/4L IS II USM
Filter
80 x 94 645
Holder
72
32
Ring
USM3
–
–
Yes
70 x
108
8
–
EF 28mm
f/1.8 USM
EF 85mm
f/1.2L II USM
Provided
58
9/7
38–112 31–91
130–
520
4°, 2°45', 5°
180º –142º,
180º - 91º 46’,
180º - 175º 30’
98º - 54º,
74º 10’ - 38º,
108º 10’ - 63º
93° - 49°,
70°30' - 34°,
104° - 57°30'
74° - 29°,
53° - 19°30',
84° - 34°
74º - 19º 20',
53º - 13º,
84º - 23º 20'
65° - 15°,
46° - 10°,
75° - 18°
65° - 6°50',
46° - 4°35',
75° - 8°15'
29° - 10°,
19°30' - 7°,
34° - 12°
29° - 10°,
19° 30' - 7°,
34° - 12°
29º - 10º,
19º 30' - 7º,
34º - 12º
29º - 10º,
19º 30' - 7º,
34º - 12º
29º - 6º 50',
19º 30' - 4º 35',
34º - 8º 15'
29º - 6º 50',
19º 30' - 4º 35',
34º - 8º 15'
29º - 6º 50',
19º 30' - 4º 35',
34º - 8º 15'
27° - 6°50',
18°11' - 4°35',
32°11' - 8°15'
27° - 6°50',
18°11' - 4°35',
32°11' - 8°15'
20° - 5°10',
14° - 3°30',
24° - 6°10'
16/12
12/9
16/13
9
32
3.7
7
22
8
0.38 0.29 (at
22
Provided
(Macro) 70mm)
Yes
Yes
NC
NC
Weight (g)
–
Lens
Max. diameter x
length (mm)
–
EF 200mm
f/2.8L II USM
Filter diameter
(mm)
APS-C 24–136
335
Extender
compatibility
73 x
69.8
Dust/moisture
resistant4
Max. diameter x
length (mm)
52
AF motor type
Filter diameter
(mm)
NC
Distance
Information
Extender
compatibility
–
Max.
Magnification (x)
Dust/moisture
resistant4
Ring
USM3
Closest focusing
distance (m)
AF motor type
–
Min. Aperture
Image Stabilizer
Provided
No. of
diaphragm blades
Distance
Information
1
Lens construction
(elements/groups)
Max.
Magnification (x)
0.2
EF-S 15-85mm
f/3.5-5.6 IS USM
Angle of view
(horizontal, vertical,
diagonal)
Closest focusing
distance (m)
32
–
APS–H apparent
focal length (mm)
Min. Aperture
7
APS-C 16–35
APS–C apparent
focal length (mm)
No. of
diaphragm blades
12/8
97º 10' - 54º 30',
74º 10'- 37º 50',
107º 30' - 63º 30'
74º 10' - 15º 25',
53º 30'- 10º 25',
84º 30' - 18º 25'
68º 40' - 23º 20',
48º - 15º 40',
78º 30' - 27º 50'
68º 40' - 15º 25',
48º - 10º 25',
78º 30' - 18º 25'
64º 30' - 23º 20',
45º 30'- 15º 40',
74º 20' - 27º 50'
64° 30' - 9° 30',
45° 30' - 6° 20',
74° 20' -11° 30'
64° 30' - 6° 30',
45° 30' - 4° 20',
74° 20' - 7° 50'
23º 20' - 5º 20',
15º 40’- 3º 30’,
27º 50’ - 6º 15’
Image size
Lens construction
(elements/groups)
20°40', 14°10',
24°30'
EF Fixed length lenses
Angle of view
(horizontal, vertical,
diagonal)
–
Weight (g)
APS–H apparent
focal length (mm)
96mm
EF-S 10-22mm
f/3.5-4.5 USM
EF-S 18-135mm
f/3.5-5.6 IS
EF Fixed length lenses
–
EF ZOOM
EF–S LENSES
EF-S 60mm
f/2.8 Macro USM
APS–C apparent
focal length (mm)
Lens
Optical Features/Specifications
Image size
Optical Features/Specifications
Image Stabilizer
114/115
765
52
128 x 248 2400
Drop in
77
90 x 221 1190
82
88.5 x
111.6
640
77
83.5 x
96.8
475
77
83.2 x
123.5
950
670
540
Yes
NC
77
83.5 x
107
–
NC
72
78.4 x
96.8
18/13
8
22
0.23 (at
Ring
0.45
Provided 3-stops
105mm)
USM3
16/12
6
22-36
0.5 0.19 (at
Ring
Provided 3-stops
(Macro) 135mm)
USM3
23/16
8
22-38
(40)2
0.7
0.3 (at
Ring
Provided 3-stops
300mm)
USM3
Yes
NC
77
23/19
8
32
1.2
0.21 (at
Ring
Provided 4-stops
200mm)
USM3
Yes
Compatible
77
88.8 x
199
1490
18/15
8
32
1.5
0.16 (at
Provided
200mm)
–
Compatible
77
84.6 x
193.6
1310
20/15
8
32
1.2
0.21 (at
Ring
Provided 4-stops
200mm)
USM3
Yes
Compatible
67
76 x 172
760
16/13
8
32
1.2
0.21 (at
Provided
200mm)
–
Compatible
67
76 x 172
705
1.5
0.26 (at
Micro
Provided 3-stops
300mm)
USM
–
NC
58
76.5 x
142.8
630
1.2
0.21 (at
Ring
Provided 4-stops
300mm)
USM3
Yes
NC
67
1.4
0.19 (at
Ring
Provided 3-stops
300mm)
USM3
–
NC
58
82.4 x
99.9
720
1.5
0.25 (at
300mm)
–
Micro
USM
–
NC
58
71 x 122
480
1.5
0.25 (at
300mm)
–
Micro
Motor
–
NC
58
71 x 122
480
1.8
0.2 (at
Ring
Provided 3-stops
400mm)
USM3
–
Compatible
77
92 x 189 1380
15/10
19/14
18/12
13/9
13/9
17/14
8
32-45
8
32-45
6
32-38
(40)2
7
32-45
7
32-45
8
32-38
(40)2
–
–
–
–
Ring
USM3
Ring
USM3
92 x 184 1670
89 x 143 1050
Image Circle Ø67.2mm 2 If using 1/3stop increments 3 Full time Manual focus 4 Lenses with dust/moisture resistance are fitted with a rubber ring on the lens mount which
may cause slight abrasion of the camera mount. This in no way affects either the lens or camera performance 5 Not compatible at wide angles 11 AF possible with EOS–1 series only
12
3-stops at 0.5 x magnification, 2-stops at 1.0 x magnification Specifications subject to change without notice
1
Extenders
Image Stabilizer
AF motor type
Dust/moisture
resistant4
Extender
compatibility
Filter diameter
(mm)
–
–
AFD
–
NC
52
67.6x63 280
EF 100mm f/2.8
Macro USM
–
160
130
20°, 14°, 24°
12/8
8
32
0.31
1
Provided
–
Ring
USM3
–
NC
58
78.6 x
118.6
130
20°, 14°, 24°
15/12
9
32
0.3
1
Provided
EF 180mm f/3.5L
Macro USM
–
288
288
11°25', 7°40',
13°40'
14/12
8
32
0.48
1
Provided
MP-E 65mm f/2.8
1-5x Macro Photo
–
15°40', 10°35',
18°40'
10/8
85
TS-E 17mm f/4L
–
27
22
TS-E 24mm
f/3.5L II
–
38
31
TS-E 45mm f/2.8
–
72
59
TS-E 90mm f/2.8
–
144
117
93°, 70° 30', 104°
(Without Tilt or 18/12
Shift)1
74°, 53°, 84°
(Without Tilt or 16/11
Shift)1
44°, 30°, 51°
10/9
(Without Tilt or
Shift)13
22°37', 15°11',
6/5
27° (Without Tilt
or Shift)13
NC
67
77.7 x
123
625g
–
Ring
USM3
–
Compatible
72
82.5x
186.6
1090
81x98
710
Filter 88.9 x
Holder 106.7
820
88.5 x
106.9
780
6
16
0.24
5
Provided
–
–
–
NC
8
22
0.25
0.14
Provided
–
–
–
NC
8
22
0.21
0.34
Provided
–
–
–
NC
58
82
8
22
0.4
0.16
–
–
–
–
NC
72
8
32
0.5
0.29
–
–
–
–
NC
58
81x90
645
73.6 x 88 565
Extender EF 1.4x III
–
–
–
–, –, –
7/3
–
–
–
–
–
–
–
Yes
–
–
72.0 x
27.2
225
Extender EF 2x III
–
–
–
–, –, –
9/5
–
–
–
–
–
–
–
Yes
–
–
72.0 x
52.7
325
–
67.6x
34.9
160
Life-size
Converter EF9
1
104
Yes
Ring
4stops12 USM3
–
–
–
–, –, –
4/3
–
–
0.24
1
Image Circle Ø67.2mm 3 Full time Manual focus 9 When used with EF50mm f/2.5 Compact Macro
Image circle Ø58.6 Specifications subject to change without notice
13
–
12
–
–
–
NC
EF Fixed length
160
3-stops at 0.5 x magnification, 2-stops at 1.0 x magnification
MACRO
–
580
EF 180mm
f/3.5L Macro USM
EF ZOOM
MACRO lenses
TILT & SHIFT LENSES
ACCESSORIES
EF 100mm f/2.8L
Macro IS USM
NAME
EF 135mm
f/2L USM
EF 200mm
f/2L IS USM
EF 200mm
f/2.8L II USM
EF 300mm
f/2.8L IS II USM
EF 300mm
f/4L IS USM
EF 400mm
f/2.8L IS II USM
EF 400mm
f/4 DO IS USM
EF 400mm
f/5.6L USM
EF 500mm
f/4L IS II USM
EF 600mm
f/4L IS II USM
EF 800mm
f/5.6L IS USM
EF 70-200mm f/2.8L
IS II USM
EF 70-200mm
f/2.8L USM
EF 70-200mm
f/4L IS USM
EF 70-200mm
f/4L USM
EF 100-400mm
f/4.5-5.6L IS USM
189
2.8-45
280
2.8-45
280
4-45
0.27
Yes
–
270
4-64
0.18
Yes
Yes
400
4-64
0.22
Yes
–
400
5.6-64
IS
Distance
Information
0.5
AF Possible
Max.
Magnification (x)
0.23
Maximum Aperture
Closest focusing
distance (m)
32
Focal Length
Min. Aperture
6
IS
No. of
diaphragm blades
9/8
AF Possible
Lens construction
(elements/groups)
40°, 27°, 46°
Maximum Aperture
Angle of view
(horizontal, vertical,
diagonal)
65
Focal Length
APS–H apparent
focal length (mm)
80
Weight (g)
APS–C apparent
focal length (mm)
–
Max. diameter x
length (mm)
Image size
EF 50mm f/2.5
Compact Macro
Lens
Specifications with EF 2x III
Maximum
Magnification
Specifications with EF 1.4x III
Optical Features/Specifications
Maximum
Magnification
Specifications
116/117
0.38
Yes
–
0.24
Yes
Yes
0.32
Yes
–
420
4-45
0.25
Yes
Yes
600
5.6-64
0.36
Yes
Yes
420
5.6-45
0.33
Yes
Yes
600
8-64
0.47
Yes6
Yes*
560
4-25
0.25
Yes
Yes
800
5.6-64
0.35
Yes
Yes
560
5.6-45
0.17
Yes
Yes
800
8-64
0.24
Yes6
Yes*
560
8-45
0.18
Yes6
–
800
11-64
0.25
Not Possible
–
700
5.6-45
0.21
Yes
Yes
1000
8-64
0.31
Yes6
Yes*
840
5.6-45
0.17
Yes
Yes
1200
8-64
0.24
Yes6
Yes*
1120
8-45
0.2
Yes6
Yes
1600
11-64
0.28
Not Possible
Yes
252
4.5-45
(5-45)2
1.4
Yes
(0.8-infinity)
–
360
6.7-64
(7.1-64)2
2
Not Possible
–
98-280
4-45
0.30
Yes
Yes
140-400
5.6-64
0.44
Yes
Yes
98-280
4-45
0.22
Yes
–
140-400
5.6-64
0.33
Yes
–
98-280
5.6-45
0.31
Yes
Yes
140-400
8-64
0.45
Yes6
Yes*
98-280
5.6-45
0.31
Yes
–
140-400
8-64
0.45
Yes6
–
140-560
6.7-54
(6.3-57)2
0.28
Yes6
Yes*
200-800
9.5-76
(9-81)2
0.41
Not Possible
Yes6
2
If using 1/3 stop increments 6 AF possible with EOS–1 series only * IS will not work with the following cameras EOS-1, EOS 5, EOS 100, EF-M, EOS 1000/F/n/Fn,
EOS 700, EOS 10, EOS RT, EOS 600/630, EOS 850, EOS 750, EOS 620, EOS 650
Lens hood
Magnification with
Extension Tube EF12 II
Magnification with
Extension Tube EF25 II
Extender Compatiblity
Lens Case
400B≠
0.16-0.03
0.20-0.07
Compatible
77
E-77U
Built-in
LZ1132≠
0.16-0.03
0.21-0.07
Compatible
–
EF 500mm f/4L IS II USM
52 Drop in
E-163B
ET-138 (WII)≠
Lens Case
500B≠
0.18-0.03
0.22-0.06
Compatible
Canon drop-in
52mm filters
–
EF 600mm f/4L IS II USM
52 Drop in
E-185B
ET-160 (WII)≠
Lens Case
600B≠
0.17-0.02
0.20-0.05
Compatible
Canon drop-in
52mm filters
NC
–
EF 800mm f/5.6L IS USM
52 Drop in
E-180C
ET-155≠
Lens case
800≠
0.16-0.02
0.19-0.04
Compatible
Canon drop-in
52mm filters
1.00-0.51
NC
–
EF ZOOM
0.59-0.211
NC
–
EF 8-15mm f/4L Fisheye USM
Filter Holder
Lens Cap
8-15
EW-77
(15mm only)≠
LP1219≠
-
-
NC
0.39-0.06
1
0.56-0.14
NC
–
EF 16-35mm f/2.8L II USM
82
E-82U
EW-88
≠
LP1319
0.6-0.05
0.47-0.11
NC
–
EF 17-40mm f/4L USM
77
E-77U
EW-83E≠
LP1319≠
EF 24-70mm f/2.8L USM
77
E-77U
EW-83F≠
≠
NAME
Other Accessories
Lens Cap
ET-120≠
EF–S
Lens case/pouch
Filter diameter (mm)
E-145
Other Accessories
52 Drop in
Extender Compatiblity
Magnification with
Extension Tube EF25 II
Magnification with
Extension Tube EF12 II
Lens case/pouch
Lens hood
Lens Cap
NAME
Filter diameter (mm)
Lens Accessories
118/119
EF FIXED LENGTh
EF-S 60mm f/2.8 Macro USM
77
E-52U
ET-67B
LP1016
1.28-0.20
1.61-0.44
NC
–
EF 400mm f/4 DO IS USM
EF-S 10-22mm f/3.5-4.5 USM
77
E-77U
EW-83E
LP1319
0.77-0.581
Not Recommended
NC
–
EF 400mm f/5.6L USM
EF-S 15-85mm f/3.5-5.6 IS USM
72
E-72U
EW-78E
LP1116
0.44 - 0.151
Not Recommended
NC
–
EF-S 17-55mm f/2.8 IS USM
77
E-77U
EW-83J
LP1219
0.45-0.231
Not Recommended
NC
EF-S 17-85mm f/4-5.6 IS USM
67
E-67U
EW-73B
LP1116
0.43 - 0.141
0.72 - 0.331
EF-S 18-55mm f3.5-5.6 IS II
58
E-58
EW-60C
LP814
0.64-0.23
1
EF-S 18-135mm f/3.5-5.6 IS
67
E-67
EW-73B
LP1116
0.38-0.091
EF-S 18-200mm f/3.5-5.6 IS
72
E-72
EW-78D
LP1116
EF-S 55-250mm f/4-5.6 IS
58
E-58
ET-60
LP1019
1
1
EF FIXED LENGTh
≠
Canon drop-in
52mm filters
0.62-0.36
1
1.11-0.80
NC
0.83-0.32
1.02-0.701
NC
LP1219≠
0.63-0.18
0.75-0.401
NC
–
≠
1
1
Filter Holder
Lens
Cap 14
Built-in
LP1016
NC
NC
NC
–
EF 24-105mm f/4L IS USM
77
E-77U
EW-83H
LP1219
0.40-0.12
0.61-0.27
NC
–
EF 20mm f/2.8 USM
72
E-72U
EW-75II
LP1214
0.72-0.60
NC
NC
–
EF 28-135mm f/3.5-5.6 IS USM
72
E-72U
EW-78B II
LP1116
0.53-0.09
1.09-0.21
NC
–
EF 24mm f/1.4L USM II
77
E-77U
≠
EW-83K
LP1319
0.67-0.50
NC
NC
–
EF 28-300mm f/3.5-5.6L IS USM
77
E-77U
EW-83G
≠
LZ1234
0.50-0.04
0.50-0.09
NC
–
EF 28mm f/1.8 USM
58
E58-U
EW-63 II
LP814
0.61-0.43
1.13-0.96
NC
–
EF 70-200mm f/2.8L IS II USM
77
E-77U
ET-87≠
LZ1326≠
0.28 - 0.06
0.36 - 0.14
Compatible
–
EF 24mm f/2.8
56
E-58
EW-60 II
LP811
0.64-0.50
1.22-1.11
NC
–
EF 70-200mm f/2.8L USM
77
E-77U
ET-83 II≠
LZ1324≠
0.22-0.06
0.41-0.14
Compatible
–
EF 28mm f/2.8
52
E-52
EW-65 II
LP1011
0.56-0.43
1.09-0.95
NC
–
EF 70-200mm f/4L IS USM
67
E-67U
ET-74≠
LP1224≠
0.23-0.06
0.42-0.14
Compatible
Ring type tripod
mount A II (W)
EF 35mm f/1.4L USM
72
E-72U
EW-78C≠
LP1214≠
0.54-0.36
0.97-0.79
NC
–
EF 70-200mm f/4L USM
67
E-67U
ET-74≠
LP1224≠
0.29-0.06
0.39-0.13
Compatible
Ring type tripod
mount A II (W)
EF 35mm f/2
52
E-52
EW-65 II
LP1011
0.58-0.35
1.00-0.77
NC
–
EF 70-300mm f/4-5.6 IS USM
58
E-58U
ET-65B
LP1222
0.32-0.04
0.39-0.09
NC
–
EF 50mm f/1.2L USM
72
E-72U
≠
ES-78
≠
LP1214
0.39-0.24
0.67-0.53
NC
–
EF 70-300mm f/4-5.6L IS USM
67
E-67U
EF 50mm f/1.4 USM
58
E-58U
ES-71 II
LP1014
0.39-0.24
0.68-0.53
NC
–
EF 70-300mm f/4.5-5.6
DO IS USM
58
E-58U
EF 14mm f/2.8L II USM
≠
≠
≠
1
ET-73B
≠
LP1424
0.29-0.04
0.38-0.09
NC
Ring type tripod
mount C (WII)
ET-65B≠
LP1116≠
0.26-0.04
0.46-0.09
NC
–
≠
EF 50mm f/1.8 II
52
E-52
ES-62 + ADP
LP1014
0.39-0.24
0.68-0.53
NC
–
EF 75-300mm f/4-5.6 III USM
58
E-58
ET-60
LP1019
0.31-0.04
0.39-0.09
NC
–
EF 85mm f/1.2L II USM
72
E-72U
ES-79 II≠
LP1219≠
0.25-0.15
0.42-0.33
NC
–
EF 75-300mm f/4-5.6 III
58
E-58
ET-60
LP1019
0.31-0.04
0.39-0.09
NC
–
EF 85mm f/1.8 USM
58
E-58U
ET-65 III
LP1014
0.27-0.15
0.44-0.32
NC
–
EF 100-400mm f/4.5-5.6L IS USM
77
E-77U
ET-83C≠
LZ1324≠
0.25-0.03
0.35-0.07
Compatible
–
EF 100mm f/2 USM
58
E-58U
ET-65 III
LP1014
0.27-0.13
0.42-0.28
NC
–
EF 135mm f/2L USM
72
E-72U
ET-78 II≠
LP1219≠
0.29-0.09
0.41-0.20
Compatible
–
EF 135mm f/2.8 (Softfocus)
52
E-52
ET-65 III
LP1016
0.22-0.09
0.33-0.20
NC
–
EF 200mm f/2L IS USM
52 Drop in
E-145B
ET-120B≠
Lens case
200≠
0.19-0.6
0.26-0.14
Compatible
Canon drop-in
52mm filters
EF 200mm f/2.8L II USM
72
E-72U
ET-83B II≠
LP1222≠
0.23-0.06
0.32-0.14
Compatible
Ring type tripod
mount A II (B)
52 Drop in
E-145C
ET-120 (WII)≠
Lens Case
300B≠
0.22-0.04
0.28-0.09
Compatible
Canon drop-in
52mm filters
77
E-77U
Built in
LZ1128
0.30-0.04
0.37-0.09
Compatible
–
52 Drop in
E-180D
ET-155 (WII)≠
Hard case
400C≠
0.21-0.03
0.26-0.07
Compatible
Canon drop-in
52mm filters
EF 300mm f/2.8L IS II USM
EF 300mm f/4L IS USM
EF 400mm f/2.8L IS II USM
≠
1
6
Not compatible at wide angles 2 Macrolite Adapter 67 4 Macrolite Adapter 72C ≠Items supplied with product (subject to change)
A Macro Lite adapter may be required to attach to a lens. Macro Lite adapters are available in the following filter sizes 52, 58, 67 and 72.
Filter diameter (mm)
Lens Cap
Lens hood
Lens case/pouch
Magnification with
Extension Tube EF12 II
Magnification with
Extension Tube EF25 II
Extender Compatiblity
NAME
52
E-52
–
LP814
0.74-0.24
1.04-0.54
NC
Other Accessories
Lens Accessories
120/121
MACRO
EF 50mm f/2.5 Compact Macro
Life-size Converter EF
Macrolite
adapter6
–
R-F-3
–
LP811
–
–
NC
–
EF 100mm f/2.8 Macro USM
58
E-58U
ET-67
LP1219
1.19-0.12
1.39-0.26
NC
Ring type tripod
mount B (B)
EF 100mm f/2.8L Macro IS USM
67
E-67U
ET-73
LP1219
1.17-0.12
1.37-0.27
NC
Ring type tripod
mount D (B)2
EF 180mm f/3.5L Macro USM
72
E-72U
ET-78 II
LZ1324
1.09-0.07
1.21-0.15
Compatible
Ring type tripod
mount B (B)4
NC
Ring type tripod
mount B (B)
MP-E 65mm f/2.8 1-5x Macro
Photo
58
E-58
Exclusive
LP1216
–
–
Filter Holder
Lens
cap 17
Not Available
LP1219
NC
NC
NC
–
TS-E 24mm f/3.5L II
82
E-82
EW-88B
LP1319
0.85-0.51
1.47-1.12
NC
–
TS-E 45mm f/2.8
72
E-72
EW-79B II
LP1216
0.44-0.27
–
NC
–
TS-E 90mm f/2.8
58
E-58
ES-65 III
LP1016
0.43-0.14
0.60-0.31
NC
–
Extender EF 1.4x III
–
Extender
Cap EII
–
LP811
–
–
–
–
Extender EF 2x III
–
Extender
Cap EII
–
LP811
–
–
–
–
TILT AND SHIFT
TS-E 17mm f/4L
EXTENDERS
2
Macrolite Adapter 67
4
Macrolite Adapter 72C
6
Macrolite Adapter 52 ≠Items supplied with product (subject to change)
Camera: EOS 40D
Lens: EF–S 10–22mm f/3.5–4.5 USM
Exposure: 1/25sec f/8.0 ISO speed: 100
Digital SLR Accessories
n
n
n
Eyecup/Rubber Frame Eb
n
n
n
n
n
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Eyecup/Rubber Frame Ef
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Eyecup/Rubber Frame Eg
Speedlite Transmitter ST-E2
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SPEEDLITE ACCESSORIES
n
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1
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n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1 n1
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LP-E6
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Anti-fog Eyepiece Eg
n
n
Angle Finder C.
n
n
n
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n
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NB-2LH
n
NP-E3
n
n
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n
n
n
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n
Remote Switch RS-80 N3
n
n
n
n
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n
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n
Extension Cord ET-1000N3
n
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WIRED REMOTE CONTROL
n
ACK-E2
n
n
n
n
n
n
n
n
Remote Switch RS-60 E3
ACK-E6
n
n
n
Focusing Screens Eg
AC ADAPTERS
n
n
n
ACK-E8
n
n
n
n
Focusing Screens Ef
BP-511A
n
n
n
Focusing Screens Ee
n
ACK-E5
n
n
FOCUSING SCREENS
Focusing Screens Ec
n
LP-E10
n
n
n
n
n
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Remote Switch Adapter RA-N3
n
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Timer Remote Controller TC-80 N3
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n
WIRELESS REMOTE CONTROL
n
n
Wireless Controller LC-5
ACK-E10
n
Remote Controller RC-6
BATTERY GRIPS
n
n
n
n
n
n
n
n
FILE TRANSMITTER
Battery Grip BG-E5
n
Battery Grip BG-E6
n
n
n
Battery Grip BG-E7
n
n
n
n
Charger LC-E5
n
n
n
n
n
Charger LC-E8
n
n
USB Cable IFC-500U
n
n
n
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n
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n
n
n
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USB Cable IFC-200U
n
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USB Cable IFC-130U
n
n
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n
n
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n
Mini-HDMI Cable HTC-100
Charger CB-5L
n
Charger NC-E2
n
n
n2 n2
n
n
n
n
n
n
n
n
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Video Cable VC-100
n
n2
Car Charger CBC-E5
n3 n3 n3 n3 n3 n3 n3 n3
n3
n
AV Cable AVC-DC400ST
n
n
Hand strap E1
n
n n
Hand strap E2
n
n
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4
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4
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CASES
EH-20L
4
n
n
EH-19L
STRAPS
4
n
AV Cable AVC-DC400
n
n
n
n
Interface Cable IFC-450PCU
n
n
n
n
Interface Cable IFC-400PCU
Charger LC-E10
Car Charger CBC-E6
n
CABLES
BATTERY CHARGERS
n
n
Wireless File Transmitter WFT-E5
n
Charger LC-E6
n
Wireless File Transmitter WFT-E4 II
n
Battery Grip BG-E9
n
Wireless File Transmitter WFT-E2 II
Wireless File Transmitter WFT-E3
Battery Grip BG-E8
Car Charger Cable CB-570
n
Eyepiece Extender EP-EX15II
Dioptric Adjustment Lens Eg (-4 to +3) n
n
LP-E8
Charger LC-E4
n
n
Dioptric Adjustment Lens E (-4 to +3)
LP-E5
ACK-E4
n
n
Anti-fog Eyepiece Ec
BATTERIES
LP-E4
n
Eyecup/Rubber Frame Ec II
Macro Ring Lite MR-14EX
Speedlite Bracket SB-E2
n
VIEWFINDER ACCESSORIES
Macro Twin Lite MT-24EX
Off-camera Shoe Cord OC-E3
n
EOS 1000D
EOS 1000D
n
EOS 300D
EOS 300D
n
EOS 350D
EOS 350D
n
EOS 400D
EOS 400D
n
EOS 450D
EOS 450D
n
EOS D30
EOS D30
n
EOS D60
EOS D60
n
EOS 10D
EOS 10D
n
EOS 20D
EOS 20D
n
EOS 30D
EOS 30D
n
EOS 40D
EOS 40D
n
EOS 50D
EOS 50D
n
EOS 5D
EOS 5D
n
EOS-1D
EOS-1D
n
EOS-1D Mark II / N
EOS-1D Mark II / N
n
EOS-1D Mark III
EOS-1D Mark III
n
EOS-1Ds
EOS-1Ds
n
EOS-1Ds Mark II
EOS-1Ds Mark II
n
EOS 1100D
EOS 1100D
n
EOS 500D
EOS 500D
n
EOS 550D
EOS 550D
n
EOS 600D
EOS 600D
n
EOS 60D
EOS 60D
n
EOS 7D
EOS 7D
Speedlite 580EX II/
430EX II/320EX/270EX II
EOS 5D Mark II
EOS 5D Mark II
n
SPEEDLITES
EOS-1Ds Mark III
EOS-1D Mark IV
Current Range
EOS-1Ds Mark III
Current Range
EOS-1D Mark IV
122/123
EH-21L
n
n
n
n
n
n
n
1
Speedlite Bracket SB-E2 is compatible Speedlite 580EX II and 430EX II flash units
2
Requires LC-E4 3 Requires CA-PS400
4
Requires Battery Grip
n
Glossary
124/125
A
C
D
Angle of view
The area of a scene that can be
covered by the lens, measured
in degrees. The angle of view is
determined by the focal length
of the lens. Smaller focal lengths
give a wider angle of view.
Chromatic aberration
An optical phenomenon caused by
different wavelengths of light bending
at different angles when passing
through the lens, resulting in
colour distortion.
Depth-of-field
The zone of sharpness in front of
and behind the subject on which
the lens is focused. Determined
by aperture size, focal length and
focusing distance.
Contrast
The range of difference between the
light and dark areas of an image.
Diaphragm
Another word for Aperture, an
adjustable opening in the lens that
allows the photographer to control
the amount of light that hits the
image sensor or film frame. A greater
number of diaphragm blades makes
the aperture more circular and creates
more pleasing bokeh.
Aperture
The adjustable lens opening through
which light passes to the image
sensor or film. Aperture size is
indicated by an F-stop – the
higher the value, the smaller
the lens opening.
Arc form drive (AFD)
Used by some older EF lenses
the AFD motor drives the lenses
autofocus system. An arc form drive
is basically a conventional small
motor unit, but shaped to fit inside
the curved barrel of a lens.
Aspherical lens
An element used to counteract the
problem of spherical aberration.
A special non–spherical surface
converges central and peripheral
light rays at a single focal point to
help maintain uniform sharpness
over the whole image area.
B
Bokeh
Refers to the way in which out-offocus points of light are rendered in
an image. Derived from the Japanese
word ‘boke’, meaning ‘fuzzy’. Blur
that comprises of smooth, uniformly
circular points of light is considered
good bokeh.
Crop factor
The APS–C sensor on EOS models
such as the 1000D, 500D, 550D,
50D and 7D is smaller than a
standard 24x36 millimetre frame.
The smaller sensor size has the effect
of cropping the available image area
of a standard EF lens, resulting in a
1.6x magnification of the lens’ focal
length. This extra reach is a welcome
benefit for telephoto shooting but
limits the potential of wide–angle
lenses. EF–S lenses were specifically
developed to give owners of these
cameras more wide–angle options.
canon ef lens mount
Dispersion
The property of optical materials
that causes light refraction to vary at
different wavelengths, resulting in
chromatic aberration.
Distortion
An optical aberration where straight
lines in a scene are not rendered
straight in the image. Barrel distortion
is where lines bow outwards.
Pincushion distortion is where
lines bow inwards towards the
centre of an image.
controls and features of an ef lens
Focusing ring
Distance
scale
Zoom ring
The electronic contacts (gold–plated)
of an EF mounted lens
F
Flare
Lens flare occurs when light from a
bright source enters the lens at an
angle and reflects off the internal
elements in the lens. It is typically
characterised by sunspots and
areas of low contrast.
FLuoRINE COATING
A water repellent anti static coating
applied to the front and rear elements
of a lens, ensuring easier cleaning.
Fluorite
A material which exhibits extremely
low dispersion of light, dramatically
reducing the problem of chromatic
aberration. Canon pioneered the use
of artificial crystal fluorite elements
in photographic lenses.
F–stop
A number that represents the relative
size of the lens opening, or aperture.
The lower the f–stop, the wider
the aperture.
Focus mode
switch
Lens mount
index
I
Ghosting
Secondary images caused by light
reflecting off elements within the
lens. Canon lens coatings effectively
eliminate the problem of ghosting.
Image Stabilizer (IS)
A lens–based technology developed
by Canon to detect and compensate
for camera shake. Allowing
photographers to shoot using
shutter speeds up to five stops
slower than would normally be
possible, IS significantly increases
the potential for lowlight and
handheld shooting.
H
Focal length
Distance between the image sensor
(or film) and the optical centre of the
lens when focused to infinity.
Hood mount
G
HYBRID IS
Hybrid IS technology compensates
for the two different types of camera
shake (angular and shift) which
both can occur during macro and
close-up photography.
The Hybrid IS system incorporates
two sensors – one for angular
velocity that detects the extent of
angular camera shake as well as an
acceleration sensor that determines
the amount of shift-based camera
shake. Hybrid IS provides a significant
benefit over conventional Image
Stabilizer technology during
Macro photography.
Internal focusing
A system whereby only the internal
lens group shifts during focusing
with no change in the physical
length of the lens. An added
benefit is that the front of the lens
does not rotate, maintaining the
effect of any attached filter.
L
L series
The red ring around an L-series
lens indicates the lens features
the highest standard in optics
and performance. Providing
professional photographers with
resolution and ruggedness they can
rely on, day in day out. The lenses
contain advanced technologies to
ensure the Canon L-series lenses
are the pinnacle of the lens range.
Lens distance information
Data regarding the distance
from the lens to the subject. This
information is measured within
the lens and passed back to the
camera, where it is used by the
E–TTL II flash algorithm when
calculating the correct flash
exposure for a scene. Most EF
lenses are capable of providing
lens distance information.
Glossary
126/127
126/127
M
S
U
Micro motor
A tiny motor which replaced the
use of AFD autofocus motors.
Spherical aberration
An optical phenomenon whereby
light rays entering at the edges of
spherical lens elements converge at
slightly different focal points to light
rays entering from the centre. This
produces soft, low contrast images
that look as if covered with a thin
veil. Aspherical lenses are used to
counteract this problem.
Ultra–low Dispersion
(UD) glass
An optical material that exhibits
low dispersion of light, developed
by Canon to minimise chromatic
aberration.
Micro USM
A type of Ultrasonic Motor (USM)
that is used in some EF lenses.
Micro USM motors allow faster AF
performance than the standard
micro motor found in some
EF lenses.
R
Rear focusing
A method of internal focusing in
which only the lens elements closest
to the rear of the lens are moved.
Allows for faster and smoother
focusing.
Resolution
A measure of a lens’ ability to
discern detail.
Ring–type USM
A type of Ultrasonic Motor (USM)
found in most EF lenses. One of the
key advantages of the ring–type USM
is that it allows for full–time manual
focus in AF mode. This means that
focusing can be fine–tuned manually
after autofocusing has finished,
without having to switch to manual
focusing mode.
focus mode and focusing
range switches
Subwavelength structure
coating (SWC)
A new anti-reflective coating that
mimics the surface of moths’ eyes
and effectively eliminates ghosting
and flare. Subwavelength structure
coating consists of tiny structures
on the surface of the lens that are
smaller than the wavelength of
light and prevent reflections
from occurring.
Super Spectra coating
A multilayer anti–reflective coating
developed by Canon to minimise
ghosting and flare.
Super UD glass
Super UD is an improved version
of Ultra–low Dispersion (UD) glass,
exhibiting a lower dispersion of light.
Used in many professional
L–series lenses.
T
Telephoto
A lens that brings distant subjects up
close. Typically, any lens with a focal
length above 50mm.
ULTRASONIC MOTOR (USM)
A lens–based technology which
drives fast, accurate and virtually
silent auto focus. Canon provides
two types of USM – ring–type
USM and micro USM.
V
Vignetting
A fall–off in brightness at the edges
of an image causing the corners of
an image to appear dark. Wide–angle
lenses are more likely to suffer
from vignetting.
W
Wide–angle
A lens that has a shorter focal length
and wider field of view than a
standard 50mm lens.
Working distance
The distance from the front of the
lens to the subject, an important
factor in macro photography.
A longer focal length will give
a greater working distance.
Reportage
3
Weddings
3
Travel
Interiors
Products
Landscapes
Architecture
3
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specs
3
EF fixed
focal length
3
3
ef zoom
3
macro
3
tilt & shift
3
accessories
3
EF–s
3
Portraits
Wildlife
Indoor
Sport
Sport
Close Up /
Macro
3
3
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3
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glossary
General
EF-S
EF ZOOM
EF FIXED LENGTH
http://cps.canon-europe.com/
MACRO
http://cpn.canon-europe.com
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EF-S 60mm f/2.8 Macro USM
EF-S 10-22mm f/3.5-4.5 USM
EF-S 15-85mm f/3.5-5.6 IS USM
EF-S 17-55mm f/2.8 IS USM
EF-S 17-85mm f/4-5.6 IS USM
EF-S 18-55mm f/3.5-5.6 IS II
EF-S 18-135mm f/3.5-5.6 IS
EF-S 18-200mm f/3.5-5.6 IS
EF-S 55-250mm f/4-5.6 IS
EF 14mm f/2.8L II USM
EF 20mm f/2.8 USM
EF 24mm f/1.4L II USM
EF 24mm f/2.8
EF 28mm f/1.8 USM
EF 28mm f/2.8
EF 35mm f/1.4L USM
EF 35mm f/2
EF 50mm f/1.2L USM
EF 50mm f/1.4 USM
EF 50mm f/1.8 II
EF 85mm f/1.2L II USM
EF 85mm f/1.8 USM
EF 100mm f/2 USM
EF 135mm f/2L USM
EF 135mm f/2.8 (Soft focus)
EF 200mm f/2L IS USM
EF 200mm f/2.8L II USM
EF 300mm f/2.8L IS II USM
EF 300mm f/4L IS USM
EF 400mm f/2.8L IS II USM
EF 400mm f/4 DO IS USM
EF 400mm f/5.6L USM
EF 500mm f/4L IS II USM
EF 600mm f/4L IS II USM
EF 800mm f/5.6L IS USM
EF 8-15mm f/4L Fisheye USM
EF 16-35mm f/2.8L II USM
EF 17-40mm f/4L USM
EF 24-70mm f/2.8L USM
EF 24-105mm f/4L IS USM
EF 28-135mm f/3.5-5.6 IS USM
EF 28-300mm f/3.5-5.6L IS USM
EF 70-200mm f/2.8L IS II USM
EF 70-200mm f/2.8L USM
EF 70-200mm f/4L IS USM
EF 70-200mm f/4L USM
EF 70-300mm f/4-5.6 IS USM
EF 70-300mm f/4-5.6L IS USM
EF 70-300mm f/4.5-5.6 DO IS USM
EF 75-300mm f/4-5.6 III USM
EF 75-300mm f/4-5.6 III
EF 100-400mm f/4.5-5.6L IS USM
EF 50mm f/2.5 Compact Macro
EF-S 60mm f/2.8 Macro USM
EF 100mm f/2.8 Macro USM
EF 100mm f/2.8L Macro IS USM
EF 180mm f/3.5L Macro USM
MP-E 65mm f/2.8 1-5x Macro Photo
TS-E 17mm f/4L
TS-E 24mm f/3.5L II
TS-E 45mm f/2.8
TS-E 90mm f/2.8
canon.co.uk/EFLenses
canon.ie/EFLenses
Canon Inc.
Canon (UK) Ltd
Canon Ireland
canon.com
Woodhatch
Reigate
Surrey
RH2 8BF
Telephone no 01737 220000
facsimile 01737 220022
www.canon.co.uk
Arena Road, Sandyford
Industrial Estate
Dublin 18, Ireland
Telephone No: 01 2052400
Facsimile No: 01 2958141
www.canon.ie
Canon Europe
canon-europe.com
English Edition 0150W552
© Canon Europa N.V., 2011