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
element into an interchangeable SLR lens.
球面レンズの球面収差
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
thepark, 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 indepth 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
0.9
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
0.1
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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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mtf chartS
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