The Bottom Line: The Canon EF 24-70mm F2.8L USM is one of the best event and people walkaround zoom lens for a full-frame camera. An absolute must for wedding photographers!
soupcraze's Full Review: Canon EF 24-70mm f/2.8L USM Lens
As I have grown as a photographer, I have begun to do more and more. I have finally realized where my "sweet spots" for focal lengths are in terms of shooting. My main passion is people and event photography. In fact, I have started to do a little bit on side for some extra cash. I have been using the Canon EF-S 17-55mm f2.8 IS USM Lens as my mainstay lens for a few months already. Even though I am extremely satisfied with the results, I was also wondering what could have been if I had purchased the Canon EF 24-70mm F2.8L USM lens instead. Finally, I decided to find out last month when I purchased one and would see if my Canon EF-S 17-55mm f2.8 IS USM Lens would find its way to EBay or not.
The reason that I find the Canon EF 24-70mm F2.8L USM so attractive is because of the 70mm long end. I have had a lot of experience with lenses starting at a 70mm wide-end on the APS-C format. It first started with my Canon EF 70-300mm f4-5.6 IS USM Lens and then the Canon EF-S 17-55mm f2.8 IS USM Lens which I currently use today. I find 70mm to be the near-perfect focal length for reaching across the table and getting good headshots. I also use this range often in portraiture work when I'm doing headshots or head-and-shoulders images. Often times, I find the 55mm long-end on the Canon EF-S 17-55mm f2.8 IS USM Lens to be a bit lacking when shooting events. I often feel very intrusive when using the lens if I try to get close-up images of peoples' heads. I found that 70mm is the perfect range where I can get good close-ups and still maintain a comfortable working distance. Of course, this sacrifices the wide-end since the Canon EF 24-70mm F2.8L USM only goes to 24mm, which can be a bit constrained on an APS-C camera if you're trying to take extreme close-distance shots or large group photos.
So in the end, what happened to the lens? Well, I absolutely loved the optical quality of the lens. It didn't fail to deliver the performance that I expected. The larger build of the lens compared to the Canon EF-S 17-55mm f2.8 IS USM Lens also gave me a better psychological feeling and garnered more attention from people. The build quality was also considerably better than the current lens I was using. I loved (most, yes, the keyword here is most) moments with the lens. But I did have to part with it. In no way is the Canon EF 24-70mm F2.8L USM a bad lens. On the contrary, the lens is extremely good. But on my Digital Rebel XTi, there were quite a few things that I ended up hating about this lens.
To get a better idea of the lens, here's an in-depth review. It's divided into two parts. The first part is if you're a beginner and have a lot of cash to burn on one lens. The other is for photographers familiar with the SLR format:
--For Beginner's Only- So you're wondering what goes into the name of the lens... Here is every little aspect of the lens' name dissected for your convenience.
Canon - This lens is made by Canon. It is designed for Canon EOS cameras.
EF - This lens uses the Canon EF mount. There are two types of mounts available for lenses. The standard EF which has been around since the 1980's, and the much newer EF-S mount. So what's the difference? If you have an EF-S lens that means you can only use it on an APS-C camera, which ranges from the Canon Digital Rebel bodies up to the current Canon EOS 50D. It will therefore work on the consumer and prosumer bodies, but not with a semi-professional camera like an EOS 5D or professional Canon EOS 1D body. An EF-S lens will also not work with any film bodies. But luckily, since this is an EF mount lens, it will work on any Canon EOS auto-focus camera body, whether it is an APS-C camera, film camera, or professional body. You have the ultimate versatility with this lens, as well as room to grow in the future.
24-70mm - This is the focal length of this lens. 24mm is the widest that this lens goes, while 70mm is the longest reach of the lens. One thing that you must understand is that the focal length range of the lens does not necessarily determine the price. For instance, if you're comparing this lens to the Canon EF 24-105mm F4L IS USM Lens, which has a 35mm farther long end, you will find that the Canon EF 24-70mm F2.8L USM is still a more expensive lens? Why? Well, you're paying for the larger aperture which I will explain a little bit later. As you grow as a photographer, you will also find what focal length ranges you work with. For example, if you're an event/people photographer, which this lens is geared for, you will be very satisfied with the focal length range. If you're shooting these types of things, you most likely won't find the 100-400mm focal length range of the Canon EF 100-400mm F4.5-5.6L IS USM too helpful. On the contrary, if you're a nature photographer, this lens most likely won't be too helpful. Before you go dropping $1,200 on this lens, you should figure out exactly what you shoot, and if the focal length of this lens will be helpful.
Also, it is important to realize what kind of camera you are using (APS-C versus full-frame), which I will explain in depth later. But it is an extremely important determining factor of whether this is the right lens for you. This is also the reason why I got rid of it... So keep reading!
F2.8 - What exactly does this number mean? This is the maximum aperture of the lens. The aperture is the part of the lens that lets in light. The lower the number gets, the more light it lets in. So when you're comparing the Canon EF 24-70mm F2.8L USM to the popular and similarly priced Canon EF 24-105mm F4L IS USM Lens, the Canon EF 24-70mm F2.8L USM lets in 2x as much light at 24mm at f2.8 versus the latter lens at 24mm at f4.0. It is one f-stop faster. Okay, so there's more light? Why is this so important, and what exactly does this mean to me? This means that if you crank up the ISO on your camera, you can take ambient-light photos. They will have a different look than using flash, and can look quite cool. One place I really enjoyed using the f2.8 maximum aperture on this lens was at a friend's dinner at Cheesecake Factory. I was able to effortlessly shoot at ISO 800 and get perfectly sharp and excellent looking photographs without flash. These were also taken during early evening, so there was still plenty of light outside. Nonetheless, the lighting from the restaurant still gave a cool look. Flash would otherwise flush out much of the ambient-light unless you're using the "dragging the shutter" technique which requires a bit more skill and flash. Aside from Cheesecake Factory in the early evening and other venues that are well-lit, I primarily used flash with the lens. Nonetheless, with an f2.8 aperture, there are plenty of cool places that you can take ambient-light photos in. However, if you are really into ambient-light photography, you will probably benefit from a much faster prime lens such as a Canon EF 35mm F1.4L USM or Canon EF 50mm F1.2L USM which let in considerably more light. For zoom lovers, you do lose flexibility with the primes. So far it seems that there is nothing but great benefits that come with a larger maximum aperture. Aside from being able to shoot in darker environments, the wide-aperture is good for portraiture work. The f2.8 combined with a focal length of 70mm creates for excellent subject isolation and a diffuse background with buttery-smooth bokeh. I find 70mm to be an excellent focal length for headshots as well as head-and-shoulder shots. Though, if you are very serious about portraiture work, you might want to take a look into wider-aperture primes, which I've mentioned above) of similar focal lengths, or wide-aperture telephotos such as the Canon EF 70-200mm F2.8L IS USM Lens, Canon EF 85mm F1.2L USM (expensive!!!), or Canon EF 135mm F2.0L USM (a bit more of a bargain). For most part that is true, but there are of course some drawbacks. The larger aperture makes the lens considerably heavier, which can make it less comfortable to shoot with and carry around. And by no means is the Canon EF 24-70mm F2.8L USM a light-weight!!! My rule of thumb is that, the pain of using heavy wide-aperture lenses is well-worth it when you see the resulting images on the computer screen. Also, don't forget about the flexibility that you get when you want to take ambient-light indoor photographs, because sometimes f4.0 and higher just won't cut it. Also, the lens doubles up quite well as a portrait lens, though I do typically prefer to use the Canon EF 70-200mm F2.8L IS USM Lens for that purpose, especially when I have a large working distance where I can shoot full-body shots at long focal lengths. So at this point, you must decide whether the large f2.8 aperture is worth it to you or not. Should you maybe get the slower Canon EF 24-105mm F4L IS USM Lens which has Canon's Image Stabilizer? I will get into the aperture versus Image Stabilizer debate later on. Otherwise, please put some deep thought into this. Personally, once I shifted to large aperture lenses, there's no going back.
L - This is part of Canon's L-Series of lenses. This stands for "Luxury." It has the red ring around the barrel to show for it. What exactly does this mean? Not only does this mean that the lens is very expensive, but it also means that you are getting superior optics inside. You'll understand what I mean by superior optics when you see the resulting images that you have taken! Besides that, the Canon EF 24-70mm F2.8L USM is built extremely well. Many of the L-Series lenses sport superior build quality, and this lens is absolutely no exception. It sports considerably better build quality than my trusty Canon EF-S 17-55mm f2.8 IS USM Lens. It is also weather-sealed so it can be used in some pretty harsh weather. But, the weather-sealing is only complete when used with a weather-sealed body, like the Canon EOS 1D series cameras. Overall, the lens performs admirably and is well-deserving of the L-Series designation.
USM - The Canon EF 24-70mm F2.8L USM utilizes the USM focusing technology. This stands for "ultrasonic motor." There are two types of USM, micro- and ring-USM. The ring-USM is silent and extremely fast. The Canon EF 24-70mm F2.8L USM has the highest-end ring-USM focus motor. This motor is great for a couple of reasons. First of all, you are able to focus without disturbing subjects around you. Try comparing it to a lens such as the Tamron SP AF17-50mm f/2.8 Di-II LD Lens, which while quick, is quite loud. Even better, try comparing it to lenses that don't have a sonic focusing system. Some are slow and loud. They also tend to hunt, which means that they will have trouble getting the subject into focus. This can ultimately cause you to lose precious moments! It also focuses instantaneously, so you are less likely to miss a moment. After utilizing ring-USM in my primary lenses, I wondered how I lived without it! I found that the lens had no trouble focusing in ambient-light environments, and focused well using AF assist from my Metz Mecablitz 58 AF-1 Flash. There were also no other issues, I haven't found any completely misfocused shots or other issues that could severely impact image quality. Like other ring-USM lenses from Canon, the Canon EF 24-70mm F2.8L USM is an excellent overall performer.
-Lens Misconceptions- Here are some things that I looked into when initially purchasing my main walkaround lens, and some of them bugged me a little bit about the Canon EF 24-70mm F2.8L USM.
1. This lens is superior in every way to the Canon EF-S 17-55mm f2.8 IS USM Lensbecause it is an L-Series lens. This is a misconception. Just because the Canon EF 24-70mm F2.8L USM has the red ring does not mean it's superior. I find that for an APS-C camera, the Canon EF-S 17-55mm f2.8 IS USM Lens is a more versatile performer. I found them to have nearly equal performance, though they share different focal lengths which can lead to different experiences. If you would like to know more about the Canon EF-S 17-55mm f2.8 IS USM Lens versus the Canon EF 24-70mm F2.8L USM, please keep reading!
2. The Canon EF 24-105mm F4L IS USM Lens is a much better lens because it has Canon's Image Stabilizer. When I was just learning about photography, and purchased my first lens with Canon's Image Stabilizer, the Canon EF 28-135mm f/3.5-5.6 IS USM Lens, I thought it was the holy grail of getting sharp photographs 100% of the time. There's a lot more to this, and it all comes down to the aperture versus Image Stabilization debate. If you would like to know more about this, keep reading!
These are some misconceptions of the lens that you should be aware of. I believe that both topics are very important. I also hope that you understand more about Image Stabilization, especially if you're taking pictures of animate subjects such as people, which this lens is geared for.
--Beginner's Conclusion-
If you're getting a full-frame Canon EOS 5D as your first camera, then getting the Canon EF 24-70mm F2.8L USM is a no-brainer if you're planning on shooting mostly indoors, taking a portraits, and also enjoy taking indoor ambient-light photos. If you tend to shoot outdoors, primarily use flash, and travel often, the Canon EF 24-105mm F4L IS USM Lens will be a great option since it has a 35mm advantage on the long-end compared to this lens. It also has Canon's Image Stabilizer which can help when shooting at longer focal lengths close to 100mm, and also if shooting inanimate objects in darker environments. The Canon EF-S 17-55mm f2.8 IS USM Lens will not work on a full-frame camera, so don't even try it. If you're looking for a much cheaper option, you can try the Sigma 24-70mm f2.8 EX DG Macro lens for $429 which will be a much cheaper option. I have never used this lens and can't tell you how it performs. However, when comparing the Canon EF-S 17-55mm f2.8 IS USM Lens versus the similar Tamron SP AF17-50mm f/2.8 Di-II LD Lens, I found the Canon to be a better lens in terms of image quality and having the flexibility of 3-Stop Image Stabilizer.
But, what if you're using an APS-C camera, which contains a smaller sensor than that which you find in a full-frame camera. This causes a 1.6x multiplication factor in the focal length of the lens. This causes the Canon EF 24-70mm F2.8L USM to become a 38-112mm lens. On the other hand, the Canon EF-S 17-55mm f2.8 IS USM Lens will be a 27-88mm lens. When using the Canon EF 24-70mm F2.8L USM, I found that its widest focal length was simply too long for taking very close photographs as well as large group shots. When looking through the EXIF data on my photos, I found that I actually took very many under 24mm. When I shot at a couple of parties with the Canon EF 24-70mm F2.8L USM, I found 24mm to be too long, and in many cases, I simply could not step back since I would either be going into a wall, an object, or into people. This was quite stressful, and I would constantly miss moments that I would have otherwise captured with the Canon EF-S 17-55mm f2.8 IS USM Lens. While I did appreciate being able to zoom 15mm farther to 70mm with this lens, I felt that it was easier to move forward. While you can be intrusive trying to take face shots at 55mm, many people don't mind. Also, if you're shooting professionally with APS-C cameras, it would probably be easier to utilize a Canon EF 70-200mm F2.8L IS USM Lens on a second camera body, which is what I'm doing now at parties and events where I can safely carry two cameras. It is much easier to get the long end than the wide end, and if you miss out on the wide end, you can really be missing moments. If you shoot at clubs where it is very packed and not exactly the best idea to carry more than one camera body, you would definitely benefit from the 7mm of extra wideness provided by the EF-S lens. On top of all this, the Canon EF-S 17-55mm f2.8 IS USM Lens is extremely comparable to the Canon EF 24-70mm F2.8L USM in terms of image quality, with the benefit of 3-Stop Image Stabilization which can help with shooting inanimate objects at very slow shutter speeds or perhaps helping with getting more "keepers" with the "dragging the shutter" technique, which I will explain later. Ultimately, the Canon EF 24-70mm F2.8L USM has better build quality and a 15mm longer focal length, but it does lack Image Stabilization, and what I believe to be the more important wide-end that is harder to get around than the long-end.
Overall, the Canon EF 24-70mm F2.8L USM proves itself to be the ultimate walkaround lens for event/people photography on a full-frame camera due to its superb image quality, as well as large maximum aperture. On an APS-C, it becomes more of a toss-up since it comes head-to-head with a very formidable foe. While the Canon EF 24-70mm F2.8L USM has some improvements over the Canon EF-S 17-55mm f2.8 IS USM Lens, the latter does have the flexibility of having a more generous wide-end, the same level of image quality, as well as Canon's Image Stabilizer. It's also more comfortable to use due to its lighter weight, but doesn't nearly look as cool. At this point, it can be hard to decide between the two. Why not buy both and then decide which one you like better? If I bought both in the first place, I would have still chosen the EF-S lens. Though there is no right or wrong answer, both are excellent lenses, it just depends what you are most comfortable with.
Now read on further to see what this lens has to offer...
--FOR PHOTOGRAPHERS FAMILIAR WITH THE SLR FORMAT- The Canon EF 24-70mm F2.8L USM is one of Canon's three professional-grade top-of-the-line walkaround lenses, which also includes the Canon EF 24-105mm F4L IS USM Lens and Canon EF-S 17-55mm f2.8 IS USM Lens, which is for APS-C cameras only. The Canon EF 24-70mm F2.8L USM boasts the fine optics you'd expect from an L-Series lens with performance that will not disappoint. The lens is expensive, but it is geared towards professional photographers. However, the lens' mission may not suit all types of photographers, so before you drop $1,200, it is important to know if this lens is what you will need.
-Who this lens is for... The Canon EF 24-70mm F2.8L USM is quite large for a general walkaround zoom. The lens hood looks like a giant satellite dish! So unlike my Canon EF-S 17-55mm f2.8 IS USM Lens that lives on one of my Canon Digital Rebel XTi with very little notice from the public, the Canon EF 24-70mm F2.8L USM proves itself to be an attention-getter. The size is one thing that makes it get so much attention. Therefore, why exactly is this lens so big? Well, the Canon EF 24-70mm F2.8L USM has a very large constant f2.8 maximum aperture that extends over the entire focal length range, going from its widest-end of 24mm all the way to 70mm, its longest length. So who exactly benefits from this? If you are a photographer that shoots indoor events and people, you will benefit from this large aperture as well as relatively wide to moderately long focal length. Also, the f2.8 aperture makes the Canon EF 24-70mm F2.8L USM into a very good portrait lens too.
The f2.8 aperture gathers quite a bit of light, and twice as much as the Canon EF 24-105mm F4L IS USM Lens at all focal lengths to be exact. Therefore, if you are doing ambient-light photography in well lit areas, you will definitely benefit from this lens. The low-light capabilities are great, and do exceed that of lenses with smaller maximum apertures. Though, if you are focused primarily on ambient-light photography, you will benefit tremendously from using very fast prime (fixed focal length) lenses, such as the Canon EF 35mm F1.4L USM, Canon EF 50mm F1.2L USM, and Canon EF 85mm F1.2L USM. Those three, for example, would make an excellent combination for wedding photography. Unfortunately, you do lose the flexibility of being able to zoom. So the Canon EF 24-70mm F2.8L USM comes out to being the next best thing.
Is it for everyone though? I don't think so. If I were to use a full-frame camera such as a Canon EOS #D, I would definitely use this as my main walkaround, and then complement it with additional important lenses such as the Canon EF 70-200mm F2.8L IS USM Lens which would seamlessly couple with the lens' focal length range. I would pick the Canon EF 24-70mm F2.8L USM over the Canon EF 24-105mm F4L IS USM Lens because the wide aperture proves to be more important for people applications than Image Stabilization. I will get to this a bit later, so don't worry! While the 70mm long end can be a bit constraining versus the more generous 105mm range, this can be made up easily by utilizing a second body with the Canon EF 70-200mm F2.8L IS USM Lens attached. For shooting night clubs, the focal length range on this lens should be more than enough since you are shooting in tight spots.
Speaking of tight spots, the Canon EF 24-70mm F2.8L USM doesn't fare quite as well when using it on an APS-C camera. An APS-C camera is a Canon ###D/####D (Digital Rebel) or Canon ##D. These cameras have a smaller sensor size than a full-frame camera. So the Canon EF 24-70mm F2.8L USM, which has a generous wide-end on a full-frame, isn't quite as wide anymore. While for most part, the lens had a satisfactory focal length range, at times the 24mm wide-end just didn't cut it. When you are trying to take a group photo in a tight space, it can be very difficult, if not impossible to step back and fit everyone into the frame. This is the problem that I encountered most often with this lens. The Canon EF 24-70mm F2.8L USM simply couldn't take many of the photos that the Canon EF-S 17-55mm f2.8 IS USM Lens can easily do with its additional 7mm of wide range. On the contrary, the Canon EF 24-70mm F2.8L USM goes all the way to 70mm, which I find to be my "sweet spot" in many cases, and where I find myself using my telephoto indoors at events. This makes getting some further shots easier to get, especially facial photos without being too intrusive. Though, if your subjects don't mind intrusiveness, it is essentially easier to move closer to subjects instead of moving backwards to get everything in the frame. Also, I solved the intrusiveness issue by purchasing a second used Digital Rebel XTi. Even with one body, and the Canon EF-S 17-55mm f2.8 IS USM Lens attached, I was able to get the closer shots I needed. This was definitely not the case with trying to get wider shots with the Canon EF 24-70mm F2.8L USM where I would lose opportunities.
So in the end, if you're doing event/people photography, the Canon EF 24-70mm F2.8L USM will be an essential lens to have alongside a telephoto such as the Canon EF 70-200mm F2.8L IS USM Lens which seamlessly connects with its focal length. The 24mm wide end should be very generous if you're using a full-frame sensor. If you find yourself shooting mostly wide photos, you can purchase a Canon EF 16-35mm F2.8L USM which is a highly-regarded wide-angle zoom. I haven't used this lens personally, but have heard good things about it.
If you're using an APS-C camera, and can get past the fact that the Canon EF-S 17-55mm f2.8 IS USM Lens doesn't have the red ring around it and the tank-like body, then I believe that it is a better choice. It sports the same level of image quality, but has a more useful wide-end as well as Canon's 3-Stop Image Stabilizer which can help in shooting inanimate objects at very slow speeds, or perhaps improve results of certain techniques. Both lenses will give stunning results on an APS-C camera, but the biggest problem with the Canon EF 24-70mm F2.8L USM is that some pictures never made it to the computer screen because I wasn't able to take them in the first place because the lens just wasn't wide enough. This was my biggest frustration with the lens, and really made me appreciate the EF-S counterpart. So in this case, it's up to you to decide. Both lenses will get you amazing images, but the Canon EF 24-70mm F2.8L USM is more limited in the wide-end, which could cost you in the end. -PRICE- The Canon EF 24-70mm F2.8L USM is by no means a cheap lens. Though, it is similarly priced to Canon's other top-of-the-line walkaround lenses. Despite a marginal price difference, it does come out to being the most expensive one of the three. I would say that the lens is more closely compared to the Canon EF-S 17-55mm f2.8 IS USM Lens rather than the Canon EF 24-105mm F4L IS USM Lens. The Canon EF 24-70mm F2.8L USM is roughly $170 more expensive. When you're already paying this much money for the finest gear, it's really not that huge of a difference. The Canon EF 24-70mm F2.8L USM is also only around $100 more than the Canon EF 24-105mm F4L IS USM Lens. So if you're on an APS-C camera, then you must decide whether to get this lens or the EF-S lens. And don't worry, I will have more information about why you should get one over the other. ;-)
If you're shooting events and are using a full-frame camera, I am assuming most photographers will opt for the larger aperture lens. So this ultimately knocks the Canon EF 24-105mm F4L IS USM Lens out of the running, and instead you'll be competing against 3rd party lenses such as the Sigma 24-70mm f2.8 EX DG or Tamron SP AF 28-75mm f2.8 XR Di LD Aspherical lenses. I have not used either of these lenses, so I can not comment on them. As I have mentioned before, I have owned the Tamron SP AF17-50mm f/2.8 Di-II LD Lens, and while it provided great performance for the price, I have been far more satisfied with the quality of the Canon EF-S 17-55mm f2.8 IS USM Lens. So if you're on a budget, 3rd party lenses are good. But if you see a lens as an investment in your future and the priceless memories that you will capture, then there's no reason to choose anything but the best, even if that means spending a few hundred more initially.
So is the Canon EF 24-70mm F2.8L USM worth the $1,200 price tag? Well, if you receive a good copy of the lens, then you will find it providing you with excellent quality photos time after time. If you're using a full-frame camera and need a wide-aperture, then there's no competition. This is really the only walkaround lens that you should be getting. On the other hand, with an APS-C camera, the Canon EF-S 17-55mm f2.8 IS USM Lens will provide some rough competition. I feel that the latter is a better choice, and in the end you can save a hundred or so dollars after purchasing the expensive lens hood that is not included.
You really can't go wrong with the lens though. It is worth every penny if you shoot events/people and will be using it on a full-frame camera.
-BUILD QUALITY- The Canon EF 24-70mm F2.8L USM is built extremely well, like other L-Series lenses are. It is extremely solid and heavy. This is the type of lens that can withstand professional abuse. If you are comparing it to the Canon EF-S 17-55mm f2.8 IS USM Lens, you will instantly notice a dramatic difference in build quality. While the EF-S lens is still solid for what it is, it doesn't quite reach the same standard as the Canon EF 24-70mm F2.8L USM.
One of the main features of the lens is that it is weather-sealed, so that you can use it in harsh conditions. However, the lens must be used with a weather-sealed body, like the Canon EOS 1D series, in order to be fully weather-resistant. The Canon EF-S 17-55mm f2.8 IS USM Lens isn't weather-sealed, but neither are any APS-C bodies currently.
The operations of the lens are superb. The zoom ring has extremely smooth and effortless action. It does feel a bit smoother than the Canon EF-S 17-55mm f2.8 IS USM Lens, but I really have no complaints over that lens. The focus ring is also quite smooth in its operation. Though, I rely entirely on autofocus, so that doesn't matter much to me. Like other L-Series zooms, the focus ring is at the front of the lens, while the zoom ring is in the front. It is the exact opposite for the Canon EF-S 17-55mm f2.8 IS USM Lens, which I actually prefer. The zoom ring on the EF-S lens is also larger. Another benefit that you get with the Canon EF 24-70mm F2.8L USM is that the lens doesn't extend when you have the lens hood in. The front element does extend when zooming, but all of this action occurs inside of the lens hood. So unlike the Canon EF-S 17-55mm f2.8 IS USM Lens, the lens hood does not extend when zooming in and out. The lens hood is huge though, and makes the lens look pretty cool. This isn't always a good thing though...
The front element of the lens doesn't rotate when focusing. So you can use a circular polarizer on the lens. While I own a B+W 77mm Kaesemann MRC circular polarizer, I never used it with this lens.
While the overall build quality is very similar to the Canon EF 24-105mm F4L IS USM Lens, the build quality does surpass that of the Canon EF-S 17-55mm f2.8 IS USM Lens. If you hold both lenses side-by-side, you will notice that the Canon EF 24-70mm F2.8L USM is considerably more solid. Though, it is noticeably heavier, which makes it more of a hassle to use, especially if you're using a very light Digital Rebel body. I don't have any issues with this since I am used to using the extremely heavy Canon EF 70-200mm F2.8L IS USM Lens, but after a while using the EF-S lens really is quite a relief. Now, I'm not making it out to seem that the EF-S lens is in any way fragile. It just won't stand up to the same abuse as the Canon EF 24-70mm F2.8L USM. But seriously, when you're dropping serious money on lenses like these, wouldn't you treat them as well as you can? Therefore, regardless which lens you use, if you treat it well, then you will get a long life out of it.
-FEATURES- The Canon EF 24-70mm F2.8L USM has some nice features that give it an edge over other competitors such as the Canon EF 24-105mm F4L IS USM Lens, which is the only other lens that you would consider as a walkaround on a full-frame camera.
*Fast Maximum Aperture - The Canon EF 24-70mm F2.8L USM has a constant f2.8 maximum aperture throughout the entire zoom range from its widest point at 24mm, all the way to its longest point at 70mm. This is ideal for indoor photographers, especially those that enjoy working with ambient-light. This is quite advantageous when comparing it to the Canon EF 24-105mm F4L IS USM Lens since it provides 2x more light at its maximum aperture than the 24-105mm wide-open. This allows you to shoot with a shutter speed that is twice as fast in the same lighting. This is crucial if you typically shoot without flash. I want to say that f2.8 will not save you in all settings. While this is as fast as any Canon zoom lens goes, you can get lenses better suited for ambient-light work if you use a fast prime lens. An aperture of f2.0 (one f-stop faster and 2x more light) and an aperture of f1.4 (two f-stops faster and 4x more light) will allow for even faster shutter speeds, but unfortunately will limit your capabilities in terms of zoom range since they are a fixed focal length!
Alright, I have talked a lot about low-light photography. Another nice benefit of having the large aperture is subject isolation in portraiture work. At 70mm wide-open, the lens takes very good portraits. I do however prefer to use a longer telephoto lens, especially if I am shooting outdoors with a large amount of working distance. For tighter spots, the Canon EF 24-70mm F2.8L USM works extremely well as a portrait lens.
*Canon Image Stabilizer - Umm... Wait a minute! This lens has Canon's Image Stabilizer? But it doesn't have it... Okay wait, now I'm really confused. Does the lens have it or not?
I feel that this is a very important time to talk about the Canon EF 24-70mm F2.8L USM'slack of a feature. Why? Because the two other competing lenses in the Canon line-up both have the system. Let's start from the beginning... When I was first learning about photography, I was going though different lenses. When I heard about the concept of image stabilization, I instantly thought that this was the absolute holy grail of photography. So when I purchased my Canon EF 28-135mm f/3.5-5.6 IS USM Lens, I assumed that I would never see a blurry photo ever again. Well, I was quite wrong! Before you go on thinking that Canon's Image Stabilizer will solve all of your problems, you need to understand the underlying foundation of the concept.
Have you ever heard of the term stopping action? This is the use of a high-shutter speed (without flash) in order to stop subject motion. When I'm shooting outdoors and want to stop someone, let's say running, I will set my shutter speed to 1/200 at a minimum. Also, when you are trying to get sharp photos, you generally need to follow the 1/FOCAL LENGTH rule with your shutter speed in order to get sharp images.
Image Stabilization works in the opposite way... Instead of shooting at a fast shutter speed to either stop action, or at the very least give you a sharp image of stationary people/objects, Image Stabilization allows you to shoot at a slower shutter speed and still maintain sharp results. So therefore, if you decide to shoot a statue at 1/15 at let's say 50mm, you will get a sharp image most likely thanks to Image Stabilizer. But now let's pretend that you are shooting people that are moving a bit at 1/15. You will find your subjects blurry. Why? Because in order to stop action (the subject movement), you need to use a faster shutter speed, not a slower one. So therefore, if you're shooting mostly individuals, which this lens is geared towards, then you really won't have much benefit from Canon's Image Stabilizer since it doesn't help to stop subject motion. If you're shooting inanimate objects indoors, you will already have an upper-hand with the Canon EF 24-70mm F2.8L USM since it allows 2x more light than the Canon EF 24-105mm F4L IS USM Lens, so you can shoot at a shutter speed that is twice as fast, and if you can go 1/FOCAL LENGTH, you can most likely get a sharp image without needed Image Stabilizer.
Though, the ultimate lens for shooting inanimate objects at slow shutter speeds will be the Canon EF-S 17-55mm f2.8 IS USM Lens where you can shoot much slower than 1/FOCAL LENGTH and still get sharp results, where the Canon EF 24-70mm F2.8L USM may falter. I also recently learned of an interesting technique called "dragging the shutter." It is very commonly used in night club photography where photographers attempt to capture the atmosphere of the club by letting in more ambient-light. The way to do this is by using an extremely slow shutter speed when taking pictures of people. But wait a minute... Didn't I just say earlier that you can't stop action with such slow shutter speeds? Well, the secret ingredient to take care of this is a flash. When doing this technique, I use my Metz Mecablitz 58 AF-1 Flash along with a Gary Fong LightSphere II (cloud). I have shot around 1/13 to 1/20, and by using the flash for fill, you are able to freeze action in still subjects. With my Canon EF-S 17-55mm f2.8 IS USM Lens, I have had a very good keeper rate. I believe that some of this is probably due to the Image Stabilizer which helps to reduce camera shake on my part, and then the flash helps to stop the action of the subjects, thus resulting in a better picture. I haven't had the opportunity to try this technique Canon EF 24-70mm F2.8L USM, but whether or not Image Stabilization helps significantly, it does make me feel a lot more comfortable, at least mentally. Though, I have looked at many club photos taken with the Canon EF 24-70mm F2.8L USM using the technique, and many of the images look excellent. But personally, I prefer having 3-Stop Image Stabilization.
Ultimately, on a full-frame camera, I would take the Canon EF 24-70mm F2.8L USM any day of the week over the Canon EF 24-105mm F4L IS USM Lens. The Image Stabilizer works by making less expensive slower glass act like more expensive fast glass, but it doesn't fare too well when shooting moving subjects. On an APS-C combined with the Canon EF-S 17-55mm f2.8 IS USM Lens, you're getting the best of both worlds... But at these shorter focal lengths, and shooting people, you're not getting a tremendous benefit by having Image Stabilization. You're biggest asset instead is the wide aperture, which me, and many other photographers believe is more important that Image Stabilizer. In a telephoto lens, where you shoot at longer focal lengths, Image Stabilizer can be a big help, but with these walkaround lenses, it's more negligible.
*Ultrasonic Motor - The Canon EF 24-70mm F2.8L USM utilizes Canon's top-of-the-line ring-USM focusing motor. It provides nearly instantaneous focus speed without making a noise! This is very good if you're in quieter areas and don't want to be disruptive with a loud focus motor. Also, its lightning-fast speed allows you to lock onto your subject very quickly. When shooting in ambient-light, I found that the lens focused without having to hunt. When looking at my results, I saw no focusing issues resulting in excessively soft and blurry photographs.
*77mm Filter Size - The Canon EF 24-70mm F2.8L USM lens shares the same filter thread size as many other L-Series lenses. Therefore, you can share polarzing filters among the different lenses in an effort to save money. I used the B+W MRC 010 UV filter when I had this lens for added protection. I recommend always using a filter as protection, since this is very expensive glass, and it would be a shame if it got scratched or broken.
*Canon EW-83F Lens Hood - Part of the lens' wow factor comes from the lens hood. This thing is a behemoth compared to lens hoods that I have seen on other lenses! The lens hood helps to prevent lens flare, can help improve color saturation, and also acts as added protection in case the lens is dropped onto its front material. The hood has felt material on the inside to help reduce flare.
-PSYCHOLOGICAL ISSUES- *Subjects - The Canon EF 24-70mm F2.8L USM is a very different looking lens compared to the Canon EF-S 17-55mm f2.8 IS USM Lens. It is larger and the enormous lens hood makes it look even larger. The huge 77mm front element can also be intimidating to look at. There we go... There's our key word, intimidating. When using the Canon EF-S 17-55mm f2.8 IS USM Lens, I have had only a few people feel intimated and refuse pictures over the course of many months and thousands of frames. For most part though, the lens' appearance isn't all too striking. It doesn't look too much different from lenses such as the Canon EF-S 17-85mm f4-5.6 IS USM which many consumers have. It actually blends in somewhat decently with a smaller body like a Digital Rebel. On the contrary, the Canon EF 24-70mm F2.8L USM is actually quite a bit larger. It has gotten more attention. I had a few people ask me, "Are you professional?" I never had that with the EF-S lens to much of an extent. Also, I had at least three people block their faces when I tried to take pictures of them. This happened for only a two-week ownership period, and I can say that this already happened more often than the many months I've owned my EF-S lens! They appeared uncomfortable when I was shooting with this lens. They never hesitated when people shot with point & shoot cameras. This lens may not make people as uncomfortable as the Canon EF 70-200mm F2.8L IS USM Lens, but it's definitely a difference from the Canon EF-S 17-55mm f2.8 IS USM Lens.
*Photographer - Okay, this is going to sound a little strange... But if you're proud of your equipment, you'll see your L-Series glass as being more like a Ferrari or exotic car of some sort. One of the fun things about owning a Ferrari is that, yes, you do get noticed, and you can be pretty proud of it! I have a lot of people ask me questions and plenty of people staring when I use the huge Canon EF 70-200mm F2.8L IS USM Lens. When I shoot with the Canon EF-S 17-55mm f2.8 IS USM Lens, it is far more subtle. I never really receive many questions about it. In fact, when I have shot a couple of parties for people, I almost thought that people would look at me as just another John Doe using a setup that they bought straight from Best Buy and don't quite know how to use. I know that the resulting images are what's important and speak for themselves, and without any doubt people are happy, but the Canon EF-S 17-55mm f2.8 IS USM Lens doesn't quite make the same statement when I am out there on the floor taking pictures. I know the point is not to show off fancy equipment, but that's how some people may differentiate between a professional photographer and a person just shooting their family with a Digital Rebel combined with the kit lens (I have only seen one or two Digital Rebels owned by strangers with anything better than the kit lens). So yes, as bad as it may sound, the lens you are using may have a psychological impact on you. Almost like the car you drive. It makes a statement. And let's just say that the Canon EF 24-70mm F2.8L USM speaks louder than the Canon EF-S 17-55mm f2.8 IS USM Lens when you're out in public.
-IMAGE QUALITY-
--The Good Stuff-- The Canon EF 24-70mm F2.8L USM is as good as any L-Series lens gets. It produces excellent quality photographs. Perhaps this is why you see this lens as the mainstay walkaround for many professionals!
*Color Rendition - Colors are stunningly good. The colors are extremely vibrant and contrast is also excellent. I really enjoyed the color rendition that this lens gave. It's exactly what I expected it to give. Nothing less. In order to get more realistic looking skin tones, I do edit the RAW images in DXO Optics Pro v4.5 and have been very pleased with the results. Cranking saturation levels also yielded amazing color for non-people images. If you want the colors to really stand out and jump out at people, then this is a very good choice. The color quality was very comparable to the Canon EF-S 17-55mm f2.8 IS USM Lens.
*Sharpness - The lens maintained excellent sharpness throughout the frame. I found the images to be sharp from center to the edges, where many of my images were sharp even wide-open! However, I felt that I may have had more sharp photos wide-open with the Canon EF-S 17-55mm f2.8 IS USM Lens. I have actually shot a party once with over 200 images all at f2.8 and had stunning results with that lens. I seemed to have a few softer shots here and there with the Canon EF 24-70mm F2.8L USM wide open. But overall, the wide-open performance between both lenses was very similar with both delivering extremely satisfying results. If I had owned the lens for longer, I probably would be able to give a more definite example of wide-open performance versus the EF-S counterpart. I am sure that this is also dependent on copy variations of the lenses. But overall, you do get very good sharpness all the way from being wide-open. Stopping down did improve sharpness to excellent levels. I did take many photographs with flash at f4.0, and was very satisfied. If you are looking for a sharp lens, assuming you have a good copy, the Canon EF 24-70mm F2.8L USM will not fail to deliver. But don't overlook the Canon EF-S 17-55mm f2.8 IS USM Lens since side-by-side they were extremely similar.
*Bokeh - Thanks to the wide f2.8 maximum aperture and curved aperture blades, the Canon EF 24-70mm F2.8L USM does a fine job of isolating the subject during portrait work. Good bokeh is when the small circles are smoothly rounded, harsh bokeh is when there are rough edges. The bokeh created by this lens becomes smooth and creamy, the way it should be. There is absolutely no harshness. I found using the lens at 70mm and wide-open was very good for close distance head & shoulders work.
*Macro - This is not a macro lens, but actually does a decent job taking a close picture of a flower if you're shooting at 70mm. I do prefer a telephoto for macro work, such as the Canon EF 70-200mm F2.8L IS USM Lens when used at 200mm.
--Bad Stuff-- No lens is perfect, and the Canon EF 24-70mm F2.8L USM is no exception.
*Chromatic Aberration (CA) - This is the fringing of colors. This is a defect. CA makes images seem softer due to the color fringing. I test for CA by shooting in JPEG and then looking closely at those results. CA appears to be very well-controlled with this lens. I could not pinpoint any with my eye. Post-processing RAW files can also help to eliminate CA.
*Distortion - In order to test for distortion, I looked at the image before and after in DXO Optics. I was able to notice a tiny bit of barrel distortion at its widest focal lengths around 24mm. This was completely eliminated by post-processing, and also was minimal to begin with. I didn't notice any significant distortion further along the focal length range.
*Vignetting - Vignetting is the darker corners that you see at the edges of the frame. I was unable to find any traces of vignetting. This is also correctable in post-processing.
*Lens Flare - Under strong light, I found that this lens did tend to flare. Though for most part, it was under control. It was not nearly as bad as the Canon EF-S 17-55mm f2.8 IS USM Lens when it came to this issue. Of course you can help to prevent lens flare by using the lens hood that is provided with the lens. Also, you should use high-end multi-coated UV filters for protection. I used the B+W MRC 010 77mm UV filter when using this lens. I didn't notice the lens flaring any more with the filter than without it. Overall, the Canon EF 24-70mm F2.8L USM performs well in keeping flare under control. It is better off the bat than the EF-S lens, and you can always change your position if you are noticing it in the viewfinder.
-THE COMPETITION- This is coming quite late in the review since there were so many things to talk about! So I'd like to compare the Canon EF 24-70mm F2.8L USM to the Canon-based competition as well as 3rd party lenses. Here's how it stacks up:
*VS Canon EF 24-105mm F4L IS USM - Both of the lenses are similarly priced. The price difference between the two is only around $100, and this is quite negligible when you're already spending so much money. In my humble opinion, I believe that both lenses essentially serve different functions. Due to the shorter focal length range and wide-aperture of the Canon EF 24-70mm F2.8L USM, it serves event photography extremely well. The wide-aperture helps it tremendously with ambient-light photographs. It also does a very nice job isolating subjects for portrait work. On the contrary, it seems that the Canon EF 24-105mm F4L IS USM Lens is better served as more of an all-purpose lens. It does have a longer focal length by 35mm, which definitely helps outdoors for instance, and Image Stabilizer which helps low-light performance when shooting inanimate objects. However, when shooting people under ambient-light conditions, the Image Stabilizer won't really help too much if the subject is moving, and you are required to use a slower shutter speed due to the slower f4.0 maximum aperture. So if you're planning on shooting mostly people, then the Canon EF 24-70mm F2.8L USM is a no-brainer for ambient-light photography. When shooting with flash, the Canon EF 24-105mm F4L IS USM Lens will also be a great option. The one f-stop advantage can make a world of difference for ambient-light. If you shoot all types of things, you can benefit from the 35mm longer focal length, lighter weight, and decent low-light capabilities of the Canon EF 24-105mm F4L IS USM Lens. Both lenses sport excellent build quality and are L-Series.
*VS Canon EF-S 17-55mm f2.8 IS USM - For the APS-C folks, this becomes a tougher decision. First you need to get over the fact that the Canon EF-S 17-55mm f2.8 IS USM Lens is not an L-Series lens. But as a child, haven't you learned not to judge a book by its cover? It may not be as beautiful on the outside as an L-Series lens, but on the inside you get one heck of a lens! It took me a while to get over paying $1,000 for a non-L lens. But in the end, I have amazing results time after time, and have never looked back... Therefore, if you shoot events/people, both lenses would be great for the purpose. While the Canon EF 24-70mm F2.8L USM sports clearly superior build quality to the Canon EF-S 17-55mm f2.8 IS USM Lens, it is lacking in certain respects, primarily the wide-end by a significant 7mm, and it also lacks Canon's 3-Stop Image Stabilizer, which actually makes a pretty big difference in shooting inanimate objects in dark areas. Not to mention, the Canon EF 24-70mm F2.8L USM is also quite a bit heavier, and not as pleasurable to use in terms of overall comfort. While both lenses provide phenomenal quality images, I felt that I have missed out on too many moments with the lacking wide-end of the lens. Despite the Canon EF 24-70mm F2.8L USM being longer by 15mm, I found that moving closer to the subject was easier than moving backwards and trying to fit people. At events where you may bump into people, objects, or a wall, it's just not possible. Also, buying a second body and attaching my trusty telephoto has solved most of this issue. Also, I do feel more comfortable engaging in the "dragging the shutter" technique knowing that my photographer-induced camera shake will be dampened by the Image Stabilizer. I technically felt "better" shooting with the Canon EF 24-70mm F2.8L USM since it made me look more "professional," or that kind of feeling that you get when driving an exotic car. It definitely gets more attention than the Canon EF-S 17-55mm f2.8 IS USM Lens, but in the end, the EF-S lens provided me with more flexibility, the same if not better (wide-open sharpness) image quality, along with a more comfortable weight. And yes, I know the Canon EF-S 17-55mm f2.8 IS USM Lens is not built as solidly. But it's still an extremely solid lens, and it's not like photographers are throwing their lenses against the wall. If you take care of any lens, whether it be L-Series or not, it should survive for many years to come.
*VS THIRD PARTY - Sigma and Tamron both have competing lenses that are significantly cheaper. I have not used these specific lenses, but did at one point own the Tamron SP AF17-50mm f/2.8 Di-II LD Lens. While it was an incredible lens for the money. I feel that the Canon EF-S 17-55mm f2.8 IS USM Lens is a much better lens in many ways. If I am going to be charging people money for my services or want to capture my own priceless memories in the best ways possible, I would stick to the high-end Canon glass. In no way am I saying that these lenses are bad. On the contrary, I'm saying that they are quite good... But I feel that I have been more satisfied with my L-Series glass and have had many people compliment me on my work. When looking at older cheaper lenses I used, I see that the results are better. So if you have the money to drop on the Canon EF 24-70mm F2.8L USM or Canon EF-S 17-55mm f2.8 IS USM Lens, then by all means buy them. If you're constrained on the financial side, I would definitely give the third party lenses a look.
-THE VERDICT- The Canon EF 24-70mm F2.8L USM is one of Canon's finest walkaround lenses that you can buy. If you are using a full-frame camera and shoot mostly events and people, then this will probably be your best bet thanks to the wide f2.8 maximum aperture. This lens will also work quite well as a portrait lens. Compared to the Canon EF 24-105mm F4L IS USM Lens, this lens is probably a better choice for events and people if you're shooting with ambient light. The Canon EF 24-105mm F4L IS USM Lens will prove itself to be just as good (if not even better for some people) if shooting with flash. Many people debate aperture versus Image Stabilization. In my opinion, I think that aperture is ultimately more important. But you still must look at other aspects of the lens such as focal length.
It's a bit tougher if you use an APS-C camera. The flexibility and quality of the Canon EF-S 17-55mm f2.8 IS USM Lens surpassed what the Canon EF 24-70mm F2.8L USM was able to offer me. So even though it's an incredible lens, I just felt that there was something better for me. So please don't be scared about the non-L designation on the EF-S lens. I would give it a serious look.
Otherwise, you really can't go wrong with the Canon EF 24-70mm F2.8L USM. It provides everything you would expect from an L-Series lens. The images provided are extremely sharp, with many (but not all) of my photos being sharp wide-open from the center to the edges. Colors and contrast are excellent. Also, if you like lugging around a big lens the way someone likes to drive a Ferrari, then this lens will work well for you. This should not be used as your only lens though... It should be teamed up with a telephoto to capture further images. The focal lengths of this lens go seamlessly with the Canon EF 70-200mm F2.8L IS USM Lens. You will not be disappointed with the quality of this lens. It will give you excellent results day in and day out.
EF mount; standard zoom lens; Comes with Lens Cap E77U, Rear Lens Cap, Lens Hood EW-83F, Soft Lens Case 1219. Ultra-low Dispersion glass with Fluorite...More at Amazon
Canon L Series lens with two aspherical elements and one UD (Ultra-low Dispersion) element for superior image quality,effective focal length of 38-112...More at Crutchfield
This lens does what many pros thought couldn't be done - replace the previous L-series 28-70 f/2.8 lens with something even better. Extended coverage ...More at Newegg.com
Epinions.com periodically updates pricing and product information from third-party sources, so some information may be slightly out-of-date. You should confirm all information before relying on it.
- Add to My Yahoo!: 
- Add to Google Homepage: 
© 1999-2010 Shopping.com, Inc.