The best lenses for Canon cameras. Rating of the best lenses

A selection of the best portrait photographers for Canon according to PhotoPlus magazine and the Digital Camera World website.

Most zoom lenses do not have problems with image quality, but there are certain limitations. Many of them have a maximum aperture that varies depending on the focal length; at its longest focal length it shrinks to f/5.6. This results in increased depth of field, making it difficult to achieve a blurred background. Fast prime lenses typically offer maximum apertures ranging from f/1.4 to f/1.8, allowing for beautiful background blur and highlighting of your subject.

Another drawback of zooms is their tendency to create distortion, ranging from barrel to pincushion, depending on the focal length. A prime lens is better in this regard because it is designed to work with one focal length. But which focal length is best?

Generally, portrait photographers prefer optics with a focal length of around 85mm. This allows you to fill the frame for close-up and half-length portraits without having to invade your subject's personal space. At the same time, at this distance the photographer is close enough to communicate with the model and give the necessary instructions.

PhotoPlus magazine reviewed eight of the most interesting portrait cameras for Canon camera users and named the best of them.

1. Tamron SP 85mm f/1.8 Di VC USD for Canon

Multifunctional lens - great choice for portraits

Very effective optical stabilizer
+ Excellent sharpness and contrast
+ Excellent build quality

- Not the easiest of all

Like its little 45mm brother in point 2, this lens is compatible with Tamron's TAP-in console. This allows you to connect the lens to a computer via USB to update firmware and change settings, such as adjusting autofocus.

The Tamron SP 85mm f/1.8 is smaller and lighter than its Sigma counterpart, the Sigma 85mm F/1.4 DG HSM, but larger and heavier than the Canon EF 85mm F/1.8 USM.

Weighing 700 grams, it is comfortable to use and well balanced for use with full-frame cameras. As a bonus, the lens features Vibration Compensation, VC, for handheld shooting in low-light conditions.

Like the Sigma lenses in this review, both Tamron lenses come with lens hoods. Internal focusing is performed by ring-type ultrasonic motors, which allows the front elements to remain stationary throughout the entire focusing range.

At f/1.8, the Tamron's sharpness is more than sharp enough for portraits, and it's sharp across the entire frame. The bokeh is very soft and smooth, even softer and smoother than the Tamron SP 45mm f/1.8 Di VC USD due to the longer focal length.

2. Tamron SP 45mm F/1.8 Di VC USD for Canon

New normal lens with good potential for portraits

Impressive sharpness and contrast
+ Weather protection
+ Excellent build, easy to use

— Minor distortion

One of the features of all the latest Tamron lenses is the presence of optical stabilization, which is missing from the Canon and Sigma optics in this review.

When shooting indoor portraits in low light, even at f/1.4 or f/1.8, you may need a slower shutter speed if you don't want to increase ISO settings, which can degrade image quality. Highly effective image stabilization technology, Tamron VC, according to the manufacturer, compensates up to 4 stops of exposure, allowing you to use significantly longer shutter speeds when shooting handheld.

Build quality, autofocus system performance and, more importantly, image quality are excellent. Sharpness and contrast are impressive, even at wide open aperture; this bokeh is beautiful, soft, “creamy”. Unlike the Sigma 50mm f/1.4 DG HSM A, this lens is not free from distortion, but the barrel distortion is much less noticeable than both 50mm Canon lenses in this review.

3. Sigma 50mm f/1.4 DG HSM Art for Canon

‘Art’ class lens for portrait photography

Fast and quiet autofocus
+ Good suppression of chromatic aberrations (color halos)

— Reduced sharpness in the corners of the frame
— Somewhat high price

The Sigma 50mm is hardly a lightweight contender for Canon - this lens is twice as long and almost three times as heavy as the Canon EF 50mm F/1.4 USM. And this is not surprising - the Sigma has a more complex design than the Canon EF 50mm, with 13 optical glass elements and a 9-blade aperture.

Another plus of the Sigma is its fast and virtually silent autofocus system with a ring-type ultrasonic motor, while the EF 50mm f/1.4 USM has a simpler ultrasonic motor.

At its widest aperture, this lens offers better center sharpness than any other lens in this review, as well as excellent contrast. Sharpness in the corners of the frame, compared to sharpness in the center, is low, but improves when closing the aperture by 1-2 stops. The lens copes well with color halos, there is practically no distortion. In a nutshell, the lens' performance is exceptional.

4. Sigma 85mm f/1.4 DG HSM Art for Canon

Sigma 85mm - a powerful hulk

Excellent image quality
+ 14 optical elements

— Big sizes and weight
— Quite a high price

This huge lens from Sigma is like the Hulk of portrait lenses. Measuring 95x126mm and weighing 1130g, it is by far the largest and heaviest lens of all the optics in this review.

Unlike many other Sigma lenses, the 85mm f/1.4 body is water and dust resistant. Plus, this lens (like its “relative”, 50mm Art) is compatible with the Sigma docking station, which allows you to update its firmware and fine-tune parameters. Additionally, like the 50mm Art, it comes complete with a lens hood and a soft case.

Autofocus is fast, exceptionally quiet and unerringly accurate. Sharpness towards the edges of the frame is excellent, even when shooting at f/1.4, although center sharpness at wide open aperture still falls short of what the smaller Sigma 50mm f/1.4 provides.

Overall, this lens produces excellent images, but for an 85mm prime it is quite expensive and bulky.

5. Canon EF 85mm F/1.8 USM

Small, lightweight and affordable option

Ultrasonic ring type AF motor
+ Small size and light weight

- Not the best sharpness
— Dear hood

Many portrait photographers love shooting with this lens in conjunction with full-frame cameras such as the EOS 6D Mark II and EOS 5D Mark IV. It's also one of Canon's "recommended" lenses, providing plenty of sharpness even with the 50.6MP EOS 5DS and 5DS R cameras.

The Canon EF 85mm F/1.8, like the Canon EF 50mm F/1.4 USM, has an 8-blade aperture that produces an almost circular aperture. But, unlike the Canon EF 50mm F/1.4, this lens is equipped with a ring-type ultrasonic motor, which provides fast and very quiet autofocus.

At f/1.8 aperture, sharpness is not the best, but quite sufficient for portrait photography: the lens provides excellent detail of hair, skin, and eyes. Sharpness at the edge of the image is not so important for portrait photography - here the photographer the effect is more needed bokeh, which this lens handles very well.

Overall, the Canon EF 85mm F/1.8 USM is an excellent choice in terms of price/performance ratio for photographers working with full-frame cameras.

6. Canon EF 50mm f/1.8 STM

Qualitative improvement compared to the previous “fifty dollars” Canon

Metal mount
+ Aperture with almost round hole

— No distance scale
- Relatively noisy autofocus

The Canon EF 50mm f/1.8 STM is a lightweight and compact lens, just 30 grams heavier, 1mm wider and 16mm longer than the 40mm pancake in our review. And that's impressive given the longer focal length and f/1.8 aperture. The diameter of the thread for the filter is even smaller than that of the “pancake”, but the front element is recessed deep enough, which makes it possible to dispense with the hood.

The new fifty-kopeck piece received a more advanced autofocus system; a metal, not plastic, bayonet mount, as well as 7 aperture blades, not five, like its predecessor. This provides a virtually circular aperture, making bright out-of-focus objects look nicely rounded rather than characteristically pentagonal - which was a problem with earlier 50mm lenses.

As for aberrations, the Canon EF 50mm f/1.8 STM copes with color ghosting no better than the previous version, and barrel distortion is only slightly less. But overall, for the price this is an excellent purchase.

7. Canon EF 50mm f/1.4 USM

The veteran lens is starting to become obsolete

A diaphragm with an almost round hole
+ Ultrasonic focus drive with continuous manual focus adjustment

— No protection from moisture and dust
- Not the best image sharpness

Considering that updated cameras come out every year or two, this lens, which is already 24 years old, definitely seems like an oldie. Nevertheless, this is one of Canon's best fifty dollars - unless, of course, you are ready to pay a huge amount for the Canon EF 50mm f/1.2L USM.

The lens uses an ultrasonic motor rather than a stepping motor, but compared to ring-type AF systems it is relatively slow and noisy. But, unlike most lenses with the same system, there is constant manual focus adjustment in One Shot AF mode.

The wide f/1.4 aperture produces only slightly more background blur than the EF Canon 50mm f/1.8 STM, but it's much better than what the 40mm f/2.8 produces. On maximum values aperture this lens lacks sharpness, and even at f/1.8 and f/2.8 it loses to the cheaper EF Canon 50mm f/1.8 STM.

On the other hand, the advantage of this soft optics is that when shooting with the maximum open aperture, wrinkles are hidden, to a certain extent erasing the signs of age in models.

8. Canon EF 40mm f/2.8 STM

Compact and productive “pancake” from Canon

Small, lightweight, easy to carry
+ Good sharpness in the center of the frame

- Does not provide good background blur
- Relatively small aperture

This exceptionally flat pancake extends just 23mm beyond the camera body and fits easily into your pocket. It weighs only 130 grams - that is, less than 1/8 of the Sigma 85mm!

Despite its incredibly modest size, the EF 40mm is compatible with full-frame cameras as well as APS-C DSLRs. The lens has a metal rather than plastic mount. At short focusing distances, the inside of the EF 40mm extends slightly, but the front element does not rotate when focusing.

At 40mm, it's the widest lens in this review and, due to its f/2.8 aperture, the worst at producing background blur.

In all other respects, the lens is good. The image quality is very nice, the center sharpness is high, even at f/2.8, as is the edge sharpness at f/5.6. The optics cope well with color halos and distortion. All this makes this little “pancake” quite a decent portrait lens for working with APS-C cameras such as the EOS 800D.

Winner

So, the title of the best portrait lens for Canon users goes to the Tamron SP 85mm f/1.8 Di VC USD. It provides exceptionally beautiful bokeh as well as excellent sharpness and contrast. Moreover, its effective optical stabilizer comes in handy when shooting portraits in low-light conditions.

Updated: 02/28/2019 Oleg Lazhechnikov

With lenses everything is somewhat simpler than with cameras, it’s much more fewer parameters and everything is much simpler. There is a focal length measured in millimeters, aperture ratio, and the presence/absence of a stabilizer. I'll tell you about everything in more detail.

Focal length

You don't really need to know what it means physically. It’s easier to remember that the more millimeters, the closer the object will be to you, or they often say that the angle will be narrower. This is true; when you zoom in on an object, you kind of cut off the frame at the edges and it doesn’t include anything that could fit into the field of view of a wide-angle lens. After using your first lens a little, you will immediately understand what focal length you need to use. Therefore, at first, do not buy many lenses; one is enough to shoot, for example, the cheap kit Canon EF-S 18-55mm f/3.5-5.6 IS II, which comes with many budget Canon cameras.

There are fixed lenses (they are called primes), and there are zooms. For the former, the focal length does not change in any way, for the latter, it can be changed manually by turning the ring on the lens. If you are just starting out, then most likely you do not need prime lenses, because they are bought for maximum quality and good aperture, and the price will be appropriate. Moreover, when you take photographs, it is much more convenient to be able to quickly zoom in or out of an object, otherwise you will need to change one lens to another, which takes much longer, and if this happens often, it really gets boring.

Crop factor

Next, I simply have to tell you that there is also such a thing as the crop factor, which in some way tells us about the size of the matrix of our camera compared to others. The matrix of a full-frame camera is taken as one (the cheapest full-frame ones are Canon 6d and Nikon d600), and other cameras have crop factors, which mean how many times the diagonal of the matrix is smaller than that of the full frame. For example, 1.6 (Canon 650d, Canon 60d, Canon 7d), 1.5 (Nikon d300, d7000), 2.5 and more for different point-and-shoot cameras. The numbers mentioned (1.6, 1.5, 2.5, etc.) are the crop factor. I think it’s clear that the larger the matrix, the better the quality of the resulting image, and if this did not dramatically increase the price of a carcass, then everyone would just go with full-frame cameras and there would be no need to write about the crop factor.

Okay, screw it with the diagonal, what is more important is that the crop factor conditionally increases the focal length, that is, the larger the crop factor, the closer the object will be. For example, for a Canon 5d mark (crop factor 1) the standard lens will be 24-70 mm, and for a Canon 60d (crop factor 1.6) it will be 17-55 mm. That is, looking through the viewfinder of both cameras with the above-mentioned lenses, the objects will be visually at the same distances, although the millimeters are different. The crop factor is also sometimes called the focal length multiplier. For cropped bodies, you need to recalculate the focal length to get real numbers. That is, we take a 17-55 lens mounted on a cropped camera and multiply it by a crop factor of 1.6 (for all amateur DSLRs) and get 27-88 mm (17*1.6=27 and 55*1.6=88), that is, almost the same the same as a 24-70 lens for full frame. This is why we see equally close objects on these two cameras with these lenses. Remember that millimeters on all lenses are always indicated for the full frame, regardless of what camera the lens is intended for.

If the above seemed complicated to you, then don’t worry, by and large it’s not that important. You will put this or that lens on your cropped camera and get used to the millimeters that will be indicated on the lens body and you will operate with these numbers without any recalculation. And only if you suddenly switch to full frame, only then will you have to get used to the “new” millimeters again.

Aperture

It is designated as 1:4 or 1:1.2 and is indicated on the edges around the front lens. In fact, aperture is how much light is attenuated when passing through the lens; the aperture value depends only on the lens itself and nothing else. But in common parlance, aperture refers to the maximum open aperture that we can set on a camera with this lens. That is, if we don’t go into theory and talk about practical application, then the number after one is simply important for us (in this example, f4 and f1.2). How less number, the faster the lens. Typically, lenses with a value of somewhere around 1.2-2.8 are considered such, and they are very convenient for shooting in the dark or. But not only this is their advantage, but also their shallow depth of field (depth of field). Surely, you have seen photographs where there is a clear person in the foreground, and the background is beautifully blurred, and such things are done due to open apertures and, accordingly, fast lenses. Of course, you can do this with a regular aperture (for example, f5.6), but I will write about this in the next article.

Some nuances

If you buy a lens for Canon, then it will not fit the mount (connector) for Nikon, and vice versa. There are also other companies that make lenses (as a rule, they are cheaper) for all cameras and mounts - Tokina, Sigma, Tamron. I would also like to mention the inexpensive high-aperture Samyang primes; they are highly praised, but they do not have autofocus, which is not suitable for everyone.
There are adapter rings for attaching lenses that are not your own mount, but I have never used them.
Each lens has a glass diameter (also measured in millimeters), which you will need to know if you buy a filter. The really necessary one is the CIR-PL polarizing filter. You can also purchase ultraviolet UV, which is essentially ordinary transparent glass and is needed only to protect expensive optics from scratches and shocks. But there are different opinions on this matter, and some say that it is of no use.
The larger the zoom (focal length range), the worse the image quality. Usually this is really noticeable at large zooms, such as 18-135 mm or 18-200 mm, and manifests itself in the form of distortion, poor sharpness, aberration, etc. You need to look at pictures of a particular lens for these distortions and decide whether they suit you or not.
A wide-angle lens (shirik) is somewhere around 10-15 mm for crop, and 15-20 for full frame. There is also a lens, what is called fish eye(fish eye). Despite the ultra-wide angle, it is not an analogue of the wide angle, because they break out the picture in a peculiar way, sticking it out.
A portrait lens is usually called 85 mm for full frame and 50 mm for crop.
Before buying a lens, always read reviews about it and look at pictures already taken by other people, all of this is available on the Internet.
Once again, the Canon EF-S 18-55 kit lens is a good thing and will definitely be enough for you for the first time, if you don’t know anything yet. When you buy a camera with this lens right away, you overpay literally 1-2 thousand rubles, that is, you get it almost for nothing (if you buy it separately, it is more expensive). True, there are other sets that will have a different lens.

To shoot landscapes and architecture, you will need a zoom whose focal lengths start from 17-18 mm (for crop) and from 24-25 mm (for full frame).
For shooting in a narrow space or a starry sky, a wide-angle lens, 10-15 mm (crop) and 15-20 (full frame), is useful.
For reportage shooting, it is convenient to be able to bring a person closer, which means you need a zoom with a far end of about 100-150 mm. There are more (70-200 or 70-300), but then the near end will be too narrow and not suitable for anything other than reporting from afar.
Lenses like 70-200 and 70-300 are usually used in landscape photography to zoom in on some piece of nature or to photograph animals and birds. It can also be used for macro.
There are special macro lenses for shooting flowers and flies. But, if you don’t really need a strong approximation, then zooms are quite suitable, as I wrote above.
To shoot portraits, it is best to buy a 50mm (crop) or 85 (full frame) prime lens, then you will have beautiful bokeh, a perfectly blurred background, and good aperture. But this is all in the case if you just want to shoot portraits, often and with a pretense of professionalism. Otherwise, a regular zoom will do. By the way, prime lenses come in different aperture ratios, so don’t go for the most expensive ones at first. For example, Canon 50 f1.8 will be enough for you, instead of Canon 50 f1.4 (twice as expensive). And I’m generally silent about the Canon 50 f1.2; it’s clearly not for beginners.
If you are not picky about image quality, then for travel photography it will be best for you to take a large zoom (18-135 or 18-200), then you will cover all focal lengths and will not have to constantly change lenses. A sort of universal lens. In addition, the photo bag you take with you will be quite small from such a set, which is important for those trips where weight is important.

If we somehow summarize the choice of a lens for travel, then in most cases you will need a line of lenses, or one universal one with focal lengths somewhere from 17 to 100 mm, they are most often used, we are talking about crop. Naturally, this is in my opinion. When traveling (and at home too), a lineup of two lenses with a total focal length of 11-105 (Tokina 11-16 f/2.8 wide + standard Canon EF 24-105 f/4 zoom) is more than enough for me. Moreover, if I didn’t like photographs taken wide, then I could have done without the wide; after all, 11 mm is rarely needed in ordinary life. True, then 24 mm would be too narrow in tight spaces. That is why I wrote that it is best to have a ruler starting from ~17-18 mm (for crop).

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4,77 out of 5 (ratings: 66)

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– Fixed focal length model;

3 - Ultra-wide-angle model for partial-frame cameras.

Initially, Nikon lenses were used on Canon cameras, so the brands coexisted quite peacefully. However, everything changed in the eighties of the last century. And, as usual, amateur photographers suffered the most losses from the outbreak of the war, since the entire periphery was no longer universal. At least the Canon lens mount was used exclusively for cameras of this brand.

It is worth noting that when you buy a camera, you can find a fairly simple kit lens. Its main task is to allow a beginner in photography to gain first experience, play with the settings and get better at it. However, after a certain time and with the achievement of a new level of professionalism, the photographer does not want to stop with what he has and dreams of taking more and more perfect photographs. And if he really wants to raise the level of his work, then interchangeable, higher-quality lenses will help him with this. One way or another, thoughts begin to arise about which lens to choose.

So, you need to immediately set your priorities. For portrait photography, the ideal choice is a lens with a fixed focal length, for shooting small objects at maximum closeness - macro lenses, for photographing travel or sporting events - lenses with a long focal length. And for each type there are many models, from those that we can call inexpensive options (about three hundred dollars), to high-price segment lenses that cost more than ten thousand dollars.

Each group has its leaders and outsiders. The range of lenses is periodically updated. In this comparative review, we will look at the most successful Canon lenses of the 2016 model range, according to professionals. The starting points for the assessments will be the technical characteristics and the opinion of the owners.

The Best Standard Prime Lenses for a Canon Camera

Models with a fixed focal length are an integral part of every photographer's arsenal. Light-sensitive optics work without a flash in low-light conditions, while giving a slight blurring of the background. Lenses of this type do not bend the geometry of the area and are capable of producing an image that is familiar to perception human vision. In fact, there is only one obvious disadvantage of this type of lens - the lack of zoom capabilities. Actually, if you need to approach or move away, you need to come closer or further relative to the object.

2

Score (2018): 4.6

Advantages: Great price. Best Semi-Pro Model

Manufacturer country: Japan

Advantages

Flaws

Not a bad picture for a budget employee

Versatility

Compactness

Fast autofocus

The best price/quality balance

High optical performance

Workmanship

Weak diaphragm

Of course, the outstanding positive point here is the versatility of the model. Having initially looked at the specifications, photographers will scratch their heads in bewilderment - “so-so”, however, if you are a beginner amateur photographer, then the Canon EF 40 mm f/2.8 STM will be indispensable for you. This model is a good compromise between a fixed focal length lens and a wide-angle model. Of course, you can see a slight curvature of space, but it is so minimal that it is almost unnoticeable. It is worth noting that compared to the fifty-millimeter model, it has a shorter focal length, which makes it possible to feel unconstrained when shooting in small rooms. At the same time, you can get good outdoor nature shots.

Professionals and amateurs highlight very good, high-quality assembly, which is surprising for this class and segment of devices. The mount, the ring of which is made of an alloy, is excellent plastic with the addition of rubber. The dimensions of the model are very compact, which will be indispensable when traveling. The image is pleasing due to the non-sharp transitions of the colors of the palette; the color scheme is closer to pastel tones. Autofocus works flawlessly.

The maximum aperture is 2.8, at this focal length you can’t expect stunning blur in the background, but what this model produces is quite enough to enjoy the photo. According to reviews, in this regard it can be compared with an inexpensive fifty-millimeter model with a photosensitivity of 1.8. However, taking pictures in low light conditions is quite problematic. A flash is needed to take, for example, a good photo when using light from a window in the back of the room. You can note quite noticeable engine noise.

What else can be noted? This is the jerk-free focusing promised by the manufacturer, adapting to the ability to shoot video. However, here it is worth returning to the rather noticeable engine noise, which disrupts the sound picture. This optics can hardly be recommended as reportage optics.

Score (2018): 4.7

Advantages: The best ratio between cost and quality. Most popular model

Manufacturer country: Japan

This Canon model is the best-selling on the market due to two factors. So, let's figure out what makes this lens so popular. Undoubtedly it is:

Wide functionality and quality of execution
The ideal combination of the resulting functionality for quite reasonable money.

As for the cost, it is definitely not so high and is affordable for many beginners, but the functionality is sufficient for quite professional work in portrait mode. If we take into account competitors with more affordable price, then our hero of today’s comparative review does not leave them the slightest chance. The weight of the model is almost 300 grams, but when you pick it up, you understand that this is a thing “with a capital letter.”

The lens produces very sharp images and very exciting background blur. Stunning bokeh is created using an 8-blade diaphragm. The model is very photosensitive, so shooting without a flash in low light conditions is not a problem for the owner. However, owners highlight the fact that opening the 1.4 aperture is of little use. There is a decrease in clarity and the appearance of artifacts, which undoubtedly leads to image deterioration. The model will be a good choice for both full-frame photographic devices and models with a crop factor. However, when used in tandem with cheap devices, the full potential of this lens will not be used; at most, waist-length portrait photography will be possible. Full-length portrait photography and landscapes will not be able to bring a particularly impressive effect, but you can squeeze out a bold “four”.

The AF motor is fast and efficient minimum level volume, but it does not have good grip. The disadvantages include structural fragility: the manual adjustment ring is made of plastic and you need to be very careful with it.

The Best Standard Zoom Lenses for a Canon Camera

If you are just starting to master the process of photography, then lenses with variable focal length will be the most convenient option for you. Without leaving your spot, you can zoom in or out on the subject you're interested in by simply adjusting the zoom ring. This function is available in most digital point-and-shoot cameras, which makes it commonplace. However, genre optical technology with equal settings is capable of creating a higher-quality picture; versatility in this case is not beneficial. It should be noted that by moving objects closer or further away, you not only change the occupancy of the frame, but also the viewing angle changes. A kit lens with a focal length of 18-55mm will turn into a wide-angle lens at a minimum focusing value, and into a lens for portrait photography at a maximum setting. The capabilities of the starter lens included in the kit are limited, so when traveling and planning to create detailed photo reports, take a closer look at lenses with an extended range of focal lengths and with the use of coating.

Score (2018): 4.6

Advantages: The best kit lens alternative for full frame cameras

Manufacturer country: Japan

In all the variety of models with the APS-C frame format (used mainly in entry-level devices), the hero of our review is quite expensive. This is due to the fact that much attention was paid to the technical process during production. Owners note that the lens is worth the money.

The narrowed range made it possible to increase the efficiency when using this lens. The output images have a sufficient level of sharpness in almost the entire range of photons. The main difference From many competitors with a more affordable price, a three-stage stabilizer is considered. Thanks to it, it is very pleasant to take photographs using fast shutter speeds manually. This model has good photosensitivity, which guarantees the ability to operate in low light conditions.

Since this lens works in the APS-C format, naturally there are some problems. There is a certain reduction in brightness at the edges and geometric distortion is possible. However, all this is not very pronounced and it is quite possible to put up with it or try to beat it. It is also worth definitely writing down as a minus the flimsy case, which during long-term use becomes loose and can even fall out of the device under the pressure of its mass. However, nevertheless, this lens will leave the complete lens far behind in terms of its technical characteristics.

Score (2018): 4.8

Advantages: The best ratio between cost and quality. Great features for a low price

Manufacturer country: Japan

The model has an affordable price tag, a presentable appearance, and weighs just under half a kilogram. If you look at its technical parameters, you might think that it is similar to the complete one included in the delivery of the camera, however, its main strong point is a higher FR coverage, from matrices with a wide angle to matrices with increased focus. Owners highly praise the model's focusing in automatic mode. The stabilizer, of course, does not have enough stars in the sky, however, its abilities are quite acceptable.

Also, definitely, as a plus, we can note the low noise level during operation, which allows you to shoot video of sufficient quality. The engine pulls into focus smoothly and with lightning speed, eliminating extraneous noise and sagging in clarity.

And finally, as negative side We can highlight the extremely low light sensitivity, but do not forget that this model is positioned as very affordable.

To summarize, we can say that the EF-S 18–135 mm f/3.5–5.6 IS STM is an excellent solution for a beginner taking his first steps in photography, combining low cost and optimal technical parameters.

Score (2018): 4.9

Advantages: The best reportage model for full-frame cameras

Manufacturer country: Japan

Photography masters have long appreciated the leader of our comparative review. The rich range of phased arrays makes it possible to take pictures both at a short distance and at a distance. It can be called simply a godsend for people specializing in filming nature, as well as various events. An extremely fast motor, fairly tenacious focusing in automatic mode - all this allows you to take stunning pictures in almost any situation.

However, there is one thing that is common to all the models considered in this review - low photosensitivity. Accordingly, we can conclude that this lens is easier to work in open areas than in confined spaces. Long distance shots boast good effect bokeh, but sharpness raises a lot of questions from amateur photographers.

The disadvantages of this model include the functionality of the stabilizer, which, frankly, does not match the L-series model. The low photosensitivity is offset by the quality of the camera, so the purchase of this lens will be justified if you have a professional Canon camera. This symbiosis allows you to get a fairly sharp image at the output with the ISO turned up without additional lighting.

The best telephoto lenses for Canon cameras

Undoubtedly, the size of this type of lens guarantees you genuine interest on the part of people present during the work process. Focusing on objects located at a great distance occurs due to a complex mechanism hidden behind the spectacular appearance of the device. It’s no joke, because individual examples of this type of lens can be more than 100 centimeters.

It is worth noting the extremely difficult technology of their production, the expensive price tag, and at the same time a rather narrow range of use. Their presence is difficult to overestimate when working in open areas to capture landscapes or various events, but these are rather exceptional cases in the work of a photographer.

It is worth saying that models with a variable DF are much more versatile; models with a fixed DF, as we mentioned, are needed for an extremely narrow range of jobs. These lenses have gained recognition for producing images with very good sharpness and a stunning bokeh effect, while you can work at a sufficient distance from the subject.

Score (2018): 4.8

Advantages: The best telephoto lens for full-frame cameras

Manufacturer country: Japan

Advantages

Flaws

Excellent image quality

Sharp at 250mm

Focusing speed at the level of USM lenses

Good for landscapes, reportage, animals and birds

The stabilizer works slowly

Case quality

The lens has a very affordable price and at the same time has a good, high-quality image. For devices that work with less than a full frame, it is the most optimal solution, and if it is supplemented with the lens included in the package, then a beginner can work in the entire spectrum of FR.

The system functions smoothly, and when you look at it for the first time, you get a feeling of good quality. Positioning for the budget niche can be detected just by looking at the plastic bayonet ring. The device has a fairly large mass; you should be careful when operating it, otherwise the fasteners will most likely give way under the weight of the mass.

The stabilizer does not give the impression of being fast, but when it works, this is immediately noticeable. People who have been involved in photography for a long time will undoubtedly pay attention to geometric distortions, a certain clumsiness in the automatic focusing mode, and the fact that sharpness could be better and low light sensitivity. We don’t argue that this is the case, but it’s difficult to count on a higher-class device at this price. Overall, the model gives the impression of being reliable, certainly at a very attractive price, and thus takes an honorable third place in our comparative review. The lens is solid, definitely worth the money and deserves the title of the best budget telephoto lens.

Score (2018): 4.8

Advantages: Best Prime Lens

Manufacturer country: Japan

Masters of photography have long singled out this model for themselves due to its amazing sharpness. Undoubtedly, as advantages of the model, one can also note a solid and high-quality build, lightning-fast focusing, an image pleasing with the color palette, and excellent work with blurring the background. You can also note that this glass will be a very good solution for creating portraits if the work is carried out in large, open spaces. And since the shooting will take place at a fairly large distance, there should be nothing or anyone else in the working area.

Sufficiently high photosensitivity, in tandem with an expensive professional device they can take excellent quality photos even in low light conditions. This technique will be ideal for working with complex lighting, for example at a concert.

With such amazing specifications, the model is sold at a very good price and we can safely call it the optimal combination of price tag and functionality. Based on the opinions of the owners, we can conclude that this model is practically without flaws. However, experienced photographers may criticize the lack of stabilizer, as well as protection from external influences. As you understand, when buying a lens, these points are rather secondary.

Score (2018): 4.9

Advantages: Best zoom lens

Manufacturer country: Japan

This model from the Japanese manufacturer boasts a high-quality body that hides the function of zooming and focusing, protecting the glass from external damage. Thanks to this, the photography master does not have to worry about any climatic surprises of nature. Thanks to low photosensitivity, images have an excellent level of sharpness, covering the entire spectrum of photons. This optics will perform extremely well when working with small objects, when photographing events, portrait photography, regardless of lighting conditions. When working in confined spaces, it will be difficult to change position with it, which is what its specifications basically hint at. The model is equipped with a focus switching function, which will undoubtedly be appreciated by those who like to photograph various events.

Taking a look at all its undeniable advantages, it is worth noting that it has a fairly low mass, so you can do without a tripod in many cases. However, the lack of a stabilizer in the arsenal is very sad, the need for which in this type of lens can hardly be overestimated, since it eliminates all the shortcomings associated with working without a tripod.

The best wide-angle lenses for Canon cameras

In fact, you can even guess that this type of lens has a huge viewing angle, they are able to fit most of the area into a photo and perfectly add volume. This is the most successful solution for working in shooting mode on narrow streets. However, the original viewing angle will, of course, show distortion. This is most expressed in the form of rounded corners of the image. It is for this reason that they are not suitable for the role of portraiture. However, when working in open spaces and photographing animals, it can be used to show imagination and creativity.

Score (2018): 4.5

Advantages: Ultra-wide-angle model for partial-frame cameras

Manufacturer country: Japan

This model performs well when photographing global views wildlife and compact rooms, due to the fact that a huge part of the volume can fit into the picture. Knowing full well that there will be geometric distortions, photography masters try to play up this negative aspect and use a certain amount of creativity. It is worth considering that distortion is not a stumbling block for this type of lens. It performs quite well when using backlight. There is no escape from the distortions, but if the composition is chosen correctly, they do not hurt the eyes. At the same time, the sharpness is quite good in any part of the image.

This model of the Japanese company is equipped with an excellent 24 cm focal length, which in turn allows you to focus on the details of the foreground. Another plus is the lightning speed and lack of noise when focusing in automatic mode. This model also stands out for its high-quality assembly, found only in its expensive counterparts.

Despite the rather immodest price tag, the photosensitivity of this model does not cause great delight. If we are talking about partial-frame cameras, this optics will be quite dark, but nothing of better quality in this category is currently available on the market.

Score (2018): 4.7

Advantages: Fixed focal length model

Manufacturer country: Japan

The main advantage of this wide-angle lens is its incredible light sensitivity. It belongs to a small group of models for working in small spaces in limited light conditions. “Quick” focusing in automatic mode, absence of noise and low weight - and we have before us an indispensable tool in the work of a photographer. Adding in the amazing work with the bokeh effect, we can conclude that we have an excellent solution for working with frame enlargement. However, it is worth noting that this model will not look very good with devices operating in full frame mode.

Shooting wildlife, monumental buildings and even full-length portraits - the model is simply perfect for all this. Close-up is his Achilles heel, as hibernation will be noticeable.

It is worth noting that at maximum aperture, some blur will appear, but in all other cases the lens will satisfy its owner in terms of sharpness. If we take it globally, users respond to the picture quality more than well. There is another annoying oversight - chromatic aberration, in this case it is color inversion at the edges of the lines. However, this can be easily corrected using various photo editors.

Score (2018): 4.9

Advantages: The best price-quality ratio

Manufacturer country: Japan

The most versatile wide-angle lens produced by a Japanese company. In tandem with expensive equipment in full frame mode on small FRs it easily becomes ultra-wide-angle. At the same time, the opportunity to make the viewing angle narrower, up to 4 centimeters, and at the output have an image as close as possible to what the human eye sees, does not disappear. On full-frame cameras, the EF 17–40 mm f/4L USM will be an excellent alternative to a kit lens.

Masters of photography highlight the indestructibility of the model, all thanks to special design solutions, protection from external weather factors, as a result, you can work with it in extreme conditions without fear of harming the equipment.

The undeniable advantages of the model are lightning fast, with the absence of extraneous noise, focus operation in automatic mode, image saturation and sharpness for this type of lens. The main disadvantage that users highlight is that the lens is quite dark, however, if it works in tandem with expensive equipment that shoots in full frame mode, then this is offset by ISO adjustment. But this minus played into the hands of the buyer; the price tag for this model is extremely affordable. Owners say that when working with small phased arrays, chromatic aberrations and distortions may appear. However, they can be easily leveled out in a photographic editor.

) cameras is almost always a long and often nervous process. Most good lenses are not cheap, and when you pay at least four zeros, you want to get in return some new features that were not there before - better sharpness, greater aperture, beautiful bokeh (preferably all this at the same time). In other words, if you pay that kind of money for a piece of metal, plastic and glass, then choose a model that will at least compensate for the moral damage caused by the notorious toad, which you nevertheless strangled and decided to buy :)

What can we expect from the new lens?

Owners of DSLRs are divided into two groups. The first group (ordinary amateur photographers) shoots all their lives with a whale lens and “doesn’t give a damn.” The second (creative individuals) one way or another try to upgrade their system whenever possible. The lens is usually at the forefront of the upgrade queue. The reasons are different for everyone. Someone, having learned to take photographs more or less tolerably, has “hit the ceiling” and no longer has enough zoom, aperture, “drawing,” “plasticity,” etc. Someone simply read articles and reviews on the Internet and got the idea to change the lens. Just change what? To answer this question, first you need to formulate a clear list of complaints - what exactly does not suit you about your technology. It is better if there are at least three of them. A typical example is replacing a kit lens with a fast prime (for example, “fifty kopeck 1.8”). The reasons may be:

The kit lens does not draw the edges of the frame well enough - it darkens them, makes them blurry and chromatic
The kit lens is too dark, and I like to take pictures without flash. To do this, you have to raise the ISO very high, and then deal with noise.
I want to learn how to take portraits with a “professionally blurred” background, but the kit lens does not allow me to realize this idea. The blur on the long end is weak, its design is dull and its colors are dull!

If this sounds like you, then you’re heading straight to the store to buy a 50mm prime lens. You should act in exactly the same way when choosing a lens for reporting, travel photography, telephoto, macro, etc. First, try to shoot in this genre with what you have, and if you’re not satisfied, formulate a list of requirements and set priorities. As a rule, the choice is narrowed down to 1-2 models. Then the scenario is simple - save up money, go to the store, try and buy the one you like best. If you just want to change the “whale” lens to something else just because “they say on the Internet that it is bad,” you don’t have to read further.

How do expensive lenses differ from cheap ones?

There is a common belief that expensive lenses are much sharper than cheap ones. This was true 5 years ago, maybe even less. Now even budget optics have grown greatly in terms of resolution and can easily surpass the “top” analogues of 5 years ago in terms of detail. But the problem is - the detail seems to be good, but somehow everything is wrong - a boring picture. The most important difference between expensive optics and cheap ones is their “artistry”. It cannot be measured by any laboratory tests. For example, the top-end “Elka” Canon EF 50mm 1: 1.2L USM fails the tests for resolution and chromatic aberrations against the background of the new “fifty kopeck 1.8 stm”, but its picture turns out to be “magical”. There is no cheap “plasticity” in it, like in a budget “fifty kopeck”.

An analogy can be drawn with two audio systems with the same characteristics “on paper”, but one of them is a plastic boombox, the second is a stationary system with multi-way wooden speakers. The boombox is several times cheaper, but it is only suitable for pop and chanson. Classics and jazz “do not sound” on it. It is better to listen to them on more serious equipment. Audiophiles have the concept of “warm and rich tube sound,” which, in their opinion, is much better than “dry transistor sound.” This is despite the fact that 99% of listeners do not notice the difference.

It's the same with optics. The “artistry” of a lens is determined by many difficult-to-measure quantities. The nature of the picture depends on the quality of the optical glass, the complexity and balance of the optical system, the shape of the aperture hole, and some secret delights of the manufacturer that are not advertised. Even if two models are identical in their stated characteristics, it is quite possible that in practice the differences will still be noticeable. According to him technical specifications one can only indirectly assess the likelihood that a lens will be “artistic”. To fully “test” the lens, you need to shoot for long term. Nevertheless, since the data is given in the description, let's try to figure out what's what.

Focal length - variable and constant

Focal length determines the angle of view of the lens. Lenses come with variable and fixed focal lengths. They are called "zooms" and "fixes", respectively.

Zoom and fix

Zoom lenses are convenient due to their versatility. As a rule, a standard lens makes it possible to take photographs wide range subjects - landscape, interior, portrait in a setting, close-up portrait, sometimes macro. But reverse side medals, as a rule, is a compromise in image quality, especially with lenses with large zoom ratios. For example, at the short end, the lens covers a large angle of space, which is convenient for landscape photography, but at the same time it “washes” the edges and bends objects. At long focal length you can take close-up portraits, but the blur pattern in the background will not be interesting. Zoom lenses with a wide range of focal lengths, for example, the Canon EF 18-135mm F/3.5-5.6 IS STM, are convenient for traveling and walking, where it is important to be able to quickly move from shooting wide shots to close-ups, and vice versa.

For creative photography, either “shorter” (small magnification) but fast zooms or primes are better suited. Fixes are most often tailored for one specific task. For example, only for landscape (wide angle, 24 mm) or only for portrait (moderate telephoto, 85 mm). There is a category of universal primes with equivalent focal lengths of 35, 40, 50 mm. They have a fairly wide field of view, which allows them to be used for landscape photography and, say, full-length portraits. But the viewing angle is not enough to cover vast spaces, and, on the contrary, the angle is too large for shooting close-ups.

Primes are sharper, brighter, more compact, more artistic and almost always cheaper than zooms, but noticeably inferior to them in versatility

Lens aperture

Aperture is a characteristic that shows how much light transmission a lens has. In practice, aperture is expressed in terms of the maximum open aperture. The higher the aperture, the wider you can open the aperture and take photographs with a faster shutter speed (or low ISO). For example, a lens with an aperture of F/2.8 transmits 2 times more light than F/4, you can reduce the shutter speed by the same amount. The relationship between F numbers and light transmission is nonlinear - each subsequent F number from the series 1.4, 2, 2.8, 4, 5.6, 8, 11 indicates 2 times less light transmission than the previous one.

Aperture plays an important role in the application of the lens. Firstly, it affects the ability of the lens to blur the background (for example, in a portrait). This is why lenses with apertures of F/2, F/1.4, etc. are most often used for professional portrait photography. Secondly, high aperture lenses give the photographer an advantage in those types of shooting where it is necessary to achieve a short shutter speed without exposing the ISO sensitivity, for example, filming sports competitions. Prime lenses almost always have faster apertures than zooms.

Zooms, in turn, are divided into lenses with constant aperture and variable aperture. For example, the Canon EF 24-105mm F/4L IS USM lens allows you to open the aperture up to F/4 throughout the entire range of focal lengths, this is convenient when shooting in manual mode if you need to shoot at an open aperture (for example, when there is little light). The cheaper Canon EF 24-105mm F/3.5-5.6 IS USM in the wide-angle position allows you to open the aperture up to F/3.5, and at the long end - only up to F/5.6. This means that in “M” mode you will have to constantly adjust the shutter speed or ISO so that the brightness of the picture does not “change” when the focal length changes. Also, constant aperture is very important for videographers - when “zooming in” and “rolling back”, the exposure level of the picture remains constant.

It should be borne in mind that at an open aperture, lenses often produce a “soft” picture (in simple language - “soapy”). Moreover, even professional high-aperture primes blur the edges of the frame when the aperture is open. However, for the same Canon 35/1.4L the “open” aperture is F/1.4, but already at F/2 it is very sharp. The cheaper Canon 35mm F/2 lathers at F/2. Closer to F/4 their sharpness becomes comparable. A fast lens always has a larger range of “working” apertures, shifted towards small numbers. This is a significant advantage for many areas of photography, but the greatest benefit is in portrait and reportage photography.

Bayonet

A mount is a mechanism for attaching a lens to a camera. In practice, this characteristic indicates the compatibility of the lens with a certain family of cameras. Most often, each manufacturer has several systems, and not always compatible friend with a friend. For example, Canon has backwards compatibility of EF (full frame) lenses with EF-S (crop factor) cameras. That is, you can install a full-frame lens on a carcass with a cropped frame, but vice versa - you cannot. If you have a full-frame camera, you shouldn’t buy a “cropped” lens for it - Canon’s won’t exactly fit; Nikon and Sony’s full-frame cameras work like a cropped one (then what’s the point of a full frame?).

Most often, lenses have a metal bayonet mount, but the cheapest versions have a plastic mount. This is considered bad. Personally, I cannot give a single intelligible argument against the plastic mount of a light and compact lens. For a long time I used Canon 18-55, Canon 50/1.8 II with plastic shanks - nothing happened. Maybe I was doing something wrong? :) By the way, Canon recently made me happy - in addition to the lens, it also released a !

The problem of compatibility of cameras with non-native lenses is solved with the help of special adapters, however, this is not always possible. Mirrorless cameras are considered the most “omnivorous” cameras. They have a short flange distance and can be used with almost any lens (via appropriate adapters). For example, Canon EF lenses can be mounted on a Micro 4/3 mirrorless camera (but not vice versa!). The performance of autofocus and aperture depends on the capabilities of the adapter.

Number of aperture blades

The shape of the aperture hole affects the lens pattern in the out-of-focus area (bokeh). Ideally, the shape of the aperture hole should be circular, in which case the bokeh discs will have a perfectly round shape. In practice, the aperture opening is formed by several blades, which, moving relative to each other, imitate the pupil. If there are relatively few aperture blades, for example 5 or 6, then the light spots in the blur zone will look like 5- or 6-gons. Like that...

Bokeh Canon EF 50mm 1:1.8 II (5-blade aperture) This effect is called “nuts”. In some cases, the “nuts” look interesting, but if they are present in all photographs, they quickly become boring and you want to change the lens with the same one, but with more aperture blades, to get this result:

Bokeh Canon EF 40mm 1:2.8 STM (7-blade aperture) A lens with a 7-blade aperture has more regular blur discs. If we look at the above picture more closely, we see a characteristic “twisting” of the bokeh - the disks at the edges have a more elongated shape than in the center. This effect is called " cat's eyes"(they are really similar in shape). This is a consequence of spherical aberrations, which are not fully corrected by aspherical lenses. Formally, this is a disadvantage, but in the right hands, “twisted bokeh” can become an excellent artistic technique.

Optical system: elements and groups

This line is often present in the lens description - the number of elements and groups is indicated. For the inexperienced amateur photographer, this simple numbers, but in general, the more lenses a lens has, the more likely it is that it will produce a high-quality picture - the manufacturer was very meticulous in eliminating distortion and did not regret introducing additional elements.

A good sign is the use of low-dispersion glass elements - it reduces the level of chromatic aberrations. Aspherical elements help maintain the correct geometry of the image, that is, minimize the “barrel-shape” and “cushion” of the image, and also partially get rid of “soap around the edges” and “cat’s eyes” in the bokeh (see).

The number of elements is related to the range of focal lengths (zoom factor) and aperture ratio. If the lens has a fixed focal length, its optical design may be relatively simple (less than 10 lenses), but it will be optimized specifically for that focal length. Thanks to this, prime lenses are generally sharper, faster than zooms, and also cheaper and more compact.

For zooms, the optical design is more complicated, since the lens must provide good quality pictures, if possible, at the entire range of focal lengths. It is necessary to introduce additional elements to compensate for distortion. This leads to an increase in size, weight and cost of the lens. Superzoom lenses have an even more complex design, but it is often far from perfect, especially when it comes to budget models - there is a complete compromise between size, price and quality, usually not in favor of the latter.

As already mentioned, the number of elements and groups is indicated in the characteristics of the lens, but there are nuances... Elements also have their own classes and categories - worse and better, cheaper and more expensive. Naturally, those low-dispersion and aspherical elements that cost $300 and $3000 lenses differ somewhat in quality (this is my personal guess).

Autofocus type

Autofocus is a thing that greatly facilitates the work of a photographer. Almost all modern lenses have automatic focusing, but it comes in different types. Depending on the type of autofocus, the scope of application of even lenses that appear to be identical in other characteristics may vary. Autofocus is driven by an electric motor, which comes in different types.

"Regular motor"- the simplest and cheapest. It is installed in the cheapest lenses. As a rule, speed and accuracy are no problem, but the motor makes a characteristic buzzing sound. This sound will be clearly audible, for example, in a video recording. There are situations when you need to maintain maximum silence when shooting - in this case, such autofocus is also a bad help. However, such situations in Everyday life are unlikely to meet, and for simple amateur photography this type drive is quite suitable.
Ultrasonic drive used on more advanced lens models. They are marked USM (Canon), SWM (Nikon), SSM (Sony), HSM (Sigma), USD (Tamron). A distinctive feature is that it is almost inaudible, despite the fact that the lens focuses faster than with a conventional motor. Many lens models with ultrasonic drive have the ability to set focus manually without switching to MF mode - this function is called FTM (Full Time Manual). It can be useful if autofocus needs to be told which object to aim at. A typical situation is shooting through glass or a chain-link fence (in a zoo, for example). If autofocus is aimed at dust on the glass or at the reticle, we simply tighten the ring, suggesting that we need to look for the object in a more distant zone.
Stepper drive optimized for silent focusing in video mode. This type of drive is used in mirrorless cameras and in some DSLR lenses designed for video shooting. For Canon, these lenses are designated STM. Stepper motor autofocus is the quietest. In photography mode, it is comparable to ultrasonic, although much depends on the capabilities of the carcass. When shooting video, the focusing speed is not too high, but this is done on purpose so that it is smooth, without the characteristic focus “jerking” that irritates the viewer. The focus ring in STM lenses does not have a direct mechanical connection to the autofocus mechanics and is controlled “by wire” - this may take some getting used to. Full use of a stepper STM lens on a DSLR is only possible on bodies that support this function. On old carcasses, such a lens will behave like a regular ultrasonic one.
"Screwdriver"- a morally outdated type of autofocus, however, it is used in “top” Nikon, Sony, Pentax cameras for backward compatibility with older lenses. Its essence is that the focusing motor is located inside the camera, and the rotation from it is transmitted to the lens using a special pin (“screwdriver”). The lens does not have a built-in motor, but only a gearbox that is connected to a screwdriver when installing the lens into the mount. “Screwdriver” lenses can also be used with “screwdriverless” bodies of younger models, but you will have to focus manually. Almost all “screwdriver” lenses have “motorized” modern analogues, which work without problems on bodies without a “screwdriver”.

Don't discount manual focus lenses. Almost always these are fixes from third-party manufacturers - some are more expensive (Leica, Carl Zeiss), some are cheaper (Samyang, Zenitar, Helios). Among them there are very outstanding glasses that have no analogues. For example, the super-fast Leica Noctilux 50mm F/0.95 (though its cost is comparable to a small apartment in the suburbs!). There are also more affordable options. For example, Samyang optics. At first, the community of amateur photographers greeted it coolly, but after trying it, they recognized that in terms of price/quality ratio, these lenses have practically no equal among manual optics.

Non-autofocus lenses are popular among professional videographers who are accustomed to manual focusing. They can also be used for leisurely creative photography. I would not take a lens without autofocus as a regular lens (and I do not advise you) - practice shows that the percentage of photo defects with a “manual” lens in everyday shooting is too high, especially if you have a camera with a small viewfinder (this applies to most amateur DSLRs), which in principle is not designed to work with non-autofocus optics.

Removable and irremovable defects of optics

It is known that nothing is perfect and in absolutely any, even the most high-quality and expensive lens, there is something to get to the bottom of. All manufacturers have successful and unsuccessful models, and all models have successful and unsuccessful examples of a given model. First of all, let’s determine what risks we are exposed to by purchasing an “unsuccessful copy.” Here are the main ones.

Front or back focus- a defect, the consequence of which is a constant autofocus miss (“undershot” or “overshot”).
Alignment violation. Typically, a lens has maximum sharpness in the central zone and decreases towards the edges of the frame. This is fine. It is abnormal if the “spot of sharpness” is shifted relative to the center and at the same time one corner turns out to be sharp, the other is noticeably blurred.
DOF skew. A similar situation occurs when there is front focus in one part of the frame and back focus in the other.
Mechanical faults- all sorts of jamming and extraneous sounds, autofocus or stabilizer not working. These shortcomings are easily identified when examining the lens and such lenses are usually not purchased.

The first deficiency (front/back focus) is a removable deficiency and can be treated at the service center during the adjustment operation. Some cameras have an autofocus micro-adjustment function and allow you to perform the adjustment yourself. The second and third defects are related to manufacturing defects and cannot be eliminated on your own, only under warranty. Although, if the defect is not pronounced, it is difficult to notice it, and proving to the service center the need to replace the lens is even more difficult.

Each model also has design flaws that are common to all copies of this model. Even, rather, not disadvantages, but features.

Low resolution- usually it is characteristic of “superzooms”. There's no escape, it's impossible for everything to be good - quality, price, functionality. You can, of course, try to increase the sharpness programmatically, but this will make the picture “coarser.” We consider this feature to be an irreparable shortcoming.
Vignetting- darkening the corners of the frame. It especially often appears on zoom lenses when shooting at the short end with an open aperture. Easy to fix programmatically.
Distortion- the effect of convexity or concavity of the picture. It can be relatively easily corrected programmatically if the editor “knows” the profile of a given lens.

The corners are shaded, this is vignetting. Straight lines are curved (see yellow arrows) - this is distortion

Chromatic aberrations- purple and green borders around contrasting objects, such as branches against the sky. Easily removed programmatically.

Green and purple fringing - chromatic aberration

Fringing- chromatic aberrations in the blur zone. Characteristic of all fast lenses, especially noticeable when the aperture is open. It is possible to eliminate it programmatically, but it is more difficult than conventional CA.
Ugly bokeh- “boring” or overly “rude”. Weak or “boring” bokeh is characteristic of lenses with low aperture, for example, whale lenses. When shooting at the long end, the background in the portrait is blurred, but too weakly, the outlines of objects appear in it, which distracts attention. “Rough” bokeh - when instead of round disks, angular figures appear in the blur zone, for example, “nuts” in the shape of an aperture hole. Bokeh defects are caused by the design features of the lens and correcting them in software is difficult, and often impossible.

Thus, we can conclude that there are not so many fatal shortcomings! The decisive factors remain resolution and blur pattern. The rest can be corrected programmatically - in Photoshop or by the camera itself (not all cameras have such capabilities). When comparing resolution in the Lens Database section, you should keep in mind that in any batch of lenses there are sharper and less sharp ones. There is also an error in measuring resolution. That is, a difference of 2-3% should not be alarming.

Give preference to modern lens models

As I collected information for the Lens Database section, I came to the conclusion that about 3 years ago there were noticeable changes in new optics models, and for the better. Apparently, this is due to the fact that manufacturers temporarily suspended the “megapixel race”, since there was no point in further increasing it - there were really few optics that could render such a high resolution, especially in the budget niche. As a result, the growth of megapixels stopped, but updated versions of old lenses began to appear, which showed noticeably better picture quality - obviously, with an eye to the next round of the “megapixel race”.

If you look at Canon, the new Canon EF-S 18-55mm f/3.5-5.6 IS STM kit lens demonstrates very good resolution both in the center of the picture and at the edge, surpassing “serious” but older lenses in this parameter. If we compare it with the very first version of the Canon EF-S 18-55mm 1: 3.5-5.6 (which washed out the picture even on 6-megapixel matrices), then in general there will be heaven and earth! The same can be said about the updated “fifty-kopeck” Canon EF 50mm f/1.8 STM, which, in terms of sharpness, tears some “Elks” to shreds. New lenses are more expensive than older versions, but most often the price difference is justified.

Don't mess with superzooms

In this case, superzooms mean “super-universal” lenses that can change the field of view from wide-angle to powerful telephoto, for example. Most often, there is a temptation to purchase a similar lens from former owners of ultrazoom point-and-shoot cameras, but sometimes, in pursuit of versatility, DSLR photographers buy a superzoom instead of a kit lens. I talked to many owners of similar lenses, and most of them were disappointed in their purchase. And that's why.

The “working” range of focal lengths is at least 1.5 times shorter than stated. The lens provides acceptable image quality (comparable to a “whale lens”) somewhere up to 135-150 millimeters. Then there is a noticeable deterioration in detail. At the long end the picture is frankly “blurry”.
Severe geometric distortions and chromatic aberrations. At the short end, the lens gives a noticeable barrel (the picture looks convex), then the geometry begins to “walk” between the “barrel” and the “cushion”. Green and purple borders are noticeable around the branches - chromatic aberrations. All this can be corrected programmatically, but the processing complexity increases by 2 operations for each photo. What if there are 1000 photos? Modern cameras can partially correct these distortions, but only in jpeg.
Low aperture at the long end. This makes the lens practically unsuitable for photographing birds, butterflies, squirrels and other animals. Yes, the lens has stabilization, but it will not help “stop” the flapping of a tit’s wings. As a result, it turns out that the feeder is really sharp (as much as possible on the long end), and instead of a bird there is a blurry spot. To achieve good result, you have to raise the ISO many times.

A “superzoom” at the long end (100% crop, central fragment) will give approximately the same quality.

Long zoom lenses are often marketed (by marketers?) as reportage lenses. But I would see how they could use this lens to photograph some kind of “action” in a dimly lit dark room of a concert hall or nightclub, preferably without flash...

Superzooms, especially cheap ones, despite their apparent versatility, are technically far from perfect, which inevitably comes at the price of picture quality. You need to have really good reasons to decide to buy a lens like 18-270mm. In most cases, it is still wiser to divide the tasks between two lenses - a standard lens and a telephoto lens.

Optimal lens for travel - 5-8x zoom

A travel lens should be as light, compact and versatile as possible. In order not to carry around a heavy backpack with optics, a smart solution would be to buy one lens that can serve as a wide-angle, portrait and moderate telephoto lens. Such lenses are available in all systems. For Canon these are models , . For Nikon - , . Those with a shorter initial focal length are noticeably more expensive, but they provide a wider viewing angle at the short end - this becomes a big plus when shooting on narrow streets. These lenses are intended for cropped cameras only.

The travel zoom allows you to photograph both close-up (24 mm) and long-range (105 mm). Photos were taken full frame. At full frame, lenses with a range of 24-105 mm (Canon, Sigma), 24-120 mm (Nikon) perform well as a “travel zoom”. There are versions with variable (F/3.5-5.6) and constant aperture (F4).

Lenses with constant aperture are larger, heavier and more expensive, but they are more convenient for working in manual mode - the “fully open” aperture does not change when you turn the zoom ring and the exposure level remains constant. With variable aperture, as the focal length increases, the picture becomes noticeably darker - this is especially noticeable when recording video. If you take most of your pictures in Auto, P, TV (S) or AV (A) modes, you most likely won’t notice a fundamental difference, so in this case there’s not much point in overpaying for a constant aperture - the device itself selects the shutter speed and/ or ISO.

The lens for indoor photography must be fast

If we are talking about shooting with flash, then there is not much difference. Plus or minus two stops of aperture is easily compensated by the power of the flash, especially if the flash is external. But if you prefer, for example, from a window, you should get a fast lens. If it is a zoom, it is desirable that the aperture be constant and equal to F/2.8. An example of such a lens is . There are also original optics from Canon, Nikon, Sony. It is more “predictable” in terms of quality, but costs 2 times more than the “non-original”.

A fast zoom lens is not a cheap pleasure, and not every amateur photographer can afford to just pay $800-1000 for such glass to take photographs “for the home, for the family.” But there is also a cheaper alternative - entry-level fast primes, for example. The cost of these lenses is relatively low, but when used skillfully, they are quite capable of producing a technically high-quality and sometimes even artistic picture.

F/2.8 aperture is often enough to do without a flash. At full frame, this category includes zooms of the 24-70/2.8 family (an expensive solution) and 35, 40, 50 mm primes - generally much cheaper. At the time I bought it for such purposes - it took root perfectly in my collection until a compact mirrorless camera appeared.

The best lens for portraits - a fast prime

Portrait is a “DOF-dependent” genre, so for it it is better to immediately take a lens with a large aperture. Lenses with a fixed focal length of 50 mm or more are best suited for portrait photography; the aperture ratio should not be less than 1:2. The most typical portrait focal length on crop is 50 mm, on full frame 85 mm. There are quite a lot of “fifty kopecks” on the market, as they say, for every taste and budget. In the budget niche, the almost uncompromising option is 50 mm 1: 1.8 - all manufacturers have them, they cost about the same and give approximately the same picture.

Portrait with a kit lens and a fast prime

If you have the opportunity/desire to spend 20-25 thousand or more on a portrait lens, then you have a choice between 50/1.4 and 85/1.8 lenses. Personally, in my opinion, in most cases, for a cropped lens, a focal length of 50 mm is more convenient than 85 mm - with a “fifty kopeck” you can shoot waist-deep portraits not only on the street, but also indoors. 85 mm is best used for close-up portraits - shoulder-length and close-up (face in full frame). It is problematic to use 85 mm in a small room - the lens is too narrow for a crop lens.

If we talk about Canon, it is noticeably inferior in terms of image quality and autofocus accuracy, despite the fact that they cost the same. Moreover, the Canon 50/1.4 has practically no advantages over it (2 times cheaper), with the exception of the 1.4 aperture, in which the picture, to put it mildly, is not too sharp. Unfortunately, I don’t have such data for Nikon and Sony.

If you are choosing a portrait lens from the “above average” price category, then in addition to super-fast lenses from Canon and Nikon, I would recommend considering the Sigma 50mm 1:1.4 “Art” option - an interesting glass that gives sharp and beautiful picture starting with an open aperture. Although it is inferior in aperture to the 50/1.2 lens, it is noticeably more interesting than the “original” 50/1.4.

The optimal lens for landscapes is a wide-angle

There are a lot of options here. If we are talking about amateur landscape photography, interesting option looks like an ultra-wide-angle lens with an equivalent focal length of 16 mm (on a cropped lens - from 10 mm). Photos taken with an ultra-wide angle capture a good sense of spaciousness and spaciousness. The ultra-wide angle gives a pronounced perspective effect - as if it “pushes back” objects in the background, making them small, and the foreground, on the contrary, seems to stretch. This effect is not always in demand. If you require a natural transfer of space and correct proportions (as in a painting from life), it is better to focus on a focal length of 35-40 mm (for crop - about 24 mm). Photos taken with a 40mm lens look as if we are looking at the landscape with our own eyes.

Aggressive perspective (14 mm) and more relaxed (~30 mm) In this regard, typical landscape lenses for full frame have a focal length range of 16-35 mm or 17-40 mm. For crop, this is, respectively, approximately 10-24 mm. The aperture of a landscape lens is not a very significant value, since shooting is most often done at a closed aperture (F/8) to ensure maximum depth of field.

Fixies teach photography

From my own experience, I know that using a lens with a fixed focal length disciplines the photographer and motivates him to take a more careful approach to the composition of the frame. When you see that there is not enough space in the viewfinder for everything you need to fit into the frame (or vice versa, everything is too small) and there is no way to simply turn the zoom ring (due to its absence), you begin to look for a more advantageous shooting point, try different framing options , as a result, you are more likely to get a better composition than when shooting on the go with a zoom lens.

If you choose a prime “for every day,” the optimal focal length, in my opinion, is about 35-40 mm (in full-frame equivalent). This lens will allow you to take photographs a large number of different stories. Some people prefer “fifty dollars”. In this regard, I like the pancake lens (for crop there is an analogue -). These lenses combine compact size and good image quality. You have to pay for this with a relatively low aperture ratio of F/2.8 for a prime lens, but this is quite enough for daytime and evening shooting.

Is it worth buying Sigma, Tamron, Samyang, Tokina, Yongnuo and other non-original lenses?

In fact, there is a difference between non-original and non-original. Among many amateur photographers, there is a strong belief that for the full operation of any device you need to buy only original accessories. This point of view is really competent and correct - the original manufacturer knows all the subtleties and nuances regarding the coordinated operation of the camera, lens, and external flash. In practice, this finds a lot of confirmation. The most hassle-free external flashes for Canon cameras are Canon ones. For Nikon cameras - Nikon flashes. Any wedding photographer or reporter photographer will tell you this.

I strongly recommend avoiding budget lenses from “third companies”. This is especially true for “superzooms” such as Tamron 18-270mm or Sigma 18-250mm. In terms of cost, they are comparable to original optics with approximately 2 times lower zoom ratio, for example, 18-135 mm. I had experience shooting with the Tamron 18-270mm lens and to be honest, the result was very disappointing.

However, Sigma and Tamron also have older lines of optics. They are positioned as professional models; in terms of their characteristics, they almost reach the original lenses of the professional series, but at the same time they cost one and a half times less. For example, a fast Sigma EX 70-200mm 1:2.8 HSM telephoto camera. Let's compare its cost with original Canon lenses:

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The original “top” lens in this comparison is an uncompromising thing in all respects, but not everyone can afford its price. The "light" Sigma costs the same as the "dark" Canon. All things being equal, it looks like a very reasonable purchase. However, as practice shows, Sigma owners more often complain about the same problems with autofocus than owners of original Canon 70-200 telephoto cameras - at least 2.8, at least 4. But there are also those who are 100% satisfied with Sigma.

If we briefly describe the advisability of purchasing non-original optics, then the phrase “depending on your luck” is appropriate here.

Due to strong competition between manufacturers, 2015 turned out to be rich in outstanding lenses. In the descriptions of the nominees there will often be enthusiastic epithets, but there’s nothing you can do about it. Our rating primarily takes into account the uniqueness of the lens, but without taking away from the actual image quality. In such ratings, they often start from the last place, but then the curious reader will still scroll down, so let’s go straight to the winner.

1st place - Canon EF 11-24mm f/4L USM

Here we have “just” the widest angle rectilinear lens in the world on this moment. Why did this particular lens come in first place? Yes, because every millimeter down is very important for lenses of this class. The viewing angle here is 117 degrees (126 degrees diagonally). Plus, we know the L Series is popular and there are people willing to pay $3,000 for it. This is a truly professional lens, thanks to its unique technologies, build quality and moisture protection. If you use a full-frame Canon system and shoot interiors or landscapes, go buy it ASAP!

2nd place - Sigma 20mm f/1.4 DG HSM Art

The widest angle lens with aperture 1.4. Yes, besides, almost the sharpest at this focal length. Another unique lens from Sigma in the world. What else can I say?

3rd place - Sigma 24-35mm f/2 DG HSM Art

This lens is a wide-angle, full-frame fast zoom, which is amazing in itself. Quite easily replaces a pair of prime lenses (as was the case with the Sigma AF 18-35mm f/1.8 DC HSM Art). In addition, it shows excellent optical quality in a variety of tests and has high build quality.

4th place - Olympus M.Zuiko ED 8mm f/1.8 Fisheye PRO

“Classic” diagonal fisheye with a viewing angle of 180 degrees. It is unique, first of all, for its aperture. Does fisheye need aperture? Of course, in modern photography such lenses are also used for action scenes. Waterproof, sharp, compact, it fully corresponds to the modern philosophy of Olympus photographic equipment.

5th place - Fujifilm XF 90mm f/2 R LM WR

A high-quality “teleportrait camera” for the Fuji X system. In fact, it is an analogue of the Canon EF 135mm f/2L USM; if it weren’t for it, it would be in the top three. It has a metal body, rugged design and incredible sharpness. But the most important thing is a great picture from an aesthetic point of view, it has perfect blurring of the out-of-focus zone - no ghosting, perfectly round circles of light (if you shoot correctly) and a soft pattern. We give him the “Best Bokeh of 2015” award.

6th place - Canon EF 35mm f/1.4L II USM

With the advent of huge resolution cameras like the Canon EOS 5Ds 5DsR, it's no surprise that Canon is updating its professional lens line. The Canon EF 35mm f/1.4L II USM has greater sharpness than the previous version, a lower level of chromatic aberrations, in a word, it beats it in all the main characteristics. It is superior to the Sigma AF 35mm f/1.4 DG HSM Art, although it is much more expensive.

7th place - Nikon AF-S Nikkor 24mm f/1.8G ED

This lens does not have a record focal length and aperture ratio. However, brilliant optical performance allows this lens to take 7th place. If you have a full-frame Nikon and want an inexpensive (compared to the Nikon AF-S Nikkor 24mm f/1.4G ED) small-sized wide-angle prime, we highly recommend it.

8th place - Tamron SP 35mm f/1.8 Di VC USD and Tamron SP 45mm f/1.8 VC USD

Some of the most interesting full-frame prime lenses. And they are interesting because they have an optical stabilizer, which allows them to be used for handheld video shooting. They are waterproof and, at the same time, lighter than competing lens models from other manufacturers (due to their lower aperture). In terms of image quality, they are also quite good, and even more so.

9th place - Nikon AF-S Nikkor 24-70mm f/2.8E ED VR

Nikon's new professional main zoom has an optical stabilizer, unlike its Canon counterpart. Its stabilizer is so effective that it allows you to take photographs at shutter speeds of half a second. Plus, it has high sharpness and good bokeh for this type of optics. The only negative is that the weight and size are not the smallest, but this is the job of professional photographers - carrying heavy lenses. A formidable weapon in capable hands.

10th place - Sony FE 90mm f/2.8 Macro G OSS

Full-frame macro lens for Sony mirrorless cameras. Shows outstanding optical performance, but was not ranked higher due to its “typical” performance for a macro lens. Which, however, does not make it worse.

Honorable Mention

Tamron SP 15-30mm f/2.8 Di VC USD

This lens, like the new Tamron primes, differs from its competitors in the presence of an optical stabilizer, which makes it an excellent choice for videographers. Build quality, images and ease of use are also at a high level.

Canon EF 50mm f/1.8 STM

The previous version of this lens, the Canon EF 50mm f/1.8 II, reviled and called nicknames for its budget design, was released in 1990 and, although it is a best-selling lens, was desperately in need of replacement. Therefore, a new lens was developed that better meets modern requirements: it has a metal mount (why don’t all inexpensive lenses have this?) and a silent STM motor, ideal for video shooting.

Not the most amazing lens, but one of the best in terms of price and features. One of the best arguments in favor of Canon when choosing your first DSLR.

Zeiss Milvus lens line

Carl Zeiss has released six new lenses at once: 2.8/21, 2/35, 1.4/50, 2/50M (macro), 1.4/85, 2/100M (macro) - naming them after a bird - kite. True, only two of them are completely new, the rest are “re-faced” versions of previous models. Without a doubt, they are good, but the lack of autofocus and high price reduce their popularity in our country to almost zero.

Nikon AF-S DX Nikkor 16-80mm f/2.8-4E ED VR

This lens, in turn, represents Nikon's vision of what a basic zoom crop lens should be. It has the qualities of its more serious counterparts - protective coating of lenses, aperture ratio, but, of course, is not as surprising as the lenses of the main rating. However, Nikon's middle-class optics are always good and find their buyers.

So, 2015 turned out to be a very fruitful year for photographic equipment manufacturers. We can only hope that the technologies used in the development of the leaders in our rating will find application in more budget optics.