Canon EF 24-105
4L IS USM Review
Lenses and Zooms
The 46 degree coverage
of the 50 mm lens (full frame or 24 x 36mm) is equivalent to the sweet spot of the human
eye. Hence, "normal lens," is
the term used to designate this focal range. What is a normal
zoom lens? It's a zoom that "dances" around both
sides of the old 50 mm standard. Thus, 24-70, 24-85, 24-105,
28-105, 35-70, 35-105, 35-135, etc., are considered normal zooms.
It's also the most useful range for 35mm photography,
encompassing wide, normal and short telephoto ranges. Mount
a normal zoom
on your full frame DSLR and you're good to go for scenics, group
shots, candids and portraits. For many shooters this is the only lens they need.
Oregon Coast • Lincoln City OR • EOS
5D2 & EF 24-105 4L IS USM
EF 24-105 4L
IS USM • Not So Normal
Introduced late 2005, the EF 24-105
4L IS USM features Image Stabilization (IS), constant
wide zoom range (4.4x), beefy construction and weather seals. I replaced my
long travel companion, the
EF 28-135 3.5-5.6 IS USM, with
this amazing optic.
EF 24-105 4L
IS USM • Photo courtesy Canon
For a normal zoom, it's on the beefy side, 670 g (23.6 oz.), but lighter than the EF 24-70 2.8L USM. Build quality is first rate but uses more plastics than L series telephotos. This lens is weather sealed with gaskets at the lens mount, under the switches, and behind the zoom and focus rings. The manual states that a filter must be used for full weather proofing. And all that protects the exotic glass inside: one Super-UD glass element and three aspherical elements. Amazingly, there are 18 elements in that little barrel. I'm surprised light makes it to the other side!
Latourell Falls • EOS
5D2, EF 24-105 4L IS USM, F16 & 1/2 sec
Focus and Zoom
A ring-type USM (Ultrasonic Motor) achieves focus by driving an internal lens group. AF is fast and sure-footed on my EOS 5D Mark II camera. The front element does not rotate and the barrel does not expand or contract during focusing. It is silent during AF. It has FTM, allowing you to manually focus without switching out of AF mode. The focus ring is large, smooth turning and covered with ribbed rubber. It's not as silky as a manual Nikkor but above average for an AF lens. Although not a macro lens, it focuses close enough for head shots and small details (.45 m/1.5 ft.).
Waterfront Vista • Port Townsend WA • EOS
5D2 and EF 24-105 4L IS USM
The twist zoom action is smooth, damped and does not creep. Zooming is accomplished by expanding and contracting a single nested barrel. The barrel nearly doubles in length when zoomed from 24mm to 105 mm. The manual focus ring is large and covered with a ribbed rubber surface. Oddly, zoom and focus rings are reversed from those in Canon consumer zooms.
The 77mm filter size makes for expensive filters, but I can share filters with my EF 17-40 4L USM. The manual recommends removing the hood while using a polarizing filter. However, it's easy to rotate the filter through the petal cutouts of the lens hood.
Bridgeport Brewpub • Portland OR EOS
5D2, EF 24-105 4L IS USM. With a max aperture of F4 this is not a low light optic. However, if your subjects are slow moving, the 3 stop image stabilization helps keep it sharp.
This is the best normal range zoom I have used. The center is sharp and contrasty wide open at all focal lengths, with a wee softening in corners on full frame cameras. Oddly, sharpness only improves slightly when stopped down and most improvement is in the corners. Nevertheless, it is sharper than my EF 50 1.4 USM at 50mm F4. And it's sharper than my EF 70-200 4L USM at 105mm F4. Images exhibit excellent contrast and snap.
Haleiwa Beach • EOS
5D2, EF 24-105 4L IS USM.
The short end, like all wide zooms, suffers from noticeable barrel distortion. The long end has a slight amount of pincushion distortion. Nevertheless, distortion is less pronounced than my EF 28-135 3.5-5.6 IS USM and EF 24-85 3.5-4.5 USM. For most types of images, distortion isn't readily apparent. However, architectural and product photographers may want to stick with primes. Distortion may be easily removed prior to RAW conversion in DPP, Aperture, LR or ACR.
is well controlled for a zoom and
far less apparent than the EF
28-135 3.5-5.6 IS USM and EF-S 17-55 2.8 IS USM, so
shooting sunsets is a possibility with this optic. Notice
how clean this sunset picture is. In
28-135 3.5-5.6 IS USM suffers
from severe ghosting.
Chromatic aberration is well corrected and only rears it's head at the wide end when shooting a subject against an overexposed backlight. And even in extreme backlighting the chromatic aberration is mild compared to most other normal zooms. Chromatic aberration may be quickly and easily removed in DPP, Aperture or PhotoShop with the flick of a slider.
For Ebay • EOS
5D, EF 24-105 4L IS USM, Bogan Tripod & White Reflectors.
The 1.5 foot minimum focus is useful for product photography
in a pinch.
Like all wide zooms, the EF 24-105 4L IS USM suffers from light fall-off at the wide end when shot wide open. Stop down to F5.6 and light fall-off is reduced considerably. By F8 it is nominal. Although wide primes and zooms suffered light fall-off in the film era, most folks didn't notice because labs cropped their prints. Even slide mounts covered 10% of the frame. Now some full frame shooters--especially 5D series owners--whine about light fall-off because they pixel peep and rarely print. However, standard print sizes, e.g., 8 x 10 or 11 x 14, are cropped, so most light fall-off will be nixed. Plus, removing light fall-off in DPP or Photoshop involves all of a couple clicks.
Self-Portrait • Lincoln City OR • EOS
5D2 & EF 24-105 4L IS USM
I use wide angle for sweeping vistas and stop down for maximum depth of field, so light fall-off hasn't reared its head, except, of course, in test shots of white walls. Light fall-off will only be a problem if you shoot bright skies or white walls wide open at 24mm F4.
If you shoot with a APS-C body, e.g., Rebel XTi, 40D or 7D, light fall-off is a moot point as 40% of the image circle is cropped out.
Treasure Island at Las Vegas • EOS
5D and EF 24-105 4L IS USM hand held.
ISO 1600, F4 with IS engaged.
This would be a nice lens without Image Stabilization (IS). However, IS propels this zoom into hog heaven. Small gyro sensors coupled to a CPU detect the degree and direction of camera shake and counteract this vibration by moving a compensating optical group. Subsequently, it is difficult to not get a sharp picture, even three stops below my normal hand held shutter speed. If I brace myself or shoot a volley of shots I can get away with another stop or two!
Kamehameha I • Honolulu • EOS
5D & EF 24-105 4L IS USM. South view of the King.
IS does nothing for subject movement: it steadies your hand. It helps in any high vibration situation such as high wind, airplanes, automobiles or boats. I used to stow my camera when light faded. Now I keep shooting!
Battery Grip BG-E4 EOS 5D, EF 24-105 4L IS USM, ST-E2 Speedlite Transmitter, 430EX Speedlite & Bogan tripod. The 24-105 4L isn't optimized for macro but does fine for small products.
This is the big Kahuna of normal zooms. I love the range, AF speed, sharpness and feel of this lens. It balances well on larger bodies such as the 5D Mark II but is front heavy on a Rebel. Yes, the largest aperture of F4 is slow, but the 3-stop IS almost makes up it. While not a small or light lens, it is my favorite optic for travel due to a near perfect balance of image quality, durability, range and versatility. And it's endured nine years of rain forests, deserts, casinos and city streets without flinching, so it's proven itself both durable and reliable.
Latourell Water Falls • Columbia Gorge OR EOS
5D2, EF 24-105 4L IS USM & Gitzo tripod.
Canon EF Lens
EF24-105mm F4L IS USM Instruction
Canon, 2005 (CT1-7561-001).
Flower • Vancouver WA • EOS
5DII & EF 24-105 4L IS USM
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taken with the EF 24-105 4L IS USM (click
06/01/2006 • Updated
by Peter Kun Frary All Rights Reserved