.
Canon EF-S 17-55
2.8 IS USM Review
Ultimate
Travel Lens?
Peter
Kun Frary
Normal
Lenses & Zooms
What
is a normal lens? In the heyday of film SLRdom it was a fast
50mm optic: coverage to meet the
sweet spot of the human eye; fast aperture for bright viewfinder
and
usefulness in any light; and petite stature for easy transport.
Oh, and affordable for budding photographers. Back in
the day, a young buck armed with a Nikon FM and Nikkor 50 1.2
AI was
da
man, and
was ready
for
any
situation from murky bar portraits to in-your-face street candids.
Pantheon • Rome • EOS
40D, EF-S 17-55 2.8 IS USM
Enter
zooms a few years later. Although zooms had
been around for years, they were expensive, bulky and not
very sharp or flare resistant. They were also mainly the domain
of photojournalists. Nikon debuted the
Nikkor 35-70 3.5-4.5 in 1985, the first affordable and
lightweight
zoom
with
decent optics. It slowly became the new "normal lens." So,
the normal
zoom began by dancing around
both sides of the old 50 mm full frame standard. Thus,
24-70, 24-85, 24-105,
28-70, 28-80,
28-105, 35-70, 35-105, 35-135, etc., are considered normal
zooms for full frame bodies such as the EOS 3 or 5D.
The ever
growing popularity of
the tiny APS-C sensor
(1.6x cropping factor) has redefined the normal lens
as a fast 35
mm prime, e.g., EF 35 2.0 or EF 35 1.4L USM. Thus the new
generation of 17-40, 17-55, 17-85, 18-50, etc., optics are
the normal
zooms of APS DSLRs.
Cowboy
at Fremont Street • Las Vegas • EOS
20D, EF-S 17-55 2.8 IS USM • F2.8, 1/15, ISO 400, IS
engaged
These
normal zooms are the
most useful range for general and travel photography, encompassing
wide, normal
and
short
telephoto
ranges. Mount
a normal zoom
on your DSLR and you're good to go for scenics, group
shots, candids and portraits. For many weekend and holiday
shooters this is the only lens they need.
EF-S17-55
2.8 IS USM, Normal Zoom Deluxe
Introduced
in May 2006, the EF-S17-55
2.8 IS USM is
a stunning feat of engineering: high-performance Image
Stabilizer (IS), constant F2.8 aperture,
ultra fast ring-type USM, wide zoom range (3.24x) and L series
optical performance. I bit the bullet and replaced my
oft
and long used travel companion, the
EF17-40 4LUSM, with
this amazing optic.
Canon
EF-S17-55
2.8
IS USM • Red
ring wantabe
Not
Build Like A
Brick But Good Enough
For
a normal zoom, it's large and chunky,
645 g, but much lighter than
its cousin the EF 24-70 2.8L USM. Build
quality is very
good
but not up to L series standards. There
are no weather
seals and, to
my eyes, the
finish isn't as attractive as the
EF 24-105 4L IS USM finish. Although
fit and finish are excellent, it
looks more like a $500 lens rather than a $1000 lens.
Focus and Zoom
A ring-type
USM (Ultrasonic Motor) achieves focus by driving an
internal lens
group.
Needless to say, AF is extremely fast
and surefooted on my EOS 20D and 40D.
The front element does not rotate and the barrel does not expand
or
contract
during
focusing.
Of course, being an USM lens, it is silent during AF.
It has FTM, allowing you to manually focus without switching out
of
AF mode. The focus ring is narrow,
coarse in pitch and ribbed.
It's not as smooth as the EF 24-105 4L USM and light years from
a manual Nikkor. If
you prefocus manually, the distance window in meters and feet is
extremely useful. Although not a macro
lens, it focuses close enough for head shots and moderately
small details (.55 m/.17x).
Nice
Knockers • Brugges,
Belgium • EOS 40D, EF-S 17-55 2.8 IS USM
The
twist zoom action is fairly smooth, damped and does not creep.
Zooming is accomplished by expanding and contracting
a single nested barrel. The
barrel extends considerably--nearly
doubling in length--while zooming to 55
mm. The
zoom focus ring is large and covered with a ribbed rubber surface.
The 77 mm
filter size makes for expensive filters, but at least I can
share filters with my EF 17-40 4L USM
and EF 24-105 4L IS USM. The
manual recommends removing the hood while
using
a polarizing filter. However,
if you have agile fingers
it's easy to rotate the filter through
the petal cutouts of the lens hood. Unfortunately
that lens hood will cost you extra--a lot extra.
Optical Quality
This
is among the best zooms I've used.
I
have no second thoughts about shooting wide
open as it's
sharp and contrasty at all focal lengths from normal focus to
infinity. Racked out to 55mm and shot wide open it is an excellent
portrait lens. Plus,
the circular
7-blade diaphragm produces
an attractive background blur (bokeh) stopped
down. Although bokeh isn't
as creamy smooth as some L series primes
and zooms, the EF-S17-55 2.8 IS USM can still bring home the
bacon. Optical quality
is
comparable to my EF 24-105 4L IS USM and slightly better
than my
EF
17-40
4L
USM. The 17-55 suffers
a small loss of contrast and sharpness at macro distances (.33
m). In this regard my 24-105 4L and 17-40 4L are slightly better.
Pixel
View Detail • Cowboy at Fremont Street • EOS
20D, EF-S 17-55 2.8 IS USM • F2.8, 1/15, ISO 400, IS
engaged
The brightness, contrast and snap
of this lens is apparent through the viewfinder. After all,
there's
plenty of
exotic glass in there, e.g., three aspherical lens elements
(one glass mold, two replica) and a UD (ultra-low dispersion)
lens element. Amazingly,
there are 19 elements in that fat
little
barrel. Light must really struggle
and fight to get to the other side! Unfortunately there is a
downside
to all
those
elements:
flare. Flare
isn't bad--it's better than most consumer zooms--but is not as
well controlled as the EF 17-40 4L USM or EF
24-105 4L IS USM. Hawaiian
sunsets result in a little more ghosting and
flare than my L zooms.
Pixel
View Detail • Streetrod • EOS
20D, EF-S 17-55 2.8 IS USM • F7.1, 1/200, ISO 100
The
short end, like all wide
zooms, suffers from a small amount of barrel
distortion. The long end has a small
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. Nevertheless,
architectural and product photographers may
want to stick
with primes.
Like
all wide zooms, the EF-S17-55
2.8 IS USM reveals a
small amount of light fall-off at
the wide end when shot wide
open (see Cowboy at Fremont Street above). In
typical night scenes and portraits, I usually don't notice light
fall-off since edges are naturally dark or de-emphasized.
Stop down a little
and light fall-off is gone. I found
light fall-off to
be a minor issue and less pronounced than the light fall-off
of the EF
24-105 4L IS USM (with FF). Only
those that shoot blue skies or white walls wide open will
notice the slight darkening of corners.
Ponte
Vecchio • Firenza, Italia • EOS
40D, EF-S 17-55 2.8 IS USM
Image Stabilization
This would be a friggen kickass optic
without Image Stabilization (IS). However, IS propels
this zoom straight into hog heaven.
Tiny 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,
I almost always get a sharp picture, even three stops
below
my normal hand held shutter speed. Damn! If I brace myself or shoot
a volley of shots I can get away with another
stop or two. Here's what Papa Canon says about IS in the 17-55:
Moreover, equipped
with such features as the company’s
high-performance Image Stabilizer (IS), which provides the
equivalent effect of
a shutter speed three stops faster, and full-time manual focus,
Canon’s EF-S17-55mm f/2.8 IS USM lens dramatically expands
photography opportunities for professional and advanced amateur
users.
IS has changed the
way I take pictures. I used to put away my camera when conditions
got dark, now I keep
on shooting (I avoid
flash except for fill). However, IS is not just for dim conditions,
it helps eminently in any high vibration situation such
as high wind, airplanes, automobiles or boats.
Image Stabilization does
nothing for subject
movement and will not replace a large aperture prime for sports
shooters. However, IS is a Godsend for general photography
and worth its weight in gold.
Currently
this is my ultimate
ready-for-anything travel lens. IS
coupled with the fast F2.8 aperture leaves few excuses
for missing a shot.
Medieval
Basilica • Brugges, Belgium • EOS40D,
EF-S 17-55 2.8 IS USM • F2.8, 1/20, ISO 1250, IS engaged.
High ISO, fast aperture and IS are essential for sharp images
in most European churches. Tripods aren't allowed and it's
really dim.
Popup Flash--Blocked?
I was
pleasantly surprised to find the popup flash of my 20D, 40D
and 50D to be useable with this lens. I assumed such a bulky
lens would completely
block the popup but such is not the case. At 17mm from 2 meters
out there is no shadow from the lens. At closer
distances
there
is
a small
shadow at the bottom of the frame (even smaller for the 40D/50D).
For daylight fill, it is normally unnoticeable .
I assume the 30D is similar but I haven't tested one to be sure.
I've not used a
Rebel
XTi/400D but have heard the lens shadow is larger than the 20D.
In the image below, you can see a slight lens shadow from the
popup
flash.
In most
cases
I don't
find
it objectional
and often it improves the image by de-emphasizing an unimportant
part of the picture. If the shadow is objectionable
you can zoom out or step back slightly to get rid of it. Don't
even think of using a lens hood if you intend to use popup flash.
Fashion
Show Mall • EOS
20D, EF-S 17-55 2.8 IS USM • 17mm, F2.8, 1/50, ISO 400, popup
flash. Note slight popup flash vignette at bottom of frame. My 40D
has less popup
flash vignette than the 20D (higher popup).
Dust
Magnet?
I've heard
reports of some copies being dust magnets, but I haven't experienced
any problems after over 2 years of use. There are air vents
behind the front element seal. The dust problems seem to come
from
lenses lacking UV filters. Apparently the
filter completes the seal and prevents
dust being draw in during zoom operation. Yes, I use a UV filter
for protection. In any event, even with filters installed,
my EF
28-135 3.5-5.6
IS USM was a dust
magnet whereas the EF-S
17-55 2.8 IS USM is clean after
many months of use in deserts, dusty street beaches and smoky
casinos. You
may find these dust images and fix enlighthening.
Nice Grill • Las Vegas, USA • EOS
40D, EF-S 17-55 2.8 IS USM
Conclusion
This is
the pimp daddy royale of normal
APS-C zooms.
It's well made, tack sharp,
contrasty but slightly more flare prone than my EF 24-105 4L
IS USM. It balances
perfectly on the EOS
20D/30D/40D/50D with BG-E2 grip but
feels a little front heavy on
a gripless XXD series or Rebel.
I wish
it had the mechanical precision (primarily manual focus ring),
cosmetic detail and weather sealing of the EF 24-105 4L IS USM.
For a grand, this puppy
should
look, feel and smell like
an L optic. But at least it performs like one! Nevertheless it
doesn't feel cheap and is more solid than the EF
28-135 3.5-5.6
IS USM or EF 24-85 3.5-4.5 USM, just not up to L standards. Also,
after squeezing a grand out of you, Canon should toss in a
lens hood. Incidentally, the hoods
from
the EF 17-40 4L USM and EF 24-105 4L IS USM fit and
do not vignette.
Skyward
View • Honolulu • EOS
20D, EF-S 17-55 2.8 IS USM • F5.6, 1/125, ISO 100
Although
a bit bulky and heavy, I find the EF-S 17-55 2.8 IS USM a perfect travel
lens for my 50D, and I've humped it from Vegas to the Netherlands
without a whimper or glitch. I
love the range, aperture, AF speed and sharpness
of this lens. The
combination of IS and a fast F2.8 aperture make
it
ideal
for available light shooting on city streets, churches, casinos,
museums and most building interiors. Shooting on city streets
at night
without flash, I rarely need to
dial past
ISO 800. I
feel confident to shoot wide open in any situation
and bring back sharp images.
Highly recommended
for serious amateurs and world trekkers.
Not recommended
for those wishing to
travel light or those with a feeble credit
card limit. Freakin' kickass lens!
More Images
taken with the EF-S 17-55 2.8 IS USM (click
to enlarge)
Source Materials
Canon EFS
Lens EF-S17-55mm F/2.8 IS USM Instruction. Tokyo:
Canon, 2006. (CT1-7561-001).
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Documentation Project
Photo.net • Canon
EOS SLRs
1/11/2007 • Revised
5/26/2009
©Copyright 2007-2009
by Peter Kun Frary • All Rights Reserved
