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Canon Normal Zoom Lenses
Peter Kun Frary
Cameras are important. After all, you need a light proof box to hold your film. Ultimately, the caliber of your images is determined by the quality of the lens, not the camera. Of course, a good eye and technique are helpful too. Even if you own an EOS Rebel, you can get the same caliber of images as an EOS 1V owner if you use the same lens and technique. If you like sharp, contrasty images, save your money for the best lenses you can muster.
Canon Normal Zooms After using a 50 mm lens off and on since high school, I got my first zoom lens in 1987, a Nikkor 35-70 3.5-4.5 AI. The lens was beautifully made of metal with engraved markings and silky smooth zoom and focus action. The ground glass focusing screen in my Nikon FM was not very efficient and grew dark when zoomed to 70 mm. Strangely, after zooming back and forth to compose the picture, I usually found my lens at 50 mm. Years of using a 50 mm lens had taken its toll: I could only see in one focal length! That old zoom was sharp but had plenty of flare and ghosting, rendering it unusable if a bright light was in or near the frame. Times have changed and focusing screens are much brighter, lens coatings and optical design have improved and my inner eye sees a continuous stream of focal lengths.
The 46 degree coverage of the 50 mm lens is equivalent to the sweet spot of the human eye. Hence, "normal lens," is the term used to describe 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, 28-70, 28-80, 28-105, 35-70, 35-105, 35-135, etc., are considered normal zooms. Here are the zooms I've had in my camera bag.
This zoom debuted in 1996 as the kit lens for the EOS IXE/IX and continues to be a popular lens in the Canon line. Polycarbonate construction, but with a metal mount, keep it to a featherweight 380 g (13.4 oz). It's only a little bigger than an EF 50 1.4 USM. Its small size and zoom range make it an ideal travel lens. The twist action zoom is reasonably smooth and does not creep. Zooming is accomplished by expanding and contracting the nested barrels. Like most AF lenses, the manual focus ring is small and not as silky or fine turning as the manual lenses of yesteryear.
This zoom is unique inasmuch as the range encompasses a true wide angle, 24 mm, to short telephoto, 85 mm. Most of Canon's "normal" zooms start at 28 mm. Not too long ago 35 mm was the norm. If you love wide angle perspectives or shoot in tight interiors, this is the zoom for you.
Canon EF 24-85 3.5-4.5 USM • The 1996 EOS IX kit featured a sliver version of this lens.
An internal lens group is focused by ring-type USM (Ultrasonic Motor). This motor dives the small rear elements easily, resulting in extremely fast AF. Thus, the front element does not rotate nor does the barrel expand or contract during focusing. Plus, ring-type USM features full-time manual focusing (FTM), allowing you to manually focus without switching out of AF mode. Of course, being an USM lens, it is silent when focusing. If you prefocus manually, the distance window in meters and feet is very useful.
Canon EF 24-85 3.5-4.5 USM • The standard gothic black edition with EW-73 II hood.
This lens sports a 6-blade diaphragm. Thus, out of focus areas (bokeh) are reasonably smooth. A molded glass (GMo) aspherical lens element (4th) is used to correct astigmatism, achieve sharp definition and to make the lens compact. Canon manages to pack 15 elements into a 69.5mm (L) x 73 mm (D) barrel! With all those elements, the optional petal hood, the EW-73II, should be used at all times to protect the front element and reduce flare.
The filter size is an odd (for Canon) 67 mm, making filters expensive. There is only one other Canon lens with this filter size, the EF 70-200 4L USM. Fortunately, the EF 24-85 3.5-4.5 USM and EF 70-200 4L USM complement one another well and make an excellent combo. Plus, there are a few advantages to large filter sizes: 1) the extra space between the front element and filter threads minimalizes the possibility of accidental scratching when changing filters; and 2) thick filters such as polarizers may be used without vignetting.
For a consumer zoom, the EF 24-85 3.5-4.5 USM delivers sharp and contrasty chromes. I found it on par with the EF 28-105 3.5-4.5 USM. Although quality is decent wide open, the best image quality is at F8 or 11. The long end is slightly softer than the wide angle side, but sharp enough for excellent 11 x 14 inch enlargements.
This zoom suffers from considerable barrel distortion at the wide end--more so than the other zooms reviewed here--and a small amount of pincushion distortion at the long end. If you shoot lots of architecture, avoid this zoom and embrace the superior correction of prime lenses. For general use, distortion is not a problem except with ocean horizons or close-up subjects with parallel lines. Indeed, distortion increases considerably in the macro range, especially at 24 mm. Distortion is normal for zooms and is an optical compromise that allows the convenience of multiple focal lengths.
Flare and ghosting are extremely well controlled for a zoom, but a shearing Hawaiian sunset may cause a small amount of flare and ghosting with full frame formats. After all, 15 elements give ample opportunity for light to bounce around. Nevertheless, this zoom has a high level of flare resistance. In fact, flare and ghosting are better controlled than any zoom on this page. With an EOS 10D (DSLR), there seems to be no flare or ghosting even with blazing sunsets--perhaps due to the small sensor size (40% less of the image circle is used). Or, maybe the rectangular flare mask between the first and second elements really makes a difference. Nevertheless, I keep the lens hood on to help keep flare in check. Check out this amazingly flare free image of a blazing sunset at Waimea Bay.
The EF 24-85 3.5-4.5 USM is a wonderful lens for the EOS Elan series, Rebel series, IX series, A2/A2E or D30/60/10D/20D/30D. The 24mm wide angle makes it especially useful on cameras with small image sizes, i.e., 1.25x to 1.6x cropping factor. Due to its light weight, it balances well on smaller cameras such as the Rebel or Elan series. It isn't as well suited for pro EOS cameras like the EOS 1V or EOS 3 as the variable aperture of F3.5 to 4.5 is too slow to activate their cross AF sensors. It's about $325 new.
Due to its range and small size, the EF 24-85 3.5-4.5 USM enjoyed several tours of duty as a travel lens on my EOS 10D (1.6x crop factor). Here are sample images taken with the EF 24-85 3.5-4.5 USM (click to enlarge):
This zoom appeared in 1991 as the kit lens for the EOS Elan/100 and is one of the forgotten gems of the EF line. It was a novelty due to its small size, silent operation and excellent optical performance. At only 330 g (11.6 oz), it falls firmly into the bantamweight class of lenses. However, polycarbonate construction and a metal mount make for a sturdy unit. Plus, at 77.5 (L) x 72 mm (D), you might mistake it for a 50 mm "normal" lens. The outer appearance is nearly identical to the EF 28-105 3.5-4.5 USM. The twist action zoom is smooth but on the loose side. Like most AF lenses, the manual focus ring is dinky and not as silky as the manual lenses of yesteryear.
Lamppost at Queen's Beach, Honolulu • Rebel II, EF 28-80 3.5-5.6 USM, Kodak Gold 200
Focus is achieved by front element extension. The ring-type USM motor dives the small front elements easily, resulting in extremely fast AF. Plus, ring-type USM allows FTM, something the newer versions of this zoom range lack. The front element rotates and the barrel expands and contracts during focusing and zooming, but the movement is relatively small (about 1 cm). If you prefocus manually, the distance window in meters and feet is very useful. The EF 28-80 3.5-5.6 USM has a 5-blade diaphragm and allows F-stops from 3.5 to 38.
This is the first Canon zoom to use a molded glass (GMo) aspherical lens element. This element (3rd) helps correct astigmatism, achieve sharp definition and to make the lens compact. Canon packed 10 elements into a 77.5 (L) x 72 mm (D) barrel! With all those elements, the optional hood, EW-68A, should be used at all times to protect the front element and reduce flare. Like the EF 24-85 3.5-4.5 USM, the EF 28-80 3.5-5.6 USM contains a flare-cut diaphragm.
Canon EF 28-80 3.5-5.6 USM • Metal mount, FTM and good bang for the buck
The filter size is a modest 58 mm, making filters affordable and easy to share with common Canon lenses. The front element is small, so there's plenty of room between the element and filter threads. I'm sure a 52 mm filter design would have worked fine. However, the extra space is safer--less chance of damaging the element when changing filters--and adds the possibility of stacking filters without vignetting. Unfortunately, the front element retracts into the barrel during zoom operation making use of a polarizer tricky--you must adjust it at 28 or 80 mm and then zoom. Some bulky filters snag on the inner barrel. In like fashion, the lens caps only fits at the 28 or 80 mm focal lengths.
For a consumer zoom, the EF 28-80 3.5-5.6 USM delivers sharp and contrasty chromes. Amazingly, image quality is excellent wide open at all focal lengths, with only slight improvement stopping down. In fact, it's sharper than all of the zooms on this page wide open. In other words, you can expect sharp 11 x 14 enlargements wide open and at any focal length. Like most zooms in this range, it exhibits a small amount of barrel distortion and light falloff at the wide end. Light falloff disappears by F5.6 but barrel distortion becomes increasingly noticeable in the macro range. The long end has little or no distortion or light falloff.
Flare and ghosting are well controlled for a zoom, but extreme conditions, e.g., a shearing Hawaiian sunset, will cause problems. Nevertheless, flare and ghosting are slightly better controlled than both my EF 28-105 USM and EF 28-135 IS USM, especially if you stop down a bit. The flare-cut mask diaphragm seems to make a difference, although this lens has less elements than most zoom designs (the fewer lens elements, the fewer surfaces for light to reflect off and cause flare). Keep the lens hood on to help reduce flare.
The EF 28-80 3.5-5.6 USM is a nice lens for the EOS Elan series, Rebel series or A2/A2E. Due to its light weight, it balances well on smaller cameras such as the Rebel or Elan series. It isn't as well suited for pro cameras like the EOS 1V or EOS 3 as the variable aperture of F3.5 to 5.6 is too slow to activate their cross AF sensors.
Unfortunately, the EF 28-80 3.5-5.6 USM was replaced in 1995 with the cheaply made EF 28-80 3.5-5.6 USM II, a move that soiled the reputation of Canon 28-80 zooms forever. However, the better optical performance, metal mount, FTM, distance window and more sturdy construction make the EF 28-80 3.5-5.6 USM an excellent value. It's a rare bird on the used market, but they go for $75 to $150 depending on condition.
This zoom debuted in 1992 as the kit lens for the EOS 5/A2E and continues to be a popular lens in the Canon line. I've used this zoom since 1992 and taken thousands of images under diverse conditions. It has been utterly reliable. Moreover, its small size (75mm L) and zoom range make it an excellent travel lens for film for full frame digital. Polycarbonate construction, but with a metal mount, keep it to a featherweight 375 g (13.1 oz). The twist action zoom is smooth and does not creep. Zooming is accomplished by expanding and contracting the nested barrels. Like most AF lenses, the manual focus ring is small and not as silky or fine turning as the manual lenses of yesteryear.
Mukilteo Lighthouse • Canon EOS A2 & EF 28-105 3.5-4.5 USM (28 mm) • Outside of the macro range, this lens is reasonably well corrected for distortion.
It sports a ring-type USM (Ultrasonic Motor) that drives an internal lens group and, thus, AF flies. Later versions (1999) of this lens sport a 7-blade diaphragm while older ones have 5-blades. Out of focus areas (bokeh) are slightly smoother with the 7-blade model. The front element doesn't rotate and the barrel remains stationary during focusing. However, the nested barrel extends considerably when zooming to 105 mm. Of course, being an USM lens, it is silent when focusing. It has FTM, allowing you to manually focus without switching out of AF mode. If you prefocus manually, the distance window in meters and feet is very useful.
The filter size is a modest 58 mm, making filters affordable and easy to share with common Canon lenses such as the EF 24 2.8, EF 28 1.8 USM, EF 85 1.8 USM, EF 100 2.0 USM, EF 100-300 USM and EF 75-300 IS USM. There is only one gotcha with this lens: the front element is extremely close to the filter threads and, thus, prone to accidental scratching when changing filters. A larger filter thread (e.g., 62 mm) would be safer and add the possibility of stacking filters without vignetting. Two standard filters vignette at 28 mm but are fine at 35 mm.
Canon EF 28-105 3.5-4.5 USM • Small, light, sharp and versatile
For a consumer zoom, the EF 28-105 USM delivers sharp and contrasty chromes. Although quality is decent wide open, the best image quality is at F8 or 11. The long end is slightly softer than the wide angle side, but still good enough for excellent 11 x 14 inch enlargements.
Like most zooms, the EF 28-105 USM suffers from a small amount of barrel distortion at the wide end and pincushion distortion at the long end. If you shoot lots of architecture, avoid zooms and embrace the superior correction of prime lenses. For general use, I haven't noticed distortion except in close-up subjects with lots of parallel lines (horizons look fine). Indeed, distortion increases considerably in the macro range, especially at 28 mm. Although flare is well controlled for a zoom, flare and ghosting occur if you shoot bright sunsets. Hazy sunsets come out nicely. I always keep the lens shade on to help keep flare in check (my hat works even better!).
This is a wonderful lens for the Elan series, Rebels (film), EOS 5/A2E and 5D. Due to its light weight, it balances well on smaller cameras such as the Rebel or Elan series. With a 28 mm short end, it isn't wide enough for small frame cameras such as the 10D/20D/30D unless, of course, you prefer a 45-170 zoom range. It also isn't well suited for pro EOS cameras like the EOS 1V or EOS 3 as the variable aperture of F3.5 to 4.5 is too slow to activate their cross AF sensors. I almost sold my EF 28-105 USM but found it makes a great walkaround lens on an EOS 5D when you need to travel light. Pair the EF 28-105 3.5-4.5 USM with the EF 100-300 4.5-5.6 USM and you have a fine two-lens kit at a bargain price.
Canon released an upgraded version of this lens in 2000, the EF 28-105 3.5-4.5 USM II (about $225). The optical formula is identical but there are minor improvements, an aluminum main barrel, a metal gear train (the old version is plastic) and a 7-blade diaphragm. They also moved production offshore.
Here are more sample images taken with the EF 28-105 3.5-4.5 USM:
Introduced in late 1997, the EF 28-135 3.5-5.6 IS USM was an amazing feat of engineering for its day. I bit the bullet and replaced my EF 28-105 with this amazing optic. It's much larger and heavier than the EF 28-105 USM, tipping the scales at 540 g (18.9 oz). Some find it too massive for travel; I just grin and bear it. The twist zoom action is slightly smoother than the EF 28-105 but, unfortunately, is prone to creep when pointed down. Surprisingly, it doesn't creep when racked out to 135 and pointed straight up. Zooming is accomplished by expanding and contracting the nested barrels. Like most AF lenses, the manual focus ring is small and not as silky or fine turning as the manual lenses of yesteryear.
Canon EF 28-135 3.5-5.6 IS USM • A little bulky but ready for almost anything
It sports a ring-type USM (Ultrasonic Motor) that drives an internal lens group and, thus, AF rips, but is slightly slower than the EF 28-105 USM. The front element does not rotate and the barrel does not expand or contract during focusing. However, the barrel extends considerably when zooming to 135 mm. Of course, being an USM lens, it is silent when focusing. It has FTM, allowing you to manually focus without switching out of AF mode. If you prefocus manually, the distance window in meters and feet is extremely useful.
The filter size is 72 mm, making filters expensive and difficult to share with common Canon lenses. Mainly expensive L lenses have this filter size: EF 35 1.4L, EF 50 1.0L, EF 135 2L, EF 200 2.8L and EF 35-350 3.5-5.6L. The instructions say not to stack filters, probably to avoid vignetting at 28mm. However, two thin filters will not vignette, even at 28mm. The instructions also state that you cannot use a polarizing filter when the lens hood is attached. However, if you have agile fingers it isn't difficult to rotate the filter through the petal cutouts of the lens hood.
For a consumer zoom, it is extremely sharp and contrasty, maybe slightly sharper than the EF 28-105 3.5-4.5 USM. Although quality is decent wide open, the best image quality is at F8 or 11. It also suffers from a small amount of barrel distortion at the wide end and pincushion distortion at the long end. However, I haven't noticed much distortion except in macro mode, where barrel distortion at 28 mm is slightly more pronounced than the EF 28-105 3.5-4.5 USM. The long end is slightly softer than the wide angle side, but still good enough for excellent 11 x 14 inch enlargements.
Although flare is reasonably controlled for a zoom, flare and ghosting will occur if you shoot bright sunsets or other strong light sources. In terms of flare and ghosting, this lens is the weakest of all the "normal" zoom reviewed on this page. Perhaps the extra elements used for IS contribute to flare and ghosting (more elements = more reflective surfaces). I always keep the lens shade on to help keep flare in check.
There is one gotcha with this lens: the nested three-barrel design has lots of cracks to suck in dust. All lenses that expand and contract during zooming are subject to this problem. However, I have more particles on the inside of this lens than any zoom I have owned.
This would be a very nice lens without Image Stabilization (IS). However, IS really sets the performance and use of this lens apart from any other normal zoom. 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, I almost always get a sharp picture, even two or three stops below my normal hand held shutter speed.
IS has changed the way I take pictures. I used to put away my camera when conditions got dark and murky, now I keep on shooting (I avoid flash except for fill). However, IS is not just for low light conditions, it helps eminently in any high vibration situation such as shooting in high wind, airplanes, automobiles or boats. Heck, I've shot one-handed while hanging off a cable car in San Francisco and nailed a sharp picture. This is one of my favorite lenses and the ultimate ready-for-anything travel lens. The image below was hand held in dim light with slow slide film (1/2 second at F3.5):
Honolulu Harbor • EOS A2, EF 28-135 3.5-5.6 IS USM & Fujichrome 100F
The instructions recommend turning IS off when using a tripod as the lack of movement may cause IS to be erratic. However, IS is extremely useful in conjunction with a tripod as long as there is some vibration. For example, when windy, I use Image Stabilization with a tripod mounted camera and it makes a major improvement in sharpness.
This is a wonderful lens for the EOS Elan series, A2/A2E or 5D, but balances better on the larger bodies. With a 28 mm short end, it may not be wide enough as a normal zoom for small frame cameras such as the 10D/20D/30D. Why? The 1.6x cropping factor of these cameras yield an approximate 45-200 35mm equivalent zoom range. If you prefer a normal to medium telephoto range on a small frame digital, this may be the perfect lens for you. I found it an ideal range on my 10D. It isn't well suited for pro EOS cameras like the EOS 1V or EOS 3 as the variable aperture of F3.5 to 5.6 is too slow to activate their cross AF sensors. A new EF 28-135 3.5-5.6 IS USM goes for about $450.
Here are more sample images taken with the EF 28-135 3.5-5.6 IS USM:
In 1990 I bought an EOS 10S and an EF 35-105 3.5-4.5. This was my first really good zoom lens and, like my first love, I never forgot our time together. Canon introduced the EF 35-105 3.5-4.5, a small batch of other lenses and the EOS 620 and 650 cameras in 1987. This revolutionary event marked Canon's break with the old FD system and the genesis of Canon's EOS autofocus system.
Pink Clouds & Tree • Diamond Head, Hawaii • EOS 10S, EF 35-105 3.5-4.5, Bogan 3001, Fujicolor HG 100
The small size and moderate wide angle to medium telephoto range made the EF 35-105 3.5-4.5 ideal for travel and general use. Polycarbonate construction, but with a metal lens mount, kept it to a featherweight 400 g. Prior FD lenses were mainly constructed of metal, so this was a really light lens for its day. At 73.2mm D x 81.9mm L, it is also a compact and easy to handle optic.
Although it uses the Arc Form Drive (AFD) and front element extension, it focuses fairly fast. AFD designs aren't totally silent like USM, but are quieter than the AF motors of most other lens makers. The push-pull zoom is fast to zoom but less precise than the twist type. It's great for going from 35 to 105 in a hurry! Most of the grip surface is a rubber-like material. Unfortunately, the manual focus ring is small and feels gritty when rotated.
Canon EF 35-105 3.5-4.5 • The first of its breed and pretty dad burn good
The front element turns and the barrel extends/contracts during focus making use of polarizer filters frustrating. However, if you prefocus manually, you'll appreciate the distance window in meters and feet. The AF/M switch is difficult to move as it is flat and flush with the barrel surface. The closest focusing distance is .85 m and is available at all focal lengths. It sports a five-blade diaphragm, so bokeh isn't as smooth as the seven-blade EF 28-105 3.5-4.5 USM. A modest 58 mm filter thread makes filters affordable and easy to share with common Canon lenses.
For a consumer zoom, the EF 35-105 3.5-4.5 is sharp and contrasty, nearly as good as the EF 28-105 3.5-4.5 USM. Like most zooms, there is a small amount of barrel distortion at the short end and pincushion distortion at the long end, especially at macro distances. Flare and ghosting will occur if you strong light sources. However, considering that this is a 14 element lens, it is reasonably flare resistant under most conditions. I shot lots of Hawaiian sunsets without any problems. Of course, you should use the lens shade (EW-68B) to help keep flare in check. The hood is a standard wide angle design and is too shallow for use at 105mm. A petal design would have insured maximum coverage at the long end of the range.
4th of July Fireworks in Waikiki • Canon EOS 10S, EF 35-105 3.5-4.5, Bogan 3001, Fujichrome 100
This lens went out of production in 1990 but used stock appear on EBay and KEH.com often. One in excellent condition goes for $100 or less. It's a great lens for the EOS Elan series or A2/A2E. With a 35 mm short end, it isn't wide enough for small frame cameras such as the D30/D60. It also isn't well suited for pro EOS cameras like the EOS 1V or EOS 3 as the variable aperture of F3.5 to 4.5 is too slow to activate their cross AF sensors.
Here are more sample images taken with the EF 35-105 3.5-4.5:
Wind and Grass • Kaena Point Beach • Sunset Omen
In 1990, Canon introduced three consumer-level zooms with ring-type USM: EF 35-135 4.0-5.6 USM, EF 70-210 3.5-4.5 USM and EF 100-300 4.5-5.6 USM. The EF 35-135 4.0-5.6 USM debuted as the kit lens for the EOS 10S. I gave my wife an EF 35-135 4.0-5.6 USM and EOS Elan as a gift in 1994. The small size and moderate wide angle to medium telephoto range made an it ideal as part of her travel kit. Polycarbonate construction, but with a metal lens mount, keep it to a featherweight 425 g. The twist action zoom is smooth and does not creep. Zooming is accomplished by expanding and contracting the nested barrels. Like most AF lenses, the manual focus ring is small and not as silky or fine turning as the manual lenses of yesteryear.
Haleiwa Sunset • Elan 7, EF 35-135 4.0-5.6 USM & Kodak Max 400 • Photo by Se Il Frary
The EF 35-135 4.0-5.6 USM is the first Canon zoom lens to use a rear element focusing group. The ring-type USM dives the small rear elements easily, resulting in extremely fast AF. The ring-type USM also allows full-time manual focusing. A molded glass (GMo) aspherical lens element (12th) is used to correct astigmatism, achieve sharp definition and to make the lens compact. Canon manages to pack 14 elements into a 72 x 86.4 mm barrel!
The front element does not rotate and the barrel does not expand or contract during focusing. If you prefocus manually, the distance window in meters and feet is very useful. The closest focusing distance is .75 m and is available at all focal lengths. A modest 58 mm filter thread makes filters affordable and easy to share with common Canon lenses.
Canon EF 35-135 4.0-5.6 USM • Sleek and black; a dependable travel companion
For a consumer zoom, the EF 35-135 4.0-5.6 USM is sharp and contrasty, on a par with the EF 28-105 3.5-4.5 USM. At normal distances there is little distortion. Like most zooms, the short end has noticeable barrel distortion at macro distances. Flare and ghosting will occur if you shoot bright sunsets or other strong light sources. However, this lens is reasonably flare resistant under most conditions. Of course, you should use the lens shade (EW-62) to help keep flare in check. The hood is a standard wide angle design and is too shallow for use at 135mm. A petal design would have insured maximum coverage at the long end of the range.
Colorful Guy In San Francisco • Elan 7, EF 35-135 4.0-5.6 USM & Portra 400VC • Photo by Se Il Frary
This lens is out of production (replaced by the EF 28-135 3.5-5.6 IS USM in 1997) but used stock appear on EBay and KEH.com often. One in excellent condition goes for $125-150. It is a wonderful lens for the EOS Elan series or A2/A2E. With a 35 mm short end, it isn't wide enough for small frame cameras such as the 10D/20D. It also isn't well suited for pro EOS cameras like the EOS 1V or EOS 3 as the variable aperture of F3.5 to 4.5 is too slow to activate their cross AF sensors.
6/11/2001 • Revised 9/29/2007
©Copyright 2001-2007 by Peter Kun Frary • All Rights Reserved .
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