It was quite a while since the last time I researched for new lens. Today I have just found out that Canon has recently – back in September 1st 2009 to be precise – released a newcomer into its highly acclaimed premium L series, and surprisingly it is the upgraded version of its very popular 1:1 Macro lens, Canon EF 100mm f/2.8L Macro IS USM.

Owning the older version EF 100mm f/2.8 USM Macro which I used mostly for product photography as well as sometimes shooting bugs or flowers for fun, I have been wondering why Canon does not put image stabilizer in the lens. For macro it is essential as in extreme magnification even the slightest shake can make a disaster. On the other hand, shooting bugs which sometimes hide under some sort f shade needs slow shutter speed. It has quite a wide opening of f/2.8, but in extreme magnification, opening the lens that wide in many cases does not allow us to get desired depth of field.

The image stabilizer system comes with this lens is of the most advanced technology called Hybrid IS which theoretically gives 4 stops correction. It is just awesome. Theoretically the slowest shutter speed for good quality hand-held shoots are at 1/focal length. So for 100mm lens we are talking about minimum speed of 1/100. One stop means a half, so four stops from 1/100 means four times halved 100 which is 1/6.75. In extreme magnification the specification talks about 2 stops correction, which in the same calculation means we can shoot as slow as 1/25, not bad at all.

With this lens, IS is not the only thing helping us in preventing shake. Low friction ceramic balls support the moving elements, which allows for the amazingly smooth movement. Additionally it has a tripod collar.

On the other hand, as macro lens is not only used by hobbyist addicted to shooting bugs having sexual intercourse but also professional product photographers, L optical quality can give a significant quality improvement to the end result.

It is very tempting to own one to replace my old one which lacks of both image stabilizer and L optical quality. Build quality of L series is also awesome, but as I mostly use it for product photography I do not really care about its dust and water resistant sealing. But more accurate auto focus helps product photographers whilst faster auto focus helps bug shooters. I do not even want to have a try, believing in its quality, I do not need a try it before buying one.

Below is the launching press release:

Canon announces the arrival of the
first EF lens to feature Hybrid IS

London, UK, 1st September 2009: Canon today announces the launch of the high performance EF 100mm f/2.8L Macro IS USM, the latest addition to its prestigious L-series, Canon’s flagship professional lens range. The EF 100mm f/2.8L Macro IS USM incorporates image stabilisation in a macro lens for the first time in the EOS lens range. This enables photographers to capture stunning close-up shots without the need for a tripod.

The high quality, medium telephoto macro lens, has been developed for photographers who demand the highest level of optical quality.  The new Hybrid IS system features up to 4-stop correction, compensating for the effects of camera shake, during normal shooting. Low friction ceramic balls support the moving elements, which allows for the amazingly smooth movement – needed when compensating for camera shake during macro shooting.  Hybrid IS corrects shift movement – problematic when shooting up close -as well as angular movement providing photographers with the benefit of up to 2 stops at 1.0x magnification.

The EF 100mm f/2.8L Macro IS USM features ultra low dispersion (UD) lenses that correct colour aberration for high resolution, high contrast images while the addition of Super Spectra coatings effectively reduce ghosting and flare for superior quality images. A nine blade circular aperture makes subjects stand out amid beautiful background blur and a silent, high-speed ring type USM Autofocus motor quickly achieves focus. The lens also includes a three position focus limiter to tailor the focus system range to the desired subject.

As part of the L-series the lens features dust and water resistant seals.  Sitting ahead of the EF 100mm f/2.8 USM Macro, within the range, the EF 100mm f/2.8L Macro IS USM supports a full range of accessories including: Tripod Mount D, Macro Lite adaptor 67, Lens Hood ET-73 and EF12 II and EF25 II extension tubes. The tripod mount attaches to the lens without the need for an adaptor enabling quick portrait or landscape switching without having to reframe the camera. Speedlites MR-14EX and MT-24EX can be attached using the MacroLite adaptor.

Being a Canon addict, using old Canon QL as my first camera some 20-30 years ago, then came back to Canon after a while with Nikon in my early digital day, I do believe in its quality. However,  I personally do not think that Canon EOS 7d will yield significant success like the old Canon 5D or even its Nikon rival, D300.

Unfortunately as a brand new one, I am not seeing something meaningful, something that makes it stands the competition. It is a personal opinion, of course. Following are attributes exposed as the selling points of this new camera:

(1) 18MP, nice to have, but how large you want to print your photos anyway. Those who needs to print their photos very large would have gone to full frame, or even large format.

(2) And Ahhh … yes. Full HD video. Nice to have. But again, others have started to offer it a year ago.

(3) APS-C, this is the catch. At least I, and I believe most of us who are used to full frame, will personally say NO to APS-C. It only worth as a second camera if not a backup one. Many said that wedding photographers and those focusing on portrait needs APS-C. Wrong. Only those who are not used to larger format will say that. Why do you think professional model photographers goes to either Hasselblad or Mamiya? Or at least Canon 1Ds or Nikon D3? The only ones which slightly benefit from smaller factors are wildlife photographers or paparazzis needing to shoot their target from a very long distance. Pictures resulted by APS-C are slightly better that those taken by full frame then getting cropped on post production to get the same magnification. It is true even if we take into account the megapixel figures.

(4) Dual Digic4 processor. Hmm. Is it a real need or just a sales pitch? When Canon introduced a camera with Digic3, I mentioned that have never had any complain of using the camera powered with Digic1 processor. So who will feel the difference of running the older Digic3 or the new Digic4. I believe it does not that critical like processor powering your notebook.

(5) 8 frames per second. Well, not bad. But I have never need anything faster than my old 5fps camera. And those needing speed, like photojournalists, will need something even faster than 8fps. So if they want it to be a considerable benefit, they should have made it more.

(6) ISO range expandable to 12,800 this is fabulous. Well, depends on how good the grain is, of course. But my assumption is if it can go higher, than at least it give better performance in lower settings, sat 3,200 or 6,400.

(7) 3 inch LCD, 920K resolution. Cool. Cramming large MP into that small of screen does not make 920K a significant different, but cool. However, most of the new DSLRs have it already. So what?

(8) New viewfinder with 1.0 magnification and 100% coverage, is something I have always wanted. Not so essential, but a definite decision making parameter. For me it can make or break my decision to buy.

So, I personally do not think 5D fits perfectly in the market. Advanced amateurs will go to D50, entry level professionals will go for 5D Mark II. Nikon has similar situation with its D300 actually. I think advanced amateurs will go to D90 whilst entry level pros will go for D700. But at the time it get launched, Nikon had a perfect situation. Canon did not have competing product with similar specification, whilst its full-frame and cheaper 5D was aging up. And, Nikon had a predecessor to replace, D200. So D300 was something long awaited. Going up was a long leap. At that time, D3 was the next class, D700 was not exist yet.

Having old 5D in hand, I have no intention at all to buy 7D of course. In fact, I do not even seeing crucial reason to replace my 5D with 5D Mark II. It will be nice to have a backup, but when I buy one, I think I will go for 50D instead. I believe that advanced amateur will be happy enough with 50D, and when they are going pro, they will go for 5D Mark II. 7D will be skipped behind. If for financial reason, 50D users could not afford to go up to 5D Mark II, they will prefer to wait and save more, I guess.

I do agree with the general thumb advising that every lens performs at its best starting from two stops darker than its maximum aperture, which means f/2.8 lenses get their best at f/5.6 whilst f/4 lenses have to go down to f/8 to reach their top. But with the latest lens technology the difference is hardly visible especially with top quality lenses like Canon’s L series. Therefore to fill up the mostly needed range spanning between ultra-wide to telephoto I chose f/4 zooms of Canon L series.

With arrival of the brilliant 24-105mm f/4 L IS which offer general purpose range with Canon’s proven image stabilizing technology into my drybox, I have completely cover the favorite range between 17mm to 200mm all in Canon f/4 L series. The new comer accompanies 17-40mm f/4 L ultra-wide zoom and 70-200mm f/4 L medium telephoto I bought before. In my opinion, in term of focal range, all the three fits each other perfectly, with a bit overlap among them giving extra comfort especially as I only own one camera body. As the numbers shows, the ultra-wide goes to 40mm whilst the general purpose starts from 24mm, the general purpose ends at 105mm whilst the medium telephoto starts from 70mm.

Unfortunately the more capable my setup is, the less chance I have to spen my time using it. But that’s the way life goes, I think. Just like the most of us, it takes more time to make more money to spend on hobbies. However, with better set on hand I believe that I can make the less chances I have more enjoyable ones.

Canon announcement of EOS 50D replacing its predecessor 40D – which has only introduce less than a year ago – instead of the three-years-in-existence Canon EOS 5D has invited both disappointments and hopes. Disappointments were obvious. Hopes came from beliefs that by introduction of 50D, the long awaited 5D Mark II will carry an even newer technology than what 40D has. On September 17th 2008 Canon pays off loyal user who have been patience enough to wait. Canon EOS 5D Mark II which brings along the most advance technolgy was officially anounced.

Looking into specification I belief it exceeds every expectation people have ever had – at least among many of them I read in online forums, blogs, and articles. 21.1 mega pixel CMOS sensor, Digic 4, ISO 50-25,600 are among the most significant leap over the three years old 5D. Attached to this posting is Canon’s official press release.

Contrary to beyond expectation specifications, price tag was by far below expectation. Whilst most columns predicted it to come in similar price of 5D in its annoucement, which was $3,300, Canon puts estimated retail price of $2,699 for body only and $3,499 as a kit with Canon EF 24-105mm f/4L IS. First delivery was scheduled as close as end of November 2008.

“Will I get one?” Definitive question is NO, at least not in the near future, even if I have $1,300 to be invested in photography gears. There are still lightings and glasses at my higher priority than replacing my 5D with a new one.

Attached is full release.

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CANON U.S.A. INTRODUCES THE HIGHLY ANTICIPATED EOS 5D MARK II
DSLR CAMERA FEATURING FULL-FRAME HD VIDEO CAPTURE

The Canon EOS 5D Mark II Escalates Full-Frame Digital SLR Photography to the Next Level with HD Movie Recording Capabilities, DIGIC 4 Imaging Processor, and 21.1 Megapixel Resolution

LAKE SUCCESS, N.Y., September 17, 2008 – Canon U.S.A., Inc., a leader in digital imaging, today introduced the EOS 5D Mark II Digital SLR camera, the long-awaited successor to Canon’s highly popular EOS 5D, introduced in 2005. Building upon the qualities that made the EOS 5D camera so successful, Canon has coupled the creative power of a full-frame CMOS sensor in a relatively compact and affordable camera body, together with groundbreaking HD video capture that opens the door to a much wider range of imaging possibilities for photographers. Along with the ability to capture full HD video clips at 1920 x 1080 resolution, Canon’s EOS 5D Mark II Digital SLR camera features a 21.1-megapixel full frame 24 x 36mm CMOS sensor, DIGIC 4 imaging processor and significantly lower noise, with an expanded sensitivity range from ISO 50 to ISO 25,600.

“The anticipation surrounding the launch of this camera model has exceeded our greatest expectations, and we believe our loyal customers will be awed by the level of innovation and features built into the new EOS 5D Mark II Digital SLR. Once they have the chance to experience the camera, we believe they will agree that it was worth the wait,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

Among the many advancements in Canon’s new EOS 5D Mark II camera is the Company’s proprietary DIGIC 4 Imaging Processor that powers the camera’s fast 14-bit analog-to-digital conversion for smooth color tones and exceptional gradation. The Canon EOS 5D Mark II Digital SLR offers a full-frame 24 x 36mm, 21.1 megapixel CMOS sensor and continuous shooting at 3.9 frames per second (fps) for an unlimited number of full-resolution JPEGs to the capacity of the memory card or up to 14 RAW images in a single burst when using a UDMA CF card. The camera includes a 15-point Autofocus (AF) sensor with nine selectable AF points plus six additional Assist AF points (three center AF points sensitive to f/2.8 lenses) with enhanced light source detection and AF microadjustment for greater autofocus performance. The EOS 5D Mark II camera also features a large, clear 3.0-inch Clear View LCD screen with 920,000 dot/VGA resolution, four times the pixel count of the EOS 5D camera’s 2.5-inch screen, for enhanced clarity and color when viewing images. The new camera is equipped with a high-performance, high-magnification optical viewfinder providing 98 percent coverage, giving a new dimension to the saying, “what you see is what you get.” Professional photographers will also appreciate the enhanced 150,000-cycle shutter durability of the EOS 5D Mark II camera.

Canon, the first company to introduce a full-frame digital camera, has improved the EOS 5D Mark II Digital SLR camera’s newly developed full-frame CMOS image sensor. Utilizing proprietary Canon technology, the Company has reduced noise and expanded the sensitivity of the CMOS sensor up to ISO 25600, which is three full stops higher than the ISO 3200 limit of the original EOS 5D camera. Although the individual pixel dimensions of the EOS 5D Mark II camera are the same as the 21.1-megapixel CMOS sensor used in the EOS-1Ds Mark III digital SLR, the new sensor incorporates an improved output amplifier and a more advanced color filter that improves light transmission while retaining excellent color reproduction. By applying the same kind of advancements in sensor design and image processing technology as the recently introduced EOS 50D camera, but at higher resolution and with larger pixels, the EOS 5D Mark II achieves the highest level of image quality of any EOS Digital SLR released to date.

With the combination of its improved CMOS image sensor and the powerful new DIGIC 4 image processor, the Canon EOS 5D Mark II camera provides ISO speeds from ISO 100 up to ISO 6400 in 1/3-stop increments, along with two high-speed settings – H1 and H2 – of ISO 12800 and ISO 25600, respectively, as well as a low-speed setting of ISO 50. The full-frame sensor maximizes the performance of Canon EF lenses, the world’s largest selection of autofocus lenses.

HD and SD Video Capture

Canon has taken its expertise in imaging, photography and video capture technology to a new level with the EOS 5D Mark II Digital SLR. Answering the question of where SLR technology is going next, the EOS 5D Mark II features 16:9 Full HD video capture at 1920 x 1080 pixels and 30 fps as well as 4:3 standard TV quality (SD) video capture at 640 x 480 pixels and 30 fps, both capabilities appearing for the first time in a Canon SLR camera. Video capture is part of the camera’s Live View function, using the Picture Style that has been set for Live View still image shooting. This allows skilled photographers and cinematographers to adjust image sharpness, contrast, color saturation and white balance, and have those settings apply to the movie image. When recording video, the camera’s rear LCD screen can be letter-boxed by a semi-transparent border to match the aspect ratio of the movie recording size. Moreover, the EOS 5D Mark II camera’s HD video capability enables new levels of creative expression through its unfettered access to the complete line of more than 60 Canon EF lenses, which provide an incredible variety of visual effects including everything from ultra-wide-angle and fish-eye to macro and super-telephoto, including many large-aperture L-series professional lenses that can keep the main subject in razor-sharp focus while blurring the background beyond recognition.

The EOS 5D Mark II will record video up to 4GB per clip or a maximum continuous movie capture time of 29 minutes and 59 seconds, whichever comes first. Depending on the level of detail in the scene, a 4GB memory card can record approximately 12 minutes of video at full HD resolution or approximately 24 minutes in standard definition.i Video clips are recorded in .MOV format using an MPEG-4 video compression and sound is recorded using linear PCMii without compression. The new camera features an input terminal for external stereo microphones as well as a built-in monaural microphone for convenience. To help show off those fantastic movies as well as still photos, the EOS 5D Mark II camera includes an HDMI (High-Definition Multimedia Interface) output to display crisp, clear images on a High-Definition TV.

Live View Shooting

For both still images and video, the Canon EOS 5D Mark II camera features Live View, one of the most sought after features in digital SLRs today. The 5D Mark II features three Live View AF modes – Quick, Live and Face Detection Live mode – for capturing either still photos or video, each with its own attributes. Quick mode automatically sets One-Shot AF using the camera’s phase detection AF system. It also allows users to select the AF point, even while the Live View image is displayed. Although the camera’s reflex mirror must be lowered briefly to take an AF measurement in Quick mode, it is the fastest way to set focus automatically when the 5D Mark II camera is set for Live View.

Live mode uses contrast-detection AF with the image sensor and here, as with Quick mode, users can change the AF point using the Multi-controller. Face Detection Live mode uses contrast AF to recognize human faces. When multiple faces are detected, the largest face closest to the center of the frame is targeted as the AF point. While Live View is engaged users can still change settings including the AF mode (Quick, Live, Face Detection Live mode), drive mode, ISO speed, Picture style, White Balance, and more.

Peripheral Illumination Correction

The Canon EOS 5D Mark II Digital SLR camera automatically conducts peripheral illumination correction when shooting JPEG images, a function that previously could only be accomplished through post-image processing using software such as Canon’s Digital Photo Professional, which Canon supplies at no extra charge. Peripheral illumination correction evens brightness across the image field, making an image of a blue sky even toned throughout and reducing light fall-off at image edges. This new feature essentially eliminates one of the limitations of previous full-frame digital SLRs.

Auto Lighting Optimizer

Canon’s enhanced Auto Lighting Optimizer technology helps ensure each picture’s subject is clearly visible by analyzing image brightness and automatically adjusting dark areas in images so that they appear brighter. This function is ideal in high-contrast situations such as urban landscapes captured on sunny days, where the tops of buildings are brightly lit while street level details are obscured by heavy shadows. In this type of scene, the 5D Mark II camera’s Auto Lighting Optimizer technology preserves accurate exposure of the highlights while opening up the shadow areas for a more pleasing tonal rendition.

Canon’s New Creative Auto Mode

Recently introduced with the new EOS 50D, Canon’s “CA” Creative Full Auto setting can also be found on the EOS 5D Mark II Digital SLR camera’s mode dial. This setting allows users to make image adjustments such as aperture or shutter speed through an easy-to-understand navigation screen on the camera’s LCD menu, allowing them to “blur the background” or “lighten or darken the image.” These easy-to-understand image options allow photographers to experiment with image options while still shooting in an automatic mode.

Two Small RAW Formats

For photographers seeking the flexibility and creative possibilities of shooting RAW format images, without the large file size, the Canon EOS 5D Mark II Digital SLR camera offers two more manageable file size options with sRAW1 and sRAW2 recording formats. At the sRAW1 setting, resolution is 10.0-megapixels with a file size that is approximately 25 percent smaller than a standard 21.1-megapixel RAW image. With the sRAW2 setting, resolution is 5.2 megapixels at less than half the file size of a standard RAW image, retaining all of the flexibility and creative possibilities associated with full-size, conventional RAW images. Wedding and portrait photographers, in particular, will appreciate the options of variable resolution and file size which allow them to fine-tune the 5D Mark II’s operation for their specific needs.

Silent Shooting in Live View

Canon has equipped the EOS 5D Mark II with two Silent Shooting modes in Live View which will prove particularly helpful to law enforcement officials, and for behind-the-scenes shooting on movie sets. In Mode 1, the camera will shoot with the mechanical shutter open at the beginning of the exposure, using the electronic 1st-curtain function of the CMOS sensor and a reduced shutter-cocking noise, allowing multiple shots to be taken with minimal noise. In Mode 2, to minimize shutter noise during single frame photography, shutter cocking does not occur until the shutter button returns to the half-way position after shooting.

EOS Integrated Cleaning System

With the introduction of the EOS 5D Mark II camera, the entire Canon EOS system is now equipped with the highly acclaimed EOS Integrated Cleaning System. The Self-Cleaning Sensor Unit for the Canon EOS 5D Mark II has been upgraded with a fluorine coating on the low-pass filter for better dust resistance.

Pricing and Availability

The Canon EOS 5D Mark II Digital SLR camera is compatible with Canon EF lenses and is scheduled for delivery by the end of November. The EOS 5D Mark II will be sold in a body-only configuration at an estimated retail price of $2,699iii. It will additionally be offered in a kit version with Canon’s EF 24-105mm f/4L IS USM zoom lens at an estimated retail price of $3,499iv.

New EF 24mm f/1.4L II USM Lens

The new EF 24mm f/1.4L II USM lens is the successor to Canon’s EF 24mm f/1.4L USM professional wide-angle lens released in 1997. Targeting professional photographers, the new EF 24mm f/1.4L II USM lens has been introduced to address the advancements high-resolution digital SLR cameras with re-designed optics and use of a new anti-reflection lens coating called SWC (Sub-Wavelength Structure Coating) to minimize ghosting and flare. Features such as dustproof and waterproof construction that have been adopted make this a high-performance lens with specifications that respond to the demands of professional users. A welcome complement to the EOS 5D Mark II Digital SLR camera, the EF 24mm f/1.4L II USM lens is scheduled to be in stores this December at an estimated retail price of $1,699v.

About Canon U.S.A., Inc.
Canon U.S.A., Inc. delivers consumer, business-to-business, and industrial imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked third overall in the U.S. in 2007†, with global revenues of $39.3 billion, is listed as one of Fortune’s Most Admired Companies in America and is on the 2007 BusinessWeek list of “Top 100 Brands.” To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/pressroom.

# # #

† IFI Patent Intelligence Press Release, January 2008

All referenced product names, and other marks, are trademarks of their respective owners.
Specifications and availability are subject to change without notice.

i According to Canon’s standard test methods.
ii A method of converting audio and other analog signals into digital data. It is recorded without any compression.
iii Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
iv Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
v Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.

I have to admit that I have always been comparing telephoto lenses with the brilliant Nikon 80-200mm f/2.8D I owned during my Nikonian days. I guess that was the honest reason on me being nuisance in choosing optical equipments. Unfortunately my pockets are shallow. When I put my hands in to draw some money, it is very easy to reach the bottom end. So the luxury to get the best option available is just not mine. As always, I have to dance among need, passion, and money.

My first grab on Canon EF 70-200mm f/2.8 IS L belongs to my fellow Bali photography enthusiast was impressive. Noting absence of IS I had similar impression with my old Nikon 80-200mm f/2.8D. But it was a Ferrari in its own species, and as anything else in life, there is price for every bit of excellence. Another issue I was considering was weight. 1,310 grams of Nikon 80-200mm f/2.8D was a real burden in active outdoor sessions, in many occasions giving enough reason to go out without it. Canon EF 70-200mm f/2.8 IS L is even heavier at 1,470 grams. Finally presence of IS which I consider nice to have but something I can live without, especially when the price of having it quite significant.

Leaving aside third party contenders like Sigma and Tamron, Canon quartet of 70-200mm in its L series were the only options I considered. The family members were:
Canon EF 70-200mm f/2.8 IS L  – 1,470gr – $1,700
Canon EF 70-200mm f/2.8 L (non IS) – 1,310gr – $1,150
Canon EF 70-200mm f/4 IS L – 760gr – $1,050
Canon EF 70-200mm f/4 L (non IS) – 705gr – $650

Canon officially confirmed that all the four shared identical optical and construction quality, so the consideration went to three parameters, speed (maximum aperture), weight, and price. Minor thing to consider as well was tripod collar which was included with both f/2.8 version and optional to both f/4 version. Whilst its light weight of both f4 versions allowed them propery work without tripod collar, it was nice to have and give a better ballance especially when used in conjunction with tele-converter. Tripod collar for f/4 was available from Canon at an additional cost of $65. Third party product was also available at around $30. Another thing was filter thread. F/2.8 versions took 77mm filters whilst f/4 version took 67mm. Whilst price might not be an issue for cheap brands, difference was quite significant for high-end brands like all versions of B+W and pro series of Hoya.

Finally I decided to go for the cheapest version, Canon EF 70-200mm f/4 L (non IS), with the following considerations:

1. It inheritsed equal optical, mechanical, and construction quality.
2. I was very light, less than a half of the heaviest Canon EF 70-200mm f/2.8 IS L, which would be definitely delightful in long outdoor session.
3. It was very cheap, almost one third of the most expensive Canon EF 70-200mm f/2.8 IS L, and almost a half of IS version of f/4.
4. I decided to trade one stop of aperture for affordable weight. Shooting at telephoto I guess one stop narrower was still very capable in producing pleasant bokeh. With high ISO performance of my Canon 5D body, I was comfortable to trade one stop of ISO for one stop of aperture. Beside, for the sake of vibrance shooting portraiture – where 70-200mm mostly worked with full frame camera – requires a higher ISO anyway.
5. I decided to trade the aid of IS for saving $400. I have lived without along with a lot heavier Nikon 80-200D, so for that amount of money, I was prepared to life that way longer and happy enough with the light weight alone. Again, I would depend to both increasing ISO and the hassle of carrying a monopod in low light.

After a few weeks of tuning into local forum, I finally cut a decent deal. A Canon EF 70-200mm f/4 L (non IS) in mint condition, still have 7 months remaining warranty, coming along with all purchase package (including warranty card, box, caps, hood, pouch, booklet and plastic sheet), Hoya high quality HMC UV filter, and a third party tripod collar, at about $500. I would have to spend at more than $700 to get the same setup brand new.

First experience was just stunning. Crisp clarity down to the edges, slightly softer edges at the widest aperture which only noticable when the image was blown out extra large. AF works very fast and accurate in almost every situation. Well, to be honest I intentionally said “almost” just to be in the safe side. In fact so far I have never find a situation when it did not work. I was so happy with the excellence at a very light weight package. A little negative was about DOF isolation, bokeh. A little game of distance was required to get desired bokeh, which sometime costed in composition. This example was taken at the longest focal of 200mm, widest aperture of F/4, and medium ISO of 400.

This lens is a real keeper. I think it is the best value for money among the four. I do not think I would want to spend my money to buy the top of the line Canon EF 70-200mm f/2.8 IS L. For certain result only allowed by f/2.8 I prefer to go for EF 135mm f/2 L priced at about $700. I may want to get the IS version of f/4, but only if I got a lotter, otherwise I prefer to save the $400 for other things.

The first one I resold was Canon EF 50mm f/1.8 II which I replaced with manual focusing Carl Zeiss Planar T* 50mm f/1.4. The second one was Canon EF 75-300mm f/4-5.6 III USM, which I do not get a replacement yet, but looking into either the weight light Canon EF 70-200mm f/4 L USM (non IS) or reasonably priced Sigma 70-200mm f/2.8 II EX DG Macro HSM. I occasionally resold lenses during my Nikon years, but none of them was reasoned by disappointment.

Before I decided to leave Nikon, I read an article written by professional photographer – which clearly a Canon defender – saying “Nikon is a small company with smart optical engineers whilst Canon is a huge corporation investing enormous amount of money in digital technology research”. Apparently he was saying it to expose superiority in Canon’s image quality, which I personally got convinced. From that point of view, I am a happy Canon user now. Unfortunately it also confirmed my rather suffering experience in using Canon lenses.

I do know that most of professional photographers – except those specializing themselves in wedding photography – omit presence of mid focal range zoom in their setup. But I am not a professional photographer myself and I thought it was nice to have a walk around lens as a convenient setup for travel. Reasonable wide range of focal length of Canon EF 28-135mm f/3.5-5.6 IS USM at affordable weight and price was my considerations.

As usual, I surfed online reviews before making the decision. Actually my favorite was Canon EF 24-105mm f/4 L IS USM which I thought was too expensive for me, especially for lens in rarely used range. I am not interested in either wedding photography or photojournalism. I also skipped Canon EF 28-300mm f/2.5-5.6 L IS USM for its very expensive price and rather hefty size for travel convenience. Actually Canon EF 28-135mm f/3.5-5.6 IS USM was not that cheap either. It was actually among the the most expensive EF (non L) lenses at its exposure size.

In precise, my disappointment came from its auto focus performance, which was terrible in back-lighting and did not work at all in dim light (note this: dim, not dark). I do know that AF does not work in darkness, but here I am talking about the dim light where most other lenses could normally afford. The more annoyance was that when it failed to lock, it froze instead of keep on searching, so I had to release the shutter, point to other subject at extremely different distance, before retrying another attempt.

Whilst my ears hated its sound, IS worked fine. It roughly let me to get reasonable sharpness in up to three stops at the shortest focal length and close to two stops in its longest focal length. However, unlike a Nikonian friend of mine who very much adores VR (Nikon’s version of IS), IS is not something I would not miss when it is not available for following reasons.

• It is kind of reflex, when I need to shoot low light my hands grab 50mm f/1.4 which gives exactly 3 stops more light compared to about 4.5-5.6 of Canon EF 28-135mm f/3.5-5.6 IS USM at the same focal length. I do not worry too much about depth of field in large aperture as shooting reasonable distance in normal focal length is definitely giving reasonable amount of DOF. However, when I do want to isolate DOF for pleasant bokeh, 50mm f/1.4 definitely wins.
• I rarely need to shoot telephoto in low light.
• So far in my experience, IS comes at its strength on photojournalism, sport, wedding – all of which I am not in – and candid, which is nice to have, but only forth for fun. For high quality pictures, I will use a tripod anyway.
• Among excels of the full frame sensor planted in Canon EOS 5D I am using is high ISO performance. So would have no problem in raising ISO at equal stop to compensate absence of IS. In fact I would prefer to raise ISO at low light, maybe not to extreme level of 1600-3200, but somewhere in the range between 400-800 gives pleasant effect on low light and portraits.

I tink my last sentences in this article will be: native Canoners may not realize this, but for Nikonians I would advise not to leave Nikon unless you can afford to buy Canon lenses in its L series. Out of this elite class, even the cheapest Nikon glass wins. As of myself, except for primes, I will never buy Canon lens out of its L series, ever again.

Main lenses in my Nikon day was as follow:

• AF Nikkor 80-200mm F/2.8 D (last gen. w/tripod collar).
• AF Nikkor 50mm F/1.4
• AF Nikkor 35-70mm F/3.3-4.5
• Sigma EX 10-20mm F/4-5.6 HSM

Changed into my Canon days with the followings:

• Canon EF 17-40mm F/4 L
• Canon EF 50mm F1.8 Mark II (replaced later with Carl Zeiss Planar T* 50mm F/1.4)
• Canon EF 35-80mm F/4-5.6 (sold later)
• Canon EF 75-300mm f/4-5.6 III USM (sold later)

Trusting a number of reviews on the net – which proven to be true – saying that even cheap crappy lenses result in better pictures in full frame cameras compared to top-of-the-line lenses on APS-C cameras, I comfortably decided to go for Canon EF 75-300mm f/4-5.6 III USM to replace my brilliant AF Nikkor 80-200mm F/2.8 D for portraiture and telephoto.

Definitely the feeling in my hand between the two was extremely different. About 1,300 grams in full metal barrel and inner zoom of Nikon super-fast tele-zoom felt a lot more sturdy in my hand compared to 400 grams or so small plastic tube of the mediocre Canon. But price was extremely different as well. I got the used Nikon for about $750 (brand new was priced at $1,000 at that time) whilst I spent only $110 (brand new was priced at $180 at that time) for the used Canon a year later.

Coming to the most critical issue which is result, Canon EF 75-300mm f/4-5.6 III USM gave brilliant result with my Canon EOS 5D, regardless almost all friends and online reviews advised the opposite, especially when used with APS-C bodies. Sharpness, detail, and tone were brilliant. I would say that bokeh is nothing to worry too much in this range. Even bad lenses offers creamy bokeh in long focal.

However, performance is of a different issue. A am not a technical savvy who knows good technical presentation to show performance indicators, so it is purely a experience of an amateur user. Whilst focusing speed was sufficient to my need, and absence of IS was not felt as a problem as my previous Nikon did not have VR as well, I note a few problems:

• Vignet was clearly visible.
• Softening around the edge was visible, although in most telephoto shots with smooth bokeh it may even offer positive effect.
• Flare handling was mediocre, just don’t try to use it against the sun.
• Focusing performed bad in overcast background.

The picture below compares shots taken with different telephoto zooms. The left-hand side was taken by Nikon D200 with AF Nikkor 80-200mm F/2.8 D, and the right-hand side was taken with Canon EOS 5D with Canon EF 75-300mm f/4-5.6 III USM, both at their own maximum focal length of 200mm and 300mm respectively.

Financial reasons forced me to go for the cheapest Canon EF 50mm F/1.8 MK II, an extremely light little stuff with all plastic body priced at about $80 brand new. So small and lightweight that a fellow Bali photographer called it bottle-cap lens. Whilst many online resources, reviews, and other Canon users adore this lens, I have been disappointed right on the first shoot I took. I borrowed a couple similar lenses belong to my friends to make sure that it was not about the particular unit I owned. After about a month I was pretty sure that it was not a keeper, and started to research for replacement.

Knowing its price, I did not even consider the top-of-the-line Canon EF 50mm F/1.2 L. The option I strongly considered was obviously Canon EF 50mm F/1.4 priced at about $320. A few reviews I read advised that the significant price difference worthed. The four times price difference gave more than just one stop more light. Sharpness, focusing performance, response to flair, and bokeh are to name some benefits.

Whilst I was considering an offer of a used Canon EF 50mm F/1.4 in mint condition offered at $230 compared to buying brand new at $320, an irresistible offer came, a used Carl Zeiss Planar T* F/1.4 bundled with CY (Contax) to EF (Canon EOS) mount converter. The legendary Carl Zeiss SLR/DSLR lenses have never been built with Canon mount, so converter was the only solution for those using Canon camera who expects to get Carl Zeiss optical excellence. I am still wondering why Carl Zeiss set Canon aside whilst providing the lens with some other mounts including ZV (Hasselblad), SF (Nikon), ZK (Pentax), ZS (M42 screw-mount), in addition to native ZM (Contax Ikon).

As I have been educated with amazing reviews about Carl Zeiss lenses excellence, so it did not take me too long to decide to break the deal of Canon EF 50mm F/1.4 and go for Carl Zeiss. The only negative thing I understood was manual focusing. But I rarely use 50mm primes for shoots requiring fast focusing. Portraiture and still life shoots I am normally taking with these lenses obviously give sufficient time for precise manual focusing. Beside, the price was absolutely fantastic. The lens and converter package was offered at only $230 in like-new condition. In Indonesia, brand new in Nikon mount was priced at about $650 plus about $50 extra for mounting converter.

The mechanical construction of the lens was excellent. It had satin black metal barrel with textured rubber grip. Since it was manual focus lenses, the focusing action was firm and smooth. The feeling was much different than manually focusing most AF lenses. Since there was no concern about a small motor having to do the work, a substantial damping can be applied.

Praises gave by many reviewers as the sharpest 50mm lens has proven to be true. Focused properly It gave amazing results compared to my beloved AF Nikkor F/1.4D on my old Nikon day. No words to compare it to my dumped out Canon EF 50mm F/1.8 MK II as they were simply not in apple-to-apple comparison. Well, to be fair, Canon EF 50mm F/1.8 MK II was priced at $80, simply not comparable to $650 Carl Zeiss Planar T* F/1.4.

This lens is definitely a keeper. I just have to get myself back to the old manual days. But the trading of auto focus comfort worths, as photography is all about image quality. I guess unless I can afford to get Canon EF 50mm F/1.2 L, I will forget auto focus comfort in 50mm prime.

Actually I do not think it as a fair apple to apple comparison. Nikon D3 is Nikon’s top-of-the-line camera for professionals whist D700 is basically an advance amateur grade D300 with full frame sensor. As of Canon 5D, whilst it features full frame digital sensor, it hit the market three years back, and obviously carrying older technology compared to Nikon D3 which is released at the end of 2007 as well as an even newer D700. Well, may be that’s not quite true, knowing that D700 is practically D3 sensor planted in D300 body, technology-wise, they are at the same generation.

However, it is actually hard to find a fair comparison as traditionally Canon and Nikon are setting their product line in slightly different level, not definite head to head. Priced at around USD 8,000.00 , Canon EOS 1Ds Mark III is beyond both Nikon D700 priced at around USD 3,000.00 or even Nikon D3 priced at around USD 5,000.00. As of Canon 5D, whilst it has a full frame sensor, it carries a technology of three years back. But should people wait for the strongly rumored Canon 5D Mark II? Of course not.

Whilst it carries a rather older technology Canon 5D remains a though competitor to both new Nikons. Almost everybody agree that each of them have their own strength, and logically choice depends on specific assignment an personal preference, except for those who have irrational brand loyalty.

Nikon D3 is the only pro camera among the three, and therefore the biggest, fastest, heaviest, toughest, most expensive with the fattest and longest lasting battery. Its strength is in speed. Those who had a luxurious chance to compared between D300 and D3 said that “whilst D300 users are very proud of its speed, they will definitely change their mind once they use D3″. AF excels at the maximum possible way. Sequence of picking the right focus sensor, focus, lock, compose is no longer required. Just compose and fire. Suitable shoots are low-light, action, and sport.

D700 inherit the all the quality of D3 in a slower pace. Those who had a luxurious chance to compared between D300 and D3 said that “whilst D300 users are very proud of its speed, they will definitely change their mind once they use D3″. Its strength is skin tone. Its weakness and strength is suitable for portraiture.

Downside of 5D mostly come from older technology it carries. Slower speed, screen resolution, and to Nikon users also ergonomic, and control systems. But to many, all the pain worth its result. A professional photographer wrote in its blog “Its a pain, but the results are why you do it.”

The Canon 5D excels in image quality. It has the sharpest pictures of these three cameras. Shooting careful landscapes, the 5D can give superior image quality above anything from Nikon. The 5D is sharper than the D3. It almost looks a little over-sharpened on-screen compared to Nikon, but on 20″x30″ prints it just looks better.

I personally have my own reason of using Canon 5D: its price. It is least expensive of these cameras. 5D can give superior image quality at a bargain price.

So after having comfortable feel with DSLR, I started to look into full-frame, which even not as large as medium or large, offer double sensor size compared to DSLR with crop factor. Until introduction of D3 – Nikon’s first full-frame DSLR – Canon is the only DSLR manufacturer offering full-frame. Kodak used to offer one but seems to be discontinued.

I have never looked into D300 to replace my old D200. But the full-frame D3 priced at about five grands is something I could not afford even if I put myself on fasting for a year. So I started to look into Canon. Its three years old in production 5D is now offered at slightly below two grands brand new. But I do love the color space, ergonomic, speed, intuitive operation, and superb optical excellence of Nikon.

When after a few months of D3/D300 inauguration rumors started to tell about something in between – D300 specification with full-frame sensor – I was so enthusiastic to wait. I believe it will have the position like 5D in Canon’s product line, below the Pro class of 1Ds and beyond the consumer 40D, and therefore priced at similar range.

No, I was wrong. As it was finally announced, it priced at $3,200. It broke my heart and I made up my decision. I am going the Canon way. I will trade my Nikon D200 and all of its related equipments with Canon 5D. A few Nikonian fellows reminded that 5D is carrying the old technology. I believe it is true, but compared to my Nikon D200 which introduced only a few months after 5D, there should be so much difference. What is old about D200? Those migrating from the ancient gear of D70/D70s may find D300 amazing, but those migrating from D200 confirmed that the difference is not that significant.

So with all praise and respect to Nikon, I am going Canon way. I will be looking into used Canon 5D which in the market is sold at similar price to brand new D300. FULL FRAME.