(This is another in a series of articles based on posts I shared elsewhere. This one is based on a reply to a post concerning how important it is to move to a newer, improved sensor with higher photo site density. The immediate question had to do with how often the improvements would be significant enough to be seen, and the writer had correctly pointed out that there can be advantages to higher “MP count” when making very large, high quality prints.)
It is useful to try for a realistic understanding of how and when a higher MP sensor may show its advantages. This post tries to not take a position on brands and models, but rather to lay out a comparison of some relevant technical stuff — from which we can all draw our own individual conclusions.
There is a point below which you would be hard pressed to tell the difference between prints made from 22MP and 36MP cameras and above which you might be able to.(1) For example, virtually everyone would agree that the difference is typically completely invisible in small web images, and virtually everyone would agree that it could be visible if you closely inspect a print that is six feet wide. Since we could debate just where the boundary is — and, frankly, it is somewhat subjective — you could pick any point on the print size scale that you want and the principles will be the same.
Some Comparisons
Just for fun, let me use completely arbitrarily use two print sizes and base the comparisons on the 22MP Canon 5D Mark III and the Sony/Canon 36MP sensor cameras. Continue reading Concerning Megapixels→
I have updated my blog post: “Canon EF 17-40mm f/4 L Lens.” It might seem a bit strange to update an article on that subject on the heels of Canon’s introduction of a new lens that may be more interesting for many photographers, but read on…
I have ordered a copy of the new 16-35mm f/4 lens and I’ll report on that once I have had a chance to use it a bit. But given the altered terrain for those considering the purchase of a Canon ultra wide zoom, I thought that updating the review of the 17-40 was important. This lens is still a viable option for lots of photographers, especially those who are price-sensitive or who want smallest and lightest possible Canon ultra wide zoom for full frame cameras.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Without a whole lot of fanfare, today Canon announced a new EF 16-35mm f/4L IS wide angle zoom. While actual copies are apparently not yet “in the wild,” judging by reports and information from Canon and elsewhere, it sounds like a lens with some very interesting possibilities.
Canon 16-35mm f/4L IS
At first blush, one might imagine that it is simply a less expensive version of the EF 16-35mm f/2.8L II lens that has been out for some time now. (That is a fine lens for many purposes, notably for full frame shooters doing handheld ultra-wide photography in low light.) It shares the same focal length range, but the maximum aperture is not quite as large. (There is a similar relationship between the EF 24-70mm f/2.8L II and the less expensive EF 24-70mm f/4L IS.)
However, the new lens has some distinctive features that set it apart from the f/2.8 16-35, and also from the venerable 17-40mm f/4 L.
Unlike either of the two ultra-wide alternatives, this lens is equipped with image-stabilization (IS). Some presume that IS would not be useful in a wide angle lens, but there are a number of situations in which the extra 3-4 stops of low light handheld shooting capability will come in handy. It is also likely to appeal to those shooting DSLR video.
The MTF charts (a way of graphically representing lens performance) for the new lens look very good. While the existing 16-35mm and 17-40mm Canon ultra-wide lenses have been very important to many photographers, they are not known for outstanding resolution, especially in the corners. The charts for the new lens indicate that it should be significantly sharper overall, and especially in the corners and at the largest apertures.
It may seem like a small thing, but the new lens uses the common 77mm diameter filter threads—the same that are found on a number of other L lenses, including the f/2.8 70-200mm zooms. (The previous f/2.8 16-35mm lens uses a larger 82mm diameter.) For photographers who already have 77mm filters—including some who might consider moving to this lens from an existing 17-40mm lens—this is a factor to consider.
The price is actually quite good. The lens is not cheap at a projected list price of $1199. However, by comparison to some similar recent Canon lens releases this is not bad at all, especially when you consider that it is an IS lens.
Who may want this lens? I suspect that quite a few landscape photographers and those shooting similar subjects will like this lens more than the older 17-40mm L lens. I’ve used the 17-40 for a long time and it is a very useful lens, especially for shooting at smaller apertures from the tripod with a full frame camera. However, the new lens seems to improve on its performance in significant ways, particularly in the area of corner performance. In addition, while most of us really think of the 17-40 as pretty much just a landscape lens, the improved wide-open performance and image stabilization will extend the usefulness of this lens in low and for handheld photography.
I’m impressed enough with early reports that I’m giving serious consideration to picking one up myself. The lens is not yet available for purchase, but you can pre-order a copy from B&H. At the moment, I’m “that close” to doing so!
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Add the lens to your cart to see a lower $1999 price.
After purchase, use the $200 mail-in rebate (form available here) to bring your total cost down to $1799.
The lens is also eligible for free shipping and a “2% reward” from B&H.
I’ve been using this lens during the past year for everything from landscape photography to photographing musicians and rehearsals and concerts, and I’m very happy with it.
Note: I made a mistake in the initial post of this offer and included the letters “IS” in the name of the lens. I have corrected the mistake—this is NOT an image-stabilized (IS) lens!
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more. Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
Photographer and visual opportunist. Daily photos since 2005, plus articles, reviews, news, and ideas.
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