Review of Canon 100-400mm F4.5-5.6L IS USM Mark II

Review of Canon 100-400mm F4.5-5.6L IS USM Mark II

The King is dead, long live the Mark II. After 15 long years, Canon has finally upgraded one of its best-selling telezooms, the 100-400mm F4.5-5.6L IS USM. The Mk II version has the same basic functions as the previous model, but in addition has received expanded capabilities and improved optical characteristics.

The 100-400mm Mk II retains the same focal length and F4.5-5.6 aperture. Both lenses have an aperture of F5 at 125mm. The Mk I goes to F5.6 at 250mm while the Mk II stays a little longer and stops down a little further than 300mm. Apart from a little extra weight, the physical dimensions remain largely unchanged, but everything else is new and upgraded. Inside is a completely new, state-of-the-art optical design with more elements and a significantly improved image stabilization system. The minimum focusing distance is twice as close as the first model. Focusing speed has also been increased. The build quality has gone a step higher. The optics now have a full set of weather seals. The color has changed to a light gray as opposed to the old creamy white.

Possibilities

• Improved optical design with 21 elements in 16 groups (compared to 17 in 14 for the Mk I)
• Upgraded image stabilization with 4 stops of shake compensation, up from 2 stops
• The zoom control ring has become more convenient
• Quality weather seals versus partial seals
• Faster USM autofocus drive
• Minimum focusing distance 98cm compared to 180cm
• Same size as Mk I but slightly heavier 1570 grams compared to 1380 grams

Canon now offers the widest selection of telezooms at a variety of price points. In the premium segment there is a 70-200mm L-class with an F2.8 or F4 aperture with or without stabilization.

More recently, Canon added the 70-300mm F4-5.6L IS USM lens. It is an excellent smaller version of the 100-400mm Mk II. It is also significantly cheaper. There is also the Canon 200-400 F4L IS USM with its unique built-in 1.4x teleconverter, although the very high price puts it in a slightly different class. Canon also has some excellent prime telephoto lenses in this focal length range. The stabilized 300mm F4L IS USM and 400mm F5.6L USM both come from the same era as the original 100-400mm Mk I. They have also stood the test of time.

Also, the new 100-400mm from Canon has competitors. These are Nikon AF-S 80-400mm F4.5-5.6G ED VR and Sony 70-400mm F4-5.6 G SSM II for A-Mount. Both lenses have a wider field of view at the short end, but have a noticeably longer minimum focusing distance than the Canon 100-400 Mk II.

Surprisingly, no third party manufacturer currently offers anything like this, although there are 150-600mm F5-6.3s on the market from Sigma and Tamron. But while they cover a larger focal length than the Canon 100-400mm Mk II, they are quite different on paper and in hand. They are much larger and heavier.

The new Nikon AF-S 200-500mm F5.6 E ED VR and Pentax D FA 150-450mm F4.5-5.6 ED DC AW also fall into the broader category, but are heavier and have a longer focusing distance.

Viewing angle

100mm F4.5, full frame (Canon 5DS R)

400mm F5.6, full frame (Canon 5DS R)

The Canon 100-400mm Mk II is very good on APS-C cameras such as the Canon 7D Mk II. It has very fast autofocus, and the 1.6 crop factor turns the lens into a MegaZoom 160-640mm. The Canon 100-400mm Mk II is also compatible with a 1.4x teleconverter, although autofocus will only be supported on higher-end Canon DSLRs that retain AF up to F8. Currently these are 7D Mk II, 5D Mk III, 5DS/R, 1DX/II. The 2x teleconverter will not completely prevent you from using autofocus.

Review of Canon EF 100-400mm f/4.5-5.6L IS II USM

Design, control and ergonomics

Telephoto lenses with long focal lengths are perhaps one of the most recognizable attributes of professional photographers. And, indeed, they are not common among amateurs, since they are larger than average in size and are a specialized instrument. At the same time, telephoto lenses are also diverse: among them there are both primes and more universal zooms. The new Canon EF 100-400mm f/4.5-5.6L IS II USM is such a versatile zoom, allowing you to perform a variety of tasks, from photographing wild animals to shooting portraits.

Canon EF 100-400mm f/4.5-5.6L IS II USM. General form.

The Canon EF 100-400mm f/4.5-5.6L IS II USM is a large white L series lens whose design will immediately tell others that you are serious about your intentions. The previous version of this lens was developed quite a long time ago and was distinguished by a “pump-action” principle of controlling changes in focal length, while the second version acquired a “classic” zoom, carried out by turning the ring.

Its dimensions are 94x193 millimeters and its weight is 1640 grams. The lens is similar in size to the common Canon EF 70-200mm f/2.8L IS II USM, but gets larger with zoom. Naturally, it will be much more convenient and harmonious to place it on a professional camera.

Canon EF 100-400mm f/4.5-5.6L IS II USM. On a Canon EOS 5D Mark III camera.

Canon EF 100-400mm f/4.5-5.6L IS II USM. On a Canon EOS 5D Mark III camera, with maximum focal length.

There is plenty of space on the lens, so both control rings are wide enough and covered with a rubber ribbed pad, making them easy to use.

Moreover, from the first version the lens received a special ring, which, when turned, changes the zoom control force.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Zoom force control.

This additional control is made so that, firstly, each user can adjust the lens to suit himself and, secondly, so that the lens does not “move down” over time under its own weight. Cheaper lenses use a switch to solve this problem, but the disadvantage is that this lock must be turned off to make the lens ready. Here we see a solution that does not have this drawback.

The lens has the ability to constantly manually focus, that is, at any time, even in autofocus mode, you can manually focus using the appropriate ring. Manual focusing is convenient, the ring can be turned easily, literally with one finger, and there is sufficient travel for focusing accuracy.

The lens has four control switches arranged in a row.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Control switches.

The first of these is the focus limiter switch. It limits the focus stroke to a distance of three meters to infinity, or unlocks it in the FULL position.

The second switch is used for standard autofocus on and off.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Top switches.

The third is used to turn on the built-in optical stabilizer.

The fourth allows you to select the operating mode of the stabilizer.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Bottom switches.

It has three modes:

• Stabilizer works in all directions
• Used when shooting with tracking, stabilizing the image in one direction only.
• The stabilizer only works during exposure, so it does not cause any image stabilization in the viewfinder or camera screen.

The tripod mount foot is removable, but the ring that attaches it to the lens does not detach.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Tripod mounting foot.

This ring rotates on the lens, so the foot can be oriented in any direction. This rotates the camera to a portrait position.

The filter thread has a diameter of 77 millimeters.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Front view.

The mount is metal and is equipped with a rubber “skirt” common to the L-series, which prevents dust and moisture from penetrating through the connection between the lens and the camera.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Protective “skirt”.

The lens is equipped with a high-quality hood, which has a velvety coating on the inside to minimize internal reflections.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Front view with lens hood.

With a lens hood, an already rather large lens becomes even larger.

Canon EF 100-400mm f/4.5-5.6L IS II USM. General view with lens hood.

The hood has a special window with a sliding door that allows you to rotate the polarizing filters.

Canon EF 100-400mm f/4.5-5.6L IS II USM. The hood door is open.

Canon EF 100-400mm f/4.5-5.6L IS II USM. The hood door is closed.

The hood can be removed using a button, which makes this procedure quite easy. This is not the case with budget lenses, so installing or removing the lens hood on them requires significant effort, and there is still a risk of damaging the equipment.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Hood release button.

The front and back covers are made in the usual style for the manufacturer. They are the same on all Canon optics, inexpensive to produce and just work.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Front cover.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Back cover.

In addition to the hood, the package includes a good case. However, the strap on the case, designed for such an expensive item, could have been more solid.

Canon EF 100-400mm f/4.5-5.6L IS II USM. Equipment.

Review of the Canon EF 100-400mm f/4.5-5.6L IS II USM lens

From time to time, any of us comes across shots that are “impossible to reach” with standard televisions like 70-200. Of course, if you really want to, you can cut a piece from a full-size one. But this is a frivolous approach - a picture that can only be posted on Instagram does not warm the soul.

Someone with such footage is rare, and for such a case an extender is stored behind his back. But for some, this is a daily story - photo hunting for fauna, filming sporting events, city life, and similar activities. Those who find the 70-300 too short pay attention to longer range zooms - Canon EF 100-400mm f/4.5-5.6L IS II USM, Sigma AF 150-600mm f/5-6.3 DG OS HSM. Today I’ll tell you about the second version of my native lens.

Traditionally, Canon packs the L lens to the fullest. A good-quality hard case with a convenient double clasp, a belt clip and a shoulder strap, as well as a tripod foot and lens hood. The design of the claw is very elegant - the movable ring is not removed from the lens, only the part that protrudes beyond the dimensions is unscrewed. The rotation of the somewhat recessed clutch is not as convenient and fast as the usual 70-200 knob, for example. However, the absence of the need to find space in the backpack for the impressive size of the removed accessory is very pleasing.

The hood has a window next to the mount through which you can tighten the polarizing filter.

On the technical side, everything is standard and up to par. Metal body, familiar switch block, wide rubber zoom and focus rings. Unlike the first version, this 100-400 zooms not by pulling out the front part, but by rotating the ring. The movable lens block, which extends ten centimeters forward, is quite heavy - to prevent it from rolling out on its own, there is a locking ring. By rotating it, you can fix the lens in the most compact or any other position. The first time you hang a camera with this lens on your shoulder or neck, you will guess why these tricks are needed.

The lens is not much larger than conventional telephoto cameras - 94x193 millimeters, 1640 grams. The weight, of course, is twice that of the simplest 70-200 f/4L USM. However, the 70-200 f/2.8L IS II USM measures 89x199 and weighs one and a half kilograms.

In work, you need to get used to it - to the weight distribution, the need to unlock before shooting and lock it while carrying it on the shoulder. However, the opportunities that open up to the owner are certainly encouraging. The number of scenes for which there is not enough focal length on a full frame has been reduced to just a few.

400mm, 1/250, F/6.3, ISO 160

During the day, you can safely shoot at 400 millimeters handheld - the weight together with the camera is within reason. Sharpness at a completely open aperture is not ideal, it’s a little soft. However, if you cover it up a little, the situation immediately improves. What’s good is that the image quality is uniform across the entire field of the frame and even at 400 F/5.6 there is no deterioration in the corners (which my 70-200 f/4L cannot boast of, which needs to be closed down to F/8 for such a result).

400mm, 1/250, F/7.1, ISO 160

In the evening, especially in winter and when shooting in low motion, it is much safer to use a tripod. Interesting results are obtained when photographing urban “shootouts” - for example, the entire Bolshoi Avenue of the Petrograd Side can be captured in one frame. Unfortunately, the only way to achieve sharpness along the entire length of the street in such scenes is through focus stacking.

400mm, 1/160, F/7.1, ISO 640

It's a pleasure to wander around the city with 100-400 - you can find something interesting on every corner.

400mm, 1/640, F/8, ISO 200

Autofocus, as expected, is very good - fast, silent, and does not fail in contrasting scenes.

400mm, 1/640, F/5.6, ISO 160

It turned out that using the locking ring with gloves is not very convenient. Despite the presence of relief, it is required to grab onto it with considerable effort in order to turn it. However, you can get used to it.

200mm, 1/640, F/8, ISO 500

400mm, 1/800, F/7.1, ISO 250

400mm, 1/800, F/7.1, ISO 250

Since there were no sporting events on the agenda, we had to give the stabilizer a routine test. The instructions suggest that there are three operating modes. The first is for static shots, the second is for shooting with wiring, the third is for sports. In the first mode, I was able to shoot handheld at shutter speeds up to 1/10, which is quite good.

200mm, 1/10, F/9, ISO 100

For shots with wiring, I used a lens with a stabilizer for the first time and I can say that it is a pleasure. I easily and naturally shot moving cars handheld at 400 millimeters at 1/50th, more than 50% of the frames were sharp. Without a stub with such input, 95% of the material could be immediately deleted.

400mm, 1/60, F/5.6, ISO 320

400mm, 1/50, F/8, ISO 400

The bottom line is that it’s a relatively compact telephoto camera with a good range of focal lengths, a high-quality image across the entire frame and good stabilization. Cost - 150 thousand rubles. The first version of the lens now costs a third less, but it has serious problems with a drop in sharpness towards the edges of the frame (link to comparison). Comparing it with the Sigma 150-600 is not entirely correct - this is a different set of focal lengths.

For those for whom the 100-400 range is just right for shooting outdoors and in the city, the lens can be recommended for purchase. The new L-series lenses from Canon are not only reliable technology, but also always high image quality. J&J used to have the slogan “No More Tears,” and photo corporations can now promote new lenses under the slogan “No More Blurred Corners.” Over time, we will all get used to it, but for now, both the 16-35 f/4L IS USM and this 100-400mm f/4.5-5.6L IS II USM are truly pleasant surprises.

Canon EF 100-400/4.5-5.6 L IS USM

Review and test of the Canon EF 100-400/4.5-5.6 L IS USM lens

Canon EF 100-400/4.5-5.6 L IS USM entered the market in November 1998. This is Canon's fourth lens with image stabilization and the first stabilized "L" lens. For 15 long years, the hero of the review remained the only “El-Zoom” with a focal length exceeding 300 mm. focal. For a long time, focal lengths above 300mm were not found on L-zooms. Only in 2013 the Canon EF 200-400/4L IS USM entered the market, but with a price of $11,800 it is difficult to consider it a direct competitor.

True, in the line of FD lenses there was a very interesting Canon FD 150-600/5.6 L, released in 1982, but this is a different line of lenses, it weighed 4,350 grams and cost about 8 thousand dollars.

So Canon still doesn’t have a high-quality zoom alternative if you need focal lengths over 300 mm at an affordable price. Third-party manufacturers did not fail to take advantage of this, offering a choice not from 1-2, but from a dozen models. What comes to mind:

The list is incomplete; many models have already been discontinued, and models for APS-C cameras are not included.

Specifications:

Contents of delivery

Traditional for the company's L-series lenses and similar to the Canon EF 70-200/2.8L USM package. The box of the usual design contains:

Manufacturing, materials, design and ergonomics

The Canon EF 100-400/4.5-5.6 L IS USM is manufactured using high-quality materials that correspond to the class of the lens. There are no complaints about the quality of manufacturing and assembly: neat, without tolerances, strong.

Canon EF 100-400/4.5-5.6 L IS USM is a “pump” lens. The focal length is changed not by turning the ring on the lens body, but by moving the inner tube with the front element forward/backward. I like “pump” lenses less, and the design makes me feel a little archaic, but it has an undeniable advantage - you can change focal lengths on a pump lens much faster, and a significant disadvantage - the ability to suck in dust particles when zooming. The Canon EF 100-400/4.5-5.6 L IS USM is equipped with a special ring that regulates the force required to move the tube and allows it to be firmly fixed to one of the focal lengths. The solution is logical, but I was unable to find the “golden mean” with the new lens, despite repeated attempts and constant adjustments. The force adjustment ring successfully replaces the zoom lock and helps prevent the lens from unfolding under its own weight when carried.

Canon EF 100-400/4.5-5.6 L IS USM is equipped with image stabilizer. There are three operating modes to choose from:

The lens does not change size when focusing, the front element does not rotate, which allows the use of polarizing and gradient filters.

The hero of the review is a slow-aperture lens. The maximum aperture f/4.5 is available only in a narrow range of focal lengths - from 100 to 130 mm, from focal length 140 mm to 250 it is f/5.0 and after 250 mm - f/5.6

The model has impressive weight and considerable dimensions, especially at focal lengths close to 400 mm. This, along with the pump-action design, leaves a certain imprint on the ease of use of the lens and its ergonomics: I honestly admit that I expected the worst, but I can’t even call the Canon EF 100-400/4.5-5.6 L comfortable and friendly.

Geometric distortion

Canon EF 100-400/4.5-5.6 L controls geometric distortion very well. The nature of the distortion is correct, the behavior of the lens is predictable: low barrel-shaped distortion is replaced by a light “cushion” at focal lengths of 130 – 150 mm and beyond.

The severity of the effect is at a completely acceptable level, it will not be annoying in real photographs, the peak of distortion in numerical terms falls in the range of 300 – 350 mm.

Vignetting

Vignetting control can hardly be considered one of the strengths of the model: at fully open apertures it is present throughout the entire range of focal lengths, increasing from a relatively acceptable level of 1 stop at a focal length of 100 mm to an annoying 2-stops at 400 mm.

Autofocus

The lens is equipped with a ring ultrasonic USM motor in the autofocus drive. The process is fast and almost inaudible. However, to make life easier for the lens, it is equipped with an autofocus distance limiter:

• all possible range (1.8 meters - to infinity)
• range from 6.5 meters to infinity

There are no complaints about focusing accuracy and repeatability of results.
The low aperture affects the performance of autofocus in difficult lighting conditions, and in low-contrast scenes, autofocus tends to spend a long time looking for something to grab onto. However, given the focal range of the model, the autofocus performance is commendable.

Manual focusing is difficult due to the low aperture of the lens.

Chromatic aberrations

Canon EF 100-400/4.5-5.6 L IS USM copes very well with chromatic aberrations: they are present at all focal lengths and aperture values, but exceed the conventionally acceptable and comfortable level of 1 - 1.5 pixels only in the range of 250 - 350 mm.

Picture, backlit work, image stabilizer

The picture does not cause any complaints either in terms of color rendering or contrast - the lens is deservedly ranked among Canon’s top line. There are no complaints about working in difficult lighting conditions or in backlight: the hero of the review adequately resists the drop in contrast, overexposure and the appearance of artifacts even without a hood - at the same level as, and often better than, competing models.

The lens is equipped with a first-generation image stabilizer with a claimed increase of 2 stops. The stabilizer works reliably: one of the rare cases when I can confidently confirm that the stated characteristics correspond to reality.

Conclusion

The conclusions and criticism would have been much harsher if the Canon EF 100-400/4.5-5.6 L had not been a unique offering in the company’s lens line. I am sure that the Canon EF 200-400/4L IS USM is much more convincing in all disciplines, and the Canon EF 70-300/4-5.6L IS is superior to the review hero in sharpness, but the first one costs 7 times more, and the second one does not have focal lengths 300 – 400 mm.

If the hero of the review did not have alternatives from third-party optics manufacturers, I would strongly recommend purchasing it if you need such a range of focal lengths. Taking into account the alternatives, the recommendations are not so clear, but even in this case the choice will be more likely based on price - the EF 100-400 / 4.5-5.6 L is not inferior in quality of the generated image.

olegfrolov

“An artist without a diagnosis is like a brand without a legend”

Photographer, videographer and aerial operator | Professional activities since 2000

For a long time there have been rumors about Canon preparing a replacement for its old superzoom EF 100-400mm f/4.5-5.6L IS USM, announced back in 1998.
Probably no other company has developed a lens for so long.
And now the official appearance of the long-awaited new product has taken place.

Canon EF 100-400mm f/4.5-5.6L IS II USM.

This lens is slightly larger and heavier than its predecessor.
Instead of zooming according to the “push-pull” principle, or rather the ancient trombone (competitors stopped producing a similar design about 50 years ago, but Canon still produces it), which led to the problem of dust getting inside the device, the new product uses a modern mechanism, which also does not prevent the penetration dust there :-)

You can also note the presence of three image stabilization modes (standard, when panning, and stabilization only during exposure), more effective stabilization.

But the minimum focusing distance has been halved (to 98 cm).

The new generation lens uses a completely new optical design with one fluorite element and one Super UD element.
Air Sphere Coating (ASC) technology is noted, which reduces the appearance of glare and other undesirable effects.

Very stupid tripod foot mount.
Nikon came up with an instant release fastener a long time ago, it’s strange that Canon didn’t think of this before and makes it take a long time to turn the wheel.

But the lens hood is interesting.
We made a curtain to control the polarizing filter, it’s convenient, but is it reliable?

Like its predecessor, the new model is aimed at sports photographers and photojournalists.
Its high class and level of performance emphasizes its belonging to the L-series. The recommended retail price of the device was $2199 (for the US market).

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Architectural photographer. Interior photographer. Reportage photographer. Advertising photographer. Industry photography. Architecture photography. Interior photography. Advertising photography. Photographing panoramas.

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Upgrading a > Published Mar 1, 2016 | Richard Hopkins

Canon 100-400 F4.5-5.6L IS USM Mark II Review

English Canon now offers the broadest selection of telezooms of any brand, at a variety of price points. In the premium sector, there are four 70-200mm L-grade zooms, with a choice of F2.8 or F4 maximum apertures, with and without image stabilization. The 70-200mm F2.8 L IS USM Mk II is relevant here as it works well with 1.4x or 2x extenders, as an alternative to something longer. More recently, Canon added a third lens to its options in the versatile 70-300mm category, with the 70-300mm F4-5.6L IS USM being an excellent zoom that is essentially a scaled-down version of the 100-400mm Mk II ( and considerably cheaper too). There is also the Canon 200-400mm F4L IS USM with its unique built-in 1.4x extender, though the stratospheric price puts it in a rather different class, and Canon has a couple of excellent prime telephotos in this focal length range, too. The image-stabilized 300mm F4L IS USM and 400mm F5.6L USM both hail from the same era as the original 100-400mm Mk I, and have also stood the test of time well. Looking at other brands, the Nikon AF-S 80-400mm F4.5-5.6G ED VR is a close rival to the Canon 100-400 II in terms of specification, design and high performance. Likewise, the Sony 70-400mm F4-5.6 G SSM II for A-mount is another proven performer. Both lenses feature a slightly wider angle of view at the short end, but have notably longer minimum focusing distances than the Canon 100-400 Mk II. Compare Nikon vs Sony performance data here. Surprisingly, no third-party manufacturer currently offers anything similar, though anyone in the market for an extra-long lens should be sure to check out the trio of 150-600mm F5-6.3 superzooms from Sigma (which has two versions) and Tamron that have caused quite a stir, bringing new standards of performance to this market segment at an affordable cost. But while they might appear to cover much the same ground as the Canon 100-400mm Mk II on paper, they're very different in the hand - much bigger, much heavier, and arguably, harder to get the most from. The new Nikon AF-S 200-500mm F5.6 E ED VR and as yet unproven Pentax D FA 150-450mm F4.5-5.6 ED DC AW also fall into the larger/heavier category, and with longer minimum focusing distances compared to the Canon Mk II. Angle of View 100mm F4.5, full-frame (Canon 5DS R) 400mm F5.6, full-frame (Canon 5DS R) Shire Hall, Cambridge, UK, is one of my favorite subjects for comparisons (also used for the Tamron 16-300mm VC review ) though unfortunately it was partly obscured by scaffolding on this occasion. Sharpness is very high, and unusually consistent — throughout the zoom range, at all apertures, and across the frame. It's at larger apertures where the Mk II shows most sharpness improvement over the MkI. The images above are both at maximum aperture, F4.5 at 100mm and F5.6 at 400mm, using a Canon 5DS R (full-frame), and are shown without any software corrections applied for chromatic aberration, distortion or vignetting. The 100-400mm zoom range, with a generous 4:1 ratio, provides a 24.4° to 6.2° angle of view on full-frame, measured across the diagonal from corner to corner. It's very versatile and well suited to a wide range of popular subjects, including all kinds of field sports, and wildlife from safaris to zoos. At a motor race or air display, the spectator fences are often lined with Canon 100-400mm zooms. Compared to a fixed focal length lens, when photographing sports or anything where the shooting distance varies, you can zoom to pull in subjects from a distance, then zoom back when the action gets closer. Longer focal length settings are also perfect for sniping candid portraits, say at a wedding or other social occasion. At the shorter end, while it may not be the obvious choice for portraiture, at around 100-135mm it's just about perfect on full-frame. ABOVE: With a broad 4:1 zoom range, unusually close focusing, and excellent image-stabilization, the Canon 100-400mm Mk II can turn its hand to more than just sports and wildlife. It's sharp at all focal lengths and apertures. Check the fly on the flamingo's beak - the fine veins on its wings are barely more than 1-pixel wide (Canon 5DS R, monopod, 400mm F5.6, 1/250 sec, ISO 400). The Canon 100-400mm Mk II goes very well on APS-C cameras like the Canon 7D Mk II, with its excellent AF and fast frame rate. The 1.6x crop factor gives more effective reach and creates a megazoom 160-640mm equivalent angle-of-view. The Canon 100-400mm Mk II is also compatible with the Canon 1.4x extender, though it will only autofocus on higher-end Canon DSLRs that retain AF up to F8 (currently 7D Mk II, 5D Mk III, 5DS/R, 1DX/ II). The 2x extender will physically fit, but all AF functions are disabled. About Photo Reviews and tests, simply about the complex Review of the Canon EF 100-400 mm f/4.5-5.6L IS USM lens Let me start with the fact that the Canon EF 70-300mm IS is just as great a lens, but it’s more than half the price, lighter and takes up less space in your bag, which is very important to me. I personally prefer the 70-300 IS only because I’m not a fan of telephoto lenses and I only photograph with a telephoto lens, so for me the issue of convenience comes first. As for the Canon 100-400mm L, it is suitable for those who do not part with their telephoto lens, usually these are photographers who take pictures of everything around them, it is important for them to get as close as possible to inaccessible places and they are not afraid of the size and weight of the lens. But still, whatever one may say, the Canon 100-400mm weighs less than the famous fast 70-200mm f/2.8L IS II and when folded it is almost the same. When you hold the lens in your hands, it gives the impression of a good, high-quality, professional lens. Among the main advantages of the lens, excellent sharpness at all focal lengths should be noted: The stabilizer is another advantage of the 100-400mm. You can use two stabilization modes. Mode “1” is intended for shooting static objects; it partially reduces the shaking of your hands, which is extremely important at 400mm, because at such a focal length, even breathing and heartbeat will affect the sharpness of pictures in low light: There is a stabilization mode “2”, this mode is useful when you are photographing a moving subject. This only works when your object is moving either horizontally or vertically: In normal mode, you have active stabilization in two directions, so it becomes impossible to shoot moving objects in it - the camera tries to stabilize the image when you follow a moving object, in mode “2” the lens understands which direction the camera is moving and turns off stabilization either horizontally, or vertically, as shown in the figure above. As I already said, a stabilizer is not a panacea, so the 100-400mm is not suitable for shooting sports events; you need to take the vaunted fast 70-200mm f/2.8L. The difference between a 100mm and a 400mm lens translates into size. At a long focal length (400mm), your lens will increase by 80mm, this is in addition to the already not small 189mm (when folded). Therefore, if I were you, I would think carefully about whether such dimensions will suit you. Considering that the lens increases by 8 cm, it has a convenient system for fixing the focal length, in the form of a special ring, with which you can adjust how softly, or vice versa, the mechanism for changing the focal length will move. You need to tighten the ring if you do not want the lens to “move out” on its own, and release it if you need to quickly change the focal length. Nothing rotates in the lens, because you do not change the focal length by turning it, as we are used to. To change the focal length, you need to move the front of the lens forward or backward. It turns out to be something like a pump, Denis and I called it “pump” :) You can use standard 77mm filters. Be sure to buy protective and polarizing filters; I doubt the need for a gradient one. Among the disadvantages of the lens, I would note its weight - 1380 g. and size – 189mmx92mm, while the size increases at the focal length of 400mm. If you're willing to put up, this lens is for you. Because the lens is quite heavy and a large tripod mount is located on the lens. If desired, you can remove it, which is what I did, because with this mount the lens is not convenient to carry in a bag. With this lens in your hands you will look something like this :) You will find all photos taken with this lens in the gallery: San Francisco, New York. Conclusions and recommendations If you really want a super high quality 400mm telephoto that is still portable enough to take with you on the go, then the Canon 100-400mm is perfect for you! But you need to be prepared for the fact that you will have to pump yourself up a little and shell out a considerable amount of money. If you are looking for a cheaper alternative, you need to take the 70-300mm IS. To photograph sporting events, you need to take a fast telephoto lens, for example 70-200mm f/2.8L. If you liked the article and want to support the Pro Photo project, it’s easy to do so. Any help will be greatly appreciated. Save to: Review of Canon 100-400mm F4.5-5.6L IS USM Mark II Link to main publication For any suggestions regarding the site: [email protected]