As I showed at Sample Images, it's ultra-sharp corner-to-corner, even shot wide-open at f/2.8, at any focal length. The only limitations to sharpness will be your skill as a photographer; the optics of this lens are essentially perfect. This lens is designed for hand-held shooting, so pull off the collar and leave it in the box for resale. L-series construction, designed to withstand the rigours of professional use. Protective seals guard against dust and moisture This L lens is optimized for 35mm film and full-frame digital, and of course works on 1.3x and 1.6x Canon cameras. Canon RF 70-200mm f/2.8 L IS USM internal optical construction. UD glass, Regular Optical Glass, Super UD glass, ( IS Section), UD Aspherical and Glass-Molded Aspherical elements. bigger.

x 450 pixel crop from above image. If this crop is about 6" (15cm) wide on our screen, then the complete image printed at this same extreme magnification would be about 75 x 50." (6 x 4 feet, or 2 x 1.25 meters)! Falloff on FX and 35mm is invisible, except at 200mm at f/2.8 if you leave Vignette Correction OFF, which is the same way just about every Nikon f2.8 tele zoom has been since the 1980s. Flare and ghosts are typical for a modern complex zoom. You'll never see any unless you go out of your way to shoot directly into the California desert sun, and then only if you deliberately put something dark on the other side of the frame against which to highlight any ghosts. The RF 70-200/2.8 makes history as the smallest, lightest 70-200/2.8 ever made — and its optics, stabilization and autofocus are top of the line as well.Leave it ON unless you're on a very sturdy tripod, or if you're making exposures longer than a second on any kind of tripod.

For less money, the B+W 77mm 010 is an excellent filter, as is the multicoated version and the basic multicoated Hoya filters or the 77mm Nikon Clear (NC - UV), but the Hoya HD3 is the toughest and the best. An inch (symbol: in) is a unit of length. It is defined as 1⁄12 of a foot, also is 1⁄36 of a yard. Though traditional standards for the exact length of an inch have varied, it is equal to exactly 25.4 mm. The inch is a popularly used customary unit of length in the United States, Canada, and the United Kingdom. Centimeters to inches formula and conversion factor The Canon 70-200mm f/2.8 L is made to Canon's top professional standards, exactly like their 70-200mm f/2.8L IS II. This 70-200 FL is a huge improvement over the old 70-200/2.8 VR II from 2009 because it weighs less and focuses much closer. While the rated close-focus distances aren't that much different, older 70-200s cheated and didn't really go to 200mm at close distances. This new FL lens really is 200mm at close distances. Since this new 70-200 FL doesn't cheat on 200mm, it gets what seems like twice as close when you need it.At 135mm, it's a very little bit softer at f/2.8 in the center, and softer in the corners, sharpening up in the center and corners by f/4. Row of Desert Palms at Dawn, 21 November 2016. Nikon D810, Nikon 70-200mm f/2.8 FL at 200mm at f/2.8 at 1/2,000 at Auto ISO 100. bigger or full-resolution file to explore on your computer. At 70mm, it's a little softer at f/2.8 in the center, and softer in the corners, sharpening up in the center by f/4 and by f/8 in the corners.

If this 1,200×900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½×41¼″ (70×105 cm) at this same high magnification. Keep shooting hand held even when light gets low. A fast f/2.8 aperture lets in twice as much light as an f/4 lens, and a 3.5-stop Image Stabilizer guards against camera shake This new "E" diaphragm will not work on the D1 or D2 series, D100, D200, D90, D80, D70 series, D60, D50, D40 series, or D3000, and will not work on any 35mm camera. Desert Brush at Dawn, 21 November 2016. Nikon D810, Nikon 70-200mm f/2.8 FL at 160mm at f/16 hand-held at 1/40 at Auto ISO 100. bigger or full-resolution file to explore on your computer. As 70-200/2.8 L lenses go, this RF lens is a very easy-to-carry and lightweight lens, completely different from the huge beasts that are Canon's other EF 70-200/2.8 L lenses. Part of this is the use of a lot more plastic than on the other lenses; this RF lens is well made, and well made with a lot more plastic than other 70-200/2.8 L lenses.

Fulfilling the dream of mirrorless and quite different from Sony's big, fat and bloated 70-200/2.8 GM, this Canon RF 70-200/2.8 is much smaller and lighter than any other 70-200 f/2.8. It's about half the length of other 70-200/2.8s. It's the lightest 70-200/2.8 ever made and focuses super close. BRAVO! For normal, three dimensional subjects, like people, it's very sharp, and you'd never notice a problem. Here's an example: I tested the E-mount version of the 70-200mm with the Sony a7R IV and a7R V. The a7R IV is a camera I own, whereas Lensrentals provided the a7R V so I could more easily conduct side-by-side tests with the Tamron 70-180mm G2. The Sigma balances well on both bodies, but I still found the extra support of a baseplate helpful. We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations. Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.

EOS R cameras need a menu setting changed for manual-focus override, otherwise the focus ring is always ignored in AF. I see no signs of false color in lab tests or real-world samples. It effectively suppresses both lateral chromatic aberration (CA), which is often visible as purple fringing around tree branches or power lines that fall within the plane of focus, and longitudinal type (LoCA), which shows up as false purple and green color in specular highlights and transitional areas away from the plane of focus. Sony a7R IV, 200mm, f/2.8, 1/500-second, ISO 125 (Credit: Jim Fisher) The Canon 70-200mm f/2.8 USM has the usual distortion seen in telephoto zooms: It's got some barrel distortion at 70mm and some pincushion distortion at 200mm. The Canon 70-200mm f/2.8 L IS II has 25% less distortion, not that big a deal.

Convert 70 cm x 200 cm to inches

There are no color fringes when shot as JPG with the default Chromatic Aberration Correction inside Digital Lens Optimizer left at ON. Bokeh, the quality of out-of-focus areas as opposed to the degree of defocus, is great wide-open at 200mm, becoming neutral as stopped down. This is as close as it gets with a 1.6x camera. It will be less close with a 1.3x or full-frame camera. More at Crop Factor.