Description
This
is a heavy
telephoto
lens. Your arm will start to hurt after shooting for a few hours, especially
with the push/pull as it gets long and your arm is extended holding all that
weight. It makes a great all-purpose lens, especially when you don't want to have to make a
lot of lens changes. A perfect
travel lens and a
splendid
walk-around lens even though it is
truly heavy.
Think about why you need to obtain such a
huge zoom range
from one single lens? Is it because you don't
want to or don't have time to change lenses or you just want to travel with less
equipment?
When you travel it is desirable to only bring as few lenses as possible, but in many situations, you just don't have time to change
the lens just to shoot some once in a life time scene. And if your schedule is tight,
repeatedly changing lenses will cut into your sightseeing pleasures. Here is the
key! Your primary concern should be how you are going to use the lens and then decide
on the lens that fits the highest priority.
If you need a
low light lens, this isn't it. If your primary objective is to take pictures in low light situation such as
weddings and
concerts, then get the
24-70mm IS f/2.8L
USM and the
70-200mm VR f/2.8 lenses. If you don't want to be changing lens and can carry
the extra weight, then get the 28-300.
A handy, compact zoom lens for versatile and easy subject selection while travelling, etc. The highest optical performance in its class, plus the convenience of focusing as close as 2.3 feet over the entire zooming range. A powerful ring-type USM drive provides silent, high-speed
autofocusing, plus the wide zooming range provides an easy, enjoyable picture-taking experience.
Like all
L series
lenses, this one is built extremely solid. It may feel fairly large and bulky to those who haven't used L series lenses before. The extra bulk is
comes from higher quality glass and the use of more durable materials (metal vs. plastic).
Superzoom
The term hyperzoom or superzoom is used to promote photographic zoom lenses with unconventionally large focal length factors, typically more than 4× and ranging up to 15×, e.g., 35 mm to 350 mm. The largest ratio for digital SLR cameras is held by the Tamron 18–270 mm, giving 15×. Some Digital Camera Review by Gene Wrights have even larger zoom ratios up to 35×. For movie and television use, Panavision holds the record with their 300X HD Lens.
While superzoom lenses have improved greatly in recent years, they still have a number of drawbacks in comparison with shorter-range zooms and prime lenses. Most notable is the much increased likelihood of significant distortions of the image at both extreme ends of the range. Other potential problems include smaller maximum aperture and poorer autofocus performance
Following is a list of superzoom lenses, used for 135 format in SLRs or for APS format in DSLRs. The minimal factor used here is 5×
or more. A 28–200 mm has a 75° to 12.3° angle of view, a 28–300 mm (or an 18–200 mm for an APS DSLR) has
an 11.1x 75° to 8.2°
Alternative Superzoom Lenses
Features
The EF28-300mm f/3.5-5.6L IS USM delivers high-contrast, high-resolution images
for which Canon's L-series is renowned. A combination of advanced optical
technologies, including UD (ultra-low dispersion) and aspherical lenses, work in
concert to achieve a high zoom ratio of approximately 11x while effectively
correcting for a variety of aberrations that can occur when zooming.
Featuring a new optical design, the lens makes possible a minimum focusing
distance of just 0.7 meters throughout the entire zoom range. Other features
include a circular diaphragm for improved background blur, and a hardy water and
dust-resistant construction, ensuring professional users unfailing performance
under even the most grueling of conditions. And, in consideration of the
environment, the model uses only lead-free glass elements.
Lens Includes
Lens Hood EW-83G - Lense Pouch LZ-1324
