This robust L-series 70-200mm telephoto zoom lens is a favourite with professional photographers, a modern classic redesigned, it’s now even better in bright light and engineered to perform in the most challenging conditions. A maximum f/2.8 aperture offers plenty of control over depth of field and – in combination with a 3.5-stop Image Stabilizer to counteract natural camera shake – makes low-light photography simple. Image quality is excellent, with superb sharpness right across the frame, a great choice for our highest resolution EOS cameras. Benefits

The percentage difference between two values is calculated by dividing the absolute value of the difference between two numbers by the average of those two numbers. Multiplying the result by 100 will yield the solution in percent, rather than decimal form. Refer to the equation below for clarification. Percentage Difference = Sharpness is excellent on this lens with rich detail present in the central part of the image, even when shooting wide open at f/2.8. Overall quality improves ever so slightly when going to f/5.6 although corner sharpness benefits noticeably from a tighter aperture. The lens is quite consistent throughout the focal range and performs well at any given aperture, though. I would say that the Sony G Master and Tamron G2 outperform it slightly in terms of sharpness but it does edge out the Panasonic overall. The Sony FE 70-200mm f/4 G OSS is another fantastic option for Sony users. It doesn’t have some of the more advanced features of the previous Sony lens. But this still delivers excellent results. The lens contains 23 glass elements arranged in 17 groups. They are a combination of aspherical and Extra-Low Dispersion lenses. They suppress chromatic aberration. And ghosting and flare are kept to a minimum.

Percentage Calculator in Common Phrases

Unlike L-series EF mount zooms that cover the same focal length, the optic we’re looking at here has an extending barrel, which measures 203mm long at full telephoto and is a modest 146mm in length when fully retracted to 70mm. The questions this asks are; does this extending design compromise optical quality in any way and has Canon been successful in delivering an exceptional multi-purpose zoom for enthusiasts and professionals who use, or plan on switching to, the EOS R series? Canon RF 70-200mm F2.8L IS USM review: Features The constant max aperture gives you excellent exposure control through the zoom range. And you get a built-in shake reduction system. It counteracts camera shake, giving you even more shutter speed options.

Some wildlife and sports photographers prefer super-telephoto lenses. But a 70-200mm gives photography enthusiasts the magnification they need to capture their subjects. Videography The constant f/2.8 aperture gives you excellent control over your exposure settings. You get excellent low-light performance at any focal length. And you can achieve a beautiful shallow depth of field. The image stabilization gives you even better options in low light. It gives you five stops of shake compensation. The built-in optical stabilization gives you an additional four stops of shake compensation. That improves low-light performance even more. And you have several stabilization modes to work with. You get normal, panning, and dual modes. That’s excellent news for video makers. The percentage increase calculator above computes an increase or decrease of a specific percentage of the input number. It basically involves converting a percent into its decimal equivalent, and either subtracting (decrease) or adding (increase) the decimal equivalent from and to 1, respectively. Multiplying the original number by this value will result in either an increase or decrease of the number by the given percent. Refer to the example below for clarification. The Nikon Z 70-200mm f/2.8 is a must-have lens for Nikon mirrorless cameras. The low-light performance is excellent. You get sharp images at every point in the zoom range. And it’s an excellent choice for videographers too.

Computing

Percentages are computed by multiplying the value of a ratio by 100. For example, if 25 out of 50 students in a classroom are male, . The value of the ratio is therefore 0.5, and multiplying this by 100 yields: The FE 70-200mm F4 II is a G-series lens, a lineup Sony designates as suitable for enthusiasts and pros, but one that's a step below the upper-echelon GM line. G lenses include full dust and splash protection, an anti-smudge fluorine coating on the glass, and premium build materials. Sony uses a metal barrel with an off-white finish for the 70-200mm, which puts it more on the level of GM telephoto lenses. Lighter-color materials are common on long lenses because they keep the lens cooler. The best aperture for a 70-200mm lens is f/2.8. It gives you excellent exposure control. And you can achieve beautiful bokeh. Another common maximum aperture is f/4. It’s not as fast, so you don’t get the same low-light performance. But it still gives you good exposure options. Image Stabilization

Utilising a 2.0x teleconverter takes the magnification to a whole new level, achieving true life-sized macro images with 1x life-sized magnification. This elevates the lens's versatility beyond that of a typical casual macro telephoto lens. The lens mount is the first thing to look at when choosing the best 70-200mm lens. Obviously, you need a lens that is compatible with your camera. Canon and Nikon have DSLR and mirrorless camera ranges. Make sure the lens aligns with the correct type of camera.

The fast f/2.8 max aperture gives you excellent exposure control. And you get extra help from Nikon’s vibration reduction system. It gives you four stops of compensation. And that makes this one of the best telephoto lenses for low-light photography. It’s a great option for large concerts. Discover what you need to know about this second generation Sony mirrorless lens through a full specs comparison between the Sony 70-200 f/2.8 GM II vs previous generation f/4 G telephoto lens. Our review will help you choose which is the perfect one for your photography and video creation, whether you capture portraits and weddings, sports or wildlife or any other longer range subjects. Bokeh is another differentiator; the GM edition shows smooth, defocused highlights, whereas the G edition has slightly busier bokeh. I spotted some double edges and texture in specular highlights, but it's noticeable really only when you zoom in or crop (see below). On the plus side, highlights don't show the cat's-eye effect at wide-open apertures, a plus for a telezoom that suits portraiture. I couldn't spot any sort of chromatic aberration in photos, either lateral (purple fringing) or longitudinal (false color in the bokeh). The Sigma measures 8.1 by 3.6 inches (HD), weighs about 2.9 pounds, and uses 77mm front filters. It's about the same size as the internally zooming Sony 70-200mm F2.8 GM II (7.9 by 3.5 inches, 2.3 pounds) and Panasonic Lumix 70-200mm F2.8 S Pro (8.2 by 3.7, 3.5 pounds), but it splits the weight difference. (Credit: Jim Fisher)