Đánh giá canon 15 85 is usm năm 2024
Most photographers want an all-purpose zoom encompassing wide, normal and short telephoto ranges, i.e., a normal zoom. Mount such an optic on your DSLR and you're good for landscapes, group shots, candids and portraits. Show Morning Dew | EOS 7D, EF-s 15-85 3.5-5.6 IS USM | 85mm, F8, 1/125, ISO 100 This review consists of my opinions and observations as a hobbyist. No measurements, MFT charts or pixel peeking comparisons are found here. Introduced Fall 2009 with the EOS 7D, the 15-85 falls into Canon's normal zoom niche. It features three aspherical and one UD element, Image Stabilizer (IS), ring-type USM, 5.6x zoom range, 72mm filter size, and compact size for the zoom range. The size reduction over similar zoom ratio full frame lenses is due to the smaller image circle of APS-C format. The main compromise is aperture size: F5.6 at the long end. Everything else is top notch for consumerville. CompatibilityThe EF-s 15-85 3.5-5.6 IS USM lens works on APS-C (1.6X) Canon EOS DSLR cameras such as the Rebel SL3 and 90D (EF-s mount). It will also work on EOS R and M series mirrorless cameras with a mount adapter. This lens cannot be used on full frame Canon EOS DSLRs with an EF mount and non-Canon cameras such as Pentax, Nikon, Fuji, etc. El Cortez | EOS 70D and EF-s 15-85 3.5-5.6 IS USM ConstructionAlthough predominantly plastic, the 15-85 has a metal mount and stands 87.5mm at the 15mm setting (retracted). At 574g, it's on the heavy side for a normal APS-s zoom. In contrast, the EF-S 17-85 4.0-5.6 IS USM is 465g and the EF-S 18-135 3.5-5.6 IS USM, 515g. However, that extra two or three millimeter at the wide end make a big difference in coverage for landscapes and building interiors. Canon EF-S 15-85 3.5-5.6 IS USM (photo courtesy Canon) Build quality is excellent but not L series standards: no weather seals and cosmetics aren't as attractive as the EF 24-105 4L IS USM. However it feels better made than the EF-S 17-55mm f/2.8 IS USM. Styling is understated and post-industrial Gothic: lightly textured flat black paint; ribbed rubber zoom and focus rings; and white sans serif lettering. With lens cap installed, it resembles a plastic travel mug. Gone is the flashy gold USM stripe of earlier premium EF-S designs such as the EF-S 17-55 2.8 IS USM. The 15-85, like other recent EF-S designs, sports a silver ring near the front.
If you prefocus manually, the distance window in meters and feet is useful. Although not a macro lens, it focuses close enough for head shots and moderately small details (35cm/.21x). The EF-S 15-85 3.5-5.6 IS USM has a variable maximum aperture. Thus, as you zoom, the maximum aperture changes. From 15-17mm, maximum aperture is F3.5. At 18-26mm it slips down to F 4.0. By 27-37mm it's touching F4.5. From 38-60mm only F5.0. Finally, the remaining 61-85 range is a pokey F5.6. The contrast and snap of this lens is apparent through the viewfinder. After all, there's plenty of exotic glass in that petite barrel: 17 elements with three aspherical lens (AL) and an ultra-low dispersion (UD) element. Despite all those elements, this is a fairly flare resistant free zoom, thanks to excellent lens coatings and barrel flocking. It certainly bests the EF-S 17-55 2.8 IS USM and EF 28-135 3.5-5.6 IS USM in flare control. Hawaiian sunsets, stage spot lights and night scenes with street lamps are no problem! The short end, like all wide zooms, suffers from barrel distortion. In this case, the barrel distortion is stronger than average, e.g., worse than my EF-S 17-55 2.8 IS USM. You'll see it in images with long horizontal lines. Such distortion is easily corrected in DPP or Photoshop. The middle range is virtually distortion free. The long end has a tiny amount of pincushion distortion. For most types of images, distortion isn't apparent. Berceuse (Albéniz) | Leeward Coast Guitars | An EF-s 15-85 3.5-5.6 IS USM is used on an 80D while a 70D and EF-s 10-18 4.5-5.6 IS STM cover the wide view. Like all wide zooms, the 15-85 exhibits some light fall-off wide open, but less pronounced than that of the EF 24-105 4L IS USM (with FF). In night scenes and portraits, light fall-off is unnoticeable since edges are naturally dark or deemphasized. Stop down a little and light fall-off is gone. Only those shooting blue skies or white walls wide open will notice the slight darkening of corners. Light fall-off is easily removed in DPP or LR or with the Lens Peripheral Illumination Correction function in recent EOS DSLRs.
Of course, Image Stabilization does nothing for subject movement and will not replace a large aperture prime for action shooters. However, IS is a Godsend for general hand held photography. Sunflowers at Bellagio | EOS 70D and EF-s 15-85 3.5-5.6 IS USM One caution: turn IS off when using a tripod. A rock steady tripod often befuddles IS, resulting in blurry images or sudden jerks in video! Although I've forgotten to disable IS on other lenses I suffered only a handful of blurry images. For some reason, the 15-85 is less forgiving in this regard. In a product shoot with 7D/15-85 and tripod, only 2 among 63 images were critically sharp. I re-shot with IS off and all images were sharp. Popup Flash Blocked?The popup flash of the 7D is 100% usable with this lens. From 1 meter out there is no lens shadow from the lens at any focal length. It vignettes a little with the 70D and 60D due to the lower placement of the popup flash.
Frary Guitar Duo | Echo (Pilkington) Peter Kun Frary | Rosita (Tarréga)
EF-S 15-85 3.5-5.6 IS USM images (click to enlarge) |