Lens is the important parts of a camera because the lens determines the resulting picture. Either its a good picture or a bad picture. The lens aperture size determines the amount of light entering. If the lens aperture diaphragm is too large, then the light coming in too much so that the resulting picture will be too bright (over-exposure). Conversely, if the lens diaphragm aperture is too small then the light coming in too little so that the resulting picture will be dark (under-exposure).

Lenses are usually written on the strength of the lens opening, as on the camera lens Canon EFS 18-55mm: ‘CANON ZOOM LENS EFS 18-55mm 1:3.5-5.6 IS’. Thus, the mean power of the lens at aperture f/3.5 maximum aperture at 18mm and f/5.6 at 55mm.

1. Wide-Angle Lens : Shooting with a long angle, such as architecture, interiors and landscapes. The length of the lens between 17mm until 70mm. Be careful with wide angle lenses because of your background image will be smaller and far from that seen with your eye viewpoint.

2. Normal Lens (Standard) : Angle of view comparable to that seen the human eye. Lenses of this type usually used to shoot in the studio. Length 50mm lens (fixed lens).

Telephoto Lens : For long-distance shooting, like shooting a journalistic and sports coverage. The length of the lens between 70mm until 300mm.

Besides the above three types of lenses, there is also some lenses which is a function of the merger or the development of lenses, such lenses Zoom, Macro, Super Wide Angle, Fish Eye. This type of lens is called lens variations or special lenses.

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Introduction

The EF 70-200mm F2.8 L IS II USM was announced in January 2010 as a replacement for Canon’s fast image-stabilized telephoto zoom, the EF 70-200mm F2.8 L IS USM, which dates from 2001. With the rapid increase in SLR sensor pixel counts placing lenses’ optical qualities under ever finer scrutiny, the company clearly felt it was time for an update for this professional workhorse, and has revamped the design accordingly. In the process, it claims to have improved almost every aspect of the lens, including the optics, autofocus, image stabilization, and the mechanical design.

The optical formula is suitably complex – 23 elements in 19 groups – and includes no fewer than five ultra-low dispersion (UD) glass elements, plus one made from fluorite, to minimize chromatic aberration. The minimum focus distance has been decreased giving improved maximum magnification, the IS system updated to give a claimed 4 stops of stabilization, and the autofocus system revised to meet the demands of Canon’s latest fast, high-resolution DSLRs such as the EOS-1D Mark IV. The lens is also, as is usual for Canon’s L series optics, fully sealed against dust and water.

Of course all this comes at a considerable price – as usual with a new release, the ‘II’ lens commands a hefty premium over the previous version of the lens, which also makes it around four times as expensive as its (non-image stabilized) third party rivals from the likes of Sigma and Tamron. Indeed with an introductory price well over the $2000 mark, many potential upgraders will surely be wondering whether the improvements can possibly be worth the money. Over the next few pages we’ll do our best to find out.

Headline features

• 70-200mm focal length range; fast F2.8 constant maximum aperture
• Optical image stabilization – 4 stops
• Ring-type USM focusing with full-time manual override
• EF mount for Canon 35mm full-frame and APS-C DSLRS

Angle of view

The pictures below illustrate the focal length range from wide to telephoto, on 35mm full-frame and APS-C camera bodies:

70mm (full frame)	200mm (full frame)

70mm (APS-C; 112mm equivalent)	200mm (APS-C; 320mm equivalent)

Canon EF 70-200mm 1:2.8 L IS II USM specifications

* Supplied accessories may differ in each country or area

Compared to Canon EF 70-200mm F2.8 L IS USM

Here’s the EF 70-200mm F2.8 L IS II USM side-by-side with the previous version, plus Nikon’s latest AF-S Nikkor 70-200mm F2.8G ED VR II for comparison. The new lens is not only named near-identically to it’s predecessor, it’s visually a doppelganger too. Presumably on the basis that there was not a lot wrong for Canon to change, the differences are extremely subtle, the most obvious being the enlarged focus ring. The switch panel on the side of the lens has slimmed down a little, the barrel shape has been slightly re-sculpted, and the distance scale restyled. The new lens also gains a new hood, which has a locking button on the side to prevent it from being accidentally rotated or knocked off. The new and old hoods are not cross-compatible.

Internally, though, the lenses are rather different. The revised optical formula now has five UD glass elements rather than four, and includes an element made from the most exotic material in Canon’s armory – fluorite. The IS has been updated to Canon’s latest 4-stop system, and the minimum focus distance slightly improved from 1.4m to 1.2m, with a corresponding increase in maximum magnification to 0.21x.

These changes result in a tiny, but measurable increase in size and weight; the barrel is slightly larger in diameter towards the front, and it’s fractionally longer too. But if you’re already lugging around a lens this size, you certainly won’t notice the difference.

Specifications compared

The table below gives a summary of the key specification differences between the two lenses:

*Measured weight with all accessories: tripod mount ring, hood, and front and rear caps

Design

The 70-200m F2.8 is one of Canon’s L series professional quality lenses, and therefore built to the very highest standards. The construction appears to be essentially of metal, and the internal focus and zoom design gives a sense of robustness and solidity to the ‘one-piece’ design which few other lenses match. The lens is moisture and dust resistant, and incorporates a rubber ‘O’-ring around the mount to provide a seal with the camera body. The striking off-white color to is apparently designed to reduce the effects of heating under direct sunlight (and quite possibly not without some degree of marketing value).

The lens is pretty typical in size for its class, and therefore potential upgraders should appreciate that it’s significantly larger and heavier than consumer telezooms such as the 70-300mm F4-5.6 IS USM. This therefore may well not be a lens you’ll want to carry around all day when exploring a new city, for example.

On the camera

This is a sizeable lens, and therefore handles best on larger bodies such as the 1D(s) series, although it still works very well on intermediate bodies such as the 5D Mark II and 7D. The balance of the lens is excellent, and the zoom ring is positioned perfectly towards the center of gravity of the lens/body combination; however a distinct shift in grip is required to operate the manual focus ring. Perhaps surprisingly, the lens also proves to be reasonably workable on compact EOS bodies such as the 550D, by holding the combination primarily by the lens and treating the camera essentially as a glorified rear lens cap.

Autofocus

This lens features Canon’s ultrasonic motor for autofocus, which performs extremely well; it’s practically silent in operation, and we saw no evidence of any systematic focusing errors. We found focusing to be extremely fast and accurate in everyday use on all of the bodies used for testing, however it must be noted that focus speed and accuracy is dependent upon a number of variables, including the camera body used, subject contrast, and light levels.

Change in angle of view on focusing

The EF 70-200mm F2.8 L IS II USM changes its angle of view quite markedly on focusing, becoming narrower at closer distances. This is much the same behavior as the older lens and most others of this type, but notably opposite to Nikon’s 70-200mm F2.8 VR II, which gets rather wider on focusing closer.

Lens body elements

	The lens uses Canon’s all-electronic EF mount. This means it will fit all of Canon’s DSLRs regardless of sensor format, APS-C, APS-H or 35mm full-frame. It’s also compatible with Canons 1.4x and 2.0x ‘Extenders’ (known to the rest of the world as teleconverters), retaining full autofocus and image stabilization functionality.A rubber seal around the outside of the mount protects dust and water ingress.
	The filter thread is 77mm, which has become the de facto standard for professional lenses, and common across much of Canon’s ‘L’ series lineup. It does not rotate on autofocusing, which should please filter users.
	The petal-type ET-87 lens hood is supplied as standard and fits to the front of the lens via a bayonet mount. It’s 95mm/3.75″ deep, lined with flocking to minimize reflection of light into the lens, and reverses for storage.The ET-87 also gains a locking button on the side to prevent the hood from being knocked off accidentally.
	The zoom ring rotates 60 degrees anti-clockwise from 70mm to 200mm. The ribbed rubber grip is 33mm wide, and the zoom action extremely smooth and precise.In common with other 70-200mm F2.8 lenses (and Canon’s 70-200mm F4s), the zoom action is entirely internal.
	The focus ring is now a very generous 41mm wide, and rotates 120 degrees clockwise from infinity to 1.2m. It does not rotate during autofocus, and the full-time manual system allows tweaking of the focus even when the lens is set to AF. Again the action is extremely smooth and precise.
	A distance scale is provided with markings in both feet and meters, and includes infra-red correction marks for 70mm and 100mm focal lengths. The focus ring travels slightly past the infinity mark, apparently to allow for the effects of ambient temperature variations.
	The side of the lens barrel is adorned with no fewer than four switches. At the top we have an AF range switch which can be used to limit closest focus to 2.5m (useful to minimize AF time and possible hunting problems), and below that the autofocus/manual focus mode switch. Both are well-sized and positive in action.
	The lower pair of switches control the image stabilization mechanism; the On/Off switch has a slightly different shape, presumably to aid identification by touch alone. The bottom switch selects either stabilizer mode ‘1′ (normal, for static subjects), or ‘2′ which automatically detects panning motion, and then stabilizes in the other dimension only.
	A nice touch is the provision of a ribbed grip at the end of the barrel, which aids mounting and dismounting of the lens from the camera.
	The lens comes with the same detachable ‘Tripod Mount Ring B’ as its predecessor, which is lined with a Teflon sleeve for smooth rotation. The line at the top aligns with a mark on the lens for landscape format shooting, but there are still no marks for portrait format alignment.One irritation with this design is that it can’t be removed while the lens is attached to the camera.

Reported aperture vs focal length

This lens allows an aperture range from F2.8 to F32 at all focal lengths.

• Exceptional image quality
• Superb build quality, including dust- and water-sealing
• Highly effective image stabilization
• Excellent autofocus and manual override

• Relatively harsh rendition of out-of-focus areas of the image
• Somewhat susceptible to flare with direct light sources in or close to the frame
• Inconvenient design of tripod mount ring (can’t be detached without taking lens off camera)

Overall conclusion

The Canon EF 70-200mm F2.8 L IS II USM comes as a welcome update for Canon’s professional fast telephoto zoom. While we liked the old version when we reviewed it two years ago, the rapid increase in pixel count on the latest generations of cameras (coupled, it must be said, with Canon’s insistence that all those extra pixels are there to provide a greater scope for cropping) has placed its optical qualities and autofocus capabilities under ever finer scrutiny, and as a result it has been found increasingly wanting (especially on the likes of the EOS 7D).

The new version changes all that, providing quite simply breathtaking optical performance on both APS-C and full-frame bodies. It’s exceptionally sharp, even wide open at F2.8 – so much so that there’s practically no visible improvement in the center on stopping down, and just a little at the corners. Chromatic aberration is extremely low (helped no doubt by that fluorite element), distortion well under control, and vignetting more or less average for its class. This all makes for a hugely impressive showing in our studio tests, especially when compared to its predecessor. However it does come at the expense of the quality of the rendition of out-of-focus regions of the image (or ‘bokeh’), which tend to look a bit more ‘busy’ and obtrusive compared to the old lens.

According to our tests and shooting experience, Canon has also made good on its promise to improve the image stabilization system, which now delivers sharp images hand held at shutter speeds about a stop slower than before. Couple this with fast and reliable autofocus, and the lens simply delivers the goods time after time with the minimum of fuss – exactly what you’d hope for (and expect) at this level.

In terms of build and handling, there’s very little to complain about either. The lens maintains the same solid metal-bodied, dust- and water-sealed construction as the older version, and the slightly wider focusing ring and locking button on the lens hood come as small but welcome improvements. About the only remaining (minor) criticism is with the design of the tripod mount ring, which can’t be removed without detaching the lens from the camera body, and has no alignment markings for shooting in portrait format.

Perhaps the one blot on the landscape is relatively unimpressive image quality at close focus distances, making the shorter minimum focus, and improved maximum magnification, a little less useful than it looks on paper. However it must be noted that our test sample clearly displayed some asymmetry in the optics at close focus distances, with the right side of the frame becoming visibly softer than the left – something which may not be representative of the design as a whole.

Overall, then, the EF 70-200mm F2.8 L IS II USM gains about as close as it gets to an unqualified recommendation, given the price. Its combination of exceptional optics and quirk-free design even manages to surpass Nikon’s equivalent that we tested recently, stealing the crown of ‘Best in Class’ by a whisker. It’s a significant improvement over what was already an accomplished lens, capable of consistently delivering results that will satisfy the most demanding of users, and you can’t ask for much more than that.

Article From : http://www.dpreview.com/lensreviews/canon_70-200_2p8_is_usm_ii_c16/

Price In Indonesia : ± Rp 23.000.000,-

My Comment : I think Canon EF 70-200 F2.8 L IS II USM is the best choice for a professional to photograph the model.

Less than a year after the launch of the EOS Rebel T1i (500D) comes the latest in Canon’s hugely popular consumer SLR range, the Rebel T2i (EOS 550D). With the 450D and 500D Canon appeared to be pulling away slightly from the real ‘entry level’ (a sector driven almost entirely by price), and the EOS 550D – on paper at least – is no exception, outgunning many of the ‘upper entry level’ and mid range SLRs on the market today in terms of spec. To ensure it doesn’t lose out at the price-sensitive DSLR entry point Canon is once again introducing its new flagship Rebel as a ’sister’ product to the camera it ostensibly replaces. The EOS 500D (Rebel T1i) will be staying in the range for the rest of 2010 (at, one presumes, a more attractive price point). We would assume that the new model finally spells the end of the line for the current ‘bargain’ Canon, the venerable Rebel XSi (EOS 450D).

In many respects the EOS 550D is a ‘baby EOS 7D’. As well as getting a resolution boost to a class-leading 18 megapixels and a significantly upgraded movie mode (which now offers full HD capture at up to 30 fps, has full manual control and the option to use an external stereo microphone), the EOS 550D gets the 7D’s sophisticated new metering system (bringing it a lot closer to similarly positioned Nikon SLRs). It also sports a new widescreen (3:2) LCD panel, has improved button design and finally offers the ability to customize the Auto ISO function.

It’s clear Canon has been feeling the heat from the aggressive competition it faces from the numerous feature-laden cameras offered by Nikon, Pentax, Sony and Olympus in this market sector, and has decided to throw down the gauntlet with the most highly-specced Rebel we’ve ever seen. We’ll reserve judgment on whether it’s destined to be a class-leader until we’ve got a final production sample in for review, and I’m sure there’s plenty of you interested to see how well it does too. As it stands we’ve managed to get hold of a pre production sample for a day in order to produce this brief hands-on preview to tide you over.

Headline features

• 18 Megapixel APS-C CMOS sensor
• DIGIC 4 processor with ISO 100-6400 (Expansion to 12800)
• Continuous shooting at 3.7fps
• Full HD movie recording with manual control and selectable frame rates
• 7.7cm (3.0”) 3:2 Clear View LCD with 1,040k dots
• iFCL metering System with 63-zone Dual-layer Metering Sensor
• Quick Control screen to change shooting settings
• Exposure compensation +/-5 stops (although viewfinder scale is still +/-2 stops)
• Select maximum value for Auto ISO
• External Microphone socket
• Movie crop function
• Eye-Fi connected functions compatibility

Canon EOS 550 vs EOS 500D: what’s changed

As before Canon isn’t officially ‘replacing’ the EOS 500D with the new 550D, and for the foreseeable future the EOS 550D will sit in the range between the EOS 500D and the EOS 7D (ignoring for the moment the additional confusion of the EOS 50D, which the new camera out-specs in some areas). The changes are partly cosmetic (a very slightly different body shell design, tweaks to the buttons and mode dial), but the real changes are under the hood.

As well as a boost from 15 to an EOS 7D-matching 18 megapixels (it’s not the same sensor, though it is apparently ‘very similar’), the EOS 550D gets a non-crippled full HD movie mode (1920 x 1080 at up to 30 fps, 720P at 60/50 fps, manual controls, external mic socket), upgraded metering and a smattering of smaller (but no less welcome) improvements.

The body shell is almost – but not quite – identical. The most obvious changes are the new wider (3:2 aspect ratio) 3.0″ screen, larger, easier to use buttons and a dedicated live view/movie button (which allows the direct print button to double up as a way to directly access the Quick Control Screen).

Canon EOS 550D vs EOS 500D Key differences

• Higher resolution 18MP CMOS with gapless micro lenses
• ISO 6400 no longer in ‘expanded’ range (12,800 max remains the same)
• Redesigned buttons and new movie/live view button
• Customizable auto ISO ranges
• Improved 63 zone metering (iFCL)
• 3:2 format screen with more pixels
• Improved movie functionality
• Slightly higher burst shooting rate (though buffer holds fewer shots)
• HDMI control (CEC)
• SDXC compatible

Canon EOS 550D vs. EOS 500D major feature and specification differences

Canon EOS 550D vs. EOS 500D major feature and specification differences

	Canon EOS 550D	Canon EOS 500D
Sensor	• 18.7 million effective pixels	• 15.1 million effective pixels
Image sizes	• 5184 x 3456 • 3456 x 2304 • 2592 x 1728	• 4752 x 3168 • 3456 x 2304 • 2353 x 1568
Sensitivity	ISO 100 to 6400, extendable to 12800.	ISO 100 to 3200, extendable to H1 (6400) and H2 (12800).
Metering	• TTL 63-zone SPC	• 35-zone evaluative
Exposure Compensation	+/- 5.0 EV	+/- 2.0 EV
Auto ISO	• ISO 100 to 6400 • User selectable max ISO	ISO 100 to 1600
LCD monitor	• 3.0 ” TFT LCD • 3:2 aspect ratio • 1,040,000 dots	• 3.0 ” TFT LCD • 4:3 aspect ratio • 920,000 dots
Video mode	• 1080p @ 30, 25 or 24 fps • 720p @ 50/60 fps • VGA @ 50/60 fps • Movie crop function • External stereo mike (optional)	• 1080p @ 20fps • 720p @ 30fps • VGA @ 30fps
High-speed continuous	• 3.7 fps • 34 JPEG/Fine frames • 6 RAW frames	• 3.4 fps • 170 JPEG/Fine frames • 9 RAW frames
Connectors	• USB 2.0 Hi-Speed • Video output (PAL/ NTSC) (integrated with USB terminal) • HDMI Type C • Stereo microphone	• USB 2.0 Hi-Speed • Video output (PAL/ NTSC) (integrated with USB terminal) • HDMI Type C
Storage	SD/SDHC/SDXC	SD/SDHC
Eye-Fi compatibility	On-screen messages & menu support, auto power-down disabled when transmitting.	Supported, no feedback
Battery Grip	BG-E8	BG-E5
Others	• Copyright/photographer information • ’Q’ button & separate movie button • 4 level battery reporting • Eye-Fi card menu and UI support • Control over HDMI • Easier access to Auto Lighting Optimizer

article from : http://www.dpreview.com/previews/canoneos550d/

My Comment : I think this camera type is the most advanced and cheapest SLR camera ever released by Canon.

Price in Indonesia : Rp 6.990.000,-

Posted by : RNC