Extender EF 1.4x II
Lens Attachment
EF 135mm
f/2L USM f/3.5L Macro USM f/1.8L USM
EF 180mm
EF 200mm
EF 200mm
EF 300mm
EF 300mm
EF 400mm
f/2.8L IS USM f/4.0L DO IS USM
EF400mm
f/2.8L II USM f/2.8L IS USM f/4L IS USM
Focal Length (mm)
f-stop (f)
189
252
280
280
420
420
560
560
*4
2.5 ~ 45
4.5 ~ 45
2.5 ~ 32
2.5 ~ 32
4 ~ 45
5.6 ~ 45
4 ~ 45
5.6 ~ 45
Max. Magnification (x)
AF
0.27
K
1.40
K*10
0.12
K
0.22
K
0.15
K
0. 33
K
0.22
K
0.17
K
Lens Attachment
EF 400mm
f/5.6L USM f/4L IS USM
EF 500mm
EF 600mm
f/4L IS USM
EF 1200mm EF 70-200mm
EF70-200m
EF 70-200mm
f/4L USM
EF100-400mm
f/4.5-5.6L IS USM
f/5.6L USM
f/2.8L USM F/2.8L IS USM
Focal Length (mm)
f-stop (f)
560
8 ~ 45
0.18
700
840
1,680
8 ~ 45
98 ~ 280
4 ~ 45
98 ~ 280
4 ~ 45
98 ~ 280
5.6 ~ 45
140 ~ 560
LENSES
*4
5.6 ~ 64
5.6 ~ 64
6.7 ~ 54
0.28
Max. Magnification (x)
AF
0.17
K
0.17
K
0.12
0.22
K*9
0.24
K
0.31
K
ForEOS Cameras
K*11
×
K*11*12
Extender EF 2.5x II
Lens Attachment
EF 135mm
EF 180mm
EF 200mm
f/1.8L USM
EF 200mm
f/2.8L II USM
EF 300mm
f/2.8L IS USM
EF 300mm
f/4L IS USM
EF 400mm
f/2.8L IS USM
EF400mm
f/4.0 L DO IS USM
f/2L USM f/3.5L Macro USM
Focal Length (mm)
f-stop (f)
270
360
400
400
600
600
800
800
*4
4 ~ 64
6.7 ~ 64
3.5 ~ 45
5.6 ~ 64
5.6 ~ 64
8 ~ 64
5.6 ~ 64
8 ~ 64
Max. Magnification (x)
AF
0.38
K
2.00
0.18
K
0.32
K
0.28
K
0.47
K*11 *12
0.31
K
0.24
×
×
Lens Attachment
EF 400mm
f/5.6L USM f/4L IS USM
EF 500mm
EF 600mm
f/4L IS USM
EF 1200mm EF 70-200mm EF 70-200mm EF 70-200mm
EF100-400mm
f/4.5-5.6L IS USM
f/5.6L USM
f/2.8L IS USM f/2.8 L IS USM
f/4L USM
Focal Length (mm)
f-stop (f)
800
1,000
8 ~ 90
1,200
8 ~ 90
2,400
140 ~ 400
5.6 ~ 64
140 ~ 400
5.6 ~ 64
140 ~ 400
8 ~ 64
200 ~ 800
9.5 ~ 76
0.41
11 ~ 64
11 ~ 64
Max. Magnification (x)
AF
0.18
0.25
K*11*12
0.24
K*11*12
0.18
0.33
K*9
0.33
K
0.45
K*11
*12
×
×
×
(
K
=
possible × impossible)
=
*1. Maximum number of Hood III / IV attachable. In the case of zoom lenses,
the maximum number applies to the shortest focal length.
*2. Mechanical full-time manual focusing built-in.
*3. Micro motor.
*4. Data based on EOS models with exposures displayed in 1/2 stop
increments. It varies slightly with the EOS-1Ds, EOS-1D, EOS-1V, EOS-1N,
EOS-1 and EOS-3.
*5. With EF 50mm f/2.5 Compact Macro.
*6. Extension Tube EF 12 can be used with EF lenses except the EF 14mm
f/2.8L USM, 50mm f/1.0L USM, and lenses which cannot be focused
manually.
*7. Extension Tube EF 25 can be used with EF lenses except the EF 14mm
f/2.8L USM, 15mm f/2.8 Fisheye, 20mm f/2.8 USM, 24mm f/1.4L USM,
50mm f/1.0L USM, 17-35mm f/2.8L USM at the shorter focal lengths,
20-35mm f/3.5-4.5 USM at the shorter focal lengths, TS-E 45mm, and
lenses which cannot be focused manually.
*8. Image circle dia. 58.6 mm.
*9. If the EF 70-200mm f/2.8L USM lens is attached to an EOS camera having
multiple focusing points and an Extender is attached to the lens, only the
center focusing point will be usable for AF.
*10. The autofocusing range is from 0.8m / 2.6ft to infinity.
*11. With the EOS-1Ds, EOS-1D, EOS-1V and EOS-3, AF is possible with the
center focusing point.
*12. The Image Stabilizer does not operate with the following cameras:
EOS 650, 620, 630 / 600, RT, 700, 750, 850, EOS-1, A2/A2E, 10s, Elan,
Rebel / Rebel S, Rebel II / Rebel SII.
NC : Not compatible with Gelatin Filter Holder III / IV.
47
Ever noticed that “imagination” contains the word “image”?
That’s because creating an image starts with your imagination.
When you have an image in mind, you must choose a lens
which can capture that image. And whatever that image
may be, you can be sure that Canon has the lens you need.
Whether it is a 15mm fisheye or a 1200mm super telephoto,
all Canon EF lenses feature the finest materials (especially
the L-series lenses) and technologies. They include Fluorite,
UD (Ultra-low Dispersion) glass, Aspherical lenses, lens-
based Ultrasonic Motors, inner and rear focusing, Image
Stabilizer, Diffractive Optics, and a fully-electronic interface.
Only the variety and versatility of EF lenses can match your
wondrous imagination.
Images From Your Imagination,
Delivered by Canon EF Lenses
ULTRA-WIDE ZOOM LENSES
Getting Everything In
If your mind’s eye calls for a very wide shot, how about one of the
three ultra-wide zoom lenses? The zoom range of these lenses suits
the vast majority of wide-angle shots you will ever take. Or, try a
standard zoom lens with a focal length from wide to telephoto to
get the most out of your camera.
EF 17-40mmf/4L USM
•f/8 •1/250 sec.
EF 16-35mm f/2.8L USM
•f/2.8 •2 sec.
EF 16-35mm f/2.8L USM
EF 17-40mm f/4L USM
EF 20-35mm f/3.5-4.5 USM
A superb lens that covers nearly every
professional wide-angle task. Out-
standing optical performance comes
from three Aspherical lens elements,
and (for the first time ever in an EF
wide-angle zoom lens) two Ultra-low
Dispersion UD elements. Weather-
resistant construction, a rear gel filter
holder, close-focusing to 11 inches
(0.28m), and a circular diaphragm are
among its many highlights.
About half the price of the 16-35 f/2.8
lens, this L-series lens has an entirely
new optical design with three Aspherical
elements and a Super UD-glass element.
The combination provides superb
contrast and sharpness, even at the
widest settings. It’s ideal for both film
and digital SLRs, and features the same
weather-resistant design, rear gel filter
holder, and high-speed Ultrasonic
Motor as the EF 16-35mm lens.
A superior performance ultra-wide-
angle zoom lens, covering the entire
range of popular wide-angle focal
lengths. A ring-type USM and an inner
focus design provide fast and silent AF,
along with full-time manual focus
override. Priced within the range of
serious photo enthusiasts, it’s a great
all-around choice.
* The icons are described on pages 34-38
“EF Lens Technologies”
4
5
Aspherical lens
UD lens
●
●
STANDARD ZOOM LENSES
All-Around, Practical Lenses
Very likely, your first EF lens will be (or was) one of these lenses.
After all, they feature the most popular focal lengths. From wide-angle
to telephoto, you get the best of both worlds. The ten lenses in this
category give you a choice of zoom ranges and maximum apertures.
The smaller the maximum aperture, the smaller and lighter the lens.
Take a look at them all and get the one suiting your needs and budget.
EF-S 18-55mm f/3.5-5.6
Available only with Digital Rebel Kit
EF 24-70mm f/2.8L USM
EF 24-85mm f/3.5-4.5 USM
EF 28-80mm f/3.5-5.6 II
new
A standard zoom exclusively for the
Digital Rebel SLR camera with APS-C
size image circle equivalent to an
approx. 28-90mm focal length.
Compact and ultra-lightweight with
impressive close-focusing ability of 0.9
ft (0.28m). Features optimized coating
for digital imaging sensor to minimize
ghost images and flare. The lens can
only be mounted on the Digital Rebel
with shorter back focus than ordinary
EF lenses.
A superb new professional lens that
offers an even wider zoom range than its
predecessor—ideal for digital cameras.
It now features two types of Aspherical
elements, and an entirely new UD-glass
element for superb optical performance
even wide-open. It focuses closer than
before, and even faster with revised
electronics and a new processor. And,
it’s now sealed against dust and moisture
at the lens mount, the zoom and focus
rings, and the switch plate. The ultimate
professional standard zoom lens just
got better.
An excellent all-around zoom lens that
covers the range from ultra-wide-angle
to true portrait-length telephoto. Its
solid construction, fast USM autofocus
and smooth operation are matched by
its excellent optical quality. This compact
lens is an ideal choice for shooters who
want wider coverage than provided by
most standard zooms. The extra-wide
coverage also makes it a great standard
zoom for digital SLRs.
For many EOS users, this is their first EF
lens. Light, compact and affordable, it
covers a practical range of focal lengths
—ideal for almost everything from
family snapshots and travel to event
photography. A lightweight DC-focusing
motor provides brisk autofocus, as
close as 1.3 feet (0.38m), enough to fill
the frame with a subject about the size
of a postcard.
EF 24-70mm f/2.8L USM
•f/11 •1/60 sec.
EF 28-90mm f/4-5.6 II USM
•f/5.0 •1/200 sec.
6
7
Aspherical lens
UD lens
●
●
STANDARD ZOOM LENSES
EF 28-90mm f/4-5.6 II USM
EF 28-105mm f/3.5-4.5 II USM
EF 28-105mm f/4-5.6 USM
EF 28-135mmf/3.5-5.6 IS USM
Super-light and compact like its
This lens is an outstanding choice
as a standard zoom for advanced
photographers looking for durability
and performance. It has the same
optical formula (and quality) as the
previous highly-regarded EF 28-105mm
USM lens, but with a refined exterior
appearance. Its ring-type USM gives
the silent and fast autofocus that EOS
users expect, along with full-time
manual focusing capability—even when
in the AF mode.
This incredible lens is the smallest and
lightest in its class. It’s totally new
optically, with an Aspherical element to
keep the quality up and the size down.
Even more noteworthy is an entirely
new Micro USM, that’s about half the
length of previous designs—with the
same focusing power and performance.
Features like circular diaphragm blades
(for natural backgrounds) and internal
focusing (the front element never
An unbeatable combination of zoom
range, silent and fast USM autofocus,
excellent optics and Canon’s Image
Stabilization technology. IS allows
steady hand-held operation at shutter
speeds up to two full stops slower
than would normally be possible,
and makes this a practical lens even
in low-light situations. It’s one of the
most versatile lens choices in the
entire EF line-up for the advanced
EOS photographer.
predecessor, but now with even faster
AF due to new internal electronics and a
faster lens CPU. It’s optically unchanged,
which is a good thing—images are
sharp and crisp throughout the zoom
range, and the Micro USM provides
quick and ultra-quiet AF. It’s an ideal
standard lens, and one of the most
popular in the entire EOS system.
rotates) round out this great new lens.
EF 28-200mm f/3.5-5.6 USM
EF 35-80mm f/4-5.6 III
The ultimate all-in-one zoom lens, and
one of the world’s closest-focusing
28-200mm zooms with internal
The most affordable zoom lens in the
entire EF lens system. Light and ultra-
compact, this lens isn’t lacking for
optical performance—it has an
Aspherical lens element for better
optical quality, and its close-focusing
allows filling the frame with a subject
the size of a postcard at its 80mm focal
length. It’s a great entry into SLR
photography and the EOS system.
focusing down to 17.7 inches (0.45m)
at all focal lengths. Canon’s Micro USM
provides the quick and quiet AF, and
sixteen optical elements (with two
Aspheric elements) provide the highest
optical quality in its class. A brilliant
choice when you need one zoom lens to
perform many different tasks.
EF 28-105mm f/3.5-4.5 II USM
•f/8 •1/180 sec.
8
9
Aspherical lens
●
TELEPHOTO ZOOM LENSES
Isolate the Interesting Part
The eye tends to see the whole rather than the individual parts. It
also sees what’s near and not what’s far. By bringing attention to
those things missed by the eye, you can create many interesting
pictures. It could be the grimace of an athlete, the grill of a classic
car, or a girl against a blurred background. Telephoto lenses can
also compress images to give dramatic effects. You are limited only
by your imagination.
EF 55-200mm f/4.5-5.6 II USM
EF 70-200mm f/2.8L IS USM
new
Super-compact and light, this lens is
ideal for digital SLRs–used on the
Digital Rebel, it’s equivalent to an
approx. 90-320mm lens. The 13-element
design’s new optical coatings are
optimized for digital cameras, it’s a
lightweight telephoto that’s perfect for
any EOS SLR. It focuses down to under
4 feet (1.2m), and its Micro USM-powered
AF is faster than ever, due to new
electronics within the lens.
A spectacular professional lens,
combining the virtues of the legendary
EF 70-200 f/2.8L with the Canon’s
newest Image Stabilization technology.
The IS system now offers up to a three-
stop improvement in hand-held ability,
responds faster than ever before, and
functions on a solid tripod. Additional
improvements include faster AF response
and tracking speed, weather-resistant
construction, and the entirely new optical
system focuses even closer (to 4.6 feet/
1.4m) than the non-IS version.
EF 70-200mm f/2.8L USM
•f/4 •1/1500 sec.
EF 70-200mm f/2.8L USM
EF 70-200mm f/4L USM
EF 80-200mm f/4.5-5.6 II
EF 75-300mm f/4-5.6 III USM
For years, the most popular professional
lens in the entire Canon line-up. Superbly
sharp and versatile, its constant f/2.8
maximum aperture makes it a favorite
of photojournalists and low-light
shooters. Four UD-glass elements
contribute to its excellent performance.
Full compatibility with the EF Extenders
1.4x II and 2x II extends its usefulness,
and it’s also compatible with the EF
Extension Tubes 12 and 25, and the
77mm Close-up Lens 500D.
A truly professional L-series telephoto
zoom lens, with reduced size and weight
for applications where portability is
important. Superb optically, it combines
a Fluorite element with two UD-glass
elements for outstanding contrast and
performance. Its ring-type USM is fast,
silent, and permits full-time minimum
focus, as well as the closest MF of any
of the L-series 70-200 designs. It’s also
compatible with EF Extenders 1.4x II and
2x II, and accepts an optional accessory
tripod collar.
The ultimate compact telephoto zoom
lens in the EF system, and a great
choice for travel and other applications
where portability is a priority. It’s
especially well-suited for compact SLR
bodies such as the EOS Rebel and Elan
series, and even compact digital EOS
SLRs, with a weight of only 8.8 oz.
(250g). Its optical quality is assured by
a five-group zooming system.
With the addition of a Micro USM for
faster and even quieter autofocus, this
version of the EF 75-300mm is well-
suited for sports and other applications
requiring fast AF. The USM version
shares the compact size, close focusing
range, and accessory compatibility of
the non-USM lens. For many advanced
amateurs, the 75-300 range is ideal
as a versatile entry into telephoto
photography.
10
11
Fluorite lens
UD lens
●
●
TELEPHOTO ZOOM LENSES
EF 35-350mm f/3.5-5.6L USM
A unique professional L-series lens,
covering an amazing 10x zoom range
from wide-angle to super-telephoto. It’s a
magnificent choice for travel photography
and other outdoor applications. The
zoom control has a separate ring to adjust
or lock the zooming action, enhancing
its already excellent handling. The 21-
element optical formula includes two
UD-glass elements, and at its 135mm
zoom setting, close-focusing to two feet
(0.6m) is possible.
EF 100-400mm f/4.5-5.6L IS USM
•f/14 •1/80 sec.
EF 75-300mm f/4-5.6 III
EF 75-300mm f/4-5.6 IS USM
EF 100-300mm f/4.5-5.6 USM
EF 100-400mm f/4.5-5.6L IS USM
The most affordable of Canon’s long
telephoto zooms, this lens is excellent
for subjects from portraits to wildlife and
nature. It shares the same 13-element
optical system as the 75-300mm USM
lens, but uses a DC motor for autofocus.
Close-focusing down to 4.9 feet (1.5m)
allows filling the frame (at 300mm) with
a subject the size of a dollar bill, and
it’s compatible with the Canon 58mm
Close-up lens 500D for even more
A significant lens in the history of Canon
optics, this was the first SLR lens in the
world to offer Image Stabilization—
providing up to two stops of improvement
in hand-held capability at slow shutter
speeds. Its 15-element optical formula
is unique, but it offers capabilities
similar to Canon’s 75-300 versions
without IS. Image Stabilization gives
this lens amazing real-world sharpness
in many situations, and is especially
advantageous when combined with
lightweight camera bodies.
This affordable and lightweight zoom
differs from the 75-300mm models
with its higher-performance ring-type
Ultrasonic focusing motor and superior
AF speed. It also uses rear group
focusing, so the front elements never
rotate during focusing, and adds full-
time manual focusing capability. It’s
excellent not just for outdoor sports,
but any subjects requiring the versatility
of a telephoto zoom.
A truly professional L-series telephoto
zoom lens with Image Stabilization,
making hand-holding practical even at
its 400mm focal length. Both a Fluorite
and a Super UD-glass element ensure
outstanding contrast and sharpness,
and it accepts the EF Extenders 1.4x II
and 2x II. A ring-type USM makes AF
fast and silent down to 5.9 feet (1.8m),
and of course it offers full-time manual
focus override. This durable L-series
lens is regarded by many pros as one of
the world’s finest telephoto zooms for
hand-held outdoor use.
spectacular shots of small objects.
12
13
Fluorite lens
UD lens
Super UD lens
●
●
●
ULTRA-WIDE & WIDE LENSES
Wide and Fast
If you need an ultra-wide angle and a large aperture, one of the
following lenses will fit the bill. Ultra-wide-angle lenses can capture
scenes beyond your natural field of vision. The EF 15mm f/2.8
Fisheye, the widest of them all, has a 180˚ angle of view. For more
normal-looking wide-angle shots, there are longer wide-angle lenses
up to 35mm with the maximum aperture you need.
EF 24mm f/1.4L USM
•f/8 •5 sec.
EF 15mm f/2.8 Fisheye
•f/16 •1/640 sec.
EF 15mm f/2.8 Fisheye
EF 14mm f/2.8L USM
EF 20mm f/2.8 USM
EF 24mm f/1.4L USM
A full-frame fisheye lens that’s ideal for
special effects with any EOS camera,
film or digital. It focuses as close as
eight inches (0.2m), and is tack-sharp
throughout its focus range. Up to three
gel filters can be inserted into its built-in
rear filter holder.
This is a true rectilinear ultra-wide-angle
lens that’s absolutely corrected for
linear distortion—straight lines remain
straight. It’s outstanding for shooting
in confined areas and interiors, and is
often used by professionals because of
the unique “look” its extreme wide-
angle perspective provides. The optics
are superb, highlighted by a ground
and polished aspherical element. It
has a gel filter holder in the rear that
allows up to three gel filters to be used
for color correction.
The optical performance, fast f/2.8
speed and ultra-wide-angle coverage
make this a great choice for many
applications, like interiors, scenics,
travel and photojournalism. It uses a
“floating” optical system for excellent
sharpness even at its minimum focusing
distance of under 10 inches (0.25m),
and with a ring-type USM and full-time
manual focusing capability, offers the
speed and handling pros expect.
That f/1.4 is not a typo—this is the
fastest ultra-wide-angle lens in the
world. The first EF lens to combine
Aspherical and UD Ultra-low Dispersion
glass L-series optical technologies, the
24mm f/1.4L provides outstanding
sharpness and contrast even wide open.
It focuses down to 10 inches/0.25m,
and the AF is what you’d expect from a
professional Canon lens with USM—fast
and silent, with smooth full-time
manual focus available at any time.
14
15
Aspherical lens
UD lens
●
●
ULTRA-WIDE & WIDE LENSES
EF 28mm f/1.8 USM
EF 28mm f/2.8
Combine a fast f/1.8 aperture with
The most affordable fixed focal length
wide-angle lens in the Canon EF line-up
continues to give benefits difficult or
impossible to find with zooms. The fast
f/2.8 aperture makes it easy to use in
lowlight, and provides a bright viewfinder
image in the camera. It focuses as close
as 10 inches/0.25m without accessories.
And optically, it provides excellent
edge-to-edge contrast and sharpness
along with superior correction of linear
distortion, so straight lines in a subject
(such as architecture) remain straight.
28mm wide-angle focal length, and add
Canon’s Ultrasonic Motor AF. The result
is this surprisingly affordable fixed focal
length alternative to wide-angle zooms
that’s ideal for low-light shooting.
Internal, rear-group focusing means the
front element never moves, so it’s easy
to use with filters and accessories. The
autofocus is virtually silent, and full-
time manual focus is always available.
EF 35mm f/1.4 L USM
•f/1.4 •1/500 sec.
EF 24mm f/2.8
EF 35mm f/1.4L USM
EF 35mm f/2
Another superb ultra-wide-angle choice,
with floating optics for superior
Long requested by professionals, it’s
the standard lens for many photo-
journalists and others who value its
low-light capability and performance.
With the help of an Aspheric lens
element, its contrast and sharpness
are stunning, even wide-open at f/1.4.
Solid construction, a powerful ring-type
USM for smooth and fast AF, and full-
time manual focusing make this a great
lens for film or digital shooters.
An affordable lens that’s ideal for tasks
like group photos and other applications
calling for excellent optical performance
and moderately wide focal length. It’s
compact and lightweight, and with f/2.0
speed, it’s a compelling alternative to
a wide-angle zoom lens for low-light
shooting.
performance throughout its focus range
and a fast f/2.8 aperture that makes
it a great alternative to a zoom lens for
low-light shooting. Its rear-group
focusing system reaches down to less
than 10 inches (0.25m).
16
17
Aspherical lens
●
MEDIUM & STANDARD TELEPHOTO LENSES
Medium and Standard
A medium telephoto lens with a large aperture brings the subject closer,
creates excellent background blur, gives a longer flash range, and affords
a faster shutter speed to freeze the action. A standard zoom lens, with
its natural angle of view and perspective, captures the subject plainly,
with no special effects. However, you can use standard lenses in creative
ways by varying the subject distance, aperture, and angle. Three medium
telephoto lenses and two standard telephoto lenses are available.
EF 50mm f/1.4 USM
EF 50mm f/1.8 II
EF 85mm f/1.2L USM
EF 85mm f/1.8 USM
The ultimate “normal” lens in the EF
system. This superb lens is sharp even
wide-open, and of course its f/1.4 speed
makes it perfect for available-light
shooting. For many, it’s an ideal lens to
accompany a zoom when shooting in
low-light conditions. Compact and
affordable, it’s the only lens in the EF
system to combine the extra-small Micro
USM and still provide full-time manual
focusing when the lens is in the AF mode.
Lightweight and affordable, this sharp
lens with a fast f/1.8 aperture is an
excellent first lens for those who prefer
a fixed focal length, and makes an
excellent addition to any photographer’s
system for available-light shooting. A
traditional Gauss-type optical design
ensures sharp performance even wide-
open, and it focuses as close as 18
inches/0.45m.
The fastest telephoto lens in the entire
Canon EF line-up, and the world’s fastest
85mm autofocus lens. This exquisite
professional lens is obviously popular
for its available-light capabilities, but its
proven performance makes it ideal for
portraits, fashion and even sports. Two
Aspherical elements provide thorough
correction of spherical aberrations. A
ring-type USM means silent AF from 3ft./
0.9m to infinity, and full-time electronic
manual focusing is also available.
Sharp. Lightweight. Responsive. These
are just a few adjectives that describe
this terrific portrait-length telephoto
lens. With a powerful ring-type USM
and fast f/1.8 aperture, subjects zip
into focus in the viewfinder. It’s great
for all types of work calling for moderate
telephoto power, but comes into its
own in low-light situations, and offers a
1/3-stop speed advantage over the
100mm f/2 USM lens.
EF 100mm f/2 USM
Another option in high-speed moderate
telephotos, this compact lens is ideal for
portraits and low-light work. Compared
to the 85mm f/1.8 USM lens, it provides
that little bit extra of telephoto power
sometimes necessary outdoors or for
candid shooting. Like the 85mm, it’s
super-sharp (even wide-open), and has
fast USM autofocus along with full-time
manual focusing.
EF 85mm f/1.2L USM
•f/1.2 •1/750 sec.
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Aspherical lens
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TELEPHOTO LENSES
Long and Fast
A telephoto lens is essential to any serious photographer. For
sports action, you will need a fast shutter speed and a long focal
length. A large maximum aperture allows a faster shutter speed.
In this telephoto lens line-up, the focal lengths range from 135mm
to 300mm. If you want compactness, choose a lens with a smaller
maximum aperture.
EF 135mm f/2L USM
One of the finest lenses of its type in the
world today. This magnificent telephoto
lens uses two UD-glass elements to
provide incredible sharpness and
contrast, even wide-open. It’s perfect
for outdoor portraits, but comes into its
own in low-light situations. It focuses
down to 3 feet (0.9m), and is fully
compatible with both the EF 1.4x II and
2x II tele extenders.
EF 135mm f/2L USM
•f/2 •1/200 sec.
EF 135mm f/2.8 with Softfocus
EF 200mm f/2.8L II USM
A unique, compact telephoto lens that
gives the choice of razor-sharp images,
or with the twist of a ring, two degrees of
soft focus. It works by applying “softness
over sharpness,” using deliberate
spherical aberration on top of a sharp
“core” image at apertures from f/2.8 thru
5.6; images taken at apertures smaller
than f/5.6 are always sharp. Autofocus
continues to function, with or without
the soft focus in use. This lens is an
ideal addition to a portrait or scenic
photographer’s arsenal. A perfect
combination with an EOS Digital SLR,
with the camera enabling review of soft
focus effect on the LCD monitor.
Lighter by more than 1.2 pounds (545g)
than the 70-200 f/2.8L zoom lens, this
fast telephoto lens is a perfect alternative
for low-light shooting or just reducing
weight in the gadget bag. Two UD-glass
elements and internal rear-group
focusing are among its optical highlights,
and it’s fully compatible with Canon’s
EF 1.4x II and 2x II tele extenders. A
detachable hood is included, and Tripod
Ring A (B) is available as an accessory.
EF 135mm f/2.8 with Softfocus
•Soft level: 2
EF 135mm f/2.8 with Softfocus
•Soft level: 0
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Aspherical lens
UD lens
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TELEPHOTO LENSES
EF 300mm f/2.8L IS USM
EF 300mm f/4L IS USM
Image Stabilization adds to what’s
already a legendary professional lens.
The 300mm f/2.8L IS lens focuses
closer (down to 8.2 feet/2.5m), offers
the world’s fastest autofocus when
used with EOS bodies having 45-point
AF, is gasketed and sealed against dust
and moisture, and has a lightweight
magnesium alloy barrel and tripod
collar. Its image quality, aided by both
Fluorite and UD-glass, is stellar, and
its advanced IS even works on a rock-
steady tripod—as well as on a
Excellent optics and superb handling
in a compact package with Image
Stabilization. The IS allows safe hand-
holding at shutter speeds up to two
stops slower than otherwise possible—
making it even more useful in low-light
levels. It’s less than half the weight of
the 300mm f/2.8L IS, and it focuses to
an incredibly close 4.9 ft/1.5m, filling
the frame with a subject the size of a
postcard. Like all of Canon’s fixed focal
length L-series lenses above 135mm,
it’s compatible with Canon’s EF Extenders
1.4x II and 2x II.
monopod or when hand-held.
EF 300mm f/2.8L IS USM
•f/3.5 •1/180 sec.
EF 300mm f/4L IS USM
•f/13 •1/60 sec.
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Fluorite lens
UD lens
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SUPER TELEPHOTO LENSES
See a Different Dimension
A super telephoto lens can make an ordinary scene into an extraordinary
one. Its ability to see surpasses that of the human eye. It can compress
images and make them look as if they come from another dimension.
It opens up new realms of photographic expression. All EF super
telephoto lenses are L-series lenses to provide the highest quality.
The USM provides quiet and high-speed autofocusing. These lenses
promise outstanding delineation and put your imagination to the test.
EF 400mm f/2.8L IS USM
EF 400mm f/5.6L USM
EF 500mm f/4L IS USM
Virtually the standard lens for many
professional sports shooters, this
optical powerhouse is ideal for any film
or digital application where you need
telephoto power and low-light capability.
With one Fluorite element and two UD-
glass elements, it’s one lens you won’t
need to stop down to get a good image.
The Image Stabilization only adds to its
all-around abilities. Details include a
network of weather-resistant seals
and gaskets, and a focus preset that
enables instant return to a memorized
focusing distance.
Light. Portable. Excellent handling.
Sharp. And amazingly fast autofocus.
The 400mm f/5.6L is all of these things,
and a premier choice for wildlife and
nature photographers—one of the
finest telephoto lenses in the world for
fast-moving subjects such as birds in
flight or motor sports. It uses UD-glass
elements to provide outstanding optical
quality, even wide-open, and image
quality is preserved when used with
either the EF 1.4x II or EF 2x II tele
Always a favorite of motor sports,
wildlife and nature shooters, the
relatively lightweight 500mm lens now
adds Image Stabilization for an
unbeatable package of handling and
sharpness. Fluorite and UD-glass—a
combination available from no other
lens manufacturer—provide great
performance, even with the EF 1.4x II or
2x II tele extender attached. It focuses
down to less than 15 feet (4.5m), and
offers the same weather-resistant
design and incredible AF speed as its
300mm, 400mm and 600mm siblings.
extenders. It accepts 77mm filters, and
has a built-in removable tripod collar.
World’s First Diffractive Optics Lens for Photography
element, they permit almost total
elimination of chromatic aberrations,
and at the same time are able to
EF 400mm f/4 DO IS USM
combat spherical aberrations.
Combining portability and easy handling,
Image Stabilization, weather-resistant
construction, superb optics and incredible
AF performance, the 400mm DO IS lens
is ideal for photographers who want
super-telephoto power along with good
lens speed in a hand-holdable package.
An entirely new optical technology for
SLR camera lenses, Multi-Layer
Diffractive Optics, makes possible a
400mm super-telephoto lens that’s
about 1/3rd shorter and significantly
lighter. Diffractive Optics don’t end
there—combined with a small Fluorite
EF 400mm f/4 IS DO USM
•f/4 •1/1250 sec.
Fluorite lens
UD lens
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25
Super UD lens
Diffractive Optical lens
●
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SUPER TELEPHOTO LENSES
Focal Length Comparison
EF 600mm f/4L IS USM
•f/10 •1/500 sec.
15mm Fisheye
85mm
EF 600mm f/4L IS USM
14mm
100mm
135mm
200mm
300mm
400mm
500mm
600mm
1200mm
An outstanding professional lens for
bridging distances in sports, wildlife,
and many other applications—including
commercial and fashion for the distinct
“compressed” telephoto character and
totally out-of-focus backgrounds its
images can possess. Fluorite and UD-
glass are combined for incredible
5.4 m. It has the same weather-resistant
gaskets and sealed focusing and focus
pre-set rings as Canon’s other Image
Stabilized super-telephoto lenses.
17mm
20mm
image quality, even wide-open. Image
Stabilization adds a new dimension
in this long lens’ usefulness, even in
marginal lighting. It works beautifully
with both 1.4x II and 2x II extenders,
and now focuses as close as 17.5 feet/
24mm
Extender EF 1.4x II
Extender EF 2x II
28mm
A powerful addition to any serious
photographer’s arsenal, this compact
extender is compatible with every fixed
focal length L-series lens 135mm and
over, as well as the 70-200/2.8L, 70-200/
2.8L IS, 70-200/4L, and 100-400/4.5-
5.6L IS lenses. It multiplies the lens’
marked focal length 1.4 times, with a light
loss of only one stop. Most impressively,
its superior optics preserve the lens’
inherent image quality. New with the
version II extender are improved internal
anti-reflective blackening, and enhanced
weather resistance.
A totally new 7-element optical design
for this version II extender means superior
image quality combined with a doubling
of the lens’ marked focal length (with a
two-stop reduction in effective aperture).
Compatible with the same lenses as the
1.4x II extender, the EF 2x II still allows
autofocus with any EOS body when used
with a lens f/2.8 or faster. It shares the
improved anti-reflection internal design
and weather-resistant exterior, including
seals at its front and rear lens mounts
matching those on Canon’s newest
35mm
50mm
professional lenses and camera bodies.
70mm
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Fluorite lens
UD lens
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MACRO
Discovering a Small World
The small things we see and ignore every day can actually reveal
much surprise and fascination up close. A world all their own.
Canon offers several ways to discover this world. The four EF macro
lenses are the most effective and versatile, while the three screw-on
Close-up lenses are the most convenient. Also available are the
Life-Size Converter EF and two Extension Tubes.
EF 50mm f/2.5 Compact Macro
Life-Size Converter EF
A versatile macro lens with focusing
from infinity down to half life-size
(0.5x), and floating optics to insure
sharpness and contrast at any focusing
distance. With f/2.5 speed, it’s actually
an ideal general-purpose normal lens
that adds true macro capability, and it’s
great for photographing flat artwork or
subjects because of its outstanding
center-to-corner flat field performance.
A dedicated optional accessory Life
Size Converter, available separately,
allows focusing down to full life-size
(1x magnification) and its optics
A unique accessory, dedicated
exclusively for the EF 50mm f/2.5
Compact Macro lens. Unlike a
conventional extension tube, the Life
Size Converter EF has a 4-element
optical design that acts like a tele
extender, allowing magnifications from
0.26x to 1x (full life-size) while increasing
the working distance from the front of
the lens to the subject. Optical quality
is outstanding with the Life Size
Converter EF in place.
actually increase working distance from
the front of the lens to the subject.
MP-E 65mm f/2.8 1-5x
Macro Photo
This special-purpose lens is strictly for
high-magnification shooting between
1x (life-size) and 5x—at its closest
focus distance, you can fill the frame
with a grain of rice. Its optics, dedicated
for macro work, are superb. Focus is
manual only, and there’s a detailed
magnification scale engraved on the
barrel. It includes a tripod collar, and is
fully compatible with Macro Ring Lite
MR-14EX and Macro Twin Lite MT-24EX.
MP-E 65mm f/2.8 1-5x Macro Photo
•f/11 •1/125 sec. (3.0x)
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UD lens
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MACRO
EF 100mm f/2.8 Macro USM
•f/5.6 •1/6 sec.
EF 100mm f/2.8 Macro USM
EF 180mm f/3.5L Macro USM
About Macro Magnification
A life-size macro lens—that is, a 1x
magnification records an image on film
at its actual size. If you’re photographing
a flower, for example, and it has a
diameter of 1 in., it will occupy 1 in. on
your film. Other macro lenses have
lower or higher magnifications. A lens
with 0.5x magnification would produce
an image on film that is half the size of
the actual subject. Your 1 in. flower,
then, would only occupy 0.5 in. on film.
In the other direction, a 5x magnification
lens would convert the 1 in. flower to a
5 in. diameter image. Since the entire
image wouldn’t fit in the frame of your
film, you would have an enlarged image
of a detail of the flower. Magnification
is not the same thing as focal length. A
50mm lens and a 135mm might both
be macro lenses with, for example,
1.0x magnification. The advantage of
the longer lens is that it allows greater
distance from a subject. You would
choose the 135mm macro lens to
Many EOS shooters consider this two
professional lenses in one: a superior-
performance portrait-length tele with a
fast f/2.8 aperture and lightning-quick
USM AF; and a superb macro lens
that focuses to life-size (1x) without
accessories. It has a unique internal
focusing design and floating optics for
sharpness throughout its vast focus
range, and allows a working distance
of 5.9 inches (149mm) at life-size. Full-
time manual focusing and an available
Tripod Mount B with adapter round out
this terrific macro lens.
One of the sharpest lenses in the entire
EOS system, and a brilliant all-around
telephoto lens that can focus to true
life-size (1x)—with a working distance
of almost 10 inches (0.25m) from the
subject! Three UD-glass elements, a
floating optical system, and internal
focusing assure superb performance at
any distance. It’s even compatible with
the EF 1.4x II and 2x II tele extenders.
A powerful ring-type USM means fast
and silent AF, along with full-time manual
focus. It includes a tripod collar and
detachable lens hood.
0.25x
0.5x
1.0x
3.0x
5.0x
photograph a butterfly or a bird.
The 50mm lens would be more suitable
for a subject that won’t move away
when you approach it.
Extension Tube EF 12 II
Extension Tube EF 25 II
Close-up Lens 250D
Close-up Lens 500D
Close-up Lens 500
new
Extension tubes are one method of
getting closer with EF lenses. A powerful
tool when attached to standard and
wide-angle lenses, they’re also used
with telephotos to get just a bit closer.
With any lens, the longer the extension
tube, the greater the close-up effect.
The 12mm EF 12 II is often used with
wide-angle lenses, while the longer EF 25 II
is a better choice for normal or telephoto
lenses. Auto exposure continues to
work reliably, but manual focus is
An effective close-up method with
telephoto lenses, and the only close-up
accessory that doesn’t lose light. The
250D is optimized for lenses between
50 and 135mm, while the 500D works
best with lenses from 75mm through
300mm. Both have a double-element
design, so their optical quality is
excellent. The Close-up lens 500, a
single-element design, offers an even
more affordable alternative.
recommended in most instances. The
version II extension tubes are also
compatible with EF-S 18-55mm f/3.5-5.6.
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UD lens
●
TS-E LENSES
For Advanced Photo Work
With a Canon TS-E lens, you can control the angle of the plane of
focus and the picture’s perspective. The effects of large-format camera
movements can be obtained with TS-E lenses for EOS cameras.
Although manual focusing is required, automatic aperture control
enables autoexposure and autoexposure bracketing. The tilt and
shift axes intersect at a 90˚ angle. They can be made parallel at an
authorized Canon Service Facility (modified at owner’s expense).
TS-E Lens Movements
TS-E lenses are capable of tilt and shift movements which greatly
expand picture-taking possibilities. Tilt movements alter the angle
of the plane of focus between the lens and film plane, and shift
movements move the lens’ optical axis in parallel.
TS-E 24mm f/3.5L
TS-E 45mm f/2.8
Tilt Movements
If you want to bring the entire length of
the hedge into focus, you could use a
wide-angle lens and a small aperture to
obtain a wide depth of field (Photo 1-a).
With tilt movements, you can achieve
this wide depth of field even at the max-
imum aperture. By tilting the center of
the TS-E lens barrel, you can tilt the lens
so that the plane of focus is uniform on
The widest tilt-shift lens in the Canon
system, and a marvelous problem-
solver for architecture, scenics, and
many other applications calling for a
wide-angle perspective. With floating
optics, it’s sharp from infinity down to
1 ft. (0.3m), and it uses a ground and
polished Aspherical front element to
assure excellent quality. Like all the
TS-E lenses, it has a fully automatic
diaphragm, so there’s never a risk of
forgetting to stop the lens down.
The normal lens in the TS-E system,
and an excellent choice for product
shooting and other applications calling
for a natural perspective. It allows up
to 11mm of shift off-center, and even
more impressive, tilting of the front
standard up to 8° to modify the plane
of focus. Among the TS-E 45mm f/2.8’s
optical highlights are a floating optical
system (focusing down to 1.3 ft/0.4m),
and a precise rear-group focusing system.
Photo 1-a
the film plane (Photo 1-b).
Uncorrected
Using Tilt Movement to Focus
an Oblique Subject Plane
Depth of field with tilt movements
Plane of optimum focus
Film plane
Photo 1-b
Corrected with tilt
Shift Movements
Normally, when you point your camera
up at a tall building, the building will
look slimmer toward the top. It becomes
trapezoidal (Photo 2-a). This perspective
effect is more pronounced with shorter
lens focal lengths, distorting the building
even more. By altering the parallel
position between the lens and the film
plane with the TS-E lens, this perspective
effect can be corrected. With the camera’s
film plane set parallel to the building,
TS-E 90mm f/2.8
Telephoto perspective, f/2.8 speed,
and full tilt and shift movements in a
compact, professional package.
shifting the lens upward will obtain a
more rectangular-looking building
(Photo 2-b).
Photo 2-a
Uncorrected
Impressively sharp, its ability to alter
the plane of focus can provide a “look”
that previously required a view camera
to achieve. Pros have found it a great
option for portraits, products and
even fashion work. At its closest
focus distance (1.6 ft/0.5m), it gives
magnifications of about 1/3 life-size.
Using Shift Movements to Focus Tall Building
With a normal lens
With a TS-El lens
Photo 2-b
Corrected with
shift
TS-E 45mm f/2.8
•f/4 •1/30 sec.
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Aspherical lens
●
Technology Where It Counts
that the ray goes through a change in
direction before passing through the lens.
The change in direction is caused by a
diffraction grating—very fine parallel
grooves or slits on the surface. Canon
found that using a concentric diffraction
grating that gets smaller toward the
edges—some as fine as tenths of a
micrometer—solved many of one
inherent physical limitations of camera
optics. The design also makes it
possible to obtain the same effect as an
Aspherical lens. And taking the
technology a step beyond, we actually
use two single-layer diffractive optical
elements whose diffraction gratings are
bonded together face-to-face. Since
longer wavelengths form an image closer
to the lens due to the large diffractive
angle, and shorter wavelengths form an
image farther from the lens due to the
smaller diffractive angle, putting the DO
elements with conventional glass optics
actually cancels out each other’s
chromatic aberrations and is exceptionally
effective in correcting this optical defect.
The diffraction that occurs with Canon’s
Multi-Layer Diffractive optical elements
actually corrects the optical system’s
chromatic aberrations and improves the
image formation performance.
Canon’s innovations put your images on film quickly, quietly, and
easily with outstanding results.
Diffractive Optics
Another world’s first in camera lens
optical design, Canon introduced new
technology in order to build a super
telephoto that complements its latest
compact film and digital SLR cameras.
This cutting-edge technology employs
diffractive optical elements that use the
principle of diffraction to change the
direction of the lightwave’s path. This
revolutionary element has Aspherical
characteristics, which help define
superior maximum aperture image
quality, as well as optical qualities
superior to UD-glass to totally correct
color fringing. The Multi-Layer Diffractive
Optical Elements exhibit outstanding
ability to correct chromatic aberrations
(color defects), and are especially effective
in super telephoto lens design where
these specific types of optical defects
are most likely to happen. You can see
how well the technology works in your
own pictures by examining the straight
edges of a subject in your picture. You
will see a crisp, clear edge without the
telltale, prismatic color fringing that is visible
with images shot using inferior optics.
Ultrasonic Motors (USM)
Aspherical Lenses
The Ultrasonic Motor (USM) in Canon
EF lenses is the world’s first lens-based
motor. Based on a totally new
Ordinary spherical elements have an
inherent flaw in that the point of focus
for the lens center does not match that
of the lens periphery. Spherical
technology, the motor spins by ultrasonic
oscillation energy. The USM is quiet
and quick. It has made EF lenses almost
noiseless and autofocusing fast,
aberrations of large-aperture lenses and
distortion by ultra-wide-angle lenses
cannot be resolved with spherical
elements alone. The Aspherical lens
element was therefore developed. The
curvature of the lens element is calculated
and shaped to achieve the ideal single
point of focus. The result is high contrast
with minimal flare even with a large-
aperture lens. Distortion can also be
effectively corrected in ultra-wide-angle
lenses. Canon started to develop
manufacturing technology for Aspherical
elements early on. We eventually
succeeded in establishing a mass-
production grinding and polishing
process with a polishing precision of
5/10,000 mm. In 1971, Canon marketed
the FD 55mm f/1.2AL lens, the world’s
first large-aperture Aspherical lens for
SLRs. This was followed by many other
Canon lenses incorporating Aspherical
elements and they were well received.
precise, and practical. The direct-drive
construction is very simple, with no gear
train. This makes it durable and efficient.
It also consumes little power. Two types
of USM are used: Ring-type USM and
Micro USM. The former type is found in
large-aperture and super telephoto
lenses, while the latter is used in more
compact lenses. Using the optimum
type of USM in the lens results in
maximum efficiency and effectiveness.
Diffractive
grating
The net result of Canon’s DO technology
is a lens design with reduced size and
weight while offering higher image quality
than a comparable focal length lens that
incorporates conventional glass optical
elements. It means a new generation of
high-performance lenses that complement
the more compact designs of our latest
SLR film and digital cameras.
Glass
lenses
Also, Canon developed mass-production
technology for glass-molded aspherical
elements and replicated Aspherical
lenses. The former was produced by an
ultra-high-precision aspherical lens-
molding machine which shaped the glass
directly. For the latter, the Aspherical
surface was formed by ultraviolet-
hardened resin film applied on a spherical
element. Canon has developed
Cross section
Front view
MRing-type USM
Multi-Layer Diffractive Optical Element Construction
Refractive Optical Element
Chromatic aberrations
400mm f/4 Lens Designed with a Refractive
Optical Element Only
Refractive Optical
Element and Multi-
Layer Diffractive
Optical Element
Image formation in
the blue, green, and
red wavelength order
Combined
numerous compact-size lenses, taking
full advantage of Aspherical elements
to attain high image quality.
Multi-Layer Diffractive
Optical Element
Chromatic aberrations
reversed from that of a
refractive optical element
Chromatic aberration
canceled out
Micro USM
317mm
Weight: 3,000g
UD element
Fluorite
400mm f/4 DO IS USM
(Incorporates Multi-Layer Diffractive Optical Element)
Image formation in the red, green,
and blue wavelength order
Red
Green
Blue
Correction of Chromatic Aberration by the
Multi-Layer Diffractive Optical Element
Spherical aberration of spherical lens.
Glass lens elements refract, or bend
lightwaves, as they pass through to
form an image. That’s simply the
naturally occurring physics of light. We
use multiple elements and special glass
to help keep the waves focused like a
pinpoint instead of spreading them into
the rainbow of color seen when light
passes through a glass prism. To
diffract a lightwave means
232.7mm
Multi-layer diffractive optical element
Fluorite
Weight: 2,080g
(Including removable
tripod collar)
Lens Downsizing with the Multi-Layer Diffractive
Optical Element
Note: If a very bright spotlight like a mercury lamp
is photographed with a DO lens, a ring of light may
occasionally appear around the light source, due to
the imaging characteristics of the Multi-Layer
Diffractive Optical Element.
Convergence of parallel light rays by
an Aspherical lens.
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Image Stabilizer
Circular Aperture
AF Stop Feature
No matter how great the lens is, camera
shake can spoil the shot. Blurred
photos due to camera shake usually
occur when the shutter speed is slower
than the reciprocal of the lens focal
length. For example, a shutter speed
slower than 1/200 sec. at the 200mm
focal length can invite a blurred photo
caused by camera shake. In such
cases, a tripod is necessary. However,
a tripod can be a heavy and troublesome
burden when you go hiking or traveling.
There are even places where using
tripods is prohibited. Using a slow
shutter speed then becomes difficult.
To resolve this problem, Canon became
the first manufacturer to incorporate an
Image Stabilizer in an SLR camera lens.
Optical shake is detected by gyro
sensors which provide the data
Certain Canon lenses feature a new
Circular Aperture diaphragm unit, which
uses curved aperture blades to provide
for a more rounded opening as the lens
is stopped down. It’s especially effective
at rendering out-of-focus background
highlights as natural rounded shapes. In
lenses such as the EF 70-200mm f/2.8L
IS lens, the lens opening is virtually
circular from f/2.8 to f/5.6. These lenses
retain all the benefits previously available
with Canon’s Electromagnetic Diaphragm
—smooth and consistent stop-down
operation (even at up to 10 fps with the
EOS-1v), near-silent aperture control, and
total absence of mechanical levers or
switches in the lens mount.
AF stop is featured on the EF 300mm
f/2.8L IS USM, EF 400mm f/2.8L IS USM,
EF 500mm f/4L IS USM, and EF 600mm
f/4L IS USM lenses. If something passes
between the camera and subject during
autofocusing, pressing the AF stop buttons
momentarily locks the AF to prevent the
focus from shifting to the obstruction
passing by. After the obstruction is gone,
the focus is still maintained on the subject
and you can quickly resume shooting.
The AF stop buttons are positioned at
four locations around the lens grip at the
front of the lens for easy access during
both horizontal and vertical shooting.
With Image
Stabilizer on
Dust- and Water-Resistant
Construction
necessary to shift the image-stabilizing
lens group in parallel to neutralize the
shake. This increases the usable
shutter speed range by up to 2 full
steps for hand-held shooting. Except
for the EF 28-135mm f/3.5-5.6 IS USM
and EF 75-300mm f/4-5.6 IS USM
lenses, IS lenses have two IS modes.
One is for normal image stabilization
and the other is for panned shots. With
a monopod, the Image Stabilizer on all
IS lenses operates normally as during
hand-held shooting. Also, the EF 300mm
f/2.8L IS USM, EF 400mm f/2.8L IS USM,
EF 500mm f/4L IS USM, and EF 600mm
f/4L IS USM lenses have a mechanism
that prevents having the Image Stabilizer
turned on while the lens is mounted on
a tripod.
With Image
Stabilizer off
Full-Time Manual Focusing
The new EF 300mm f/2.8L IS USM, EF
400mm f/2.8L IS USM, EF 500mm f/4L IS
USM, and EF 600mm f/4L IS USM
lenses are highly dust- and water-
resistant. The switch panel, exterior
seams, and drop-in filter compartment
have rubber linings. Moving parts such
as the focusing ring and switches are
also designed to prevent water and
dust from entering. These lenses can
therefore be used in harsh conditions
without dust and water getting inside.
Canon EF lenses and EOS cameras have
very high AF precision. Optimum focus
can be achieved quickly for almost any
shooting situation. Recent EOS cameras
have been equipped with multiple
focusing points for higher flexibility in
composing a photo while using AF.
Picture-taking is even more flexible with
Canon’s full-time manual focusing which
overrides the autofocusing mode. Lenses
with this feature allow you to switch to
manual focusing even in the AF mode.
You can keep looking through the
Floating System
Ordinary lenses are designed to give
the best results when the correction of
aberrations is most effective. This is
usually at the most commonly-used
focusing distances. At other focusing
distances, especially at the closest
focusing distance, aberrations tend to
appear. Canon’s floating system
suppresses aberrations at close
focusing distances. This system adjusts
the gap between certain lens elements
in correspondence to the focusing
distance. The aberration is effectively
corrected. The result is high image
quality with aberrations suppressed at
all focusing distances.
The lens is equipped with a rubber ring
on the mount to improve its dustproofing
and waterproofing characteristics. As
the lens is repeatedly mounted and
detached, the rubber ring will leave fine
abrasion marks on the outside of the
camera mount. This will not affect operation.
viewfinder and touch up the focus
manually without switching the focus
mode switch. Since the focusing ring
does not rotate during autofocusing, we
could make it wider for better holding
comfort and easier manual focusing.
Another ergonomic design which lets
you convey your intentions quickly. Full-
time manual focusing comes in two types.
One is electronic manual focusing where
the rotation amount of the focusing ring
is detected and the focusing motor is
driven electronically. The other type is
mechanical manual focusing where the
rotation of the focusing ring adjusts
the focus mechanically.
1: No camera shake
Group 1 (focusing group)
Group 2 (image-stabilizing group)
Film
plane
To
Object
Group 3 to 6
TS-E 24mm f/3.5L Floating System
Film plane
2: Lens front shakes downward
Closest
shooting
distance
Floating
3: Image-stabilizing group counteracting
downward camera shake
Input pulse board
for electronic manual
focusing
Floating Effect (TS-E 24mm f/3.5L)
Ring 1
Roller Roller
Ring 2
Manual focus ring
Focus key
Rotor
Stator
Pressing spring
USM Unit
Direction of Group 2
movement
How the Image Stabilizer Works in the EF 75-300mm
f/4-5.6 IS USM
Astigmatism
Floating System
Focusing lens group
Focusing unit
Full-time mechanical manual focus mechanism
36
37
Canon EF Lenses
Limited only by your imagination.
Ultra-Wide Zoom
EF 75-300mm
f/4-5.6 IS USM
Telephoto
Macro Lenses
EF 28-105mm
f/4-5.6 USM
EF 24mm f/2.8
EF 400mm
f/2.8 IS USM
EF 50mm f/2.5
Compact Macro
EF 16-35mm
f/2.8L USM
EF 135mm
f/2L USM
EF 75-300mm
f/4-5.6 Ill USM
EF 28-135mm
f/3.5-5.6 IS USM
EF 28mm
f/1.8 USM
Life Size
Converter EF
EF 17-40mm
f/4 L USM
EF 135mm f/2.8
w/ Softfocus
EF 75-300mm
f/4-5.6 llI
EF 28-200mm
f/3.5-5.6 USM
EF 400mm f/4
DO IS USM
EF 28mm f/2.8
MP-E 65 mm f/2.8
1-5x Macro Photo
EF 20-35mm
f/3.5-4.5 USM
EF 80-200mm
f/4.5-5.6 ll
EF 35mm
f/1.4L USM
EF 100mm f/2.8
Macro USM
EF 35-80mm
f/4-5.6 lll
EF 200mm f/2.8L II USM
Standard Zoom
EF 100-300mm
f/4.5-5.6 USM
EF 400mm f/5.6L
USM
new
EF-S 18-55mm
f/3.5-5.6
Telephoto Zoom
EF 35mm f/2.0
Available only with the
EOS Digital Rebel kit.
Compatible only with
EOS Digital Rebel.
EF 180mm f/3.5L
Macro USM
EF 300mm f/2.8L IS USM
Standard & Medium Telephoto
EF 24-70mm
f/2.8L USM
TS-E Lenses
EF 35-350mm
f/3.5-5.6L USM
EF 100-400mm
f/4.5-5.6L IS USM
EF 50mm
f/1.4 USM
TS-E 24mm f/3.5L
Tilt-Shift
EF 24-85mm
f/3.5-4.5 USM
new
EF 500mm f/4L
IS USM
EF 55-200mm
Wide Angle
EF 300mm f/4L IS USM
f/4.5-5.6 II USM
EF 50mm
f/1.8 ll
TS-E 45mm
f/2.8 Tilt-Shift
EF 14mm
f/2.8L USM
EF 28-80mm
f/3.5-5.6 II
TS-E 90mm f/2.8
Tilt-Shift
EF 85mm
f/1.2L USM
EF 70-200mm
f/2.8L USM
EF 28-90mm
f/4-5.6 II USM
EF 15mm f/2.8
Fisheye
EF 600mm f/4L
IS USM
Extension Tubes
EF 85mm
f/1.8 USM
new
new
EF 20mm
f/2.8 USM
EF 28-90mm
f/4-5.6 II
Extension
Extension
Tube EF 25 II
Tube EF 12 II
EF 70-200mm
f/4L USM
EF 100mm
f/2 USM
Tele-Extenders
EF 24mm
f/1.4L USM
EF 28-105mm
f/3.5-4.5 II USM
Extender EF 1.4x II
Extender EF 2x II
EF 1200mm f/5.6L USM
EF 70-200mm
f/2.8L IS USM
41
42
43
Canon EF Lens Specifications & Accessories Table
No. of
Diaphragm
Blades
Closest Focusing
Distance
(m/ ft)
Lens Construction
(elements/groups)
Minimum
Aperture
Magnification with
Extension Tube EF 12 II Extension Tube EF 25 II
Magnification with
G.F. Holder III
(Hood III ) *1
G.F. Holder IV
(Hood IV ) *1
Lens
Angle of View (horizontal • vertical • diagonal)
Maximum Magnification (x)
AF Actuator
Filter Diameter (mm)
Max. Diameter x Length (mm/ in)
Weight (g/oz)
Lens Hood
Hard Case
Soft Case
EF 16-35mm f/2.8L USM
EF 17-40mm f/4L USM
98˚~ 54˚ • 74˚10´~ 38˚ • 108˚10´~ 63˚
84˚~ 34˚ • 53˚~ 19˚ 30´ • 74˚~ 29˚
84˚~ 54˚ • 62˚~ 38˚ • 94˚~ 63˚
65˚ 30´ ~ 23˚ 20´• 45˚ 30´ ~ 15˚ 40´ • 75˚ 20´ ~ 75˚ 50´
84˚~ 34˚ • 53˚~ 19˚30´ • 74˚~ 29˚
74˚~ 24˚ • 53˚~ 16˚ • 84˚~ 28˚30´
75˚~ 30˚ • 46˚~ 17˚ • 65˚~ 25˚
65˚~ 22˚40´ • 46˚~ 15˚10´ • 75˚~ 27˚
65˚~ 22˚40´ • 46˚~ 15˚10´ • 75˚~ 27˚
65˚~ 19˚20´ • 46˚~ 13˚ • 75˚~ 23˚20´
65˚~ 19˚20´ • 46˚~ 13˚ • 75˚~ 23´20˚
65˚~ 15˚ • 46˚~ 10˚ • 75˚~ 18˚
65˚~ 10˚ • 46˚~ 7˚ • 75˚~ 12˚
54˚~ 25˚ • 38˚~ 17˚ • 63˚~ 30˚
54˚~ 6˚ • 38˚~ 4˚ • 63˚~ 7˚
36˚~ 10˚ • 25˚~ 7˚ • 43˚~ 12˚
29˚~ 10˚ • 19˚30´~ 7˚ • 34˚~ 12˚
29˚~ 10˚ • 19˚30´~ 7˚ • 34˚~ 12˚
29˚~ 10˚ • 19˚30´~ 7˚ • 34˚~ 12˚
27˚~ 6˚50´ • 18˚11´~ 4˚35´ • 32˚11´~ 8˚15´
27˚~ 6˚50´ • 18˚11´~ 4˚35´ • 32˚11´~ 8˚15´
27˚~ 6˚50´ • 18˚11´~ 4˚35´ • 32˚11´~ 8˚15´
25˚~ 10˚ • 17˚~ 7˚ • 30˚~ 12˚
20˚~ 6˚50´ • 14˚~ 4˚35´ • 24˚~ 8˚15´
20˚~ 5˚10´ • 14˚~ 3˚30´ • 24˚~ 6˚10´
104˚ • 81˚ • 114˚
14 / 10
12 / 9
12 / 11
11 / 9
16 / 13
15 / 12
10 / 10
10 / 8
10 / 8
15 / 12
10 / 9
16 / 12
16 / 12
8 / 8
7
7
5
6
8
6
5
5
5
7
6
6
6
5
8
6
8
8
8
8
7
7
5
8
8
5
5
5
7
6
7
5
8
5
8
5
8
8
8
8
6
8
8
8
8
8
8
8
8
8
6
—
6
8
8
8
8
8
—
—
22
0.28 / 0.9
0.28 / 0.92
0.34 / 1.1
0.28 / 0.92
0.38 / 1.25
0.5 / 1.6
0.38 / 1.25
0.38 / 1.3
0.38 / 1.3
0.5 / 1.64
0.48 / 1.57
0.5 / 1.64
0.45 / 1.5
0.4 / 1.3
0.6 / 2 (at 135mm)
1.2 / 3.9
1.4 / 4.6
1.5 / 4.9
1.2 / 3.9
1.5 / 4.9
1.5 / 4.9
1.5 / 4.9
1.5 / 4.9
1.5 / 4.9
1.8 / 5.9
0.25 / 0.8
0.2 / 0.7
0.25 / 0.8
0.25 / 0.82
0.25 / 0.8
0.25 / 0.8
0.3 / 1
0.22
USM
77
83.5 / 3.3 x 103 / 4.1
83.5 / 3.3 x 96.8 / 3.8
83.5 / 3.3 x 68.9 / 2.7
69 / 2.7 x 66.2 / 2.6
83.2 / 3.3 x 123.5 / 4.9
73.0 / 2.9 x 69.5 / 2.7
67 / 2.6 x 71 / 2.8
600 / 1.3 lb.
500 / 17.6
340 / 12.0
190 / 6.7
0.87 ~ 0.36
0.83 ~ 0.32
0.70 ~ 0.36
0.81 ~ 0.23
0.63 ~ 0.18
0.59 ~ 0.15
0.57 ~ 0.16
0.56 ~ 0.14
0.56 ~ 0.14
0.53 ~ 0.12
0.54 ~ 0.12
0.53 ~ 0.09
0.54 ~ 0.06
0.50 ~ 0.16
0.43 ~ 0.04
0.26 ~ 0.06
0.22 ~ 0.06
0.22 ~ 0.06
0.23 ~ 0.06
0.21 ~ 0.04
0.21 ~ 0.04
0.21 ~ 0.04
0.21 ~ 0.06
0.26 ~ 0.04
0.19 ~ 0.03
—
1.09 ~ 0.80
1.02 ~ 0.40
1.00 ~ 0.80
0.92 ~ 0.51
1.25 ~ 0.40
1.23 ~ 0.33
1.14 ~ 0.35
1.13 ~ 0.31
1.13 ~ 0.31
0.75 ~ 0.27
1.11 ~ 0.27
1.09 ~ 0.21
1.10 ~ 0.14
0.97 ~ 0.35
0.82 ~ 0.08
0.50 ~ 0.14
0.41 ~ 0.14
0.41 ~ 0.14
0.39 ~ 0.13
0.39 ~ 0.09
0.39 ~ 0.09
0.39 ~ 0.09
0.39 ~ 0.14
0.37 ~ 0.09
0.35 ~ 0.07
—
EW-83E
EW-83E
EW-83II
EW-60C
EW-83F
EW-73II
EW-60C
EW-60C
EW-60C
EW-63II
EW-63B
EW-78BII
EW-78D
EW-54II
EW-78II
ET-54
—
—
LP1319
LP1319
NC
NC
NC
(0)
(0)
NC
(0)
(0)
(0)
(0)
(0)
(0)
NC
(1)
NC
(3)
(0)
(2)
(2)
(5)
(5)
(5)
(5)
(5)
(4)
NC
NC
NC
NC
(0)
(0)
(1)
NC
(2)
(2)
(2)
(5)
(5)
(5)
(5)
(5)
(5)
NC
(5)
NC
NC
(5)
NC
NC
NC
(2)
(0)
(0)
(0)
(0)
(0)
(0)
(0)
(0)
(0)
(0)
(0)
(0)
(0)
(1)
(0)
(3)
(1)
(2)
(3)
(4)
(4)
(4)
(4)
(4)
(5)
NC
NC
NC
(0)
(0)
(0)
(1)
(0)
(2)
(2)
(1)
(5)
(4)
(4)
(5)
(4)
(5)
NC
(5)
NC
NC
(5)
NC
NC
NC
(2)
*2
22
0.24 (at 40mm)
Ring USM
77
*2
EF 20-35mm f/3.5-4.5 USM
EF-S 18-55mm f/3.5-5.6*
EF 24-70mm f/2.8L USM
EF 24-85mm f/3.5-4.5 USM
EF 28-80mm f/3.5-5.6 II
EF 28-90mm f/4-5.6 II USM
EF 28-90mm f/4-5.6 II
22 ~ 27
22 ~ 38
22
0.13 (at 35mm)
USM
77
LH-D11
—
LP1214
New
0.28 (at 55mm)
MM
58
LP814
*2
0.29 (at 70mm)
USM
77
950 / 2.1
—
LP1219
*2
22 ~ 32
22 ~ 38
22 ~ 32
22 ~ 32
0.16 (at 85mm)
USM
67
380 / 13.4
200 / 7.8
LH-C13
—
ES-C9 / LP1014
LP814
*3
0.26 (at 80mm)
MM
58
0.30 (at 90mm)
Micro USM
58
67 / 2.6 x 71 / 2.8
190 / 6.7
—
LP814
0.30 (at 90mm)
58
67 / 2.6 x 71 / 2.8
190 / 6.7
—
LP814
*4
*2
EF 28-105mm f/3.5-4.5 II USM
EF 28-105mm f/4-5.6 USM
EF 28-135mm f/3.5-5.6 IS USM
EF 28-200mm f/3.5-5.6 USM
EF 35-80mm f/4-5.6 III
22 ~ 27
22 ~ 32
22 ~ 36
22 ~ 36
22 ~ 32
0.19 (at 105mm)
USM
58
72.0 / 2.8 x 75.0 / 3.0
67 / 2.6 x 68 / 2.7
375 / 13.1
210 / 7.4
LH-C13
—
ES-C13 / LP814
LP814
0.19 (at 105mm)
Micro USM
58
*2
0.19 (at 135mm)
USM
72
78.4 / 3.1 x 96.8 / 3.8
78.4 / 3.1 x 89.6 / 3.5
65.0 / 2.6 x 63.5 / 2.5
85.0 / 3.3 x 167.4 / 6.7
70.4 / 2.8 x 97.3 / 3.8
86.2 / 3.4 x 197 / 7.8
84.6 / 3.3 x 193.6 / 7.6
76 / 3.0 x 172 / 6.8
540 / 18.9
500 / 17.6
175 / 6.2
—
LP1116
0.28 (at 200mm)
Micro USM
72
—
LP1116
*3
0.23 (at 80mm)
MM
52
LH-C13
LH-D22
—
ES-C9 / LP814
LZ1324
*4
*2
EF 35-350mm f/3.5-5.6L USM
21 / 15
13 / 13
23 / 18
18 / 15
16 / 13
15 / 10
13 / 9
13 / 9
10 / 7
13 / 10
17 / 14
14 / 10
8 / 7
22 ~ 32
22 ~ 27
32
0.25 (at 135mm)
USM
72
1,385 / 3.1 lb.
310 / 10.9
1,470 / 3.24 lb.
1,310 / 2.9 lb.
705 / 25
New EF 55-200mm f/4.5-5.6 II USM
EF 70-200mm f/2.8L IS USM
EF 70-200mm f/2.8L USM
EF 70-200mm f/4L USM
EF 75-300mm f/4-5.6 IS USM
EF 75-300mm f/4-5.6 III USM
EF 75-300mm f/4-5.6 III
EF 80-200mm f/4.5-5.6 II
EF 100-300mm f/4.5-5.6 USM
EF 100-400mm f/4.5-5.6L IS USM
EF 14mm f/2.8L USM
0.21 (at 200mm)
Micro USM
USM
52
LP1016
0.17
77
ET-86
—
LZ1324
*2
32
0.16 (at 200mm)
USM
77
ET-83II
ET-74
LH-D24B
—
LZ1324
*2
32
0.21 (at 200mm)
USM
67
LP1224
32 ~ 45
32 ~ 45
32 ~ 45
0.26 (at 300mm)
Micro USM
Micro USM
58
78.5 / 3.1 x 137.2 / 5.4
71.0 / 2.8 x 122 / 4.8
71.0 / 2.8 x 122 / 4.8
69.0 / 2.7 x 78.5 / 3.1
73.0 / 2.9 x 121.5 / 4.8
92.0 / 3.6 x 189.0 / 7.4
77.0 / 3.0 x 89.0 / 3.5
73.0 / 2.9 x 62.2 / 2.4
77.5 / 3.1 x 70.6 / 2.8
83.5 / 3.3 x 77.4/ 3.0
67.5 / 2.7 x 48.5 / 1.9
73.6 / 2.9 x 55.6 / 2.2
67.4 / 2.7 x 42.5 / 1.7
79.0 / 3.1 x 86.0 / 3.4
67.4 / 2.7 x 42.5 / 1.7
73.8 / 2.9 x 50.5 / 2.0
68.2 / 2.7 x 41.0 / 1.6
91.5 / 3.6 x 84.0 / 3.3
75.0 / 3.0 x 71.5 / 2.8
75.0 / 3.0 x 73.5 / 2.9
82.5 / 3.2 x 112.0 / 4.4
69.2 / 2.7 x 98.4 / 3.9
83.2 / 3.3 x 136.2 / 5.4
650 / 1.4 lb.
480 / 16.8
480 / 16.8
250 / 8.8
ET-64II
ET-60
LH-D18B
—
LP1022
0.25 (at 300mm)
58
LP1019
*3
0.25 (at 300mm)
MM
58
ET-60
—
LP1019
*4
*3
22 ~ 27
32 ~ 38
32 ~ 38
22
0.16 (at 200mm)
MM
52
ET-54
LH-B12
—
ES-C13 / LP1014
ES-C17 / LP1019
LZ1324
*4
*4
*2
0.20 (at 300mm)
0.20 (at 400mm)
0.10
0.14
0.14
0.16
0.16
0.18
0.13
0.18
0.23
0.15
0.15
0.11
0.13
0.14
0.19
0.12
0.16
0.13
0.24
0.15
0.12
0.12
0.12
0.12
0.09
0.50
1.00
5.00
1.00
1.00
0.14
0.16
0.29
—
USM
58
540 / 1.2 lb.
1,380 / 3.0 lb.
560 / 1.2 lb.
330 / 11.6
405 / 14.3
550 / 19.4
270 / 9.5
ET-65III
ET-83C
Built-In
Built-In
EW-75II
EW-83DII
EW-60II
EW-63II
EW-65II
EW-78C
EW-65II
*2
USM
77
—
*2
USM
Rear Gel Holder
LH-C13
LHP-C10
LH-D13
—
ES-C13 / LP1016
ES-C9 / LP814
LP1214
EF 15mm f/2.8 Fisheye
EF 20mm f/2.8 USM
141˚54´ • 91˚44´ • 180˚
84˚ • 62˚ • 94˚
22
AFD
Rear Gel Holder
0.94 ~ 0.80
0.72 ~ 0.60
0.66 ~ 0.50
0.64 ~ 0.50
0.61 ~ 0.43
0.56 ~ 0.43
0.54 ~ 0.36
0.58 ~ 0.35
0.39 ~ 0.24
0.39 ~ 0.24
0.25 ~ 0.15
0.27 ~ 0.15
0.27 ~ 0.13
0.29 ~ 0.09
0.22 ~ 0.09
0.23 ~ 0.06
0.18 ~ 0.04
0.30 ~ 0.04
0.19 ~ 0.03
0.16 ~ 0.03
0.16 ~ 0.03
0.15 ~ 0.03
0.14 ~ 0.02
0.12 ~ 0.01
0.74 ~ 0.24
—
—
*2
11 / 9
11 / 9
10 / 10
10 / 9
5 / 5
22
USM
72
—
*2
EF 24mm f/1.4L USM
74˚ • 53˚ • 84˚
22
USM
77
—
LP1214
EF 24mm f/2.8
74˚ • 53˚ • 84˚
22
AFD
58
1.22 ~ 1.11
1.13 ~ 0.96
1.09 ~ 0.95
0.97 ~ 0.79
1.00 ~ 0.77
0.68 ~ 0.53
0.68 ~ 0.53
0.42 ~ 0.33
0.44 ~ 0.32
0.42 ~ 0.28
0.41 ~ 0.20
0.33 ~ 0.20
0.32 ~ 0.14
0.24 ~ 0.09
0.37 ~ 0.09
0.23 ~ 0.06
0.20 ~ 0.07
0.21 ~ 0.07
0.18 ~ 0.05
0.17 ~ 0.05
0.13 ~ 0.02
1.04 ~ 0.54
—
LH-B9
LHP-C10
LHP-B9
—
ES-C9 / LP811
ES-C9 / LP814
ES-C9 / LP1011
LP1214
*2
EF 28mm f/1.8 USM
65˚ • 46˚ • 75˚
22
USM
58
310 / 10.9
185 / 6.5
EF 28mm f/2.8
65˚ • 46˚ • 75˚
22
AFD
52
*2
EF 35mm f/1.4L USM
54˚ • 38˚ • 63˚
11 / 9
7 / 5
22
0.3 / 0.98
0.25 / 0.8
0.45 / 1.5
0.45 / 1.5
0.95 / 3.1
0.85 / 2.8
0.9 / 3
USM
72
580 / 20.5
210 / 7.4
EF 35mm f/2
54˚ • 38˚ • 63˚
22
AFD
52
LH-B9
LHP-C10
LH-B9
LH-D12
LH-B12
LH-B12
LH-D16II
LH-C13
LH-D18II
Lens Case 300
LH-D27
Lens Case 400
Lens Trunk
LH-D29
Lens Case 500
Lens Case 600
Exclusive
LHP-C10
LHP-C10
—
ES-C9 / LP1011
ES-C9 / LP1014
ES-C9 / LP1014
LP1219
*2
EF 50mm f/1.4 USM
40˚ • 27˚ • 46˚
7 / 6
22
Micro USM
58
290 / 10.2
130 / 4.6
ES-71II
with
*3
EF 50mm f/1.8 II
40˚ • 27˚ • 46˚
6 / 5
22
MM
52
ES-62
Adapter Ring
EF 85mm f/1.2L USM
24˚ • 16˚ • 28˚30´
8 / 7
16
USM
72
1,025 / 2.3 lb.
425 / 15.0
460 / 1.0 lb.
750 / 1.7 lb.
390 / 13.8
765 / 1.7 lb.
ES-79II
*2
EF 85mm f/1.8 USM
24˚ • 16˚ • 28˚30´
9 / 7
22
USM
58
ET-65III
ET-65III
ET-78II
ET-65III
ET-83BII
ET-120
Built-In
ET-155
ET-120
Built-In
ET-138
ET-160
Built-in
—
ES-C13 / LP1014
ES-C13 / LP1014
LP1219
*2
EF 100mm f/2 USM
20˚ • 14˚ • 24˚
8 / 6
22
USM
58
*2
EF 135mm f/2L USM
15˚ • 10˚ • 18˚
10 / 8
7 / 6
32
0.9 / 3
USM
72
EF 135mm f/2.8 with Softfocus
EF 200mm f/2.8L II USM
EF 300mm f/2.8L IS USM
EF 300mm f/4L IS USM
EF 400mm f/2.8L IS USM
EF 400mm f/4.0L DO IS USM
EF 400mm f/5.6L USM
EF 500mm f/4L IS USM
EF 600mm f/4L IS USM
EF 1200mm f/5.6L USM
EF 50mm f/2.5 Compact Macro
Life-Size Converter EF
15˚ • 10˚ • 18˚
32
1.3 / 4.3
1.5 / 4.9
2.5/ 8.2
AFD
52
ES-C13 / LP1016
LP1222
*2
10˚ • 7˚ • 12˚
9 / 7
32
USM
72
*2
6˚50´ • 4˚35´ • 8˚15´
17 / 13
15 / 11
17 / 13
17 / 13
7 / 6
32
USM
52 Drop-in
128.0 / 5.0 x 252.0 / 9.9 2,550 /5.6 lb. (lens only)
—
*2
6˚50´ • 4˚35´ • 8˚15´
32
1.5/ 4.9
USM
77
90.0 / 3.5 x 221.0 / 8.7
163.0 / 6.4 x 349.0 / 13.7
128.0 / 5.0 x 232.7 / 9.4
90.0 / 3.5 x 256.5/ 10.1
146.0 / 5.8 x 387.0 / 15.2
168.0 / 6.6 x 456.0 / 18.0
228.0 / 9.0 x 836.0 / 32.9
67.6 / 2.7 x 63.0 / 2.5
67.6 / 2.7 x 34.9 / 1.4
81.0 / 3.2 x 98.0 / 3.9
79.0 / 3.1 x 119.0 / 4.7
82.5 / 3.2 x 186.6 / 7.3
78.0 / 3.1 x 86.7 / 3.4
81.0 / 3.2 x 90.1 / 3.5
73.6 / 2.9 x 88.0 / 3.5
72.8 / 2.9 x 27.2 / 1.1
71.8 / 2.8 x 57.9 / 2.3
66.5 / 2.6 x 12.3 / 0.5
66.5 / 2.6 x 27.3 / 1.1
1,190 /2.6 lb.
5,370 / 11.8 lb.
1,940 /4.3 lb
1,250 / 2.8 lb.
3,870 / 8.5 lb.
5,360 / 11.8 lb.
16,500 / 36.4 lb.
280 / 9.9
LZ1128
*2
5˚10´ • 3˚30´ • 6˚10´
32
3 / 9.8
USM
52 Drop-in
—
5˚10´ • 3˚30´ • 6˚10´
32
3.5/11.48
3.5 / 11.5
4.5 / 14.8
5.5 / 18
USM
52 Drop-in
—
*2
5˚10´ • 3˚30´ • 6˚10´
32
USM
77
LZ1132
*2
4˚ • 2˚45´ • 5˚
17 / 13
17 / 13
13 / 10
9 / 8
32
USM
52 Drop-in
—
*2
3˚30´ • 2˚20´ • 4˚10´
32
USM
52 Drop-in
—
1˚45´ • 1˚10´ • 2˚05´
32
14 / 45.9
0.23 / 0.8
0.24 / 0.8
0.24 / 0.8
0.31 / 1
USM
AFD
—
48 Drop-in
—
40˚ • 27˚ • 46˚
32
52
—
ES-C9 / LP814
ES-C9 / LP811
LP1216
*5
*5
—
•
—
•
—
4 / 3
—
160 / 5.6
—
(5)
(5)
MP-E65mm f/2.8 1-5x Macro Photo
EF 100mm f/2.8 Macro USM
EF 180mm f/3.5L Macro USM
TS-E 24mm f/3.5L
15˚40´ • 10˚35´ • 18˚40´
20˚ • 14˚ • 24˚
10 / 8
12 / 8
14 / 12
11 / 9
10 / 9
6 / 5
16
—
58
58
72
72
72
58
—
730 / 25.8 (lens only)
600 / 21.1
—
—
—
(0)
(4)
(5)
NC
NC
(5)
—
(0)
(4)
(5)
(0)
(2)
(4)
—
*2
32
USM
1.19 ~ 0.12
1.09 ~ 0.07
0.62 ~ 0.49
0.44 ~ 0.27
0.43 ~ 0.14
—
1.39 ~ 0.26
1.21 ~ 0.15
1.21 ~ 1.10
—
ET-67
ET-78II
EW-75BII
EW-79BII
ES-65III
—
—
LP1219
*2
11˚25´ • 7˚40´ • 13˚40´
32
0.48 / 1.6
0.3 / 1
USM
1,090 / 2.4 lb.
570 / 1.3 lb.
645 / 1.4 lb.
565 / 1.2 lb.
220 / 7.8
LH-D24C
LH-D14
LH-D14
LH-D14
LH-B8
LHP-B9
—
LZ1324
*8
*8
74˚~ 53˚ • 84˚ (without tilt or shift)
44˚~ 33˚ • 51˚ (without tilt or shift)
22
—
—
—
—
—
—
—
LP1216
TS-E 45mm f/2.8
22
0.4 / 1.3
0.5 / 1.6
— / —
LP1216
*8
TS-E 90mm f/2.8
22˚37´~ 15˚11´ • 27˚ (without tilt or shift)
32
0.60 ~ 0.31
—
LP1016
Extender EF 1.4x II
—
—
•
•
—
—
•
•
—
—
5 / 4
—
LP811
Extender EF 2x II
7 / 5
—
— / —
—
—
265 / 9.3
—
—
—
LP811
—
—
New Extension Tube EF 12 II
*6
— / —
—
—
66 / 2.3
—
—
—
Exclusive
LP811
—
—
New
Extension Tube EF 25 II
*7
— / —
—
—
95 / 3.4
—
—
—
LH-B8
—
—
*Available only with Digital Rebel kit, can be mounted ONLY on Digital Rebel.
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