For the provided Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM lens many thanks the store ProFotoSalewhere you can find many new and used lenses for different systems, including similar ones lenses for canon.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer. increase.
Browse Navigation:
- Browse Navigation
- In short
- History
- Main Specifications
- Appearance
- Assembly
- Stabilizer
- Focusing
- Image quality
- Sample Photos
- My experience
- Differences between IS 3.5-4.5 / 4-5.6
- All lenses
- Price
- Results
- User Comments
- Add your review or question on the lens
The Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer lens in this review I will abbreviate Canon 18-55 / 4-5.6 IS STM.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
In short
Canon 18-55 / 4-5.6 IS STM is a stock lens, which most often comes with some Canon DSLR cameras. Such lenses are called 'kit' (from the English 'kit' - a set).
Canon 18-55 / 4-5.6 IS STM, like many others like it, is a universal lens suitable for many tasks. The Canon 18-55 / 4-5.6 IS STM version is primarily interesting for its small size and weight, image stabilizer and fast focus motor.
Canon 18-55 / 4-5.6 IS STM is one of the best kit lenses of its kind.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
History
There are many different Canon 18-55 lenses.
The version from this review was presented. February 14 2017 years with SLR cameras Canon EOS 77D (aka Canon EOS 9000D) and Canon EOS 800D (aka Canon EOS REBEL T7i, aka Canon EOS Kiss X9i). Compared to its predecessor, the Canon 18-55 / 4-5.6 IS STM uses a different optical design and a lower maximum aperture at its wide end.
The simplest versions (without IS, USM, STM):
- Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6September 2004, Scheme 11/9 [1 ASP]
- Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6 II, March 2005, Scheme 11/9 [1 ASP]
- Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6 III, March 2011, Scheme 11/9 [1 ASP]
Versions with USM-motor:
- Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6 USMSeptember 2004, Scheme 11/9 [1 ASP]
- Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6 II USMMarch 2005, Scheme 11/9 [1 ASP]
Versions with Image Stabilizer IS:
- Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6 ISSeptember 2007 Scheme 11/9 [1 ASP]
- Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6 IS II, March 2011, Scheme 11/9 [1 ASP]
Versions with STM-motor and image stabilizer IS:
- Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6 IS STM, April 2013, Scheme 13/11 [1 ASP]
- Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM, February 2017, Scheme 12/10 [1 ASP + SSC]
Versions for mirrorless cameras with bayonet mount Ef-m:
- Canon Zoom Lens EF-M 15-45mm 1:3.5-6.3 IS STM, October 2015, scheme 10/9 [3 ASP]
- Canon Zoom Lens EF-M 18-55mm 1: 3.5-5.6 IS STMSeptember 2012, Scheme 13/11 [3 ASP]
Version for mirrorless cameras with bayonet mount R (RF-S):
- Canon Lens RF-S 18-45mm F4.5-6.3 IS STM, May 2022, scheme 7/7 [2 ASP]
The main parameters of all Canon 18-55 for SLR cameras. increase.
Main technical specifications of Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer:
| Review Instance Name | Near the front lens: Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM ø58 ′. On the EFS 18-55 body Image Stabilizer ∞-0.25m / 0.8ft + serial number. Mount Side: CANON INC. MADE IN TAIWAN |
| Basic properties |
|
| Front Filter Diameter | 58 mm, plastic thread for filters |
| Focal length | 18-55 mm EGF for Canon APS-C cameras is 28.8-88 mm (that's right, EGF recalculated even for Canon EFS lenses!) |
| Zoom ratio | 3.06 X (it’s customary to talk just about 3x zoom) |
| Designed by | for Canon EOS digital cameras with APS-C sensor and EF-S mount |
| Number of aperture blades | 7 rounded petals |
| Tags | focal lengths for 18, 24, 35 and 55 mm, mark of bayonet mount and hood mount (red dot) |
| Diaphragm |
|
| MDF | 0.25 m, while the maximum magnification ratio for macro photography is 1: 4 |
| The weight | 215 grams (stated and consistent with my measurement) |
| Optical design | 12 elements in 9 groups. The optical scheme includes 1 aspherical element (in the optical scheme, the aspherical element is shown in green). The stabilization module is highlighted in red.
|
| Lens hood | EW-63C, bayonet type (not supplied, and must be purchased separately) |
| Manufacturer country | MADE IN TAIWAN (made in Taiwan) |
| Instructions | Here |
| Period | Presented February 14, 2017 |
| Price |
Nevertheless, the most deprived lens among such whale solutions can be considered SMC Pentax-DA L 1: 4-5.6 18-50mm DC WR RE which has F / 4 at the wide end and only 50 mm at the long.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
Appearance
Lens design close to previous Canon EF-S 18-55 / 3.5-5.6 IS STM.
Assembly
Canon 18-55 / 4-5.6 IS STM is well assembled. From the advantages of the assembly, I immediately want to note a very convenient zoom ring with a rubberized insert and the absence of any backlashes.
Like most of these whale lenses, the Canon 18-55 / 4-5.6 IS STM body is almost entirely made of plastic, which helped to make it as light as possible. The lens mount is also plastic. When I first picked up the Canon 18-55 / 4-5.6 IS STM, I was struck by the super-tiny rear lens, such a tiny 'door-eye' among such lenses I have never seen. But I must immediately note that its size does not directly affect the optical performance of the lens or its aperture.
When changing the focal length, the front lens does not rotate. The retractable frame of the body (trunk) consists of one plastic section. The focus ring is not rubberized, but quite pleasant to use.
There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a plastic hood EW-63C, which is fixed in special grooves located near the front lens of the lens. The hood can be installed in the opposite direction for transportation. In this position, access to the zoom ring is a little difficult and access to the focus ring is completely lost. While changing the focal length, the lens hood moves with the trunk of the lens.
During a change in focal length, the rear lens remains motionless, which is rare for whale lenses. No need to worry about the effect of the air pump.
Diaphragm consists of 7 rounded petals and forms a fairly even hole at all values.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
Stabilizer
Canon 18-55 / 4-5.6 IS STM has Canon's built-in image stabilizer IS (Istomach Stabilizer). There is a switch on the case that is responsible for turning it on and off. According to the instructions, the stabilization system can compensate 4 stops by shutter speed. In numerical terms, this means that you can shoot at shutter speeds 16 times longer than what a lens without a stabilizer requires. In practice, the stabilizer works no more than 3 steps. I was able to take pictures with my hands without grease on shutter speed 1/8 second and 55 mm of focal length.
During shooting from a tripod, as well as during shooting in BULB mode, the stabilizer should be turned off.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
Focusing
Canon 18-55 / 4-5.6 IS STM uses Canon stepping motor STM (STepper Motor).
Focusing very fast. One of the fastest of all the lenses I've tested. I am sincerely amazed how much this whale lens could overcome in speed and smoothness of focus. Everything else auto focus very quiet.
Canon 18-55 / 4-5.6 IS STM motor is optimized for working through Live View with focus systems Hybrid CMOS AF (I, II, III) and Dual Pixel CMOS AF и perfect for shooting videos.
On camera Canon EOS 500D и Canon EOS 50D I had no particular complaints about the accuracy of focusing.
During focusing, the front and rear lenses remain stationary, as the lens uses internal focus. The front lens also does not rotate during zooming. It is possible to use any filters without problems.
The minimum focusing distance is only 25 cm, while you can shoot Macro with 1: 4 magnification.
In manual focus mode, the ring rotates approximately 180 degrees, when extreme positions are reached, it does not rest, but continues to slide, without affecting the focus. Canon 18-55 / 4-5.6 IS STM uses electronic focus ring. You can only focus when the camera is on, and the camera should not go into standby mode. Manual focusing on the Canon 18-55 / 4-5.6 IS STM is implemented quite comfortably, much better than on many older whale lenses.
There is a switch on the lens body that is responsible for the focus mode - 'AF / MF' (auto / manual focus). Auto AF is supported by Canon continuous manual focus control FTM (Full Time Manual Focusing), which implies that you can rotate the focus ring at any time. But, in fact, according to the instructions manual focus is available after focusing on the subject in single-frame autofocus (ONE SHOT AF). Canon FTM details well described here.
Features:
- There is a small effect of 'Focus Breathing' (changing the viewing angle during focusing). During focusing towards MDF, the viewing angle increases
- While changing the focal length, focusing is not lost. Most likely implemented here virtual electronic parfocalism. The lens motor automatically corrects focusing with a change in focal length. This is easy to see if you rotate the zoom ring on and off on the camera. For the first time I came across virtual parfocalism and described it in the lens Canon EF-S 55-250 / 4-5.6 IS STM
- At 55 mm of the focal length, while focusing on the MDF, the distance from the front lens of the lens to the subject is about 15 cm.
- There is no depth of field scale and labels for working in the infrared spectrum.
- Focus shift (shift-focus) was not noticed during operation and testing.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer on the camera Canon EOS 50D
Image quality
One gets the feeling that the Canon 18-55 / 4-5.6 IS STM is designed to show maximum results already at fully open apertures. Closing the diaphragm has virtually no effect on sharpness or other optical performance (except vignetting).
In general, the lens is not bad with the inherent disadvantages of many whale lenses. The sharpness in the center of the frame is confident (but not good) over the entire range of focal lengths, there is no obvious subsidence of sharpness with increasing focal length. Wide-angle very strong chromatic aberration at the corners and edges of the image and very low sharpness. With an increase in the focal length, the number of chromatic aberrations decreases and there are practically no focal distances by 55 mm (only a little to the edges of the frame).
At 18 mm, there is a noticeable barrel-like distortion, which almost disappears with increasing focal length. Of course, there is noticeable vignetting. Distortion and vignette can be easily fixed in the editor or automatically, in a RAW converter with the corresponding lens profile.
Canon 18-55 / 4-5.6 IS STM works well in backlight, it is difficult to catch glare. Almost always, the lens produces a contrast and rich image. Most likely, renewed enlightenment contributes to this. SSC (Super Spectra lens Coating).
On heavily covered apertures, it is quite difficult to get the effect of a 14-ray star. But the blur discs remain fairly flat at almost any aperture value.
Modern Canon cameras can recognize this lens, which automatically corrects vignetting, distortion and some chromatic aberration. Paired with Canon's enhancement algorithms, the 18-55 / 4-5.6 IS STM is vastly superior to older kit lenses when used on older cameras without auto enhancement features. Modern digital photography is not only a lens lens and a camera sensor, but also post-processing of the result.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
Sample Photos
Photos taken by converting the original RAW ('.CR2') files from the original Canon utility Digital Photo Pprofessional 4 (Canon DPP).
- Picture Style 'Standard' with default settings
- Korrek. perifer. Lighting On
- Shumopod. when it lasts. shutter speed Off
- Shumopod. high ISO prohibited
- Light Priority Allowed
- Image Auto Brightness Standard
You can download the source files in RAW format ('.CR2') at this link (36 files, 700 MB).
My experience
I was very pleased with this small and pleasant whale. It is a pity that they took away from the lens part of the aperture at the wide end.
Canon and Nikon whale lenses have evolved very much in terms of autofocus, but I would also like a breakthrough in image quality and stabilization. There is no fundamental or dramatic difference in image quality between old and new Canon 18-55 IS lenses. The same applies to the image stabilizer, which in all four models with IS has long hovered at a theoretical power of 4 steps.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
Differences from the previous 18-55 / 3.5-5.6 IS STM
Canon 18-55 / 4-5.6 IS STM became a replacement for Canon Zoom Lens EF-S 18-55mm 1: 3.5-5.6 IS STM. Something improved, but something got worse:
Improvements:
- new optical design
- about 20% reduced body size
- more convenient focus ring
- improved focusing during movie shooting, implemented electronic parfocal
- the rear lens remains stationary while changing the focal length
- focal length makes the trunk of the lens move linearly, and not waved, as in previous versions
Worsening:
- worsened aperture
- the lens is 10 grams heavier
- MDF increased and maximum increase coefficient deteriorated
The effectiveness of the stabilizer has not significantly changed, nor has the focus speed changed.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
An accurate and complete list of all Canon EF-S lenses:
Fix lenses
- Canon Lens EF-S 24 mm 1:2.8 STM
- Canon Lens EF-S 35 mm 1:2.8 IS STM MACRO
- Canon Lens EF-S 60 mm 1:2.8 USM MACRO
Wide-angle zoom lenses:
Universal Lenses:
- Canon Zoom Lens EF-S 15-85 mm 1: 3.5-5.6 IS USM
- Canon Zoom Lens EF-S 17-55 mm 1:2.8 IS USM
- Canon Zoom Lens EF-S 17-85 mm 1: 4-5.6 IS USM
- Canon Zoom Lens EF-S 18-55 mm 1: 3.5-5.6
- Canon Zoom Lens EF-S 18-55 mm 1: 3.5-5.6 II
- Canon Zoom Lens EF-S 18-55 mm 1: 3.5-5.6 III
- Canon Zoom Lens EF-S 18-55 mm 1: 3.5-5.6 USM
- Canon Zoom Lens EF-S 18-55 mm 1: 3.5-5.6 II USM
- Canon Zoom Lens EF-S 18-55 mm 1: 3.5-5.6 IS
- Canon Zoom Lens EF-S 18-55 mm 1: 3.5-5.6 IS II
- Canon Zoom Lens EF-S 18-55 mm 1: 3.5-5.6 IS STM
- Canon Zoom Lens EF-S 18-55 mm 1: 4-5.6 IS STM
- Canon Zoom Lens EF-S 18-135 mm 1: 3.5-5.6 IS
- Canon Zoom Lens EF-S 18-135 mm 1: 3.5-5.6 IS STM
- Canon Zoom Lens EF-S 18-135 mm 1: 3.5-5.6 IS USM
- Canon Zoom Lens EF-S 18-200 mm 1: 3.5-5.6 IS
Telephoto Lenses:
- Canon Zoom Lens EF-S 55-250 mm 1: 4-5.6 IS
- Canon Zoom Lens EF-S 55-250 mm 1: 4-5.6 IS II
- Canon Zoom Lens EF-S 55-250 mm 1: 4-5.6 IS STM
The easiest way to find these lenses is in official Canon storeOn E-Catalog or Socket.
Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM Image Stabilizer
Price
Prices for Canon 18-55 / 4-5.6 IS STM in popular online stores can be look at this link, or in the price block below.
Results
The Canon 18-55 / 4-5.6 IS STM is another incarnation of an optimized, inexpensive stock lens for Canon EOS consumer DSLR cameras. All in all, this is a good all-rounder that is perfect as a first lens for all occasions.
This is a good solution for beginners and just for those who want to buy their first DSLR. There are rumors about whale lenses that they are bad enough, but most often they are simply compared with more expensive and more functional lenses, against which the simplest lens, of course, looks modest.
10 main advantages:
- a very convenient set of focal lengths from wide-angle to short tele-range
- lightweight lens, compact size, rubberized zoom ring, bayonet type hood
- very fast auto focus and very quiet auto focus
- focusing of the internal type, very smooth running of the focusing ring, focusing is optimized for both photo and video shooting, for example, implemented electronic parfocalism (a rarity!)
- electronic focus ring with large pitch and FTM support
- 4 steps integrated image stabilizer
- there is a switch of the stabilizer operation mode and auto focus (for example, such Nikon 18-55 / 3.5-5.6G VR AF-P there are no such switches)
- uses a new higher-quality enlightenment SSC (Super Spectra Coating)
- 1 aspherical element is used in the optical design
- good / acceptable optical performance
10 main disadvantages:
- reduced compared to other similar lenses aperture at the wide end (F / 4 vs F / 3.5)
- the lens has become the heaviest among all of its kind in its lineup
- electronic focus ring does not allow focusing when camera is turned off
- maximum magnification ratio is only 1: 4 (in the previous model Canon 18-55 / 3.5-5.6 IS STM he was 1: 2.8)
- plastic mount, focus ring also plastic (not rubberized)
- lens hood not included
- there are no useful extra marks such as focus distance or DOF
- FTM mode only works in 'ONE SHOT'
- large barrel distortion of 18 mm, tangible chromatic aberration 18 mm at the corners and edges of the frame
- image quality, especially sharpness, weakly depends on aperture
For the provided Canon Zoom Lens EF-S 18-55mm 1: 4-5.6 IS STM lens many thanks the store ProFotoSalewhere you can find many new and used lenses for different systems, including similar ones lenses for canon.
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This whale served as the last straw in my desire to abandon zooms altogether.
I.e? What is so bad about him that you just can't without fixes?
Is it possible to see examples of your photographs somewhere?
It's just interesting what kind of creative ideas are limited by the capabilities of this or other zoom lenses.
this is their hidden purpose, a conspiracy from canon against buyers. It is necessary to make sure that the person using this and similar lenses constantly feels his inferiority, poverty and stupidity, and begins to save money to buy the correct L lenses. But on the other hand, this lens is good, considering that it costs about $ 25 to manufacture.
An ordinary whale. I sometimes use the 18-55 as a light sweep or for a flash light object. So ... its advantages cannot be taken away from him. At least it's not a pity to break it.
Tell me, boyar, what is meant by this “Electronic 'virtual' parfocality”?
I know what parfocal optics on video cameras is, it’s been there for 30 years, and I have one, but what is meant in this case is just interesting.
The same as for video cameras. With this lens and modern cameras, you can shoot video. Also, this is explained in the 'Focusing'.
In other words, parfocality in this case is not a property of the lens alone, but is there a camera plus lens operation? For in video cameras this is a property of the lens. Moreover, it is an optical property. The camera will NOT focus when changing the AF. That is, I make the maximum zoom zoom, set the focus and then I can change the FR as I like, the focus does not shift. (If what - I have BETAKAM)
And it doesn’t do the camera, it does the lens electronics. Because there is a twofold situation, that’s why I call it electronic and virtual.
Yes, after hovering over an object during zoom, the focus does not go astray. Due to the fact that the adjustment is very fast and very quiet, you do not notice that it is present at all. You do not need to press anything. Simply rotate the zoom ring.
Well, it’s necessary, less than 30 years have passed, as Kenon did it :))
If you don't know, Canon parfocal lenses have existed for a very long time (from personally known to me - at least since 1989, if we talk about photo lenses). The lens to which the review is devoted is probably the most inexpensive and available among the analogs of this manufacturer, although “parfocality” was achieved thanks to the use of electronics, in contrast to most other cases.
on my Betakam I don’t remember what year the Fujinon optics, parfocal purely optical-mechanical. and on simpler camcorders, the parfocality is purely electronic, because the tracking AF manages to work out when changing the zoom. By the way, the AF itself on video cameras was previously completely analog and worked perfectly. Of course, it was impossible to choose a focal point there.
Betacam is the age of dinosaurs. If anything, I have RED.
What an advanced braggart.
The only kit lens that I kept and use successfully is Nikkor 18-105. And the focal point is normal (I always take it on a trip, for example) and there is a stub and the quality is not bad. The only thing I don't like is that the bayonet mount is plastic in it, although for many years (since the D3100 I have it) it has not loosened
I downloaded the raves ... I looked - horror ... what to shoot like that? No, I understand, something is possible, but what? There is no clarity at all, perhaps something at a distance of up to half a meter ...
And what kind of clarity is this)))? Thank you, at least neighing))) I know the sharpness, the contrast too, but I saw the sharpness only in the editor and then, as a rule, it only spoils the picture. Do not try to use it in female portraits, otherwise you can get it from the ladies)))
No problem, call it - sharpness :) Shoot a man's portrait, a portrait of a house and a portrait of a cat - does the sharpness spoil everything too? Soap ... :(
Not banter and tediousness for the sake of justice, but for justice, is there an example of a female photo where increased sharpness is inappropriate?
well, yes ... a universal lens ...
>> ... an example of a female photo where sharpening is inappropriate? - If you please: iznat.com/2020/03/09/shooting-through-stocking-inapplies- teeth-fi
Sharpness consists of resolution and clarity. Resolution is provided by the camera, clarity - by optics.
Strictly speaking, the term “resolution” refers to both the matrix / film and optics.
Why is the plastic bayonet minus? Modern polymers are more resistant to abrasion than metal (with frequent lens changes, an elevator will not appear), the weight is less, and if you use a camera with a lens in such a way that the bayonet breaks off, then metal will not help there, as the glass will crumble ...
IF the bayonets of such lenses were actually made of high-quality plastic, there would be no complaints. And that plastic is very short-lived. Well, dropping cameras - for many decades that I hold a variety of cameras in my hands, I have never dropped a single one. He himself would fall, holding the camera in his hands, but he always held the camera so that it did not touch anything when it fell.
Are there real examples of the "fragility" of a polymer lens bayonet mount? Personally, I have never encountered such problems, and I have not even met such information from hearsay. Maybe you can tell?
I agree with Konstantin and Joe, this is just a prejudice that the plastic lens mount is bad.
decent review….
And for the sake of STM and Dual Pixel, I’m ready to forgive Kenon just FSO!
Great zoom. Better only 18-135mm IS STM and 15-85 USM IS for crop
Someone has experience in recording video on cameras that do not have “Dual Pixel” technology (for example, on a 60D or 550D). I taught my 50D to record video without sound (what I need specifically for video stocks) and am looking for a lens that would refocus WITHOUT jerking / fidgeting. I previously sold my 18-55 IS STM together with the 70D and now I cannot check it on the remaining spare 50D :(
as if the video was shot on manual optics)) as well as the movie. and there are video cameras for reporting. In any case, there is no normal AF in the video on the DSLR.
What year do you live in, "dear"
Is much 24 mm f2.8 stm better than 18-55 f4-5.6 stm (at 24 mm)?
Alas, I had no opportunity for such a comparison. But judging purely by ease of use, the pancake is a completely different level. Unlike 18-55 he is small, light and has a really nice pattern. When I take my old 600d with this lens in my hands after Sony A7s, I don't want to let go of the Canon - this 24 / 2.8 stm is painfully good.
What are the criteria for the best? 18-55 is a good, compact universal kit lens with a convenient set of focal points, good stub, ideal for blogging video and solving everyday tasks in the style of vacation-exhibition-walk. 24 / 2.8 is a moderate high-aperture fix, suitable for fewer scenes, but in some cases it gives a more interesting result.
I wonder if the rectangular glass on the bayonet is an optical lens or an ordinary protective glass so that the dust is not sucked in? If ordinary glass, can you remove it? Will be like the previous version.
this plane-parallel glass plate is part of the optical circuit. it cannot be deleted. a detailed explanation of her work will require a lecture for a couple of hours.
Well, explain. In the Zonnar 4/300, the plate can be removed and nothing will break.
A person who cannot answer in a nutshell a question in which he is competent (even in special terms) is in fact absolutely incompetent.
some questions, in principle, cannot be answered in a nutshell.
if this topic is interesting, then here is "to read"
http://www.lensrentals.com/blog/2014/06/the-glass-in-the-path-sensor-stacks-and-adapted-lenses
Interesting. But it says about a fairly thick glass - 2-4 mm (this is the thickness of the window glass), a difference of 2 mm and filters on the sensor. Those. that a modern lens must take into account the thickness of the filter on the sensor if we want to get the best result. Maybe when calculating 18-55, glass is part of the optical scheme, but I doubt that for the old Zonnar it was taken into account in the calculations and there its main purpose was precisely protection from dust. The glass at the edge of the lens is easier to clean from dust than glass at a distance.
and this is part of a quote from the dpreview forum, where that article was discussed.
I am reminded of a lecture a professor gave us in graduate school many years ago as we worked our way through Kingslake. The seven deadly sins of the flat window in a converging beam.
Quoting from Rudolf Kingslake. Lens Design Fundamentals. Academic Press. 1978. page 120.
a very thick parallel plate ... has the effect of overcorrecting the three longitudinal aberrations, spherical, chromatic and astigmatism while it undercorrects the transverse aberrations, coma, distortion and lateral color.
The professor admitted that made only six sins, but the seventh was even thinking about putting a thick slab in a converging beam.
“The quality of the image, especially the sharpness, weakly depends on the aperture setting” - I didn’t attribute this to the disadvantages, but even to the advantages :) It depends on how you look - at any aperture it is equally sharp. And he's harsh! Best lens! For 500 hryvnias, I will never part with him, although you can sell for 1500 hryvnias at the OLH.
“When shooting with a tripod and also when shooting in BULB mode, the stabilizer should be turned off.”
Why?
Because you will get the opposite effect to the expected one, that is, lubrication.
That is, for example, if I shoot with a shutter speed shorter than 1/30 (shorter than the focal one), should I turn it off too?
On a tripod, yes. You don't need a tripod.
On a tripod, when you walk around it, the camera jerks, the stabilizer senses it and works it out. Plus, parasitic signals (noise) can come from the stabilizer's accelerometers, which can also cause lens movement. As a result, the camera froze at the time of shooting, but the stabilizer did not - it turns out blurry.
Try to turn on Liveview, put the camera (on the table) and turn on / off the stub. It will be noticeable how the picture “crawls away”. The effect is especially noticeable on telephoto lenses.
to be precise, there are not accelerometers, but Epson XV3500 MEMS gyroscopes, and their quality is so-so.
Thank you
Thank you
Probably I don't have Liveview, I understand. Canon 30d.
the other day I disassembled the last 18-55 that remained with me, it was generally new, and I don’t remember how many there were before. from this I will make a mock-up to demonstrate the operation of the diaphragm and stabilizer. Such junk is not suitable for anything else :)
The lens is good compared to its predecessors.
I am a reporter and I like to shoot on the street (at 70-200), and this lens is a cap, if you need to shoot some handicrafts / still lifes at home, in general, so that there is a telephoto camera just in case of rare emergency.
10 main advantages
7.There is a switch for the operation of the stabilizer and automatic focus (for example, the similar Nikon 18-55 / 3.5-5.6G VR AF-P does not have such switches)
- What? The stub has only on and off, and the telephoto switch has a mode switch (I can't vouch for everything)
- And what, there are such "massive" autofocus lenses for Canon, which do not have an AF / MF switch? Well, makrushniki also have autofocus modes. And for Nikon, it’s more of some kind of nonsense and these are his problems ...
10 main flaws - reads like something scary ...
2.the lens has become the heaviest of all its kind in its lineup
- In the blind can you determine where-who? The hand is tired of its heaviness, or is it as much as 10g heavier than the previous one?
3.Electronic focus ring prevents focusing when the camera is off
- Most need it?
6.the hood is not included in the package
- Was it included in other versions of whales 18-55? And in other lenses, not all have it in the package.
7.No useful additional cues like focusing distance or depth of field
- And in the other 18-55 was it?
- And when it is there (on other lenses), do you use it (not in tests)?
> 7. there are no useful extra labels like focus distance or DOF
> -And in the other 18-55 she was?
pentax da 18-55
first version, without aspherics (green ring)
Should I change it to 17-85?
In no case, only if the range of 55-85mm is fundamentally important to you. 17-85 - a fiercely ancient product, now they are all used and left in the tail and mane. In terms of optical properties, in practice, it has not bypassed the new 18-55 for a long time, but in the wide-angle position it merges completely outright. At the same time, 18-55 is incomparably smaller and lighter.