The canon eos 18-55mm IS is the newest in its line of cost-effective DSLRs kit contact contacts which started with the very first 18-55mm in 2003, as an complement to the innovative EOS Electronic Rebel/300D (widely considered to be the camera which started the cost-effective DSLR revolution). The central duration variety was selected to be comparative to the popular 28-90mm kit contact contacts then available for entry-level Negatives SLRs, and light and portable nasty development was used to keep costs down. The design was a little bit rejuvenated with the release of a mk II edition to go along with the Electronic Insurgent XT/350D, however this only really presented simple aesthetic changes, with no enhancement to the optics. And those optics were never the powerful factor of this lens, which obtained a popularity as a somewhat average entertainer, with many customers looking to update pretty quickly.
But Canon has now created a major update in the shape of this IS edition, which looks going to become the new standard kit lens for The canon eos APS-C dSLRs such as the EOS 450D. IS is short for Picture Stabilizing, and the new lens functions a completely new, simple visual image stabilization component, which Canon declare provides similar efficiency to that provided in their higher end (and previously much more expensive) IS contact contacts. This new lens is a clear reaction to the aggressive risk caused from other producers providing sensor-shift stabilization in relatively cost-effective DSLR systems, so the big question is whether it can provide items in regards to picture quality, in the face of some powerful competitors at this entry-level factor.
Changes in comparison to the non-IS versions
Side-by-side evaluation of the 18-55mm IS to the non-IS mk II edition shows that it provides more than simply incorporating an IS device. The new lens is a little bit longer than its forerunner (70mm vs 66mm), and the front factor is considerably bigger across (44mm vs 37mm); the visual plan shows that the next three components are also bigger, presumably to support the requirements of the visual IS device. The aperture diaphragm has been shifted rearwards in the lens set up, and the lens coverings also appear to have been modified. However the lens continues to be remarkably light and portable and compact; inclusion of the IS device contributes nothing to its size, and just 10g to the weight. As an extra, the lowest focus range has been decreased from 0.28m to 0.25m, providing a welcome increase in highest possible zoom from 0.28x to 0.34x. Overall this symbolizes a pretty technological accomplishment by Canon’s lens developers.
- 29-88mm comparative central duration range
- Optical image stabilization – 4 stops
- EF-S install for Canon APS-C DSLRS only
Canon EF-S 18-55mm Design
Canon’s older non-IS 18-55mm was never really considered a paragon of build quality, and the new lens comes from almost literally the same mould. Pretty well all of the visible structure of the lens barrel, including the mount, is made from plastic, with a new faux Mg-alloy texture applied to the surface, in contrast to the smooth finish of the old kit lens. The manual focus ring feels especially cheap, with just a slim serrated plastic grip which rotates the whole of the front lens assembly wholesale. It’s a purely functional design in which usability has been sacrificed in order to keep construction costs to an absolute minimum; however Canon have been building their entry-level kit lenses in much this way since 1991, and it doesn’t seem to have driven them out of business quite yet.
Canon EF-S 18-55mm Images Quality
A very amazing efficiency for a kit lens, providing good quality across the area from 18mm though to Negatives even start up, and with little sharpness benefit from avoiding down. However at 55mm the tale changes, and the lens is disappointingly smooth in the sides start up, only really attaining appropriate levels at F8-F11. As always, avoiding down beyond F11 causes the picture to break down due to diffraction, and anything below F16 begins to look pretty useless.
This lens reveals Cannon starting to deal with their CA devils. The uncommon form of the shapes indicates an effective make an effort to re-correct chromatic aberration towards the sides, where it is normally most noticeable. This obviously comes at the price of uncommon behavior in the red route in the middle of the structure, most noticeable extensive open; this reveals as CA in our charts, but is in fact an overall red ‘colour blur’ impact, and vanishes completely on ending the aperture down one quit.
We consider falloff to start becoming obvious when the area lighting drops more than 1 quit below the center. There’s little to bother with with this lens, presumably (at least in part) a result of the increased front components in comparison to the old 18-55mm; fall-off will only be noticeable start up at 18mm, and vanishes when avoiding down even a little bit.
As regular distortions is most noticeable at wideangle, with 1.4% gun barrel at 18mm. This is a complicated distortions, with the impact most noticeable towards the center, then squeezed in again towards the sides, so relatively difficult to appropriate in software. At 28mm the lens is almost completely fixed, and at longer central measures the design changes to pincushion, at its most severe attaining a just-perceptible -0.6% at 50mm.
Like most kit zooms, the 18-55 IS is rather vulnerable to surface in shiny mild, something which is not really assisted by the beautiful worthless bonnet. The examples below display fairly serious surface results, most noticeable on the right side of the structure, in each case due to powerful off-axis mild resources. The problem can be found at least in part with the inexpensive development of the lens, which simply makes it less effective at controlling inner representation of wander mild. This also results in lower overall picture comparison when in comparison to more expensive contacts such as the 17-85mm IS USM.
Visual Picture Stabilisation
Canon state that the new image stabilisation device designed for this lens (along with its sis 55-250mm telezoom) is at least as good as the more complicated device on more expensive contact contacts such as the 17-85mm IS USM, enabling hand-holding at shutter rates of speed four prevents more slowly than normal without seeing cloud from trembling digicam. The stabiliser is almost absolutely quiet and free of vibrations working, and aside from the stabilizing impact on the viewfinder image, you’ll hardly observe it working at all. We examined the IS system at both the long and short finishes of the zoom capability variety in our conventional studio room analyze. With its efficient central duration variety of 29-88mm, we’d normally anticipate to be able to get great results portable at 1/30 sec at wideangle, and 1/90 sec at telephoto without image stabilisation. The topic range for these assessments was roughly 2.5m.
Aberration modification using RAW and Electronic Picture Pro 3.2
With the making of edition 3.2 of their Electronic Picture Pro RAW handling system, Cannon silently snuck in one greatly exciting function, an computerized lens aberration modification component. This is fairly well exclusive amongst you manufacturers’ free software application, in that it can appropriate for four particular aberrations – namely side-line lighting (i.e. light fall-off), distortions, chromatic aberration, and color cloud. Basically this method flows the RAW file’s EXIF information to set up the camera/lens mixture, then uses the central duration and range information, presumably in mixture with a look-up desk of pre-determined improvements, to make use of the appropriate improvements. One problem with this strategy is that not all digital cameras and contacts are yet reinforced in edition 3.2, however our analyze mixture of the 18-55mm IS on the EOS 40D is one of those preferred few that made it onto the preliminary list, so we thought we’d examine just how well it proved helpful.
See More Another Canon Lens News Below :
- The New 2017 Canon EF 16-35mm F2.8L III USM Lens Review
- Canon 100-400mm F4.5-5.6L IS USM Mark II review
- Canon 35mm F1.4L II USM Design And Specifications Review
Canon EF-S 18-55mm Specifications
|Street price||• US: $175
• UK: £150
|Date introduced||August 2007|
|Maximum format size||APS-C|
|35mm equivalent focal length (APS-C)||29-88mm|
|Diagonal angle of view(APS-C)||74° – 27°|
|Lens Construction||• 11 elements/9 groups
• 1 Aspherical element
|Number of diaphragm blades||6|
|Maximum magnification||0.34x at 55mm|
|AF motor type||DC Micro Motor|
|Focus method||Extending front element|
|Image stabilization||• 4 stops
• Single mode (no panning
|Filter thread||• 58mm
• Rotates on focus
|Supplied accessories||• Front and rear caps|
|Optional accessories||• EW-60C Hood
• LP814 Case
|Weight||200 g (7.1 oz)|
|Dimensions||68.5 mm diameter x 70 mm length
(2.7 x 2.8 in)
|Lens Mount||Canon EF-S only|
|Other||Supplies distance information for E-TTL II flash metering|