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Canon EF 70-200mm F/2.8L IS III USM

Telephoto zoom lens • Digital era

Abbreviations

EF The lens is designed for Canon EOS 35mm SLR cameras but can be also used on Canon EOS APS-C digital SLR cameras.
L Professional lens with high quality optics and robust build. Meets the highest standards and provides excellent performance and flawless image quality unachievable with traditional optical technologies.
IS The lens is equipped with Image Stabilizer.
III Third generation.
USM The lens is equipped with Ultrasonic Motor.

Model history (5)

■Canon EF 80-200mm F/2.8LA16 - 131.8m⌀72 1989 ●
■Canon EF 70-200mm F/2.8L USMA18 - 151.5m⌀77 1995 ●
■Canon EF 70-200mm F/2.8L IS USMA23 - 181.4m⌀77 2001 ●
■Canon EF 70-200mm F/2.8L IS II USMA23 - 191.2m⌀77 2010 ●
■Canon EF 70-200mm F/2.8L IS III USMA23 - 191.2m⌀77 2018 ●

Features highlight

•
Fast
•
Constant
F/2.8
•
1
FL
•
5
UD
•
IF
•
RT USM
•
FTM
•
Focus limiter
•
8 blades
•
IS
3.5 stops
•
IS
Mode 1
•
IS
Mode 2
•
Tripod det.
•
DP/WR
•
FC
•
IZ
•
⌀77
filters
•
TC

Specification

■ Production details
Announced:June 2018
Production status:● In production
Original name:CANON ZOOM LENS EF 70-200mm 1:2.8 L IS III USM
System:Canon EOS (1987)
■ Optical design
Focal length range:70mm - 200mm [2.9X zoom ratio]
Speed range:F/2.8 across the focal length range
Maximum format:35mm full frame
Mount and Flange focal distance:Canon EF [44mm]
Diagonal angle of view:34.3° @ 70mm - 12.3° @ 200mm
Lens construction:23 elements in 19 groups
1 FL, 5 UD
Internal focusing (IF)
■ On Canon EOS APS-C [1.59x] cameras
35mm equivalent focal length range:111.3mm - 318mm (in terms of field of view)
35mm equivalent speed range:F/4.5 (in terms of depth of field)
Diagonal angle of view:22° @ 70mm - 7.8° @ 200mm
■ Zooming
Zoom mechanism:Manual
Zoom control:Zoom ring
Zoom type:Rotary
Zooming method:Internal zooming
■ Focusing
Closest focusing distance:1.2m
Maximum magnification:1:4.76 @ 200mm at the closest focusing distance
Focusing modes:Autofocus, manual focus
Autofocus motor:Ring-type Ultrasonic Motor
Manual focus control:Focusing ring
Focus mode selector:AF - MF
Full-Time Manual Focus (FTM):Yes
Focusing distance range limiter:1.2-;2.5-
■ Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera
Number of blades:8 (eight)
■ Image Stabilizer (IS)
Built-in IS:Yes
IS features:Mode 1
Mode 2
Tripod Detection
IS efficiency:up to 3.5 stops @ 200mm
■ Physical characteristics
Weight:1440g
Maximum diameter x Length:⌀88.8×199mm
Weather sealing:Dust-proof and water-resistant barrel
Fluorine coating:Front and rear elements
■ Accessories
Filters:Screw-type 77mm
Lens hood:ET-87 - Bayonet-type petal-shaped
Teleconverters:Canon Extender EF 1.4X III → 98-280mm F/3.9
Canon Extender EF 2X III → 140-400mm F/5.6
■ Source of data
Manufacturer's technical data.

Manufacturer description

A professional standard refined. The EF 70-200mm f/2.8L IS III USM delivers outstanding performance and optics to help you reach new heights in high-level creative imaging. The lens's constant f/2.8 maximum aperture enables fast shutter speeds and beautiful background blur across its zoom range. To further enhance clarity, it adds Canon's Air Sphere Coating (ASC), which combines with updated Super Spectra Coatings to significantly reduce lens flare and ghosting. A superlative lens remastered for improved performance even in diverse light, the EF 70-200mm f/2.8L IS III USM is a worthy partner to help create your upcoming masterpiece.

The EF 70–200mm f/2.8L IS III USM lens features an incredibly bright zoom with an f/2.8 maximum aperture that stays constant throughout the zoom range. The EF 70–200mm f/2.8L IS III USM's bright image even enhances AF performance, sending more light to more areas of the AF sensor to help facilitate a faster, more accurate focus. Combined with its 8-blade circular aperture, the EF 70–200mm f/2.8L IS III USM lens is engineered to capture dramatic images with gorgeous background blur.

The addition of Canon's Air Sphere Coating (ASC) enhances the EF 70–200mm f/2.8L IS III USM lens's ability to suppress reflections. ASC helps combat aberrations regardless of focal length or the angle of light. This helps provide cleaner photographs with fewer distracting reflective effects in the image.

For consistently sharp results, the EF 70–200mm f/2.8L IS III USM lens features an Optical Image Stabilizer system that provides shake reduction for up to 3.5 shutter speed stops*. This helps provide reliable handheld performance and clear image detail in low-light situations or at lower ISOs.

To help maintain a clean lens, even after multiple lens changes in sub-optimal conditions, the EF 70–200mm f/2.8L IS III USM lens has a specially designed fluorine coating on its front and rear surfaces. This fluorine coating helps prevent dust, water, oil and other surface residue like fingerprints from sticking to the lens, which facilitates quick and easy wiping, without the use of solvents.

Built to L-Series lens specifications, the EF 70–200mm f/2.8L IS III USM not only offers optical excellence but has been enhanced with a highly durable design to perform in even the most challenging environments. It delivers a dust- and water-resistant construction with seals around the mount, switches, zoom ring and more.

To help capture every movement of your subject, the EF 70–200mm f/2.8L IS III USM lens features a fast and near-silent AF system. It uses an inner focusing ring USM (ultrasonic motor) system that works with a high-speed CPU and optimized AF algorithms to help deliver precise, lightning-fast performance. For even more refinement, the EF 70–200mm f/2.8L IS III USM offers full-time manual focus as well.

The EF 70–200mm f/2.8L IS III USM lens offers complete manual focusing, even when AF is engaged, with a simple twist of the lens's focus ring. Additionally, full-time manual focus means you can achieve and maintain focus manually, which can be especially handy when shooting video or composing still images on an SLR camera's screen.

Befitting Canon's L-series lenses, the EF 70–200mm f/2.8L IS III USM lens features a superb optical formula for high-resolution, high-contrast images throughout its zoom range. It consists of 23 lens elements in 19 groups, including one fluorite and five Ultra Dispersion (UD) elements. The result? A lens of great clarity and fidelity that helps render sharp, beautifully detailed images with minimal distortion.

With a minimum focusing distance of approx. 3.9 ft./1.2m, the EF 70–200mm f/2.8L IS III USM lens helps enable operation close to the subject, perfect for intimate portraits, headshots and detail work. For instance, at its minimum focus distance and zoomed to 200mm, the maximum magnification is 0.21x, meaning you can fill the frame with a subject 6.7 x 4.5 in. (approx. 170 x 114mm) in size.

Typical application

Class:

Fast full-frame telephoto zoom lens • Professional model (Top class) • Part of the Holy Trinity of lenses

Professional model (Top class)

  • Combination of focal length range and speed meets professional demands
  • Dust-proof and water-resistant barrel
  • Ring-type Ultrasonic Motor
  • Compatible with teleconverters

Part of the Holy Trinity of lenses

The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.

The Holy Trinity of lenses (Canon EF, F/2.8, Gen. 3):

Canon EF 16-35/2.8L III USM • Canon EF 24-70/2.8L II USM • Canon EF 70-200/2.8L IS III USM

Missing features (1):

Lighter weight

Genres or subjects of photography (10):

Portraits • Distant subjects • Distant landscapes with perspective compression effect • Photojournalism • Weddings • Parties • Carnivals • Live concerts • Sports • Wild nature

Recommended slowest shutter speed when shooting static subjects handheld:

1/20th of a second @ 200mm (IS ON) • 1/200th of a second @ 200mm (IS OFF) • 1/80th of a second @ 70mm (IS OFF)

Alternatives in the Canon EOS system

Sorted by focal length and speed, in ascending order

Lenses with similar focal length range and speed

Sorted by manufacturer name

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

Ring-type Ultrasonic Motor

Focusing distance range limiter

The lens features focusing distance range limiter which allows to choose between the following focusing distance ranges:

1.2m - ∞Full range of focusing distances.
2.5m - ∞Range of focusing distances suitable for shooting distant subjects.

By setting the suitable focusing distance range, the actual autofocusing time can be shorter.

AF - MF

AFAutofocus mode.
MFManual focus mode.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Fixed focus

There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.

Internal focusing (IF)

Conventional lenses employ an all-group shifting system, in which all lens elements shift during focusing. The IF system, however, shifts only part of the optics during focusing. The advantages of the IF system are:

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/2.8 on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.

Rotary zoom

The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Push/pull zoom

The change of focal length happens when the photographer moves the ring towards the mount or backwards.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Zoom lock

The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.

Zoom clutch

To set the manual zoom mode, pull the zoom ring towards the camera side until the words "POWER ZOOM" disappear.

Efficiency of image stabilizer

The efficiency of image stabilizer is measured in stops and each stop corresponds to a two-times increase of shutter speed. For example, if you are shooting at focal length of 80mm and it is known that the efficiency of image stabilizer is 3 stops, it means that during handheld shooting at such focal length you can use shutter speed of 1/10 second which is exactly 23 times longer than the shutter speed 1/80 second needed to obtain sharp image in sufficient lighting conditions.

Hybrid IS

The image stabilizer has Hybrid IS technology which corrects not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. Hybrid IS dramatically enhances the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.

XY-Shift

The image stabilizer has XY-Shift technology which corrects not only angle but also shift camera shake, which is more pronounced in close-range shooting when a camera moves parallel to the imaging scene. XY-Shift dramatically enhances the effects of image stabilization during shooting, including macro shooting, which had proven difficult for conventional image stabilization technologies.

Dynamic IS

The image stabilizer has Dynamic IS technology which especially effective when shooting while walking because it compensates strong camera shake. Dynamic IS activates automatically when the camera is set to movie shooting.

Mode 1

Corrects vertical and horizontal camera shake. Mainly effective for shooting still subjects.

Mode 2

Corrects vertical camera shake during following shots in a horizontal direction. Corrects horizontal camera shake during following shots in a vertical direction.

Mode 2

Corrects vertical camera shake during following shots in a horizontal direction.

Mode 2 (Intelligent OS)

The lens incorporates Intelligent OS with algorithm capable of panning in all directions. In Mode 2, the movements of subjects can be captured with panning effects even when the camera is moved horizontally, vertically, or diagonally — regardless of the position of the lens.

Mode 3

Corrects camera shake only during exposure. During panning shots, corrects camera shake during exposure only in one direction the same as Mode 2. Effective for following fast and irregulary moving subjects.

Panning Detection

The image stabilizer automatically detects panning and then corrects camera shake only in one direction.

Tripod Detection

It is often thought that image blur caused by camera shake can be prevented by using a tripod. Actually, however, even using a tripod may result in image blur because of tripod vibration caused by mirror or shutter movement at the time of exposure. The image stabilizer automatically differentiates the frequency of the vibration from that of camera shake, and changes algorithm to correct image blur caused by slight tripod vibration.

VR NORMAL

Corrects vertical and horizontal camera shake. Automatically detects panning and then corrects camera shake only in one direction.

VR ACTIVE

Corrects vertical and horizontal camera shake when shooting from a moving vehicle, or some other unstable position. Panning is not detected.

VR SPORT

Allows a continuous shooting frame rate and release time lag similar to those that are possible when image stabilizer is turned off. Automatically detects panning and then corrects camera shake only in one direction.

VR TRIPOD

It is often thought that image blur caused by camera shake can be prevented by using a tripod. Actually, however, even using a tripod may result in image blur because of tripod vibration caused by mirror or shutter movement at the time of exposure. The image stabilizer automatically differentiates the frequency of the vibration from that of camera shake, and changes algorithm to correct image blur caused by slight tripod vibration.