Canon RF 100mm F/2.8L Macro IS USM

Macro lens • Pro • Digital era


RF The lens is designed for Canon EOS R 35mm digital mirrorless cameras but can be also used on Canon EOS R APS-C digital mirrorless 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.
MACRO Macro lens. Designed specially for shooting close-ups of small subjects but can be also used in other genres of photography, not necessarily requiring focusing at close distances. Learn more
IS The lens is equipped with Image Stabilizer.
USM The lens is equipped with Ultrasonic Motor.

Features highlight

Macro 1:1.4
Nano USM
Double Focusing
Focus limiter
9 blades
5 stops
Mode 1
Panning det.


Production details
Announced:April 2021
Production status: In production
Original name:CANON LENS RF 100mm F2.8 L MACRO IS USM
System:Canon EOS R (2018)
Optical design
Focal length:100mm
Maximum format:35mm full frame
Mount and Flange focal distance:Canon RF [20mm]
Diagonal angle of view:24.4°
Lens construction:17 elements - 13 groups
Floating element system
Closest focusing distance:0.26m
Closest working distance:0.086m
Maximum magnification ratio:1:1.4 at the closest focusing distance
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Dual Nano Ultrasonic Motor (Double Focusing)
Focus mode selector:AF - MF
Full-Time Manual Focus (FTM):Determined by the camera
Focusing distance range limiter:FULL;0.26-0.5;0.5-
Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera
Number of blades:9 (nine)
Image Stabilizer (IS)
Built-in IS:Yes
IS features:Mode 1
Panning Detection
Hybrid IS
IS efficiency:up to 5 stops
Physical characteristics
Maximum diameter x Length:⌀81.5×148mm
Weather sealing:Dust-proof and water-resistant barrel
Fluorine coating:Front and rear elements
Filters:Screw-type 67mm
Lens hood:Bayonet-type ET-73C (round)
Teleconverters:Not compatible

*) Source of data: Manufacturer's technical data.

35mm equivalent focal length and speed (on APS-C cameras)

In terms of FoV & DoF
Camera series [Crop factor] Focal length SpeedMax MR Dia. angle of view
Canon EOS R APS-C [1.61x] 161mm F/4.51.15:1 15.3°

Manufacturer description #1

The Canon RF100mm F2.8 L Macro IS USM lens is not only Canon’s first RF lens designed specifically for macro photography, but also the world’s first medium telephoto macro lens with a maximum magnification of 1.4x. The new lens, designed for both advanced photo enthusiasts and professionals, takes macro photography expression to the next level with the introduction of a spherical aberration (SA) control ring. The SA control ring allows users to change the character and appearance of the bokeh and obtain a softer focus effect with a simple turning of the ring to the desired result. Additional features of the Canon RF100mm F2.8L Macro IS USM include:

  • Optical Image Stabilizer with up to five stops of Shake Correction.
  • When combined with a camera featuring In-Body Image Stabilizer, up to eight stops of shake correction is possible with coordinated operation of Optical and In-Body Image Stabilizer.
  • Hybrid IS helps to compensate for angular and shift camera shake during macro shooting.
  • High-speed, smooth and quiet auto focus with dual nano USM.
  • Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO.
  • Rugged Canon L-series dust and water-resistant design.

Manufacturer description #2

Engineered specifically for full-frame EOS R series cameras, the RF100mm F2.8 L MACRO IS USM is the world’s first medium telephoto macro lens delivering close-up imagery at up to 1.4x magnification with autofocus. Featuring a fixed 100mm focal length, a bright f/2.8 maximum aperture for blurred backgrounds and low light shooting, fast, highly-precise AF, and an SA (spherical aberration) Control Ring, the RF100mm F2.8 L MACRO IS USM lens elevates the look of portraits and macro shots with the option of creating dreamlike or romantic images with a soft focus look. With strong built-in optical image stabilization and Canon's Hybrid IS system, close-up shooting and video are sharp and stable. Using the RF100mm F2.8 L MACRO IS USM, imagemakers can expect to see stunning results that can enhance their creative/artistic vision.

The RF100mm F2.8 L MACRO IS USM Lens is the world’s first medium telephoto AF Macro lens with a maximum magnification ratio of 1.4x. At its minimum focusing distance of 0.86 ft. / 0.26m, the RF100mm F2.8 L MACRO IS USM is capable of capturing detailed images while being remarkably versatile in operation. Whether capturing details of food, jewelry, or traditional macro shots, the RF100mm F2.8 L MACRO IS USM is a highly effective lens for macro photography.

The RF100mm F2.8 L MACRO IS USM lens distinguishes itself by maintaining incredibly high image quality, edge-to-edge, even wide open at its f/2.8 maximum aperture. With 17 elements in 13 groups and a 9-blade aperture system, it can deliver detailed images with gorgeous background blur and versatility in low light.

Weighing approx. 1.6 lbs. and measuring 5.83 inches in length, the RF100mm F2.8 L MACRO IS USM lens designed for comfortable use on any EOS R series camera. With its 100mm fixed focal length, the RF100mm F2.8 L MACRO IS USM lens provides a great representation to capture impressive portraits, food photos, flowers and more with minimal distortion.

Because RF lenses are designed specifically for the RF Mount found on EOS R series cameras, the lens and camera combine to share shooting data, helping to dramatically reduce the effect of camera shake that can occur when using handheld. This applies when capturing both stills and video, with up to 5 stops of stabilization for accurate and clear imagery.

Equipped with the Hybrid IS technology, the Image Stabilizer of the RF100mm F2.8 L MACRO IS USM effectively reduces blurring in handheld macro photography by compensating for both angle and shift camera shake. This helps to deliver impressively clear, up-close results.

The RF100mm F2.8 L MACRO IS USM features Canon’s first adjustable Spherical Aberration (SA) control ring on the lens barrel that allows you to adjust the depiction of the image’s background bokeh. Used to add a unique emphasis to your imagery, the SA Control Ring allows the user to change the shape and character of the foreground and background bokeh. A minus setting creates a dreamy, soft-focused look, while a Plus setting creates a bubble-bokeh-type look. Adding a third ring to the lens, the SA Control Ring has a notable surface that can be differentiated from the Control Ring and Focusing Ring. A lock mechanism can be found on the side of the lens which locks the SA control ring to the middle position rendering standard, traditional operation, with no SA optical effects.

Note: The effect of the SA control ring also changes depending on the aperture value. The effect is greatest at maximum aperture, and the effect decreases as the aperture is stopped down. (To obtain the desired effect, shooting with Aperture Priority AE is recommended). The effect of the SA control ring depends on the subject conditions (subject and background, foreground distance, etc.).

When combined with an EOS R series camera equipped with In-Body Image Stabilizer, the lens' Optical Image Stabilizer teams up with the In-Body Image Stabilizer to provide coordinated IS up to 8 stops, further helping to alleviate shaking for photos and video, and adjusting the ratio from optical to in-body stabilization automatically throughout the zoom range so you have the best of both worlds.

The RF100mm F2.8 L MACRO IS USM is equipped with dual independent Nano USMs to help achieve high-speed and focus accuracy throughout its focusing range. This helps you quickly focus and keep up with fast-moving subjects as well as provides smooth and virtually silent autofocus while shooting movies, so there is relatively no disturbance for you, the subject or in what you see visually and hear audibly during shooting and playback.

The RF100mm F2.8 L MACRO IS USM lens has a separate, independent Control Ring that is located towards the front of the lens, which can be programmable for immediate exposure adjustments during still and video shooting. With the Control Ring, you can directly adjust settings such as shutter speed, lens aperture, exposure compensation and more. For photographers and moviemakers who would prefer a silent control ring, the clicking mechanism can be removed by a Canon service provider for a fee.

For reliable performance even when weather conditions get difficult, the RF100mm F2.8 L MACRO IS USM lens features dust- and weather-resistant construction in the lens mount, switch panel and all rings. Sealing is applied to lens joining sections, and switch panels to help prevent water and dust from entering into the lens.

The RF100mm F2.8 L MACRO IS USM lens features fluorine coatings on the front and rearmost surfaces to help prevent dirt and dust from sticking to the lens, making it easy to clean smudges and fingerprints off.

Manufacturer description #3

On 14 April 2021, Canon announced the RF100mm f/2.8L Macro IS USM, its first true macro lens for the RF mount. The lens design harnesses the flexibility afforded by the RF mount’s large mount diameter and short back focus distance to achieve new possibilities, such as a maximum magnification of 1.4x and a Spherical Aberration (SA) control ring that allows users to achieve soft focus effects. Read on to learn more about this new red-line (L-series) medium telephoto macro lens that realises both excellent image quality and unprecedented functionality.

World’s first lens in its class to achieve 1.4x magnification

The RF100mm f/2.8L Macro IS USM is a 100mm medium telephoto macro lens. Macro lenses in this class usually have a maximum magnification of 1x (life size), which means that a subject that is 1cm long will be depicted as 1cm on the image sensor.

To capture close-ups of a subject so that it fills more of the frame, your first instinct would be to move closer to it. However, on all lenses, there is a closest focusing distance, i.e., a limit on how close you can be before the lens becomes unable to focus. On the RF100mm f/2.8L Macro IS USM, this closest focusing distance is 26cm, shorter than the 30cm on the EF100mm f/2.8L Macro IS USM. This achieves a larger maximum magnification of up to 1.4x—more than life size—even while retaining the same focal length.

On the RF100mm f/2.8L Macro IS USM, you can achieve the usual life size 1.0x magnification from focusing distance 28cm. Moving just 2cm closer to the 26cm closest focusing distance lets you achieve the 1.4x magnification. The working distance for both magnification ratios is 11.2cm and 9.2cm respectively, leaving enough space in between to ensure sufficient lighting.

How did Canon manage to achieve the world’s first 100mm macro lens capable of up to 1.4x magnification? The answer lies in the characteristics of the RF mount, namely, the large mount diameter and short back focus distance, which allowed more flexibility in optical design. The resulting changes to the design and AF drive dynamics of the focus and floating lens groups made it possible to carry out fast, precise focusing from nearer than before.

The electronic floating focus control system: Achieving more than just fast, accurate AF

On the RF100mm f/2.8L Macro IS USM, the autofocus (AF) is driven by two independent Nano USMs that make possible an electronic floating focus control system where the focusing lens group and the floating lens groups are controlled separately. This enables the RF100mm f/2.8L Macro IS USM to balance improved functionalities such as a shorter closest focusing distance and spherical aberration control alongside core performance qualities such fast, high-precision AF. The electronic floating focus system also helps to reduce focus breathing, which causes the angle of view to change during focusing.

The Nano USM (Ultrasonic Motor) is characterised by its capacity to perform both quick and precise movements, which are unique to a linear ultrasonic motor. This makes it capable not just of swift subject acquisition when shooting still images but also seamless subject tracking when shooting videos, therefore ensuring that viewers don’t feel uneasy when watching the video playback. Indeed, the AF capabilities of the RF100mm f/2.8L Macro IS USM also make it an excellent video lens.

Know this: What is an electronic floating focus system?

The rendering performance of a lens is usually not the same across all shooting distances—even for prime lenses with their reputation for being particularly sharp. At the design stage, the engineers will first determine a benchmark shooting distance, and then correct lens aberrations so that the image quality is the best at that “sweet spot”. This results in a reduced correction effect at shooting distances outside this sweet spot.

One of the solutions for this issue is to adopt a floating lens system, which involves moving a lens group other than the focusing lens group during focus adjustment. Such a system also improves lens aberration correction and close-up shooting capabilities.

While the EF100mm f/2.8L Macro IS USM had a mechanical system that used barrel-shaped cam gears, allowing movement only along one track, the Nano USMs on the RF100mm f/2.8L Macro IS USM, which are driven by high-performance microprocessors, can move on a variety of tracks. This, together with the RF mount design that affords more space to move the floating lens group, contributed to the significant improvement in functionality and performance on the RF100mm f/2.8L Macro IS USM.

SA control ring: Create soft focus images when you wish

A unique feature on the RF100mm f/2.8L Macro IS USM is the SA (Spherical Aberration) control ring, which utilises the electronic floating focus system to allow users to control the degree of spherical aberration correction.

Spherical aberration is usually believed to cause image quality deterioration, but it also affects how bokeh is rendered, i.e. its “flavour”. For example, the unique “bubble bokeh” with hard outlines rendered by vintage lenses, considered beautiful by some people, partly results from the under-correction of spherical aberration due to technological limits in the past. The more spherical aberration is corrected, the smoother the bokeh rendered, which eventually results in the soft focus effect.

On the RF100mm f/2.8L Macro IS USM, the use of Nano USMs makes it possible to control the floating lens group independently from the focusing group. This enables unprecedented control over the degree of spherical aberration correction without affecting the focus position. By turning the SA control ring, users can change how the bokeh in front of and behind the focal plane looks—whether it’s hard, vintage-style bokeh or soft, buttery bokeh—providing greater variety of expression.

Turning the SA control ring towards ‘+’ or ‘-’ moves the floating lens group, so that you can intentionally allow spherical aberration:

  • Turning the SA control ring towards ‘-’ softens the outlines of the bokeh behind the focal plane and hardens the outlines of the bokeh in front of the focal plane.
  • Turning the SA control ring towards ‘+’ hardens the outlines of the bokeh behind the focal plane and softens the outlines of the bokeh in front of the focal plane.

The effect of the SA control ring (the amount of variability in spherical aberration) varies depending on the shooting distance. As the shooting distance decreases from the infinity focusing range to when the lens achieves life size (1x) magnification, the amount of variability increases. However, due to structural factors, the spherical aberration will not change at the 0.26m closest focusing distance.

Using the SA control ring to create the soft focus effect can give your images a unique look—even for still life, flower and portrait photography.

Hybrid IS for stabler macro images; up to 8 stops’ image stabilisation

When a subject is more than a certain distance away, angular (rotational) camera shake is more likely to occur. The usual IS (Image Stabilizer) system is designed to compensate for this kind of camera shake. However, during close-up shooting, angular camera shake is less likely to occur. Instead, shift camera shake, which occurs when the sensor plane is moved in a parallel direction to the subject, becomes more obvious. The RF100mm f/2.8L Macro IS USM is equipped with the Hybrid IS (Hybrid Image Stabilizer) system, which compensates for both angular and shift camera shake. Hybrid IS can provide as much as up to two shutter speed stops’ equivalent image stabilisation when shooting close-up at life size magnification.

When shooting from a normal shooting distance, the in-lens Optical IS system provides up to five shutter speed stops’ equivalent image stabilisation. When attached to a camera with In-Body IS such as the EOS R5 or EOS R6, Coordinated Control IS is active, correcting camera shake by up to eight shutter speed stops’ equivalent.

The excellent image quality and durability true to an L-series lens

The EF100mm f/2.8L Macro IS USM was well-acclaimed for its excellent image quality. The RF100mm f/2.8L Macro IS USM, besides incorporating various new functionalities, realises the same excellent optical performance.

While it does not use any special coatings or lens elements, it does use the same kind of glass used in fluorite lenses—high-refractive glass with unique anomalous dispersion characteristics—which effectively corrects chromatic aberrations. The lens coatings and shapes of the lens elements are optimised to reduce ghosting. These, together with the smudge-resistant fluorine coating on the front lens surfaces and the dust- and drip-resistant design ensure the excellent optical performance and durability that equips an L lens to handle various shooting environments.

Ring-type tripod mount for better stability, easier switching of camera orientations

For more secure tripod mounting, a new ring-type tripod mount that provides better stability is also available (sold separately). Attaching it to the barrel of the RF100mm f/2.8L Macro IS USM allows the camera and lens to be mounted at the centre of gravity, improving stability. When the lock screw is loosened, the camera can be rotated around the lens, allowing the photographer to change the orientation of the shot without having to tilt the tripod head.

When using a tripod, changing from a horizontal composition to vertical one usually involves tilting the tripod head. This movement causes the shooting position to change significantly, and having to re-adjust the entire setup can be cumbersome especially when shooting macro. The ring-type tripod mount allows the camera to be rotated while keeping the lens still, so that the subject stays in the centre of the composition and the optical axis is maintained even while the orientation of the shot changes.

From the editor

It quickly becomes clear from the lens specification and feature list that this is the best professional autofocus macro lens available on the market. Besides, like RF 85/2 Macro IS STM, the lens can be used not only for macro photography, but also in the genre of portrait photography, and the spherical aberration control for smoother bokeh only adds extra points.

The manufacturer description says that the closest working distance is 9.2cm, but the instruction manual states that it is 8.6cm.

Typical application


Fast full-frame macro lens • Professional model (Top class)Travellers' choice

Professional model (Top class)

  • Combination of focal length and closest focusing distance meets professional demands
  • Dust-proof and water-resistant barrel
  • Nano Ultrasonic Motor (Double Focusing)

Travellers' choice

  • Lightweight
  • Dust-proof and water-resistant barrel
  • Fluorine coating

Genres or subjects of photography (4):

Macrophotography • Product photography • Portraits • Travel photography

Recommended slowest shutter speed when shooting static subjects handheld:

1/4th of a second (IS ON) • 1/100th of a second (IS OFF)

Alternatives in the Canon EOS R system

///// Sorted by focal length and speed, in ascending order /////

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35mm full frame

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

Nano Ultrasonic Motor (Double Focusing)

The lens incorporates focusing system consisting of two autofocus drive units precisely synchronized to deliver fast and accurate autofocusing.

Focusing distance range limiter

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

FULLFull range of focusing distances.
0.26m - 0.5mRange of focusing distances suitable for shooting nearby subjects.
0.5m - ∞Range of focusing distances suitable for shooting distant subjects.

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


AFAutofocus mode.
MFManual focus mode.

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You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

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 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),


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


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.


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.

Floating element system

Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.

The basic mechanism of the floating element system is also incorporated into the internal and rear focusing methods.

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.

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.


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.


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 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.

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.


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.


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


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


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.


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.