Canon RF 14-35mm F/4L IS USM

Wide-angle zoom lens • Digital era

RF The lens is designed for Canon EOS R 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.
IS The lens is equipped with optical image stabilizer.
USM The lens is equipped with ultrasonic motor.

Features highlight ⋅ 機能のハイライト

Constant F/4
ASPH
RF
Nano USM
IS 5.5 stops
Panning det.
DP/WR
FC

Specification ⋅ 仕様

Production status and name ⋅ 生産状況と名称
Announced ⋅ 発表: June ⋅ 六月 2021
Production status ⋅ 生産状況: In production ⋅ 生産中
Original name ⋅ 元の名前: CANON LENS RF 14-35mm F4 L IS USM
Optical design ⋅ 光学設計
Maximum format ⋅ 最大フォーマット: 35mm full frame ⋅ 35mmフルフレーム
Mount ⋅ マウント: Canon RF
Diagonal angle of view ⋅ 対角画角: 114.2°-63.4° (35mm full frame ⋅ 35mmフルフレーム)
Lens construction ⋅ レンズ構造: 16 elements ⋅ 要素 - 12 groups ⋅ グループ
3 ASPH, 3 UD
Diaphragm mechanism ⋅ ダイヤフラムメカニズム
Number of blades ⋅ 絞り羽根の数: 9
Zooming ⋅ ズーミング
Zooming method ⋅ ズーム方法: Rotary ⋅ ロータリー
Zoom type ⋅ ズームタイプ: <No information ⋅ 情報なし>
Focusing ⋅ フォーカシング
Closest focusing distance ⋅ 最短撮影距離: 0.2m
Maximum magnification ratio ⋅ 最大倍率: 1:2.63 @ 35mm at the closest focusing distance ⋅ 最寄りの距離で
Focusing method ⋅ フォーカシング方法: Rear focusing (RF) ⋅ リアフォーカシング
Focusing modes ⋅ フォーカシングモード: Autofocus, manual focus ⋅ オートフォーカス、マニュアルフォーカス
Manual focus control ⋅ マニュアルフォーカス制御: Focusing ring ⋅ フォーカシングリング
Autofocus motor ⋅ オートフォーカスモーター: Nano Ultrasonic Motor
Focus mode selector ⋅ フォーカスモードセレクター: AF/MF
Full-Time Manual Focus (FTM): Determined by the camera
Image stabilizer ⋅ 手ぶれ補正
Image Stabilizer (IS): Yes ⋅ はい
IS features ⋅ 特徴: Panning Detection
Determined by the camera ⋅ カメラによって決定されます
IS efficiency ⋅ 効率: up to 5.5 stops @ 35mm
Physical characteristics ⋅ 体格的特徴
Weight ⋅ 重量: 540g
Maximum diameter x Length ⋅ 最大直径x長さ: ⌀84.1×99.8mm
Weather sealing ⋅ ウェザーシーリング: Dust-proof and water-resistant barrel ⋅ 防塵・防水バレル
Fluorine coating ⋅ フッ素コーティング: Front element ⋅ フロントエレメント
Accessories ⋅ 付属品
Filters ⋅ フィルタ: Screw-type ⋅ ネジ式 77mm
Lens hood ⋅ レンズフード: Bayonet-type ⋅ バヨネットタイプ EW-83P (petal-shaped ⋅ 花びらの形)
  • Toggle description in Japanese

    メーカーの説明

    おもな特長

    焦点距離14mmの超広角撮影を実現し、描写性能や操作性、堅牢(けんろう)性などで最高水準の性能を追求した"L" レンズ。

    従来のEF16-35mm F4L IS USMから広角端を14mmにまで拡げることにより、超広角ならではのパースペクティブを活かした映像表現が可能になるとともに、最短撮影距離0.2mを実現することで使い勝手を大幅に向上しました。風景・建築写真からスナップ・ポートレートまで自在にこなせる、万能レンズです。

    超広角14mmから35mmの幅広いズーム域

    EF16-35mm F4L IS USMに比べて広角2mmのワイド化を実現し、従来以上に広がりのある表現が可能になりました。

    テレ端は35mmをキープし、なおかつ近接撮影能力を高めながらLレンズにふさわしい高画質を実現し、ズーム全域で画面中心から周辺まで解像感の高いクリアな画像を写せます。

    ズーム全域での高画質と小型・軽量を両立

    RFマウントの大口径・ショートバックフォーカスがもたらす自由度の高いレンズ設計により、高画質化と小型化を両立。「UDレンズ※」2枚、「UD非球面レンズ」1枚、「ガラスモールド非球面レンズ」2枚を含む12群16枚の光学設計により画質劣化の原因となる諸収差を低減し、焦点距離14mmから35mmのズーム全域で中心部から周辺部までの高画質を実現。特殊コーティング「SWC(Subwavelength Structure Coating)」と「ASC(Air Sphere Coating)」の2種類を採用。フレアやゴーストなどの発生を低減。

    RFマウントの大口径・ショートバックフォーカスを生かした小型・軽量設計により、全長約99.8mm、質量約540gの優れた携帯性を実現。

    レンズ単体で5.5段分、

    協調補正で7段の強力な手ブレ補正機構

    14mmの超広角域をカバーするレンズとしては初めて、CIPA基準約5.5段※1の光学手ブレ補正機構を搭載しています。また、EOS R5との組み合わせでは、ボディ・レンズISの協調制御により約7段※2の手ブレ補正効果となります。超広角域はボディ内手ブレ補正のみに比べて、協調制御による画質安定効果が見られ、三脚を立てられない場所での暗所撮影などで、よりシャープな映像が撮影できます。

    ※1 焦点距離35mm、EOS R使用時。CIPA規格に準拠(Yaw/Pitch方向)。

    ※2 焦点距離35mm、EOS R5使用時。CIPA規格に準拠(Yaw/Pitch方向)。

Manufacturer description

Providing the ultimate combination of ultra wide-angle, L-series optics and compact construction, the RF14-35mm F4 L IS USM lens is an incredible complement to an EOS R series camera. This lens offers up to 5.5 stops* of shake correction for sharp images (up to 7 stops** of correction when used on EOS R series cameras with In-Body Image Stabilization), and covers an entire wide-angle zoom range - from 14mm through 35mm - whether you shoot landscapes, videos, or architecture. Plus, optimized coatings to help minimize ghosting. The RF14-35mm F4 L IS USM distinguishes itself by maintaining incredibly high image quality, even at its constant f/4 maximum aperture. It also offers a minimum focusing distance of 7.9 in. / 0.2m at all focal lengths, and a maximum magnification of 0.38x (at 35mm), allowing you to open up a world of possibilities for creative expression. The RF14-35mm F4 L IS USM is an ideal and lightweight wide-angle companion, capable of high-quality, creative photos and video anywhere, or simply set up in the comfort of your home for vlogging or livestream purposes.

Ultra wide-angle coverage changes the way you see the world — whether you shoot video, landscapes, interiors, travel, or simply creative images that leverage lens effects. The combination of 14mm coverage, with a full-frame camera, is a direct line to making the ordinary visually extraordinary.

One lens for all wide-angle needs — for everything from street shooting or group photos to dramatic, ultra-wide architectural images. This lens is one-stop shopping for anyone who enjoys the possibilities of wide-angle imagery. And, vital to landscape shooters, this lens accepts standard 77mm screw-in filters — an incredible feature on a lens as wide as 14mm.

Superb optics, as you’d expect from a Canon L-series lens, for truly professional-level image and video quality. And with its constant f/4 maximum aperture, there’s no worry about exposure adjustments as you zoom.

The RF14-35mm F4 L IS USM lens features our Subwavelength Structure Coating (SWC) and Air Sphere Coating (ASC), which helps to reduce the occurrence of lens flare and ghosting. This helps provide clean results with minimal distractions and aberrations.

Compact design — Approx. 1.2 lbs. weight, similar to RF85mm F2 IS STM lens. Its strong, pro-level build quality belies this lens’s delightfully compact size and weight. Significantly lighter than comparable f/2.8 ultra-wide zooms, it’s tremendously appealing for its portability and easy handling — making it perfect for travel.

Close-focusing down to 7.9 inches at all focal lengths, and maximum magnification of 0.38x, at 35mm zoom setting. Combining the visual power of wide-angle coverage with excellent close-focusing opens up a whole new way of seeing small, nearby subjects. It’s yet another way to add drama to your video and still images.

Built-in, optical Image Stabilization means steadier, sharper video and still images, enhancing the possibilities in dim lighting, and at slower shutter speeds. On cameras without In-Body Image Stabilization, up to 5.5 stops* of still-image shake correction is possible.

When used with Canon EOS R-series cameras that have In-Body Image Stabilization (IBIS), Coordinated IS means you get the shake-correction of both the lens IS and the camera’s IBIS. With this lens, safe hand-holding is possible at shutter speeds up to 7 stops** slower than you could achieve without stabilization.

With any Canon EOS R-series camera, expect swift and positive autofocus. The Nano USM focus system is especially advantageous to video users, because of its combination of quiet operation and outstanding smoothness of focus changes during actual recording.

A customizable, click-stopped Control Ring is at the front of the RF14–35mm F4 L IS USM lens, giving yet another control input option for quick adjustments to exposure and other settings. Click-stopped operation gives positive tactile feedback, as you make adjustments. For photographers and moviemakers who would prefer a silent control ring, the clicking mechanism can be removed at a Canon Factory Service Center location for a fee.

Canon L-series lenses are designed for tough, professional use — and this lens is no exception. It's highlighted by weather-resistant gaskets and seals at all switches and rotating rings, as well as at the lens mount, so it continues to shine even when the sun doesn't.

Typical application ⋅ 典型的なアプリケーション

landscapes ⋅ 風景, interiors ⋅ インテリア, buildings ⋅ 建物, cityscapes ⋅ 都市の景観, travel ⋅ トラベル

Slowest shutter speed when shooting handheld ⋅ ハンドヘルド撮影時のシャッタースピードが最も遅い

IS OFF @ 35mm11/21/41/81/151/301/401/601/1251/2501/5001/1000+
IS ON @ 35mm11/21/41/81/151/301/401/601/1251/2501/5001/1000+

Recommendations ⋅ 推奨事項

  • If you plan to use a wide-angle zoom lens without a tripod and often in low light conditions, you will have to use relatively slow shutter speeds and/or high ISO settings, which in some cases may affect image sharpness. To avoid this, consider acquiring a fast wide-angle zoom lens.

Lenses with similar focal length range

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35mm full frame

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

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

Professional lens (Top class)

One of the best slow wide-angle zooms

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Quality control issues

The manufacturer of this lens does not provide adequate quality control. If you do decide to purchase this lens, do not order it online, but choose the best copy available in the store. In any case, there may also be problems with the build quality, and warranty repairs can take months.

Model produced in a small batch. It is collectible and can only be found on the secondary market.

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.

Nano Ultrasonic Motor

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.

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 from the lens mount to the film or sensor can also be different.

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.

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.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Fixed focus

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

Overall linear extension

The entire lens optical system moves straight backward and forward when focusing is carried out. This is the simplest type of focusing used mainly in wide-angle and standard prime lenses. It has the advantage of introducing relatively little change in aberrations with respect to change in focusing distance. With telephoto and super telephoto lenses this method becomes less beneficial in terms of operability because of the increased size and weight of the lens system.

Front group linear extension

The rear group remains fixed and only the front group moves straight backward and forward during focusing. This method is primarily used in zoom lenses and allows to design comparatively simple lens construction, but also places restrictions on zoom magnification and size reduction.

Front group rotational extension

The lens barrel section holding the front lens group rotates to move the front group backward and forward during focusing. This method of focusing is also used only in zoom lenses.

Internal focusing (IF)

Focusing is performed by moving one or more lens groups positioned between the front lens group and the diaphragm.

Methods of internal and rear focusing have the following advantages:

Rear focusing (RF)

Focusing is performed by moving one or more lens groups positioned behind the diaphragm.

Methods of internal and rear focusing have the following advantages:

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.

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 and the manual focusing is achieved by one and the same ring. The change of focal length happens when the photographer moves the ring towards the mount or backwards and the rotation of the ring leads to change of focus.

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.

Power Zoom

The lens features electronically driven zoom mechanism. It provides smoother, more natural zoom movements than you could accomplish by hand.

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.

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.