Canon RF 70-200mm F/4L IS USM

Telephoto zoom lens • Announced in November 2020 • 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.

Canon EOS R

35mm AF digital mirrorless camera

Announced: Sep 2018
Mount: Canon RF
Format: 36 × 24mm
Resolution: 6720 × 4480 - 30 MP
Sensor type: CMOS
Image stabilizer: -

Canon EOS RP

35mm AF digital mirrorless camera

Announced: Feb 2019
Mount: Canon RF
Format: 35.9 × 24mm
Resolution: 6240 × 4160 - 26 MP
Sensor type: CMOS
Image stabilizer: -

Canon EOS R5

35mm AF digital mirrorless camera

Announced: Jul 2020
Mount: Canon RF
Format: 36 × 24mm
Resolution: 8192 × 5464 - 45 MP
Sensor type: CMOS
Image stabilizer: Yes

Canon EOS R6

35mm AF digital mirrorless camera

Announced: Jul 2020
Mount: Canon RF
Format: 36 × 24mm
Resolution: 5472 × 3648 - 20 MP
Sensor type: CMOS
Image stabilizer: Yes

Designed for

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Features highlight

Constant F/4
Nano USM
Focus limiter
IS 5 stops
DP/WR
FC
ZL

Specification

Original name: CANON LENS RF 70-200mm F4 L IS USM
Optical design
Maximum format: 35mm full frame
Diagonal angle of view: 34.3°-12.3° (35mm full frame)
Lens construction: 16 elements - 11 groups
4 UD
Mechanical design
Mount: Canon RF
Diaphragm mechanism
Number of blades: 9
Zooming
Zooming method: Rotary
Zoom type: Extends while zooming
Additional features: Zoom lock
Focusing
Closest focusing distance: 0.6m
Maximum magnification ratio: 1:3.57 @ 200mm at the closest focusing distance
Focusing method: <No information>
Focusing modes: Autofocus, manual focus
Manual focus control: Focusing ring
Autofocus motor: Dual Nano Ultrasonic Motor
Focus mode selector: AF/MF
Full-Time Manual Focus (FTM): Determined by the camera
Focusing distance range limiter: FULL;2.5-
Image stabilizer
Image Stabilizer (IS): Yes
IS features: Mode 1
Mode 2
Mode 3
IS efficiency: up to 5 stops @ 200mm
Physical characteristics
Weight: 695g
Maximum diameter x Length: Ø83.5×119mm
Weather sealing: Dust-proof and water-resistant barrel
Fluorine coating: Front and rear elements
Accessories
Filters: Screw-type 77mm
Lens hood: Bayonet-type ET-83G(WIII) (round)

Manufacturer description #1

MELVILLE, N.Y., November 3, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the compact and lightweight RF70-200mm F4 L IS USM and the RF50mm F1.8 STM, two completely re-designed RF mount lenses with bloodlines to immensely popular EF models that feature new lens formulas and enhanced elements. Canon is also introducing the PIXMA PRO-200 printer, which is ideal for photography students and graphic designers.

“As Canon began to further build out the company’s RF lens portfolio, the goal in mind was to create advanced lenses, for a variety of experience levels, that also featured a sense of familiarity for longtime Canon users,” said Tatsuro “Tony” Kano, executive vice president and general manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “Canon prides itself on being able to uniquely offer both input and output solutions to our customers. We are equally excited to see the images captured with the new lenses, and the prints that are to be created with the new PIXMA PRO-200 printer.”

Canon RF70-200mm F4 L IS USM Lens

The Canon RF70-200mm F4 L IS USM lens is ideal for photography enthusiasts ranging from advanced amateur to professional skill levels. The compact and lightweight nature of the lens makes it Canon’s shortest and lightest 70-200mm F4 zoom lens to date. This RF lens is approximately 32 percent shorter and 11 percent lighter than its EF counterpart with a large portion of the lens element arrangement closer to the camera body. This arrangement is designed to provide photographers with a more balanced feel and experience even at the zoom range’s telephoto end. Additionally, the shorter and lighter design allows the lens to more easily be stowed away in a camera bag when not in use.

The RF70-200mm F4 L IS USM features two independent Nano USM motors, providing an even greater level of high-speed autofocus for still image shooting as well as quiet and smooth autofocus for video shooting. The lens also incorporates a floating focus control that drives the two lens groups individually while using the two aforementioned Nano USM motors. The floating focus lens element shortens the focusing distance and helps reduce breathing, providing users with fast, consistent and reliable performance.

Manufacturer description #2

The RF70-200mm F4 L IS USM is a telephoto zoom lens delivering impressive image quality along with superb mobility as our shortest and lightest 70-200mm f/4 lens to date. Designed for the EOS R System, this lens takes advantage of the large diameter mount and short back focus distance of the RF mount to maintain high image quality while being more compact and portable so you’ll be even more inclined to take it with you on your travels. Results are stunning thanks to 4 UD lenses which help correct chromatic aberration and keep colors vivid, reduced ghosting provided by Air-Sphere Coating (ASC), and Optical Image Stabilization plus coordinated Optical Image Stabilizer and In-Body Image Stabilizer for amazingly clear, crisp images at slow shutter speeds and smooth video footage. There are also dual Nano USMs contributing to a short minimum focusing distance and high-speed autofocus for still shooting and near-silent, smooth autofocus during movie shooting. These features and more, combined with the confidence to shoot in almost any condition with dust- and weather resistant seals and fluorine coating, make the RF70-200mm F4 L IS USM lens a solid performer for any situation.

Convenience is a major consideration when shooting, and the RF70-200mm F4 L IS USM lens is our most compact and lightest 70-200mm f/4 lens, making it even more appealing to use for your photo and video opportunities. As a more portable 70-200mm option than our EF version, this new RF lens is easier to fit into a messenger bag as well as a camera backpack vertically so it's always on-hand and ready to go.

The EF 70-200mm F4 lenses provided impressive picture quality and that superb reputation has carried over and has been improved with this RF version. With L series optics and a 9 blade circular aperture for creative bokeh, this is an excellent telephoto complement to the RF24-105mm F4 L IS USM and will provide you with impressive results, even when shooting in low light situations.

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 content.

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 7.5 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.

Like some of its predecessors such as the RF70-200mm F2.8L IS USM and RF100-500mm F4.5-7.1L IS USM lenses, the RF70-200mm F4 L IS USM is equipped with dual independent Nano USMs to help achieve high-speed and focus accuracy at any focal length or throughout its travel, and its focusing range. This helps you quickly focus and keep up with fast-moving subjects and also provides smooth and 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.

While the EF 70-200mm f/4L IS II USM counterpart lets you shoot at a minimum focusing distance of approx. 3.3 ft., the dual independent Nano USMs found in the RF70-200mm F4 L IS USM lets you get even closer, up to 1.97 ft. from the subject at full zoom range and at a maximum magnification of 0.28x (at 200mm), so you can get highly detailed, highly impressive images even at close range with a telephoto zoom lens.

Standard on all RF lenses, the control ring on the lens barrel enables you to adjust numerous settings including shutter speed, aperture, exposure compensation and more. Located towards the front of the lens and effectively adding a third dial to the EOS R and EOS RP, and a fourth dial for EOS R5 and EOS R6 cameras, the control ring has a tactile, easily distinguished surface and features a clicking mechanism that provides tangible feedback for confident use while looking through the viewfinder. 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.

Designed to quickly process data, the 12-pin communication system inherent in all RF lenses helps accelerates AF, Image Stabilization, the Digital Lens Optimizer and more, helping to simplify complex operations and provide a quick and reliable user experience.

Feel confident shooting in almost any weather condition, from rain to snow, thanks to dust- and weather-resistant construction in the lens mount, switch panel, lens barrel extension 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 RF70-200mm F4 L IS USM lens features fluorine coatings on the front and rearmost surfaces to help prevent water and oil from sticking to the lens, making it easy to clean off smudges and fingerprints.

Clear, high-quality images are produced with the help of four low refractive and ultra-low dispersion lenses, providing significant chromatic aberration correction through the entire zoom range. In addition, the RF70-200mm F4 L IS USM lens features our 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.

Typical application

distant subjects, distant landscapes with perspective compression effect, photojournalism, weddings, parties, carnivals, live concerts, sports in good lighting conditions, wild nature, travel

Slowest shutter speed when shooting handheld

IS OFF @ 200mm11/21/41/61/81/151/301/601/1251/2001/2501/5001/1000+
IS ON @ 200mm11/21/41/61/81/151/301/601/1251/2001/2501/5001/1000+

Recommendations

  • If you are into sports photography, consider acquiring a fast telephoto zoom lens.

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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 telephoto 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

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.
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.

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. 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". A lens is not considered to be "true" macro unless it can achieve at least life-size magnification.

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.

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.