Canon RF 24-240mm F4-6.3 IS Definitive Review | 4K

0:00
Hi, I'm Dustin Abbott, and I'm here today to give you my definitive review of the Canon RF 24 to 240 millimeter
0:18
This is an F4 to 6.3 IS and has a USM focus motor
0:25
And so probably like many of you, starting to get a little bit stir-curricular
0:29
if your country that you're in is practicing some sort of isolation response to COVID-19
0:35
And so for many of us, even though today it's a little bit cool outside
0:39
and as you can see behind me, a lot of our snow has still not melted
0:43
but there is a little taste of spring in the air, so I thought it would be a great day to come into the backyard
0:48
and to shoot this review outside, getting some sunshine rather than indoors
0:54
So most of the RF lenses to this point have been these extreme
0:59
both in price and performance lenses. And I've been really, really thankful to see some of Canon's creativity
1:06
They have been creating some of the very best lenses that have been released
1:10
in each of their respective fields in the last year or so for the new Canon RF mount
1:16
At the same time, however, one of the things that you have probably heard me be critical about
1:21
is the fact that to this point, there have been out of 10 lenses that have been released for the RF mount
1:27
out there have been a grand total of two of them that fall under the $1,000 threshold in terms of
1:35
price. And so I've already reviewed one of those, which is the RF 35 millimeter F1.8. Today I'm
1:41
reviewing the second. This really is less of a kit lens and more of a kind of all in one with a
1:47
10-time zoom range, which allows you to go from this on the wide end to this on the telephoto end
1:55
And so obviously that's extremely useful to have that all in one lens
1:59
It also helps to fill the gap for those that are looking for a travel-oriented lens on the RF mount
2:05
And so it allows you to cover everything from wide angle to telephoto and pretty much everything in between
2:11
So today we're here to break down in detail what the actual performance of this lens is
2:16
And so first of all, I do want to say a big thank you to Canon Canada for getting me a loner ahead of my recent trip
2:23
A lot of these shots I'll be sharing. I took while in the mountains in Virginia, had a great time
2:28
And so anyway, and it was a great companion for that trip. So we're going to dive in today, dive in deep to the details or performance
2:37
There's some interesting things. The detail is a part of the optical performance as well as the build and function
2:43
And so I do want to spend time highlighting that. However, if you're not one that's interested in all the nitty-gritty
2:48
and you want things delivered in a more concise, quick fashion, I encourage you to tune in at the end of the week for my standard review
2:55
which will cover everything in about 10 minutes or so and give you the information that you need for there
3:00
But if you want the nitty-gritty, you're in the right place. Let's jump in and let's start by taking a look at the build and handling of the lens
3:07
So let's take a closer peak here. And so this is kind of the standard look that we have now come to expect from the RF mount lenses
3:15
It has this kind of platinum colored transition area here and a little bit of extra shape
3:21
bit, maybe a little bit of extra style compared to similar EF mount lenses. However, you can tell from
3:27
the build grade that it is, you know, it's not quite an L series in terms of the materials here
3:33
However, you know, it feels like it's going to be sturdy and durable, like a lot of the standard
3:39
EF lenses that, you know, kind of fall into this kind of consumer grade category would be. So a few
3:45
things to highlight here. Obviously, we have the new and improved mount here, RF mount, with more
3:51
communication. There is no weather ceiling gasket here. One unfortunate thing I would say for a
3:58
travel type lens, but Canon is consistent in that they don't include weather sealing in their
4:04
non-premium lenses. In this case, you have two switches here, and so kind of a unique approach
4:10
that is the first that I've seen to on Canon, at least to a couple of these things. First of all
4:15
while you do have the control ring here, it's actually not a third ring. It's a dual purpose ring
4:20
And so you have to choose between using it as a focus ring or as a control ring
4:26
So probably most of the time you'll want to keep it in the control ring setting, unless you actually need to manually focus
4:33
There is also just an on and off switch for the stabilizer
4:37
The stabilizer is rated by SEPA up to five stops of assistance
4:41
and I found it to be quite effective in a number of my handheld shots
4:46
What is missing here, and I found that I actually missed, was an actual AFMF switch here
4:53
Even though I am manually focusing here, nothing is happening. And unfortunately, in this case
4:58
this is why I really miss it probably more than what I do on Sony, for the simple reason that if you go into the quick menu
5:04
it's not amongst the options there. And so you're going to have to actually go into the full menu
5:10
go under the AF setting, or you can map it to a custom mode, and then actually select manual focus
5:16
And then, and only then, will, you know, depending on what kind of focus age you're using
5:21
So here the focus guide is available now. But it's not going to be there unless you actually choose that
5:28
And so a little bit clunkier maybe. And so I do kind of miss having an AFMF switch on the lens itself
5:36
The next thing you're going to see is a very wide zoom ring. And so the lens does extend significantly, as you can see, with a double barrel
5:45
there's a little tiny bit of play inside there if you you know kind of manually move it there's a little bit
5:51
of wobble not too bad but not as as tight as the best lenses that extend like that i've seen
5:57
there's also a lock here and i did find at least went out hiking i hiked a fair bit using the
6:04
lens that the lock was useful you know after a little bit of walking along you know i would find
6:10
you know just maybe a little bit of rubbing on your body eventually the lens would be extended out
6:15
So I started to utilize the lock as a part of that
6:19
Up front, you have a 72 millimeter front filter thread, and unfortunately, the lens does not ship with a hood
6:27
Kind of behaving like non-L-series lenses can persist in not including a hood
6:32
That came back to bite me. I did fall on one of my hikes, and I got a little bit of scraping on the front coating
6:39
where it hits some dirt or little pebbles, rocks, and so anyway
6:45
I wish that a lens would have been there to help to protect that front element
6:50
It does come with standard caps and, you know, kind of everything else is standard as you might expect
6:56
Now, in terms of our specifications, it is 1.65 pounds in terms of weight or 751 grams
7:04
It's not as light as what kit lenses might be in a lot of cases. However, it's not overly burdensome either
7:11
And in terms of our length and diameter, 3.2.2. inches in diameter or a little over 81 millimeters and 4.8 inches in length about a 122 millimeters
7:24
Another thing that's worth noting, as has been the case with a number of recent zoom lenses that I've
7:28
seen, is that there's actually two minimum focus distances. And so on the wide end, you can actually
7:33
focus down closer, down to a half meter, 1.64 feet. At the telephoto end, that extends out to
7:40
0.78 or 2.56 feet and so you need about an extra foot if you're at the
7:46
telephoto end your maximum magnification is going to come at the 240
7:51
millimeter setting and it is a useful 0 times magnification our optical formula here is fairly complex 21 elements in 15 groups which contains both one asphyrical element along with two UD elements
8:07
Inside, there are seven aperture blades that are rounded. It's outside of a few handling quirks there that I don't necessarily love
8:15
I found the lens to be easy to use out in the field. And so as you can see, you know, for the most part, things are good here
8:21
The only thing I really want to criticize is that that. I really wish Cannon would leave behind their ideology of only including things like a weather
8:32
ceiling gasket or further weather ceiling and even more importantly, not including a lens hood
8:37
with anything outside of their premium lenses. That's just not something that's matched with
8:42
any other lens maker and, you know, I reviewed a $69 lens a month or so ago that came with a
8:49
lens hood. And so, and all the time I'm reviewing lenses that cost, you know, just a few hundred
8:55
that come with a lens hood included. So to me, that really seems like an archaic throwback
9:00
and, you know, to be charging another $40 in the U.S., another $60 here in Canada for a lens hood
9:08
You know, Canon, you can do better than that. Now, a little bit more on auto focus. We did
9:13
talk a little bit about the manual focus functionality and that dual purpose of the focus ring
9:18
slash control ring there. But when it comes to the auto focus, first of all, understand that
9:25
We are still working within the constraints of the focus system of the mirrorless bodies that are available, namely the EOSR and the EOSRP
9:35
I'm hoping that when the OSR5 and R6 comes, that we're going to get a much more robust performance when it comes to burst speed and tracking
9:44
Right now, it was kind of a sad comparison when I was out there the day I'd taken this combination
9:51
This is EOSR and then the 24 to 240. I also happen to be testing at the same time the Sony 100 to 400 millimeter G master lens
10:00
and I had that mounted on the A9. And yes, I know that's not a fair comparison at all
10:05
But wow, what a shock it was to go from the 20 frames per second
10:09
and an amazing tracking abilities of that combination. And then to come over to this lens and to feel like I could count the seconds
10:17
in between each shot that was being taken, not quite that bad
10:21
But of course, there are some serious limitations. So I say that to say, it's hard to make a final assessment as to how good, say, the tracking abilities of this lens would be
10:31
when we're still limited by the constraints of the autofocus systems and the cameras that it's attached to
10:37
So this lens actually employs a combination of nano-USM along with some stepping motor technology
10:44
And Canon specifically lists having both of those things. So nano-USM is, it's a great focus system
10:51
in this type of lens. In this type of lens, elements are not particularly large and heavy
10:56
So what that means is you don't need as much torque to drive them
11:01
And so nano-USM in lenses like this gives you very, very fast auto-focus
11:06
gives you very quiet autofocus and autofocus without any kind of drama
11:11
It just gets the job done. In fact, it's so quiet that, you know, just holding and shooting
11:16
it's bright enough out here that I couldn't tell if it was actually focusing. So I actually had to put my eye up to the viewfinder to make sure the focus is actually taking place
11:24
That's how quick and how quiet it is. So you can go from a close object to infinity, basically without seeing focus at all take place
11:33
It's just basically instantaneous. And so I suspect that, you know, when it comes to tracking action, that it probably won't be terrible because of that
11:42
And in fact, even with the limitations of the EOSR, as long as I kept it down at the five frames per second
11:49
where it's actually continuing to focus, drive focus. I actually got consistently focused results
11:55
I did try the faster setting, and it's okay if you're panning action
11:59
and the distance stays about the same, but if there was movement in and out in terms of distance
12:04
I definitely noticed that focus was starting to fall off. And so, you know, five frames per second is pretty slow
12:10
And so anyway, but I don't think that that's a limitation of the focus system
12:13
IAF works fine. You know, it gets the job done. I'll comment a little bit more during
12:18
more during our image quality section about the image stabilization, but it also works very
12:24
well. It's rated at five stops, according to SEPA, and I was able to get very good handholding
12:29
results. And again, there's no drama there. You're not going to see when it kicks on or
12:35
when it turns off. And so it's nice and quiet in operation. With my ear right up against the
12:43
lens barrel, I can hear a little bit of clicking type noise that is related to the actual IS system
12:48
But even with just my eye against the viewfinder, I can't hear it in operation
12:54
And so it's very quiet and effective. So kudos to them on that
12:58
So let's talk about image quality. Image quality is a complicated subject whenever you're talking about a super zoom type lens
13:05
Engineers, unlike with a prime lens, they can optimize for that one focal length
13:10
When you're talking about a lens like this, you have to try to account for both the engineering challenges of wide angle and telephoto
13:18
So that invariably means that there are going to be some compromises involved
13:22
And that's certainly the case here. Let's take a closer look and find out what those compromises are
13:26
So first of all, when we take a look at our distortion and vignette at 24 millimeters
13:31
we see some really interesting things. And so this kind of popped up only when I began to review my images in post
13:37
because I didn't see this effect on the back of the camera as the I was being shown a corrected JPEG
13:44
So what you see here is that at 24 millimeters, there's actually a mechanical vignette
13:50
And what I mean by that is that this is more than just shading in the corner
13:54
There is actually obstruction into where the lens doesn't actually cover the full frame image circle
14:00
So what you've got here is probably wider than 24 millimeters, and it's depending on correction to get you back to 24 millimeters
14:09
So the reason I can say that with confidence is that if you begin to stop the lens down
14:13
So here's F4, F5.6. You see the shading is starting to brighten up F6.3 and F8
14:21
And so what we see is vignette lift. But even at F8, you see that the mechanical vignette remains
14:26
These corners are still shaded completely. And so this is a lens that is designed for correction to get you the end result
14:33
So if I enable the profile and post, here's what I get
14:38
So comparing those two, you can see that there has been a significant amount of cropping in
14:43
Here's the first image that alerted me to this. As I looked at it in post, I thought, oh, I must have had the lens hood on crooked because that's typically what I've seen
14:52
And then I realized I didn't have a lens hood for the lens. And so it had to be something else
14:57
And so it is this. And as soon as I applied the profile and it disappeared, I thought, oh, it was designed for this
15:03
And you can clearly see that that is the case. So the good news is that you do end up with a, you know, a good end result after correction
15:11
I mean, you know, once that's gone. Everything looks fine here as expected, but it is kind of a, it's maybe one of the most extreme cases that I've ever seen of a lens that is kind of purposely designed with a mechanical vignette, you know, there before correction
15:28
Now, as you start to go on through the focal range here at 52 millimeters, we've got a mild amount of pin cushion distortion, very, very little vignette, actually, and so you see it corrects much cleanly, more cleanly, and of course doesn't need that, you know, tremendous crop to
15:43
produce the end result. At 100 millimeters you've got a pretty obvious amount of pin
15:49
cushion distortion and a little bit more than yet there in the corners. Once again
15:53
it cleans up pretty cleanly without a whole lot of loss of image At 240 millimeters like 100 millimeters there a pretty obvious amount of pin cushion distortion that is evident there that as we see in a moment you will see in images The vignette is at its
16:08
highest level outside of 24 millimeters. Fortunately, once again, here all of this can correct
16:14
pretty cleanly and simply, and so no real issue. Here's a real world shot where I saw that
16:19
pincushion distortion. This is at 203 millimeters, and you can see that there's quite a bit of curve
16:25
there and you can see after the profile is applied the line is nice and straight so just note i mean
16:30
you will need to rely on using the profile in a lot of situations because unlike some kind of optical
16:37
defects these are kind of outside the scope of just you know acceptable or stylistic they
16:43
they require correction to get the right kind of result you do definitely see some lateral
16:49
CA that you know exhibits in this fringing along the edges it's not so much about defocus it's just
16:55
not an ability to accurately focus all the colors simultaneously. And so you do see some of that lateral
17:03
but not so much longitudinal chromatic aberration. So after you apply the profile, this is the end result
17:08
So this is what I actually thought I was framing, looking at the viewfinder, and here is what the raw image actually looks like
17:14
So what you've got is a significantly wider than 24 millimeter look
17:19
that relies on correction to get it back to a 24 millimeter-ish framing
17:25
So we'll look at, for the sake of our sanity, we'll look at the corrected images here
17:30
One of the thing that I want to highlight here is that you can see looking at this
17:34
I'd actually, as I typically do, I'd actually set the temperature. I set temperature according to my light, so 500, or 5,000 Kelvin, I should say
17:43
And when setting that in camera, I found that it delivered a warm image
17:47
which I found to be the case in real world shooting, that it just rendered a little bit warm as well
17:53
So here is kind of basing off of the medium gray here as to set a white balance
18:00
And so you end up with a considerably cooler end result based on that
18:04
So this is what I saw coming out of camera that immediately struck me as being on the warm side
18:08
And so after I did a custom profile using my data color checker and creating a profile
18:15
what I found is that as compared to other lenses, there was more in the green channel that needed to be pulled down
18:22
along with a little bit more in the yellows, but it's mostly in the greens that pull down
18:27
And so in result is that you end up with better skin tones with a custom profile, obviously
18:35
But if we look here on the left, you can see that it's definitely on the warm green kind of tinge naturally
18:42
And in some situations, that slightly warm rendering is actually useful. I feel like it produces results that are nice and clean
18:49
and I discovered only in post that there actually was a deer in this shot as well
18:54
But you can see looking at the overall image here, this actually looks pretty decent
18:58
There is quite a good amount of detail throughout the frame. It's certainly a useful image
19:04
So taking quick look at sharpness here at 24 millimeters. What we see is this is actually at a 2 to 1 magnification
19:11
so 200%, so you can see it clearly. Actually, that's not a bad result
19:15
We see that it doesn't have a great acuity ability to render
19:19
really fine details, which, you know, kind of sets the better lenses apart. And what I see is a
19:26
fairly even profile here, not too bad a result here in the midframe and then going off into the
19:32
corner. Again, while there's not amazing acuity and microcontrast, you can see it as, you know
19:38
getting the fine details. What you can also see is that lateral CA when you get towards the edge
19:43
is significant. There's lots of it there, and you can see it along here as well. Stopping down to F5.6
19:49
gives us a boost and contrast in the center of the frame. You can see you can just start to read, well, if you read German
19:57
you can start to read the details there now better. Moving to the midframe, we can see that, you know
20:04
you've got a little bit better contrast overall, not a lot of extra resolution, but definitely better contrast
20:10
And moving down into the corner, there's a pretty noticeable difference in the contrast here
20:15
It looks a lot better. Now, unfortunately, the nature of lateral chromatic aberration
20:19
it doesn't naturally correct as you stop the lens down. Fortunately, it is very easy to correct for in post
20:26
Stopping on down to F8 gives you a little bit more boost in terms of acuity
20:32
And so just in better contrast here. And so, you know, this is a, it's not an exceptional result
20:37
but it's pretty decent here at 24 millimeters. So moving on to 35 millimeters
20:41
I want you to note that maximum aperture is now F4.5 at 35 millimeters
20:47
just to give you an idea as we go along in the focal range. So we've got F4.5 and F5.6, so not quite a full stop difference
20:54
What you can see is that there's a little bit better contrast at 35 millimeters than what we saw at 24 millimeters
21:01
And so less of a noticeable, there is an improvement, but it's not as noticeable
21:06
Moving off towards the middle of the frame, we can see that, again, there's an uptick in the contrast, but it's mild, it's not significant here
21:16
And moving off into the corner, what we can see that again, there's an uptick in the contrast, but it's mild, it's not significant here
21:17
Moving off into the corner, what we can see here is that in the corner you definitely have a more improved contrast
21:23
I'll also just point out jumping over here that while we continue to have that, you know, lateral chromatic aberration
21:29
actually shows up almost more at F5.6 because there's more of a vignette lift that takes place
21:35
But what you can see here is that the lateral chromatic aberration is still there, but it's not as pronounced at 35 millimeters
21:42
Stopping on down to F8 gives us a little bit more contrast, not a whole lot
21:47
more in terms of resolution. We've kind of tapped out what you're going to get out of this
21:51
So at 50 millimeters maximum aperture is now F5 and so we've lost another one-third stop of light
21:58
So looking at the center of the frame, kind of similar story, not amazing acuity here at
22:04
50 millimeters wide open, stopping down to F5.6, which is now only a third of a stop
22:11
Stopping down gives us a little bit of an improvement when it comes to contrast. What we can see here is not
22:17
great acuity here but we can see that it's fairly consistent in its performance
22:23
not a whole lot of drop from corner to corner very little difference in the midframe
22:28
stopping down however in the corner you can definitely see a boost of contrast
22:33
and you know a little bit more detail rendered stop down to f5.6
22:38
stopping on down to f8 actually gives us a more noticeable boost here because you are
22:43
stopping the lens down more significantly since the maximum aperture was smaller
22:47
We'll go jump back to the center for a second here so you can see there. There is definitely a further boost in contrast, and so you definitely get a little bit more of the detail rendered
22:57
There are limits, as we saw before, to how much improvement you're going to get
23:01
The next mark point on the barrel is 70 millimeters. Now we're to F5.6, and so we've lost a full stop of light in terms of maximum aperture
23:10
What we see here is kind of a similar story. We've seen fairly consistently
23:15
I actually think it's a little bit stronger here at 70. millimeters than what I saw at 50 millimeters
23:20
Stopping on down to F8, which is now our next kind of full stop, you see a mild boost in contrast, not a huge difference, however, between the two
23:31
Looking at our $2 bill, we see again, the improvement is only mild here and looking down into the corner
23:40
The corner is brighter, there's a little bit more contrast, but you can see looking like here to here, the detail is
23:47
still really not all that great. It's only a mild improvement that we see
23:51
So the next point marked as 100 millimeters. It actually showed up as 105 millimeters in my
23:58
test here just the way that it lined up So looking at the center of the frame by the way maximum map you still at 5 around 100 millimeters Center of the frame resolution is
24:09
okay, not great acuity, stop down. It's still not amazing, but you can see there's an
24:15
improvement in contrast. Looking at the midframe, you can see again, it's a boosting contrast
24:22
but still not amazing detail rendering. Lateral chromatic aberration is not an issue here
24:28
to the same degree, as you can see, you definitely see a difference in the corners. And so
24:32
I mean, when you want sharpness across the frame, obviously that's where you get your biggest
24:36
advantage is when you stop down. Now, by 150 millimeters, the next marked zone, our maximum
24:43
aperture is at the smallest of the zoom range, and that is at F6.3. So what we see at 150 millimeters
24:50
is kind of a similar pattern, not great acuity, stopping down to F8, gives us a little bit more
24:56
contrast. You know, it looks acceptable. It's not exceptional in any way, but it looks okay there
25:03
At the midframe, fairly, you know, looking more soft at 150 millimeters wide open, down to F8
25:12
helps with the contrast. You can see that the rendering of fine details, they're kind of
25:16
muddy here. And so we're starting to get maybe out of the peak performance of the range
25:22
we see a little bit more lateral chromatic aberration than what we did previously corners you know increasing contrast stopping down to f8 but you can see that the fine detail that you know it pops a little bit more for better contrast but there's not necessarily a lot of additional detail or resolution that's showing up so at 240 millimeters we see i would say actually a little bit better than what i saw at a 150 millimeters and stopping down you see
25:52
just a mildly better result where you're all starting to see as some lateral chromatic aberration
25:57
that is starting to exert itself again looking here there's a marked contrast in our amount of
26:04
contrast when we we stop things down however as we've been seeing in the pattern we're not getting
26:10
a lot of additional detail you can definitely see the you know the lateral chromatic aberration
26:15
popping up again and of course that is going to limit performance somewhat and so my framing's a little
26:20
bit tighter here because I ran out of room at 240 millimeters and my typical testing space
26:25
to fit it in on the test chart. But you can see same kind of pattern, more contrast, not a whole
26:32
lot of extra detail. So our maximum magnification is 0.26 times and so you can see what that looks
26:38
like. It's at 240 millimeters and this is as tight as you can frame. And, you know, that's definitely
26:44
very useful. Detail, you know, as per usual, the contrast is not amazing. There's not a bad
26:50
amount of detail there so it's certainly useful for some applications so of course at this stage you
26:56
might be wondering now why would i ever want a lens like this well the main reason is for the flexibility
27:02
of the focal range and so on the left side you see the framing at 24 millimeters on the right side
27:07
you see the framing of the same scene standing in the same shot at 240 millimeters this allows you to get
27:13
shots that frankly you can't get under other circumstances and certainly while traveling
27:20
you know, quickly react to situations and just get a huge variety of different shots and thus
27:25
get shots that you might not have otherwise gotten. Here's a case in point. I was out hiking and I
27:31
had this lens and all of a sudden I look up and there's this sweet little deer looking at me
27:36
from a ways away. Well, if I had my typical lens, you know, a 35 millimeter, a 50 millimeter
27:42
maybe an 85 millimeter, I wouldn't have gotten much of a shot in terms of the framing. But because
27:47
of having a 240 millimeter focal length here, I was able to get this shot and, you know, frankly
27:54
it's really not all that bad. I mean, it's the end result is nice and ended up with some shots that
27:59
I really liked that I thought was very cute. And so there is the value of having a lens like this
28:05
Another area of the lens that I was impressed in is the performance of the stabilizer. And so in this
28:11
shot, I had just inadvertently because I was in AV mode, had been shooting outside. I didn't realize how low
28:16
the shutter speed was dropping. So I looked at the image. It was at one sixth of a second. So I was
28:21
about to raise the ISO and reshoot it. But I zoomed in and looked at the detail and realized that
28:26
it was, you know, perfectly sharp, that there was no sign of motion blur, even though I was
28:30
shooting at one sixth of a second. The bouquet performance is, you know, reasonable. You don't look to a
28:36
lens like this for the maximum performance, but I felt like many of my images had a nice overall look
28:42
to them. And so, you know, this, for example, shooting this image here
28:46
I thought that the bouquet, you can see some, you know, some geometric deformation that's taking place
28:51
But the overall softness, you can compress backgrounds and get, you know, pretty nice looking images with the lens
28:57
Of course, also shooting at the telephoto link to give you different opportunities for framing
29:02
And so this was a lens or an image that I thought was quite beautiful shot with the lens
29:07
Shot some action. And of course, the only body I have really to test on right now that's out for using a lens like this is the EOSR
29:15
which does not have great burst rate or, you know, amazing tracking capabilities
29:20
But the actual end results I got from these shots I thought were really quite nice
29:26
And so, again, the ability to zoom in and shoot shots like this is certainly useful
29:30
And then, of course, the dogs posing at the end, I thought that was a lovely way to end our image quality assessment
29:37
So, of course, the big stand out there is that somewhat odd effect that I've never seen on a Canon lens before
29:42
and frankly, I don't know that I've hardly seen it on any other lens before, where there's such an amazing reliance on correction
29:49
and cropping the image via correction to eliminate a mechanical vignette. It's odd
29:56
But, you know, the end result is that as long as you're using that profile
30:00
either in camera or, you know, correcting a raw file in post, you know, it's not a major issue because they have been engineered for it
30:08
but certainly it's a bit of an oddity. And so at the end of the
30:12
the day, I'm really thankful for a lens like this. And even though it's far off from the image
30:17
quality that's ideal to me as a photographer, I'm still strongly considering the idea of
30:23
adding this lens to my kit for the simple reason that there are times that I'm more concerned
30:29
with being able to get the shot than I am with ultimate image quality. And I suspect that there
30:33
are those of you that are in that same kind of boat. And this is a lens that at a reasonable price
30:38
$899, it gives you a lens that does a lot of things reasonably well and it's not exceptional at anything outside of its flexibility but it's it's
30:49
far off from the poorest performance that I've seen from lenses like this and so certainly worth a look
30:55
I had the same kind of feeling when I looked at the tamron 28 to 300 millimeter that they developed for
31:01
for full frame DSLRs and I think that this lens does what that tamron did except for even a little bit
31:08
better in that it's you know it's it's giving you a wider focal length to begin with and it gives you
31:14
i think more consistent performance throughout the range and so anyway i think it's certainly worth a look
31:19
if you're looking for an all-in-one lens or a good travel option for your new canon mirrorless body
31:25
i'm dustin abbott and if you'll take a look in the description down below you can find linkage
31:29
to my full text review there's also linkage to an image gallery if you want to look at these
31:33
a variety of photos both taken here in canada but also in virginia while traveling
31:38
and so you can check out those photos there. There's also buying links if you want to purchase one for yourself
31:43
Beyond that, of course, typical linkage to follow me on social media, become a patron or subscribe to my newsletter
31:49
And if you haven't already, please click that subscribe button right here on YouTube
31:53
Thanks for watching. Have a great day

Canon RF 24-240mm F4-6.3 IS Definitive Review | 4K

dustinabbott.net

Viltrox AF 28mm F4.5 Chip Z-Mount Review | The Most Fun for Under $100

Mammotion YUKA 3000 Robot Lawnmower + Sweeper Review

Sony GP-VPT3 3-in-1 Bluetooth Grip Review Now With Removable Remote

How To Use Image Carousel Element on WPBakery Page Builder WordPress Plugin_ ▶️🖼

Video Lighting Tutorial for Beginners

Let's Optimize an Angular App by Santosh Yadav || Angular Conference

Casio Edifice EQB500 Bluetooth Men's Steel Watch Review

Everything for Virtual Reality: The VR Kit - REVIEW

Python Matplotlib Script to List All Files with Size and Take Screenshot & Save as PNG Image Report

I Made a Canva Background Remover Offline Editor Tool in Browser Using HTML & Javascript

CSS Tutorial For Beginners 39 - Padding & Margin Long-hand

Israel confirms first use of laser weapons in combat

Up next in 10

Canon RF 24-240mm F4-6.3 IS Definitive Review | 4K

dustinabbott.net