General Purpose Filters for Black andWhite or Color FilmSky (1A), Haze (UV-1) • 52mm • 58mm • 72mm

Softmat FiltersSoftmat filters mildly soften the focus for flattering portraits and dreamy landscapes.These filters utilize the effect of diffraction whichoccurs between light passing through thetransparent part and light passing through thecoated part. Use Softmat No. 1 filter for a gentlesoftfocus effect, and Softmat No. 2 for astronger effect.No.1, No.2• 52mm • 58mm

Circular Polarizing Filters PL-CPolarizing filters enhance picture quality byblocking harmful reflected light. Use them toreduce polarized light reflections from glassand water surfaces or to improve color satura-tion. Simple to use, circular polarizing filters(such as Canon’s PL-C) polarize light circularly,rather than linearly, so it does not interferewith autofocus or TTL light metering. • 52mm • 58mm • 67mm • 72mm • 77mm (Type II)

Loupe 8x & 4x

The Canon Loupe 4x is a high-performancemagnifier for viewing the entire picture area(24 x 36mm) of a 35mm-format slide or negative. With three lens elements in threegroups, chromatic aberration and distortionare effectively corrected to give crystal-clearimages. Eye fatigue is not a problem even afterprolonged use. Loupe 8x is another magnifierfor viewing the entire picture area, but withspecial emphasis on a 24mm-diameter area atthe center. The four lens elements in fourgroups attain high performance and a highmagnification. All elements have Super SpectraCoating to make image viewing clear enoughfor you to effectively check the quality ofphotos taken with EF lenses. These two loupescan make your evaluation of photos moreaccurate.

53

Drop-in FiltersDrop-in Filters PL-CDrop-in Filters PL-C can berotated from the outsidewithout removing them fromthe lens for precise control.The 48mm PL-C filter can beused with the following lenses: EF 200mm f/1.8LUSM and EF 1200mm f/5.6LUSM. The 52mm PL-C filter isdesigned for use with the EF 300mm f/2.8L IS USM, EF 400mm f/2.8L IS USM, EF 400mm f/4 DO IS USM, EF 500mm f/4L IS USM andEF 600mm f/4L IS USM.

Drop-in Gelatin FilterHoldersThese glass-backed holders accept up to threecommercially available cut-to-size gelatin filters for rear-insertion lenses. A 48mmholder is provided standardwith EF 200mm f/1.8L USMand EF 1200mm f/5.6L USM;and a 52mm holder, with EF 300mm f/2.8L IS USM, EF 400mm f/2.8L IS USM, EF 400mm f/4 DO IS USM,EF 500mm f/4L IS USM andEF 600mm f/4L IS USM.

Drop-in Screw FilterHolders With ProtectFiltersThe enclosed regular filtercan be exchanged with othercommercially available screw-type filters. Note that onlyfilters with correct filter framethickness can be mountedon the lens.• 48mm • 52mm

Only Canon filters are guaranteed for use with EF lenses.

Gelatin filter Holders III & IV

Gelatin Filter Holder III uses 3 x 3-inch gelatin filters and Gelatin Filter Holder IV uses 4 x 4-inch gelatin filters. Holders III and IV both provide extension hoods and 52mm, 58mm,67mm, 72mm and 77mm adapters. Refer tothe EF Lens Accessory Table for information onlens combinations.• 52mm • 58mm • 67mm • 72mm • 77mm• Adapter III for EF 50mm 1: 1.4

Gelatin Filter Holder IV

Gelatin Filter Holder III

Canon EF Lens Accessories

C KNOW HOW®

1-800-OK-CANONwww.usa.canon.com

Canon U.S.A., Inc.One Canon Plaza Lake Success, NY 11042 U.S.A.

Canon Canada Inc.6390 Dixie Road, Mississauga, Ontario L5T 1P7 Canada

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0050W871 2/05

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C

Images From Your Imagination,Delivered by Canon EF Lenses

Ever notice that “imagination” contains the word “image”?

That’s because creating an image starts with your imagination.

When you have an image in mind, you must choose a lens

which can capture that image. And whatever that image

may be, you can be sure that Canon has the lens you need.

Whether it is a 15mm fisheye or a 1200mm super telephoto,

all Canon EF lenses feature the finest materials (especially

the L-series lenses) and technologies. They include

Fluorite, UD (Ultra-low Dispersion) glass, Aspherical lenses,

lens-based Ultrasonic Motors, inner and rear focusing,

Image Stabilizer, Diffractive Optics, and a fully-electronic

interface. Only the variety and versatility of EF lenses can

match your wondrous imagination.

EF-S LENSES

5 l Aspherical lens l Super UD lens4* The icons are described on page 34-38“EF Lens Technologies.”

EF-S 18-55mm f/3.5-5.6Available only with EOS 20D, Digital Rebel XT & Digital Rebel lens Kit

Available in kit form along with the EOS DigitalRebel XT, Digital Rebel or EOS 20D only, thisremarkable lightweight lens was the first inthe EF-S series – a lens optimized for the APS-C size sensor in affordable Canon digitalSLRs. It projects a smaller image circle to thecamera’s sensor, and its quality is enhancedby the rear lens elements projecting deeperinto the camera body. An Aspherical lenselement helps insure great image quality,even at wide-open apertures; AF is poweredby a conventional compact DC motor.Equivalent to a 29-88mm lens (on a 35mmcamera), it makes a great first lens for digitalSLR users.

A thoroughly modern design that’s optimizedfor select Canon EOS digital SLRs. It’sequivalent to a 96mm f/2.8 lens, with afloating optical system that can focus down tofull life-size (1:1) magnification. Innerfocusing, driven by a silent and powerfulring-type USM, means the lens’ overall lengthnever changes during focus. This lens is awonderful multi-purpose lens that’s equally athome shooting macro shots, portraits, oravailable-light photos. Like all Canon EF-Slenses, its use is restricted to the EOS 20D,EOS Digital Rebel and Digital Rebel XTcameras (as of February, 2005).

EF-S 18-55mm f/3.5-5.6 USM

A great lightweight standard lens exclusivelyfor the EOS Digital Rebel XT, EOS Digital Rebelor EOS 20D is available in an Ultrasonicversion. A tiny second-generation Micro USMfocuses the lens quietly and rapidly frominfinity down to 11 inches (0.28m), enablingmagnifications greater than 1/4 life-size.Optically, it’s identical to the standard EF-S 18-55 lens, and likewise is optimized forcompatible EOS digital SLRs. True wide-angleto portrait-length telephoto coverage withexcellent sharpness in a compact design arethe hallmarks of this EF-S lens.

EF-S 10-22mm f/3.5-4.5 USM

This lens brings ultra-wide angle zoomcapability to users of the Digital Rebel andEOS 20D cameras. Equivalent to a 16-35mmlens (on a full-frame camera), this superb lenscombines three Aspherical lens elements witha Super UD element for excellent imagequality. Like all EF-S lenses, it projects asmaller image circle to the imaging sensor,and has shorter back-focus to further enhanceits performance. A powerful ring-type USM isused for AF, and permits full-time manualfocus. Smooth and solid, it’s the ideal lensfor a broad range of digital shooters.

EF-S 17-85mm f/4-5.6 IS USM

Perhaps the perfect standard lens for the EOS 20D user, or advanced users of theDigital Rebel. It’s equivalent to a 27-136mmlens on a 35mm film camera, but optimizedfor the APS-C size digital imaging sensor oncompatible cameras. Image Stabilizationprovides up to three stops of slow-speed hand-holding correction, further enhancing thislens’s practicality. The powerful and silentUltrasonic motor focuses the lens as close as13.8 inches (0.35m), and provides full-timemanual focus capability. Its 17-elementdesign includes a double-sided Aspheric lenselement, and delivers excellent image quality.

new

EF-S 10-22mm f/3.5-4.5•f/9.5 •1/180 sec.

Specialists for the Digital AgeEF-S lenses specifically target the EOS 20D and Digital Rebel cameras,with optics designed to efficiently cover their compact imagingsensors. Technologies EOS users have come to expect in lenses,including Ultrasonic focusing motors, Aspherical elements, and evenImage Stabilization are available throughout this new lens series. EF-S lenses are yet another option for EOS digital shooters.

EF-S 60mm f/2.8 Macro USM

ULTRA-WIDE ZOOM LENSES

7

EF 20-35mm f/3.5-4.5 USM

A superior performance ultra-wide-angle zoom lens, covering the entirerange of popular wide-angle focallengths. A ring-type USM and an innerfocus design provide fast and silent AF,along with full-time manual focusoverride. Priced within the range ofserious photo enthusiasts, it’s a greatall-around choice.

l Aspherical lens l UD lens6

EF 16-35mm f/2.8L USM

A superb lens that covers nearly everyprofessional wide-angle task. Out-standing optical performance comesfrom three Aspherical lens elements,and (for the first time ever in an EFwide-angle zoom lens) two Ultra-lowDispersion UD elements. Weather-resistant construction, a rear gel filterholder, close-focusing to 11 inches(0.28m), and a circular diaphragm areamong its many highlights.

EF 17-40mm f/4L USM

About half the price of the 16-35 f/2.8lens, this L-series lens has an entirelynew optical design with three Asphericalelements and a Super UD-glass element.The combination provides superbcontrast and sharpness, even at thewidest settings. It’s ideal for both filmand digital SLRs, and features the sameweather-resistant design, rear gel filterholder, and high-speed UltrasonicMotor as the EF 16-35mm lens.

EF 16-35mm f/2.8L USM•f/2.8 •2 sec.

EF 17-40mmf/4L USM•f/8 •1/250 sec.

Getting Everything InUltra-wide zooms are the ideal way to change the look of yourphotography. The stunning perspectives they deliver, combined withthe versatility of zooming, make them perfect for enthusiasts andprofessionals alike. Two L-series lenses highlight the availablechoices for EOS users.

STANDARD ZOOM LENSES

9

EF 28-80mm f/3.5-5.6 II

For many EOS users, this is their first EFlens. Light, compact and affordable, itcovers a practical range of focal lengths—ideal for almost everything fromfamily snapshots and travel to eventphotography. A lightweight DC-focusingmotor provides brisk autofocus —asclose as 1.3 feet (0.38m)—enough tofill the frame with a subject about thesize of a postcard.

l Aspherical lens l UD lens8

EF 24-70mm f/2.8L USM

A superb professional lens that offersan even wider zoom range than itspredecessor—ideal for digital cameras.It now features two types of Asphericalelements, and an entirely new UD-glasselement for superb optical performanceeven wide-open. It focuses closer thanbefore, and even faster with revisedelectronics and a new processor. And,it’s now sealed against dust and moistureat the lens mount, the zoom and focusrings, and the switch plate. The ultimateprofessional standard zoom lens justgot better.

EF 24-85mm f/3.5-4.5 USM

An excellent all-around zoom lens thatcovers the range from ultra-wide-angleto true portrait-length telephoto. Itssolid construction, fast USM autofocusand smooth operation are matched byits excellent optical quality. This compactlens is an ideal choice for shooters whowant wider coverage than provided bymost standard zooms. The extra-widecoverage also makes it a great standardzoom for digital SLRs.

EF 24-70mm f/2.8L USM•f/11 •1/60 sec.

EF 28-90mm f/4-5.6 II USM•f/5.0 •1/200 sec.

EF 28-90mm f/4-5.6 II USM

Super-light and compact like itspredecessor, but now with even fasterAF due to new internal electronics and afaster lens CPU. It’s optically unchanged,which is a good thing—images aresharp and crisp throughout the zoomrange, and the Micro USM providesquick and ultra-quiet AF. It’s an idealstandard lens, and one of the mostpopular in the entire EOS system.

The Best of Both WorldsThese lenses cover the most popular range of focal lengths for mostphotographers, from wide-angle through telephoto. This versatilitymakes them not only great standard lenses, but ideal for situationsranging from travel to professional wedding photography. Like everyEF lens series, there are choices—in maximum apertures, size andweight, telephoto range, and price.

STANDARD ZOOM LENSES

11

EF 28-135mmf/3.5-5.6 IS USM

An unbeatable combination of zoomrange, silent and fast USM autofocus,excellent optics and Canon’s ImageStabilization technology. IS allowssteady hand-held operation at shutterspeeds up to two full stops slower than would normally be possible—and makes this a practical lens even in low-light situations. It’s one of themost versatile lens choices in the entire EF line-up for the advanced EOS photographer.

EF 28-200mm f/3.5-5.6 USM

The ultimate all-in-one zoom lens, andone of the world’s closest-focusing 28-200mm zooms with internalfocusing down to 17.7 inches (0.45m)at all focal lengths. Canon’s Micro USMprovides the quick and quiet AF, andsixteen optical elements (with twoAspheric elements) provide the highestoptical quality in its class. A brilliantchoice when you need one zoom lens toperform many different tasks.

EF 35-80mm f/4-5.6 III

The most affordable zoom lens in theentire EF lens system. Light and ultra-compact, this lens isn’t lacking foroptical performance. It has anAspherical lens element for betteroptical quality, and its close-focusingallows filling the frame with a subjectthe size of a postcard at its 80mm focallength. It’s a great entry into SLRphotography and the EOS system.

l Aspherical lens10

EF 28-105mm f/3.5-4.5 II USM

This lens is an outstanding choice as a standard zoom for advancedphotographers looking for durabilityand performance. It has the sameoptical formula (and quality) as theprevious highly-regarded EF 28-105mmUSM lens, but with a refined exteriorappearance. Its ring-type USM givesthe silent and fast autofocus that EOSusers expect, along with full-timemanual focusing capability—even whenin the AF mode.

EF 28-105mm f/4-5.6 USM

This incredible lens is the smallest andlightest in its class. It’s totally newoptically, with an Aspherical element tokeep the quality up and the size down.Even more noteworthy is an entirelynew Micro USM, that’s about half thelength of previous designs—with thesame focusing power and performance.Features like circular diaphragm blades(for natural backgrounds) and internalfocusing (the front element neverrotates) round out this great new lens.

EF 28-105mm f/3.5-4.5 II USM•f/8 •1/180 sec.

EF 28-90mm f/4-5.6 III

Lightweight and affordable, this lens isone of the most popular in the entireEOS system and often the first lenspurchased with an EOS SLR. Now in itsthird generation, it’s optically identicalto its predecessor, but now providesdistance information to compatible EOSbodies for E-TTL II flash operation. Fastautofocus down to 1.3 feet (0.38m)highlights its abilities.

TELEPHOTO ZOOM LENSES

13l Fluorite lens l UD lensl Diffractive Optical lens

Isolate the Interesting PartTelephoto lenses are ideal for riveting your viewer's attention on thesubject, and any of these zoom lenses is a great tool to get the jobdone. They make it easy to throw backgrounds out of focus, grabdetails, or approach subjects you'd rather not get too close to. Again, Canon provides many options at a broad range of price points.

12

EF 70-200mm f/2.8L IS USM

A spectacular professional lens thatcombines the virtues of the legendaryEF 70-200 f/2.8L with Canon’s newestImage Stabilization technology. The ISsystem now offers up to a three-stopimprovement in hand-held ability,responds faster than ever before, andfunctions on a solid tripod. Additionalimprovements include faster AF responseand tracking speed and weather-resistant construction. The entirely newoptical system focuses even closer (to4.6 feet/1.4m) than the non-IS version.

EF 70-200mm f/2.8L USM

For years, the most popular professionallens in the entire Canon line-up. Superblysharp and versatile, its constant f/2.8maximum aperture makes it a favoriteof photojournalists and low-lightshooters. Four UD-glass elementscontribute to its excellent performance.Full compatibility with the EF Extenders1.4x II and 2x II extends its usefulness,and it’s also compatible with the EFExtension Tubes 12 and 25, and the77mm Close-up Lens 500D.

EF 70-200mm f/4L USM

A truly professional L-series telephotozoom lens, with reduced size and weightfor applications where portability isimportant. Superb optically, it combinesa Fluorite element with two UD-glasselements for outstanding contrast andperformance. Its ring-type USM is fast,silent, and permits full-time manualfocus—as well as the closest minimumfocus of any of the L-series 70-200designs. It’s also compatible with EFExtenders 1.4x II and 2x II, and acceptsan optional accessory tripod collar.

EF 70-200mm f/2.8L USM•f/4 •1/1500 sec.

EF 55-200mm f/4.5-5.6 II USM

Super-compact and light, this lens isideal for digital SLRs. Used on the EOSDigital Rebel, it’s equivalent to anapprox. 90-320mm lens. The 13-elementdesign’s new optical coatings areoptimized for digital cameras; it’s alightweight telephoto that’s perfect forany EOS SLR. It focuses down to under 4 feet (1.2m), and its Micro USM-poweredAF is faster than ever, due to newelectronics within the lens.

EF 70-300mm f/4.5-5.6 DO IS USM

Aimed at the professional market, thisultra-compact zoom lens uses Canon’sexclusive Diffractive Optics technology,now with three diffractive surfaces. Itreduces overall lens size significantlyand at the same time improves opticalquality. Image Stabilization allowsshooting at speeds up to three stopsslower than otherwise possible, andworks even on a solid tripod.Aluminum alloy construction of majorbarrel components insures a smooth,solid lens, and the zoom ring can belocked at the 70mm setting when thelens is stored.

TELEPHOTO ZOOM LENSES

15

EF 100-300mm f/4.5-5.6 USM

This affordable and lightweight zoomdiffers from the 75-300mm modelswith its higher-performance ring-typeUltrasonic focusing motor and superiorAF speed. It also uses rear groupfocusing—so the front elements neverrotate during focusing—and adds full-time manual focusing capability. It’sexcellent not just for outdoor sports,but any subjects requiring the versatilityof a telephoto zoom.

EF 100-400mm f/4.5-5.6L IS USM

A truly professional L-series telephotozoom lens with Image Stabilization,making hand-holding practical even atits 400mm focal length. Both a Fluoriteand a Super UD-glass element ensureoutstanding contrast and sharpness,and it accepts the EF Extenders 1.4x IIand 2x II. A ring-type USM makes AFfast and silent down to 5.9 feet (1.8m);of course it offers full-time manualfocus override. This durable L-serieslens is regarded by many pros as one ofthe world’s finest telephoto zooms forhand-held outdoor use.

l Fluorite lens l Aspherical lensl UD lens l Super UD lens14

EF 75-300mm f/4-5.6 III

The most affordable of Canon’s longtelephoto zooms, this lens is excellentfor subjects from portraits to wildlife andnature. It shares the same 13-elementoptical system as the 75-300mm USMlens, but uses a DC motor for autofocus.Close-focusing down to 4.9 feet (1.5m)allows filling the frame (at 300mm) witha subject the size of a dollar bill, andit’s compatible with the Canon 58mmClose-up Lens 500D for even morespectacular shots of small objects.

EF 75-300mm f/4-5.6 IS USM

A significant lens in the history of Canonoptics, this was the first SLR lens in theworld to offer Image Stabilization—providing up to two stops of improvementin hand-held capability at slow shutterspeeds. Its 15-element optical formulais unique, but it offers capabilitiessimilar to Canon’s 75-300 versionswithout IS. Image Stabilization givesthis lens amazing real-world sharpnessin many situations, and is especiallyadvantageous when combined withlightweight camera bodies.

EF 100-400mm f/4.5-5.6L IS USM•f/14 •1/80 sec.

EF 75-300mm f/4-5.6 III USM

With the addition of a Micro USM forfaster and even quieter autofocus, thisversion of the EF 75-300mm is well-suited for sports and other applicationsrequiring fast AF. The USM versionshares the compact size, close focusingrange, and accessory compatibility ofthe non-USM lens. For many advancedamateurs, the 75-300 range is idealas a versatile entry into telephotophotography.

EF 28-300mm f/3.5-5.6L IS USM

Over 10x zoom coverage and totally pro-fessional optical quality in one amazinglens. This lens is perfect for travel andany other application where having oneversatile lens is desirable. Three UD-glass and three Aspherical elementscombine for superb quality across theentire zoom range. Canon’s ImageStabilization adds up to three stops ofshake correction, making this lens usefuleven in low-light conditions. A powerfulring-type USM provides faster AF thanever before, and it close-focuses downto 2.3 feet (0.7m) at any zoom setting.

ULTRA-WIDE & WIDE LENSES

17

EF 20mm f/2.8 USM

Optical performance, fast f/2.8 speedand ultra-wide-angle coverage makethis a great choice for manyapplications—like interiors, scenics,travel and photojournalism. This lensuses a “floating” optical system forexcellent sharpness even at its minimumfocusing distance of under 10 inches(0.25m). With a ring-type USM and full-time manual focusing capability, it offers the speed and handling pros expect.

EF 24mm f/1.4L USM

That f/1.4 is not a typo; this is thefastest ultra-wide-angle lens in theworld. The first EF lens to combineAspherical and UD Ultra-low Dispersionglass L-series optical technologies, the24mm f/1.4L provides outstandingsharpness and contrast even wide open.It focuses down to 10 inches (0.25m),and the AF is what you’d expect from aprofessional Canon lens with USM—fastand silent, with smooth full-timemanual focus available at any time.

l Aspherical lens l UD lens

Wide and FastWhy a fixed-focal length wide-angle lens instead of a zoom? Lensspeed, for starters—every lens in this series is f/2.8 or faster, sothey're great in low light. Except for the EF 15mm f/2.8 Fisheye lens,their optics are characterized by excellent correction of lineardistortion, so they're ideal for subjects like buildings and architecture.They make a great addition to zooms you may already own.

16

EF 15mm f/2.8 Fisheye

A full-frame fisheye lens that’s ideal forspecial effects with any EOS camera,film or digital. It focuses as close as8 inches (0.2m), and is tack-sharpthroughout its focus range. Up to threegel filters can be inserted into its built-inrear filter holder.

EF 14mm f/2.8L USM

This is a true rectilinear ultra-wide-anglelens that’s absolutely corrected forlinear distortion—straight lines remainstraight. It’s outstanding for shootingin confined areas and interiors, and isoften used by professionals because ofthe unique “look” its extreme wide-angle perspective provides. The opticsare superb, highlighted by a groundand polished Aspherical element. Ithas a gel filter holder in the rear thatallows up to three gel filters to be usedfor color correction.

EF 15mm f/2.8 Fisheye•f/16 •1/640 sec.

EF 24mm f/1.4L USM•f/8 •5 sec.

ULTRA-WIDE & WIDE LENSES

19

EF 28mm f/1.8 USM

Combine a fast f/1.8 aperture with28mm wide-angle focal length, and addCanon’s Ultrasonic Motor AF. The resultis this surprisingly affordable fixed focallength alternative to wide-angle zoomsthat’s ideal for low-light shooting.Internal, rear-group focusing means thefront element never moves, so it’s easyto use with filters and accessories. Theautofocus is virtually silent, and full-time manual focus is always available.

EF 28mm f/2.8

The most affordable fixed focal lengthwide-angle lens in the Canon EF line-upcontinues to give benefits difficult orimpossible to find with zooms. The fastf/2.8 aperture makes it easy to use inlow light, and provides a bright viewfinderimage in the camera. It focuses as closeas 10 inches (0.25m) withoutaccessories. And optically, it providesexcellent edge-to-edge contrast andsharpness along with superiorcorrection of linear distortion, sostraight lines in a subject (such asarchitecture) remain straight.

EF 35mm f/1.4L USM

Long requested by professionals, it’sthe standard lens for many photo-journalists and others who value itslow-light capability and performance.With the help of an Aspherical lenselement, its contrast and sharpnessare stunning, even wide-open at f/1.4.Solid construction, a powerful ring-typeUSM for smooth and fast AF, and full-time manual focusing make this a greatlens for film or digital shooters.

EF 35mm f/2

An affordable lens that’s ideal for taskslike group photos and other applicationscalling for excellent optical performanceand moderately wide focal length. It’scompact and lightweight, and with f/2.0speed, it’s a compelling alternative to a wide-angle zoom lens for low-lightshooting.

l Aspherical lens18

EF 24mm f/2.8

Another superb ultra-wide-angle choice,with floating optics for superiorperformance throughout its focus range.It has a fast f/2.8 aperture that makesit a great alternative to a zoom lens forlow-light shooting. Its rear-groupfocusing system reaches down to lessthan 10 inches (0.25m).

EF 35mm f/1.4L USM•f/1.4 •1/500 sec.

Standard and Medium TeleFast lenses are the rule here, with wide apertures that are great forlow-light shooting as well as for throwing backgrounds out of focus.The 50mm lenses are the classic standard focal length on full-framecameras, and prized by some shooters for the natural perspectivethey provide. The 85mm and 100mm designs are portrait-lengthtelephotos, but they're great for all types of available light shooting.

20

EF 50mm f/1.4 USM

The ultimate “normal” lens in the EFsystem. This superb lens is sharp evenwide-open, and of course its f/1.4 speedmakes it perfect for available-lightshooting. For many, it’s an ideal lens toaccompany a zoom when shooting inlow-light conditions. Compact andaffordable, it’s the only lens in the EFsystem to combine the extra-small MicroUSM and still provide full-time manualfocusing when the lens is in the AF mode.

EF 50mm f/1.8 II

Lightweight and affordable, this sharplens with a fast f/1.8 aperture is anexcellent first lens for those who prefera fixed focal length; It makes anexcellent addition to any photographer’ssystem for available-light shooting. Atraditional Gauss-type optical designensures sharp performance even wide-open, and it focuses as close as 18inches (0.45m).

MEDIUM & STANDARD TELEPHOTO LENSES

21

EF 85mm f/1.2L USM

The fastest telephoto lens in the entireCanon EF line-up—and the world’s fastest85mm autofocus lens. This exquisiteprofessional lens is obviously popular forits available-light capabilities, but itsproven performance makes it ideal forportraits, fashion and even sports. Aground and polished large-apertureaspherical element provides thoroughcorrection of spherical aberration. A ring-type USM means silent AF from 3 feet(0.9m) to infinity, and full-time electronicmanual focusing is also available.

EF 85mm f/1.8 USM

Sharp. Lightweight. Responsive. Theseare just a few adjectives that describethis terrific portrait-length telephotolens. With a powerful ring-type USMand fast f/1.8 aperture, subjects zipinto focus in the viewfinder. It’s greatfor all types of work calling for moderatetelephoto power, but comes into itsown in low-light situations, and offers a1/3-stop speed advantage over the100mm f/2 USM lens.

EF 100mm f/2 USM

Another option in high-speed moderatetelephotos, this compact lens is ideal forportraits and low-light work. Comparedto the 85mm f/1.8 USM lens, it providesthat little bit extra of telephoto powersometimes necessary outdoors or forcandid shooting. Like the 85mm, it’ssuper-sharp (even wide-open), and hasfast USM autofocus along with full-timemanual focusing.

l Aspherical lens

EF 85mm f/1.2L USM•f/1.2 •1/750 sec.

TELEPHOTO LENSES

23

EF 135mm f/2L USM

One of the finest lenses of its type in theworld today. This magnificent telephotolens uses two UD-glass elements toprovide incredible sharpness andcontrast, even wide-open. It’s perfectfor outdoor portraits, but comes into itsown in low-light situations. It focusesdown to 3 feet (0.9m), and is fullycompatible with both the EF 1.4x II and2x II Tele-extenders.

EF 135mm f/2.8 with Softfocus

A unique, compact telephoto lens thatgives the choice of razor-sharp images,or with the twist of a ring, two degrees ofsoft focus. It works by applying “softnessover sharpness,” using deliberatespherical aberration on top of a sharp“core” image at apertures from f/2.8through 5.6; images taken at aperturessmaller than f/5.6 are always sharp.Autofocus continues to function, with orwithout the soft focus in use. This lensis an ideal addition to a portrait orscenic photographer’s arsenal. Aperfect combination with a digital EOSSLR, with the camera enabling review ofsoft-focus effect on the LCD monitor.

EF 200mm f/2.8L II USM

Lighter by more than 1.2 pounds (545g)than the 70-200 f/2.8L zoom lens, thisfast telephoto lens is a perfect alternativefor low-light shooting or just reducingweight in the gadget bag. Two UD-glasselements and internal rear-groupfocusing are among its optical highlights;and it’s fully compatible with Canon’sEF 1.4x II and 2x II Tele-extenders. Adetachable hood is included, and TripodRing A (B) is available as an accessory.

l Aspherical lens l UD lens

Long and FastThese lenses combine great picture quality, telephoto "reach" andfast maximum apertures. They're brilliant for low-light shooting, andcan be easily hand-held by most users. Outdoors, they make it easyto blur backgrounds and isolate the primary subject, and all L-seriesfixed focal length lenses 135mm and higher can be used with boththe EF 1.4x II and EF 2x II tele converters for even more versatility.

22

EF 135mm f/2.8 with Softfocus•Soft level: 2

EF 135mm f/2.8 with Softfocus•Soft level: 0

EF 135mm f/2L USM•f/2 •1/200 sec.

TELEPHOTO LENSES

25

EF 300mm f/2.8L IS USM

Image Stabilization adds to what’salready a legendary professional lens.The 300mm f/2.8L IS lens focusescloser (down to 8.2 feet/2.5m), offersthe world’s fastest autofocus whenused with EOS bodies having 45-pointAF, is gasketed and sealed against dustand moisture, and has a lightweightmagnesium alloy barrel and tripodcollar. Its image quality, aided by bothFluorite and UD-glass, is stellar, and its advanced IS even works on a rock-steady tripod—as well as on amonopod or when hand-held.

EF 300mm f/4L IS USM

Excellent optics and superb handling in a compact package with ImageStabilization. The IS allows safe hand-holding at shutter speeds up to twostops slower than otherwise possible—making it even more useful in low-lightlevels. It’s less than half the weight ofthe 300mm f/2.8L IS, and it focuses toan incredibly close 4.9 feet (1.5m),filling the frame with a subject the sizeof a postcard. Like all of Canon’s fixedfocal length L-series lenses above135mm, it’s compatible with Canon’s EFExtenders 1.4x II and 2x II.

l Fluorite lens l UD lens24

EF 300mm f/2.8L IS USM•f/3.5 •1/180 sec.

EF 300mm f/4L IS USM•f/13 •1/60 sec.

World’s First Diffractive Optics Lens for Photography

EF 400mm f/4 IS DO USM•f/4 •1/1250 sec.

SUPER TELEPHOTO LENSES

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EF 400mm f/5.6L USM

Light. Portable. Excellent handling.Sharp. And amazingly fast autofocus.The 400mm f/5.6L is all of these things,and a premier choice for wildlife andnature photographers; it’s one of thefinest telephoto lenses in the world forfast-moving subjects such as birds inflight or motor sports. It uses UD-glasselements to provide outstanding opticalquality, even wide-open, and imagequality is preserved when used witheither the EF 1.4x II or EF 2x II Tele-extenders. It accepts 77mm filters, and has a built-in removable tripod collar.

EF 500mm f/4L IS USM

Always a favorite of motor sports,wildlife and nature shooters, thisrelatively lightweight 500mm lens nowadds Image Stabilization for anunbeatable package of handling andsharpness. Fluorite and UD-glass—acombination available from no otherlens manufacturer—provide greatperformance, even with the EF 1.4x II or2x II Tele-extender attached. It focusesdown to less than 15 feet (4.5m), andoffers the same weather-resistantdesign and incredible AF speed as its300mm, 400mm and 600mm siblings.

l Fluorite lens l UD lensl Super UD lens l Diffractive Optical lens

The Big GunsThe powerful Canon EF super-telephotos are world famous for their performanceand ability to deliver sharp images of distant subjects, and they can be seenon the sidelines at sporting events around the world. But they're more thanjust great sports lenses – they're superb for wildlife, nature, scenics, and evenoutdoor fashion. Focusing performance is unmatched with Canon's ring-typeUSM being used in every super tele lens, and most offer Image Stabilizationfor sharp images even at slower shutter speeds. Canon super telephoto lensesare the ultimate testament to Canon's dedication to the serious photographer.

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EF 400mm f/2.8L IS USM

Virtually the standard lens for manyprofessional sports shooters, thisoptical powerhouse is ideal for any filmor digital application where you needtelephoto power and low-light capability.With one Fluorite element and two UD-glass elements, it’s one lens you won’tneed to stop down to get a good image.The Image Stabilization only adds to itsall-around abilities. Details include anetwork of weather-resistant sealsand gaskets, and a focus preset thatenables instant return to a memorizedfocusing distance.

EF 400mm f/4 DO IS USM

An entirely new optical technology forSLR camera lenses—Multi-LayerDiffractive Optics—makes possible a400mm super-telephoto lens that’sabout 1/3rd shorter and significantlylighter. Diffractive Optics don’t endthere; combined with a small Fluorite

element, they permit almost totalelimination of chromatic aberrations,and at the same time are able to combatspherical aberrations. Combiningportability and easy handling, ImageStabilization, weather-resistantconstruction, superb optics and incredibleAF performance, the 400mm f/4 DO ISlens is ideal for photographers who wantsuper telephoto power along with goodlens speed in a hand-holdable package.

SUPER TELEPHOTO LENSES

29l Fluorite lens l UD lens28

EF 600mm f/4L IS USM

An outstanding professional lens forbridging distances in sports, wildlife and many other applications—includingcommercial and fashion for the distinct“compressed” telephoto character andtotally out-of-focus backgrounds itsimages can possess. Fluorite and UD- glass are combined for incredible image quality, even wide-open. ImageStabilization adds a new dimension to this long lens’ usefulness, even inmarginal lighting. It works beautifullywith both 1.4x II and 2x II extenders,and now focuses as close as 17.5 feet

(5.4m). It has the same weather-resistant gaskets and sealed focusingand focus pre-set rings as Canon’sother Image Stabilized super-telephoto lenses.

EF 600mm f/4L IS USM•f/10 •1/500 sec.

15mm Fisheye

Focal Length Comparison

14mm

17mm

20mm

24mm

28mm

35mm

50mm

70mm

85mm

100mm

135mm

200mm

300mm

400mm

500mm

600mm

1200mm

MACRO

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EF 50mm f/2.5 Compact Macro

A versatile macro lens with focusingfrom infinity down to half life-size(0.5x), and floating optics to ensuresharpness and contrast at any focusingdistance. With f/2.5 speed, it’s actuallyan ideal general-purpose normal lensthat adds true macro capability, and it’sgreat for photographing flat artwork orsubjects because of its outstandingcenter-to-corner flat field performance.A dedicated optional accessory Life Size Converter, available separately,allows focusing down to full life-size (1x magnification) and its opticsactually increase working distance fromthe front of the lens to the subject.

Life-Size Converter EF

A unique accessory, dedicated exclusively to the EF 50mm f/2.5Compact Macro lens. Unlike aconventional extension tube, the LifeSize Converter EF has a 4-elementoptical design that acts like a Tele-extender, allowing magnifications from0.26x to 1x (full life-size) while increasingthe working distance from the front ofthe lens to the subject. Optical qualityis outstanding with the Life SizeConverter EF in place.

MP-E 65mm f/2.8 1-5xMacro Photo

This special-purpose lens is strictly forhigh-magnification shooting between 1x (life-size) and 5x. At its closest focusdistance, you can fill the frame with agrain of rice. Its optics, dedicated formacro work, are superb. Focus ismanual only, and there’s a detailedmagnification scale engraved on thebarrel. It includes a tripod collar, and isfully compatible with Macro Ring LiteMR-14EX and Macro Twin Lite MT-24EX.

l UD lens

Discovering a Small WorldIt's a whole new world when you get in close, and Canon makes fourEF macro lenses to do just that. The 50mm, 100mm and spectacular180mm macro lenses are also great all-around lenses that can focusto infinity, while the MP-E 65mm macro lens is a special-purposedesign strictly for high-quality and high-magnification shooting. Toexpand the possibilities with other EF lenses, Canon also offers the EF Extension Tubes, and high-quality screw-in Close-up Lenses.

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MP-E 65mm f/2.8 1-5x Macro Photo•f/11 •1/125 sec. (3.0x)

About Macro MagnificationA life-size macro lens—that is, a 1xmagnification—records an image onfilm at its actual size. If you’rephotographing a flower, for example,and it has a diameter of 1 in., it willoccupy 1 in. on your film. With a digitalSLR, at 1x magnification, the imageprojected onto your camera's sensor willlikewise be the same size at the sensorplane as the actual subject itself. Othermacro lenses have lower or highermagnifications. A lens with 0.5xmagnification will produce an image onfilm that is half the size of the actualsubject. Your 1 in. flower, then, wouldonly occupy 0.5 in. on film.

In the other direction, a 5x magnificationlens will convert the 1 in. flower to a 5 in. diameter image. Since the entireimage won’t fit in the frame of your film,you will have an enlarged image of adetail of the flower.

Magnification is not the same thing asfocal length. A 50mm lens and a135mm might both be macro lenseswith, for example, 1x magnification.The advantage of the longer lens is thatit allows greater distance from asubject. You would choose the 135mmmacro lens to photograph a butterfly ora bird. The 50mm lens would be moresuitable for a subject that won’t moveaway when you approach it.

MACRO

33l UD lens32

EF 100mm f/2.8 Macro USM

Many EOS shooters consider this to betwo professional lenses in one: asuperior-performance portrait-lengthtele with a fast f/2.8 aperture andlightning-quick USM AF; and a superbmacro lens that focuses to life-size (1x)without accessories. It has a uniqueinternal focusing design and floatingoptics for sharpness throughout its vastfocus range, and allows a workingdistance of 5.9 inches (149mm) at life-size. Full-time manual focusing and anavailable Tripod Mount B with adapterround out this terrific macro lens.

EF 180mm f/3.5L Macro USM

One of the sharpest lenses in the entireEOS system, and a brilliant all-aroundtelephoto lens that can focus to truelife-size (1x)—with a working distanceof almost 10 inches (0.25m) from thesubject! Three UD-glass elements, afloating optical system, and internalfocusing assure superb performance atany distance. It’s even compatible withthe EF 1.4x II and 2x II Tele-extenders. A powerful ring-type USM means fastand silent AF, along with full-time manualfocus. It includes a tripod collar anddetachable lens hood.

Close-up Lens 250D Close-up Lens 500D Close-up Lens 500

An effective close-up method withtelephoto lenses—and the only close-up accessory that doesn’t lose light.The 250D is optimized for lensesbetween 50 and 135mm, while the500D works best with lenses from75mm through 300mm. Both have adouble-element design, so their opticalquality is excellent. The Close-up Lens500, a single-element design, offers aneven more affordable alternative.

EF 100mm f/2.8 Macro USM •f/5.6 •1/6 sec.

0.25x

0.5x

1.0x

3.0x

5.0x

TS-E LENSES

35l Aspherical lens

Not a Tilt/Shift Lens. A Tilt/Shift System.Canon's manual focus TS-E (Tilt/Shift) lenses have been solving advancedphotographic problems for years. With their shift capability, theperspectives of straight lines, such as buildings, can be preserved. But it'stheir tilt capability that makes them so exciting to pros—the plane of focuscan be altered to enhance apparent depth-of-field without stopping the lensto its smallest aperture. Most significant, Canon offers a series of TS-E lenses,so there's an answer for situations from architecture to studio portraits.

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TS-E 24mm f/3.5L

The widest tilt-shift lens in the Canonsystem, and a marvelous problem-solver for architecture, scenics andmany other applications calling for awide-angle perspective. With floatingoptics, it’s sharp from infinity down to 1 feet (0.3m), and it uses a ground andpolished Aspherical front element toassure excellent quality. Like all the TS-E lenses, it has a fully automaticdiaphragm, so there’s never a risk offorgetting to stop the lens down.

TS-E 45mm f/2.8

The normal lens in the TS-E system, and an excellent choice for productshooting and other applications callingfor a natural perspective. It allows upto 11mm of shift off-center, and evenmore impressively, tilting of the frontstandard up to 8° to modify the planeof focus. Among the TS-E 45mm f/2.8’soptical highlights are a floating opticalsystem (focusing down to 1.3 ft./0.4m),and a precise rear-group focusing system.

TS-E 90mm f/2.8

Telephoto perspective, f/2.8 speed, and full tilt and shift movements in acompact, professional package.Impressively sharp, its ability to alterthe plane of focus can provide a “look”that previously required a view camerato achieve. Pros have found it a greatoption for portraits, products and even fashion work. At its closestfocus distance (1.6 ft./0.5m), it givesmagnifications of about 1/3 life-size.

TS-E 45mm f/2.8•f/4 •1/30 sec.

TS-E Lens MovementsTS-E lenses are capable of tilt and shift movements that greatlyexpand picture-taking possibilities. Tilt movements alter the angle of the plane of focus between the lens and focal plane, and shiftmovements move the lens’ optical axis in parallel.

Tilt MovementsIf you want to bring the entire field offlowers into focus, you could use awide-angle lens and a small aperture toobtain a wide depth of field (Photo 1-a).With tilt movements, you can achievethis wide depth of field even at the max-imum aperture. By tilting the center ofthe TS-E lens barrel, you can tilt the lensso that the plane of focus is uniform onthe focal plane (Photo 1-b).

Depth of field with tilt movementsPlane of optimum focus

Film plane

Using Tilt Movement to Focusan Oblique Subject Plane

Shift MovementsNormally, when you point your cameraup at a tall building, the building willlook slimmer toward the top. It becomestrapezoidal (Photo 2-a). This perspectiveeffect is more pronounced with shorterlens focal lengths, distorting the buildingeven more. By keeping the camera level,and using the shift function to raise thelens instead, this perspective effect canbe corrected. With the camera’s focalplane set parallel to the building,shifting the lens upward will obtain amore rectangular-looking building(Photo 2-b).

Photo 1-aUncorrected

Photo 1-bCorrected with tilt

Photo 2-aUncorrected

Photo 2-bCorrected withshift

Using Shift Movements to Focus Tall Building

With a normal lens

With a TS-El lens

EXTENDERS & EXTENSION TUBES

37

Extension Tube EF 12 IIExtension Tube EF 25 II

The Possibilities are EndlessEven with the world's most versatile lens system, there's more you cando. Select Canon telephoto lenses are compatible with our tele extenders,increasing their telephoto power and making them even more usefulin specific situations. And for moving in close—from getting tighterportraits with a tele lens to extreme close-ups with a short focal lengthlens—the EF Extension Tubes are a perfect addition. Perhaps mostappealing is the affordability and easy portability of these accessories.

36

Extension tubes are one method ofgetting closer with EF lenses. A powerfultool when attached to standard andwide-angle lenses, they’re also usedwith telephotos to get just a bit closer.With any lens, the longer the extensiontube, the greater the close-up effect.The 12mm EF 12 II is often used withwide-angle lenses, while the longer EF 25 IIis a better choice for normal or telephotolenses. Auto exposure continues towork reliably, but manual focus isrecommended in most instances. Theversion II extension tubes are alsocompatible with EF-S lenses.

Extender EF 1.4x II

A powerful addition to any seriousphotographer’s arsenal, this compactextender is compatible with every fixedfocal length L-series lens 135mm andover—as well as the 70-200/2.8L, 70-200/2.8L IS, 70-200/4L, and 100-400/4.5-5.6L IS lenses. It multiplies the lens’marked focal length 1.4 times, with a lightloss of only one stop. Most impressively,its superior optics preserve the lens’inherent image quality. New with theversion II extender are improved internalanti-reflective blackening, and enhancedweather resistance.

Extender EF 2x II

A totally new 7-element optical designfor this version II extender means superiorimage quality combined with a doublingof the lens’ marked focal length (with atwo-stop reduction in effective aperture).Compatible with the same lenses as the1.4x II extender, the EF 2x II still allowsautofocus with any EOS body when usedwith a lens f/2.8 or faster. It features animproved anti-reflection internal designand weather-resistant exterior, includingseals at its front and rear lens mounts,that match those on Canon’s newestprofessional lenses and camera bodies.

Without Extension Tube

With Extension Tube

EF 200mm f/2.8L II USM plus Extender 2x II

Autofocus with EF Tele Extenders:AF is possible when the effectivemaximum aperture of the EF lens/EFextender combination is f/5.6 or faster.AF is automatically disabled when thecombined maximum aperture of thelens plus extender is slower than f/5.6.

With EOS bodies using the 45-point AFsystem (EOS-1D Mark II, EOS-3, etc.), AFis possible at the center AF point only ateffective apertures f/8 and faster; theremaining 44 AF points require f/5.6 orfaster effective maximum apertures forAF operation.

Autofocus with EF Extension Tubes:AF is possible in some circumstances,but generally it is recommended tofocus manually. This is especially trueat close distances when using shortfocal-length lenses with an Extension Tube.

Ordinary spherical elements have aninherent flaw in that the point of focusfor the lens center does not match thatof the lens periphery. Sphericalaberrations of large-aperture lenses anddistortion by ultra-wide-angle lensescannot be resolved with sphericalelements alone. The Aspherical lenselement was therefore developed. Thecurvature of the lens element is calculatedand shaped to achieve the ideal singlepoint of focus. The result is high contrastwith minimal flare, even with a large-aperture lens. Distortion can also beeffectively corrected in ultra-wide-anglelenses. Canon started to developmanufacturing technology for Asphericalelements early on. We eventuallysucceeded in establishing a mass-production grinding and polishingprocess with a polishing precision of5/10,000 mm. In 1971, Canon marketedthe FD 55mm f/1.2AL lens, the world’sfirst large-aperture Aspherical lens forSLRs. This was followed by many otherCanon lenses incorporating Asphericalelements and they were well received.

Also, Canon developed mass-productiontechnology for glass-molded Asphericalelements and replicated Asphericallenses. The former was produced by anultra-high-precision Aspherical lens-molding machine which shaped the glassdirectly. For the latter, the Asphericalsurface was formed by ultraviolet-hardened resin film applied on a sphericalelement. Canon has developednumerous compact-size lenses, takingfull advantage of Aspherical elementsto attain high image quality.

The Ultrasonic Motor (USM) in Canon EF lenses is the world’s first lens-basedmotor of its type. Based on a totally newtechnology, the motor spins by ultrasonicoscillation energy. The USM is quietand quick. It has made EF lenses almostnoiseless and autofocusing fast,precise and practical. The direct-driveconstruction is very simple, with no geartrain. This makes it durable and efficient.It also consumes little power. Two typesof USM are used: Ring-type USM andMicro USM. The former type is found inlarge-aperture and super telephotolenses, while the latter is used in morecompact lenses. Using the optimumtype of USM in the lens results inmaximum efficiency and effectiveness.

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Technology Where It CountsCanon’s innovations put your images on film quickly, quietly, andeasily with outstanding results.

38

Ring-type USM

Micro USM

Spherical aberration of spherical lens.

Convergence of parallel light rays byan Aspherical lens.

Another world’s first in camera lensoptical design, Canon introduced newtechnology in order to build a supertelephoto that complements its latestcompact film and digital SLR cameras.This cutting-edge technology employsdiffractive optical elements that use theprinciple of diffraction to change thedirection of a lightwave’s path. Thisrevolutionary element has Asphericalcharacteristics, which help definesuperior maximum aperture imagequality, as well as optical qualitiessuperior to UD-glass to totally correctcolor fringing. The Multi-Layer DiffractiveOptical Elements exhibit outstandingability to correct chromatic aberrations(color defects), and are especially effectivein super telephoto lens design, wherethese specific types of optical defectsare most likely to happen. You can seehow well the technology works in yourown pictures by examining the straightedges of a subject. You will see a crisp,clear edge without the telltale, prismaticcolor fringing that is visible with imagesshot using inferior optics.

Glass lens elements refract, or bendlightwaves, as they pass through toform an image. That’s simply thenaturally occurring physics of light. Weuse multiple elements and special glassto help keep the waves focused like apinpoint instead of spreading them intothe rainbow of color seen when lightpasses through a glass prism. Todiffract a lightwave means that the raygoes through a change in directionbefore passing through the lens. Thechange in direction is caused by adiffraction grating—very fine parallelgrooves or slits on the surface. Canonfound that using a concentric diffractiongrating that gets smaller toward theedges—some as fine as tenths of amicrometer—solved many of theinherent physical limitations of cameraoptics. The design also makes itpossible to obtain the same effect as anAspherical lens. And taking thetechnology a step beyond, we actuallyuse two single-layer diffractive optical

elements whose diffraction gratings arebonded together face-to-face. Sincelonger wavelengths form an image closerto the lens due to the large diffractiveangle, and shorter wavelengths form animage farther from the lens due to thesmaller diffractive angle, putting the DOelements with conventional glass opticsactually cancels out each other’schromatic aberrations and is exceptionallyeffective in correcting this optical defect.The diffraction that occurs with Canon’sMulti-Layer Diffractive optical elementsactually corrects the optical system’schromatic aberrations and improves theimage formation performance.

The net result of Canon’s DO technologyis a lens design with reduced size andweight while offering higher image qualitythan a comparable focal length lens thatincorporates conventional glass opticalelements. It means a new generation ofhigh-performance lenses that complementthe more compact designs of our latestSLR film and digital cameras.

Refractive Optical Element

Chromatic aberration canceled out

Refractive Optical Element and Multi- Layer Diffractive Optical Element Combined

Chromatic aberrations reversed from that of a refractive optical element

Image formation in the red, green and blue wavelength order

Red Green Blue

Multi-Layer Diffractive Optical Element

Image formation in the blue, green and red wavelength order

Chromatic aberrations

Diffractivegrating

Glasslenses

Cross section Front view

Correction of Chromatic Aberration by the Multi-Layer Diffractive Optical Element

Multi-Layer Diffractive Optical Element Construction

400mm f/4 Lens Designed with RefractiveOptical Elements Only

400mm f/4 DO IS USM(Incorporates Multi-Layer Diffractive Optical Element)

UD element317mm Weight: 3,000g

Fluorite

Multi-Layer Diffractive Optical Element232.7mm Weight: 2,080g

(Including removable tripod collar)Fluorite

Lens Downsizing with the Multi-Layer DiffractiveOptical Element

Note: If a very bright spotlight like a mercury lampis photographed with a DO lens, a ring of light mayoccasionally appear around the light source, due tothe imaging characteristics of the Multi-LayerDiffractive Optical Element.

Aspherical LensesUltrasonic Motors (USM)

Diffractive Optics

4140

Ordinary lenses are designed to give the best results when the correction ofaberrations is most effective. This isusually at the most commonly-usedfocusing distances. At other focusingdistances, especially at the closestfocusing distance, aberrations tend toappear. Canon’s floating systemsuppresses aberrations at closefocusing distances. This system adjuststhe gap between certain lens elementsin correspondence to the focusingdistance. The aberration is effectivelycorrected. The result is high imagequality with aberrations suppressed atall focusing distances.

No matter how great the lens is, camerashake can spoil the shot. Blurredphotos due to camera shake usuallyoccur when the shutter speed is slowerthan the reciprocal of the lens focallength. For example, a shutter speedslower than 1/200 sec. at the 200mmfocal length can invite a blurred photocaused by camera shake. In suchcases, a tripod is necessary. However,a tripod can be a heavy andtroublesome burden when you gohiking or traveling. There are evenplaces where using tripods isprohibited. Using a slow shutter speedthen becomes difficult. To resolve thisproblem, Canon became the firstmanufacturer to incorporate an ImageStabilizer in an SLR camera lens.Optical shake is detected by gyrosensors which provide the datanecessary to shift the image-stabilizinglens group in parallel to neutralize theshake. This increases the usableshutter speed range by up to 3 fullsteps for hand-held shooting. AllL-series, IS lenses have two IS modes.One is for normal image stabilizationand the other is for panned shots. Witha monopod, the Image Stabilizer on allIS lenses operates normally as duringhand-held shooting. Also, all IS supertelephoto lenses as well as the EF 28-300mm f/3.5-5.6L IS USM and the EF70-200mm f/2.8L IS USM have amechanism that shuts off the ImageStabilizer while the lens is mounted ona tripod.

Certain Canon lenses feature a newCircular Aperture diaphragm unit, whichuses curved aperture blades to providefor a more rounded opening as the lensis stopped down. It’s especially effectiveat rendering out-of-focus backgroundhighlights as natural rounded shapes. Inlenses such as the EF 70-200mm f/2.8LIS lens, the lens opening is virtuallycircular from f/2.8 to f/5.6. These lensesretain all the benefits previously availablewith Canon’s Electromagnetic Diaphragm—smooth and consistent stop-downoperation (even at up to 10 fps with theEOS-1v), near-silent aperture control, andtotal absence of mechanical levers orswitches in the lens mount.

Canon EF lenses and EOS cameras have very high AF precision. Optimum focuscan be achieved quickly for almost anyshooting situation. Recent EOS camerashave been equipped with multiplefocusing points for higher flexibility incomposing a photo while using AF.Picture-taking is even more flexible withCanon’s full-time manual focusing whichoverrides the autofocusing mode. Lenseswith this feature allow you to switch tomanual focusing even in the AF mode.You can keep looking through theviewfinder and touch up the focusmanually without switching the focusmode switch. Since the focusing ringdoes not rotate during autofocusing, wecould make it wider for better holdingcomfort and easier manual focusing.Another ergonomic design which letsyou convey your intentions quickly.

Full-time manual focusing comes in twotypes. One is electronic manual focusingwhere the rotation amount of thefocusing ring is detected and the focusingmotor is driven electronically. The othertype is mechanical manual focusingwhere the rotation of the focusing ringadjusts the focus mechanically.

AF stop is featured on the EF 300mmf/2.8L IS USM, EF 400mm f/2.8L ISUSM, EF 400mm f/4 DO IS USM, EF 500mm f/4L IS USM, and EF 600mmf/4L IS USM lenses. If somethingpasses between the camera andsubject during autofocusing, pressingthe AF stop buttons momentarily locksthe AF to prevent the focus from shiftingto the obstruction passing by. After theobstruction is gone, the focus is stillmaintained on the subject and you canquickly resume shooting. The AF stopbuttons are positioned at four locationsaround the lens grip at the front of thelens for easy access during bothhorizontal and vertical shooting.

With the focus preset feature, you canset the desired focusing distance inmemory and later instantly focus thelens at that distance. Normalpicture-taking and focusing are possible even while focus preset hasbeen set. At a soccer game, forexample, you can preset the focus forthe goal. You can focus normally whilethe player approaches the goal, thenwhen the ball is shot into the goal, youcan obtain instant focus.

Floating System

Image Stabilizer Circular Aperture

Full-Time Manual Focusing

AF Stop Feature

Focus Preset

1: No camera shake

2: Lens front shakes downward

3: Image-stabilizing group counteracting downward camera shake

Group 1 (focusing group)

Group 2 (image-stabilizing group)

ToObject Group 3 to 6

Focalplane

Direction of Group 2movement

How the Image Stabilizer Works in the EF 75-300mmf/4-5.6 IS USM

With Image Stabilizer on

With Image Stabilizer off

Manual focus ring

Focus key

Ring 1RollerRoller Rotor

StatorPressing spring

USM Unit

Focusing unitFocusing lens group

Ring 2

Full-time mechanical manual focus mechanism

Input pulse board for electronic manualfocusing

Astigmatism

Floating Effect (TS-E 24mm f/3.5L)

Floating System

Closestshootingdistance

TS-E 24mm f/3.5L Floating System

Floating

Focal plane

The EF 300mm f/2.8L IS USM, EF400mm f/2.8L IS USM, EF 500mm f/4LIS USM, EF 600mm f/4L IS USM lensesand all subsequent L-series lensesare highly dust- and water-resistant.The switch panel, exterior seams, anddrop-in filter compartment have rubberlinings. Moving parts such as thefocusing ring and switches are alsodesigned to prevent water and dustfrom entering. These lenses cantherefore be used in harsh conditionswithout dust and water getting inside.

The lens is equipped with a rubber ringon the mount to improve itsdustproofing and waterproofingcharacteristics. As the lens isrepeatedly mounted and detached, therubber ring will leave fine abrasionmarks on the outside of the cameramount. This will not affect operation.

42

The refraction of light differs dependingon the wavelength. The point of focustherefore differs depending on thedifferent wavelengths or colors. Whenthe different wavelengths are focusedat different points, the colors looksmeared. This is called chromaticaberration. The longer the focal length,the more pronounced chromaticaberration becomes. Usually, anachromatic element is used in a lens tocorrect chromatic aberration. However,normal optical glass can only becorrected for two primary spectralcolors. An exception to this limitation isFluorite, an ideal material. Fluorite,which is crystalline, has abnormally lowrefraction and dispersioncharacteristics, which optical glasscannot achieve. It also has anomalousdispersion from the green to bluewavelengths. Canon developedproduction technologies to manufactureFluorite. By incorporating Fluorite inlenses, the points of focus of the threeprimary spectral colors of red, green,and blue all meet at one point for idealcorrection of chromatic aberration.There is also UD-glass, which is aspecial type of optical glass whoseproperties nearly match those ofFluorite. The effect of two UD-glasselements is equivalent to having oneFluorite element. And one super-UD-glass element gives almost the sameeffect as one Fluorite element.

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Description of Lens DesignationThe lens designations follow a standard format to identify the lens.

EF 75-300mm f/4-5.6 IS USM

Focal Length:Indicates thefocal length rangefrom the shortestto longest length.(See below fordetails.)

MaximumAperture:Indicates thelens’ maximumaperture. (Seebelow for details.)

Special Function:Any specialfeature such asan imagestabilizer, macrofeature, etc., isindicated.

USM: Indicatesthat the lens usesan UltrasonicMotor forautofocusing.(See page 34 fordetails.)

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The conventional interface between thelens and camera body is mechanical,with the use of engaging levers andgears. This method causes physicalproblems such as wear and rattle. Thissystem is limited and more diverseinformation cannot be exchanged.Canon EF lenses do not use suchmechanical links at all. About 50 itemsof information are exchanged as digitalsignals between the lens and camera inreal time. This enables high-speed andhigh-precision control. And since thelens mount diameter is an ample54mm, special lenses such as large-aperture lenses and TS-E lenses can beused. The EF mount is an advancedinterfacing system with infinitepossibilities.

Canon EF lenses (except TS-E and MP-E lenses) have a built-in AF motor.Compared to camera body-based AFmotors, lens-based motors have drivingenergy with lower transmission loss.The optimum AF motor for a particularlens can also be selected and installed.The AF operation is therefore quick,quiet and highly precise. The lensesalso have an EMD (ElectromagneticDiaphragm) to control the apertureelectronically. The aperture can be seteither with an electronic dial or with theelectronic pulse signal sent accordingto the exposure reading. Aperturecontrol precision is thereforeunmatched.

An inner focusing lens has the focusinglens group(s) in front of the diaphragm,while a rear focusing lens has the focusing lens group(s) behind thediaphragm. Both focusing systemsallow the focusing lens group to besmall. This minimizes the load on theactuator which drives the autofocus. Inturn, the AF speed is faster. The wholeoptical system can also be made morecompact. Also, since the lens does notrotate during focusing, the effects of acircular polarizing filter or gelatin filterremain intact.

Some digital SLR imaging sensors aresmaller than 35mm film, and thismeans that any lens used has its fieldof view cropped compared to a full-frame camera. This can be a problemwith wide-angle lenses, which now“act” more like a standard lens.Canon’s EF-S lenses are exclusivelydesigned for digital SLRs with the APS-C22x15mm sensor size. Optimized fordigital, these lenses not only cover asmaller imaging circle, but equallyimportant they have a shorter “backfocus” distance–that is, the rear of thelens is closer to the imaging sensorthan standard EF lenses. Because ofthis, EF-S lenses can only be used onEOS camera bodies specificallydesigned to accept them. Four EF-Slenses have been announced as of early2005: the EF-S 18-55mm standardzoom lens (field of view equivalent to a28-90mm lens on a full-frame camera),the EF-S 17-85mm IS zoom lens (28-135mm equivalent), the ultra-wide EF-S10-22mm zoom (16-35mm equivalent),and the EF-S 60mm Macro lens.

In the 35mm format, a focal length of50mm is closest to what the eye sees.This focal length is used as areference point for lens categories.For example, lenses with a shorterfocal length are called wide-anglelenses, while those with a longer focallength are called telephoto lenses.Single focal length lenses have onlyone focal length, while zoom lenseshave a range of focal lengths.

This indicates how much coverage ofa scene you can see through thelens. Telephoto lenses have anarrower angle of view than wide-angle lenses.

Perspective refers to the sizerelationship between the near andfar objects that you can see at thesame time. When distance is shortand the angle-of-view is wide (with ashorter focal length), the perspectivebecomes more apparent. And atgreater distances with a narrowangle of view (with a longer focallength), the perspective becomesless apparent. The image alsobecomes more compressed, with thefar objects looking like they are rightbehind the near objects.

This indicates the speed of the lens.A fast lens has a large maximumaperture, allowing more light toenter. The smaller the maximumaperture’s f-number, the larger theaperture opening is. A largermaximum aperture makes the imagelook brighter and easier to seethrough the viewfinder. You can alsouse a faster shutter speed or obtain

better background blur. On theother hand, a smaller maximumaperture (the f-number is larger)allows the lens to be more compactand light. Single focal length lenseshave only one maximum aperture,while zoom lenses may have two,one for each end of the focal lengthrange. For example, a EF 28-80mmf/3.5-5.6 lens has a maximumaperture of f/3.5 at 28mm and f/5.6at 80mm.

Under the same light level, if theaperture opening is made larger byone step, the shutter speed can beincreased by one step. For example,if an aperture of f/5.6 and shutterspeed of 1/60 sec. are set, adjustingthe aperture to f/4 will enable ashutter speed of 1/125 sec. to beused. An aperture of f/2.8 will allowa faster shutter speed of 1/250 sec.while the same exposure level ismaintained.

Normally, there is only one point ofoptimum focus. However, we oftensee objects in front of or behind thispoint also in focus. This is madepossible by a wide depth-of-field.

The depth-of-field is mainlydetermined by the lens focal length,aperture and subject distance. Forexample, if a wide-angle lens is usedat the minimum aperture, almosteverything in the picture will be infocus. However, if a telephoto lensis used at maximum aperture andfocused on a relatively close subject,the background will be reallyblurred, making the subject in focusstand out.

Comparison of optical characteristicsbetween optical glass and Fluorite

Anomalousdispersion

Glass

Fluorite

Red

Blue

Red

Blue

Fluorite and UD glass

Ring-type USM

EMD

Built-in motor and EMD

Dust- and Water-ResistantConstruction

Fluorite (CaF2) and UD-Glass Inner Focusing and Rear Focusing

Large, Fully ElectronicMount System

Built-In Motor and EMDEF-S Lenses

Focal Length

Angle-of-View

Angle-of-View andPerspective

Maximum Aperture

Aperture and Shutter Speed

Depth-of-Field

Depth-of-Field with theAperture and Focal Length

General Purpose Filters for Black andWhite or Color FilmSky (1A), Haze (UV-1) • 52mm • 58mm • 72mm

Softmat FiltersSoftmat filters mildly soften the focus for flattering portraits and dreamy landscapes.These filters utilize the effect of diffraction whichoccurs between light passing through thetransparent part and light passing through thecoated part. Use Softmat No. 1 filter for a gentlesoftfocus effect, and Softmat No. 2 for astronger effect.No.1, No.2• 52mm • 58mm

Circular Polarizing Filters PL-CPolarizing filters enhance picture quality byblocking harmful reflected light. Use them toreduce polarized light reflections from glassand water surfaces or to improve color satura-tion. Simple to use, circular polarizing filters(such as Canon’s PL-C) polarize light circularly,rather than linearly, so it does not interferewith autofocus or TTL light metering. • 52mm • 58mm • 67mm • 72mm • 77mm (Type II)

Loupe 8x & 4x

The Canon Loupe 4x is a high-performancemagnifier for viewing the entire picture area(24 x 36mm) of a 35mm-format slide or negative. With three lens elements in threegroups, chromatic aberration and distortionare effectively corrected to give crystal-clearimages. Eye fatigue is not a problem even afterprolonged use. Loupe 8x is another magnifierfor viewing the entire picture area, but withspecial emphasis on a 24mm-diameter area atthe center. The four lens elements in fourgroups attain high performance and a highmagnification. All elements have Super SpectraCoating to make image viewing clear enoughfor you to effectively check the quality ofphotos taken with EF lenses. These two loupescan make your evaluation of photos moreaccurate.

53

Drop-in FiltersDrop-in Filters PL-CDrop-in Filters PL-C can berotated from the outsidewithout removing them fromthe lens for precise control.The 48mm PL-C filter can beused with the following lenses: EF 200mm f/1.8LUSM and EF 1200mm f/5.6LUSM. The 52mm PL-C filter isdesigned for use with the EF 300mm f/2.8L IS USM, EF 400mm f/2.8L IS USM, EF 400mm f/4 DO IS USM, EF 500mm f/4L IS USM andEF 600mm f/4L IS USM.

Drop-in Gelatin FilterHoldersThese glass-backed holders accept up to threecommercially available cut-to-size gelatin filters for rear-insertion lenses. A 48mmholder is provided standardwith EF 200mm f/1.8L USMand EF 1200mm f/5.6L USM;and a 52mm holder, with EF 300mm f/2.8L IS USM, EF 400mm f/2.8L IS USM, EF 400mm f/4 DO IS USM,EF 500mm f/4L IS USM andEF 600mm f/4L IS USM.

Drop-in Screw FilterHolders With ProtectFiltersThe enclosed regular filtercan be exchanged with othercommercially available screw-type filters. Note that onlyfilters with correct filter framethickness can be mountedon the lens.• 48mm • 52mm

Only Canon filters are guaranteed for use with EF lenses.

Gelatin filter Holders III & IV

Gelatin Filter Holder III uses 3 x 3-inch gelatin filters and Gelatin Filter Holder IV uses 4 x 4-inch gelatin filters. Holders III and IV both provide extension hoods and 52mm, 58mm,67mm, 72mm and 77mm adapters. Refer tothe EF Lens Accessory Table for information onlens combinations.• 52mm • 58mm • 67mm • 72mm • 77mm• Adapter III for EF 50mm 1: 1.4

Gelatin Filter Holder IV

Gelatin Filter Holder III

Canon EF Lens Accessories

C KNOW HOW®

1-800-OK-CANONwww.usa.canon.com

Canon U.S.A., Inc.One Canon Plaza Lake Success, NY 11042 U.S.A.

Canon Canada Inc.6390 Dixie Road, Mississauga, Ontario L5T 1P7 Canada

Canon Mexicana, S. DE R.L. DE C.V.Blvd. M.A. Camacho No. 138, Piso 16 Y 17,Col. Lomas de Chapultepec,C.P. 11000 México, D.F. México

0050W871 2/05

©2005 CANON U.S.A., INC.PRINTED IN U.S.A.

C

General Purpose Filters for Black andWhite or Color FilmSky (1A), Haze (UV-1) • 52mm • 58mm • 72mm

Softmat FiltersSoftmat filters mildly soften the focus for flattering portraits and dreamy landscapes.These filters utilize the effect of diffraction whichoccurs between light passing through thetransparent part and light passing through thecoated part. Use Softmat No. 1 filter for a gentlesoftfocus effect, and Softmat No. 2 for astronger effect.No.1, No.2• 52mm • 58mm

Circular Polarizing Filters PL-CPolarizing filters enhance picture quality byblocking harmful reflected light. Use them toreduce polarized light reflections from glassand water surfaces or to improve color satura-tion. Simple to use, circular polarizing filters(such as Canon’s PL-C) polarize light circularly,rather than linearly, so it does not interferewith autofocus or TTL light metering. • 52mm • 58mm • 67mm • 72mm • 77mm (Type II)

Loupe 8x & 4x

The Canon Loupe 4x is a high-performancemagnifier for viewing the entire picture area(24 x 36mm) of a 35mm-format slide or negative. With three lens elements in threegroups, chromatic aberration and distortionare effectively corrected to give crystal-clearimages. Eye fatigue is not a problem even afterprolonged use. Loupe 8x is another magnifierfor viewing the entire picture area, but withspecial emphasis on a 24mm-diameter area atthe center. The four lens elements in fourgroups attain high performance and a highmagnification. All elements have Super SpectraCoating to make image viewing clear enoughfor you to effectively check the quality ofphotos taken with EF lenses. These two loupescan make your evaluation of photos moreaccurate.

53

Drop-in FiltersDrop-in Filters PL-CDrop-in Filters PL-C can berotated from the outsidewithout removing them fromthe lens for precise control.The 48mm PL-C filter can beused with the following lenses: EF 200mm f/1.8LUSM and EF 1200mm f/5.6LUSM. The 52mm PL-C filter isdesigned for use with the EF 300mm f/2.8L IS USM, EF 400mm f/2.8L IS USM, EF 400mm f/4 DO IS USM, EF 500mm f/4L IS USM andEF 600mm f/4L IS USM.

Drop-in Gelatin FilterHoldersThese glass-backed holders accept up to threecommercially available cut-to-size gelatin filters for rear-insertion lenses. A 48mmholder is provided standardwith EF 200mm f/1.8L USMand EF 1200mm f/5.6L USM;and a 52mm holder, with EF 300mm f/2.8L IS USM, EF 400mm f/2.8L IS USM, EF 400mm f/4 DO IS USM,EF 500mm f/4L IS USM andEF 600mm f/4L IS USM.

Drop-in Screw FilterHolders With ProtectFiltersThe enclosed regular filtercan be exchanged with othercommercially available screw-type filters. Note that onlyfilters with correct filter framethickness can be mountedon the lens.• 48mm • 52mm

Only Canon filters are guaranteed for use with EF lenses.

Gelatin filter Holders III & IV

Gelatin Filter Holder III uses 3 x 3-inch gelatin filters and Gelatin Filter Holder IV uses 4 x 4-inch gelatin filters. Holders III and IV both provide extension hoods and 52mm, 58mm,67mm, 72mm and 77mm adapters. Refer tothe EF Lens Accessory Table for information onlens combinations.• 52mm • 58mm • 67mm • 72mm • 77mm• Adapter III for EF 50mm 1: 1.4

Gelatin Filter Holder IV

Gelatin Filter Holder III

Canon EF Lens Accessories

C KNOW HOW®

1-800-OK-CANONwww.usa.canon.com

Canon U.S.A., Inc.One Canon Plaza Lake Success, NY 11042 U.S.A.

Canon Canada Inc.6390 Dixie Road, Mississauga, Ontario L5T 1P7 Canada

Canon Mexicana, S. DE R.L. DE C.V.Blvd. M.A. Camacho No. 138, Piso 16 Y 17,Col. Lomas de Chapultepec,C.P. 11000 México, D.F. México

0050W871 2/05

©2005 CANON U.S.A., INC.PRINTED IN U.S.A.

C