Further readings for the Canon EF 500mm F/4L IS II USM
To provide photographers with a broader perspective about mobiles, lenses and cameras, here are links to articles, reviews, and analyses of photographic equipment produced by DxOMark, renown websites, magazines or blogs.
Announced in September 2016, the Sigma 500mm f/4 DG HSM S (Sigma 500mm f/4) is a super-telephoto prime lens for professional sports, wildlife, and press photographers, and for paparazzi. Available in Sigma, Nikon, and Canon lens mounts, the Sigma 500mm f/4 has been designed specifically for use on full-frame DLSRs such as the EOS 5DS R. This review reports on the performance of the Canon mount version.
We’ve tested 130 lenses on Canon’s flagship camera, the full-frame 18-Mpix Canon EOS-1D X Mk II, covering focal lengths ranging from an incredibly wide 11mm up to a super-telephoto 600mm.
We’ve split the results between primes and zooms and then arranged them into three groups according to use. This equates to ultra-wide and wide-angle, standard, and telephoto to help you narrow down the best performer in each.
However, this time we’ve compared lenses from the perspective of the camera’s intended market — the photojournalist. While they’re not really any different from the next photographer when it comes to choosing focal length, there are some models that perhaps require further consideration.
Super-telephoto lenses like these are indispensible for shooting action, sports and wildlife but their high price and limited versatility restricts accessibility to the average user. Most are to be found in the hands of photojournalists working on behalf of picture agencies, but it’s also true to say that a fair number are used by wildlife photographers including working professionals and well-heeled enthusiasts. Read on to see if the current iterations deserve their celebrated status.
Announced in early 2011, the Canon EF500mm f/4L IS II USM and EF600mm f/4L IS II USM are updates to two highly respected lenses aimed squarely at professional wildlife and sports photographers, or those who want the best image quality possible at these focal lengths. These Mark II versions aim to take everything that was good about their predecessors and turn them up to the max.
Sony is often quoted as having aspirations to rival Nikon and Canon but, since taking over the SLR business of Konica Minolta, has so far shown only a handful of pro-grade lenses. The SAL500F40G is one such lens, more popularly known as the 500mm f/4.0DG SSM, and with a price tag of $13,000 it’s aimed squarely at professionals and well-heeled enthusiasts. We’ve had the opportunity to assess the new lens at our lab in Seattle, please read on to see how the new Sony performs and if it has what it takes to compete with the current Canon and Nikon duopoly.
With the vagaries of photographing wildlife, the flexibility of a telephoto zoom would appear to be an attractive solution. However, image quality is often a compromise at the maximum aperture and longest focal length, typically the most crucial settings. We’ve pulled some lens data from our database and put together a round up of popular zoom lenses over the years (and made some comparisons with high performance primes). Read on to find out which models have the best image quality.