இ Fuzzy Wuzzy's Summary:
ѾѾѾѾѾ Highly recommended with warm fuzzies!
Having used the
Canon EF-S 17-85mm f/4-5.6 Image Stabilized USM SLR Lens for EOS Digital SLR's for about two years now, this is the perfect focal length range for use as a day-to-day walkabout lens on my Canon 40D. Other Canon gear that I have include their excellent
Canon EF-S 17-55mm f/2.8 IS USM Lens for Canon DSLR Cameras , their razor-sharp
Canon EF 70-200mm f/4 L IS USM Lens for Canon Digital SLR Cameras ,
Canon EF 70-300mm f/4.5-5.6 DO IS USM Lens for Canon EOS Cameras , the extremely sharp
Canon EF 100mm f/2.8L IS USM 1-to-1 Macro Lens for Canon Digital SLR Cameras ,
Canon MP-E 65mm f/2.8 1-5X Macro Lens for Canon SLR Cameras , and
Canon MR-14EX Macro Ring Lite for Canon Digital SLR Cameras.
In low light or wider-angle scenery shots, this lens is not as sharp as my 17-55mm f/2.8. When used to photograph macro-like shots of butterflies and flowers, it is not as sharp as my 100mm f/2.8. When used at its 200mm focal length to focus onto distant birds and turtles sitting on a stone in a pond, it is not as sharp as my 70-200mm f/4L. But as a one-lens solution for covering that kind of focal lengths, it is pretty good. On sunny days, I use this lens on a 40D with a B&W multi-coated MRC Kaesemann Circular Polarizer. I consider this to be a very useful hiking/travel/walkabout lens, or if (like me) you hate changing lenses back and forth :-) , or if capturing the moments in both wide-angle and zoom situations is more important than getting that perfect shot by carrying multiple lenses and/or camera bodies. This is my first experience with a Canon lens that does not use USM, and the micro-motor is barely slightly slower and noisier than USM... but not knowing what to expect, I was expecting even slower focusing and, in nearly all situations, I found its focus speed totally adequate - still very quick and without any back-and-forth hunting in lower lighting. But my main gripe about this lens is that Canon did not use USM (who knows what kind of marketing decisions went into this, much as I wondered why the 40D had a 3.0-inch LCD but kept the same 230,000 pixels as the 2.5-inch LCD on the 30D - one of my main gripes with the 40D). For the price, Canon should have included USM with full-time manual focusing. But I did notice that the price has dropped by more than 60 dollars since I bought the lens less than three weeks ago.
The use of a zoom lock switch to prevent lens creep is a very welcome addition that I always wished that their 17-85mm and 17-55mm lenses also had. Because of the 11 lens elements in this lens, it slides out to a zoomed length far more than my 17-85mm lens does when the camera is pointing downward and slung around my neck and/or shoulder. Other super-zooms have this same lens creep problem and this is likely a design compromise that the Canon engineers had to consider in still wanting to minimize the amount of friction and effort it takes to turn the zoom ring versus the propensity of the lens elements' weight to pull the zoom downward due to gravity. I have learned to always flick the zoom lock switch on when I am just carrying the camera, quickly flick the zoom lock switch off as I begin to aim and focus (after a short while, it becomes easily habitual to use the middle or ring finger of my right hand to lock/unlock the zoom lock switch while aiming), and to just hold the camera more horizontal if I am actively looking to photograph more. The lens does not rotate during focusing, so circular polarizer filters stay in place.
Unlike Canon's USM lenses, the micro-motor focus design of this lens does not allow you to override the autofocus mechanism until you first flip the AF/MF switch on the lens. Furthermore, while the 17-85mm lens lets you use both the focus ring and zoom ring when the lens hood is inverted on the lens, on the 18-200mm lens, since the slim manual focus ring is now placed at the very front of the lens (and in front of the much-wider zoom ring), when its
Canon EW78D Lens Hood for EF 28-200mm f/3.5-5.6 Canon SLR Lens (not included with the lens) is inverted, the lens hood's "petals" block most of the focus ring and I have to use my middle finger and thumb to reach in between the hood petals to rotate the focus ring when the hood is screwed on in its inverted position. I would have much preferred that Canon either (a) retain the same focus-ring-closer-to-camera-body design that they used on the 17-85mm, or (b) increase the width of the focus ring so that it is more accessible when the lens hood is inverted onto the lens. But with the zoom ring being 2.2" wide, the bulk of the lens barrel is occupied by the zoom ring, as if Canon expects that most people will not be using manual focus much on this lens. Since I mainly use manual focus on my two 65mm and 100mm macro lenses, this is not that big of a deal for me. In looking across Canon's entire zoom lens product line, Canon seems to be inconsistent in their placement of the zoom and focus rings, with some lenses having the zoom ring closer to the camera body, and some lenses having the focus ring closer to the camera body.
At both 18mm and 200mm wide open, the image corners can be a little on the soft side, but when stopped down between f/5.6 and f/11, the image is sharp from edge to edge. The image stabilizer on this lens works very well, allowing me to get non-blurry handheld shots in dimmer light while I try to stay within this lens' optimum aperture range of f/5.6 to f/11. Of course, Canon's "17-55mm f/2.8 IS USM Lens" is better in lower light than this 18-200mm f/3.5-5.6 lens. But if you use a tripod with this lens, it becomes even more suitable for indoor and night shots. I did not notice any chromatic aberration or purple fringing in my photos. Background bokeh is pleasant and visually appealing. At its maximum 18mm wide-angle and 200mm zoomed-out extremes, there is noticeable barrel and pincushion distortion in the photos, but these are easily correctable using post-processing software, and all super-zoom lenses like this have barrel/pincushion distortion anyway, so I think that this is a physical limitation of the current state of super-zoom lens designs. Even Canon's 28-300mm L glass, which is also f/3.5-5.6, has its share of design compromises and sharpness issues in a super-zoom lens design, and I do not think that the big and bulky Canon 28-300mm L lens is much sharper than this 18-200mm lens (even though it costs more than four times the cost of this lens). So I think that any lens encompassing this sort of zoom range will be tripping over various physical limitations of what can be achieved when compared to a lens with a smaller zoom range. A 18-200mm lens (or, why not, a 17-300mm lens) at a fixed f/2.8 with USM and L-grade glass and weather sealing in a lens that weighs less than 3 pounds would be wonderful, and I would gladly pay a lot more for it as a single-lens travel/walkabout lens solution, but that product still only exists in my dreams right now.
This 18-200mm lens will now make my 17-85mm lens the least-used lens that I have, so I may eventually end up selling the 17-85mm lens.
I have posted 3 sample shots taken at Denver Botanic Gardens and 19 shots from having spent 4 weeks in South Africa to the image gallery for this lens. My posted photos are straight from the camera, after RAW conversion using Canon's Digital Photo Professional; no Photoshop tweaking or other post-processing was done on them. This was a great lens to take on an extended vacation where multiple camera bodies and lenses would have weighed me down more and the dusty conditions of an African safari make it difficult to cleanly change lenses (not to mention that wildlife often does not wait for you to switch your camera gear around!) There were some times during my vacation when I wished that I had my 17-55 f/2.8 with my travel-sized tripod, but for most shots, you would have to squint at the pixel level to notice differences in the sharpness of daytime shots (i.e. 11x14" and 13x19" prints look great!) If you hate spending time editing each photo one-by-one during post-processing and if you do not already own a collection of Photoshop, Photoshop Elements, Paint Shop Pro, and Lightroom software, I would recommend that you consider "Dxo Optics Pro" software since DxO Optics Pro can automatically, without much adjusting of software parameters for each photo or photo set, process all of your JPEG or RAW files and correct a whole slew of lens-related imperfections in photos.
December 14 2009 update add-on to my original review: Even though I keep thinking about eventually moving to full-frame, I just got the Canon 7D (still keeping my 40D, and wondering what to do with my 30D), and as a daily "only one lens and only one camera body" walkabout/travel combination, this 18-200mm lens ROCKS when used with my spanky new 7D :-)))) My other favorite combination, when I do not mind lugging the extra bulk and weight, is to carry both the 70-200mm f/4L on my 40D and my 17-55mm f/2.8 on my 7D, with the 7D in the hand and the 40D in the Think Tank Digital Holster 30.
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