Canon EF 24-70mm f/2.8L II USM Review

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Canon EF 24-70mm f/2.8L II USM Review


Design and build are normal of Canon’s “L-series” lenses, with intense dark plastics and metal utilized all through. This lens is also weather-sealed and intended to face the rigors of everyday proficient use. In spite of the astounding build, the lens is not excessively heavy, with a weight of 805g.

Autofocus is controlled by an Ultrasonic engine, and focusing is quick and precise, therefore. Manual adjustments could be made rapidly anytime simply by turning its focus ring. Also, the focusing ring is exact and smooth, which turns manual adjustments into a delight to apply. The minimum focus is just 38cm from the sensor plane, and that is incredible for shooting even in claustrophobic situations.

One element the lens does not offer, however, is image stabilization. Canon says this would require an incredible trade-off in either picture quality or in size.

Product Photos:

Canon EF 24-70mm f/2.8L II USM Specifications

General SpecificationCanon EF 24-70mm f/2.8L II USM
Focal Length24 - 70mm
Camera Mount TypeCanon EF
Format ComitabilityCanon 35mm full frame
Angle of View84-34 degrees
Minimum Focus Distance15”/ 0.38m / 1.25 ft.
Magnification0.21x / 1:4.76 (at 70mm)
Actual Weight805g / 28.4 oz
Aperture Range-Wide/ Long f/2.8-22
Focus Ring Rotation105°
Lens Hood Included?YES / EW-88C
Image StabilizationNo image stabilization features for this lens
Case Included?YES / LP1219
Year Introduced?2012

Technical Specifications


Sharpness in the focal point of the edge is great to extraordinary all through the zoom range. With 24mm and F2.8 sharpness is only a shade underneath fantastic levels in the middle and great towards the edges. Halting the lens down to F4 shows exceptional sharpness on the inside at this central length, with clarity towards the edges which reaches phenomenal levels.

Chromatic Aberration:

Chromatic Aberration is scarcely observable at 24mm and rapidly gets to be irrelevant until around 50mm, where chromatic aberration begins creeping back into the corners.

Chromatic Aberration exacerbates through 70mm where the sum is still not awful for a zoom lens central length furthest point. The 24-70 L II USM has somewhat less chromatic aberration than the 24 L I at 24mm yet the previous model has less chromatic aberration at 70mm (by a bigger differential). Chromatic aberration is by and large simple to remedy in post preparing.

Shading or ”Vignetting”:

The vignetting is relatively low inside the full format range. There is still a substantial measure of light fall-off with 24mm, which will be promptly obvious in field pictures. The problem is better controlled with 40mm and with 70mm, in spite of the fact that it is still a long way from being unnoticed at F2.8. Ceasing down to F4 solves the issue at 40mm and 70mm, and at F5.6 it is no longer applicable at 24mm at all.


Ordinary for a zoom lens is the 24-70 F2.8L II USM barrel mutilation at the wide end that moves to pincushion distortion, from the low 30s forward. Distortion sums at the central length furthest points are moderate, and enough to be perceptible if straight lines are available close to the edges of the casing.

APS-C format results have immaterial measures of distortion at 24mm, where a little measure of barrel distortion may be noticeable in some photographs.

Buy this lens if:

If you are not kidding with your photography, on the off chance that you have effectively a few years of experience and particularly in case need an overhaul for work issues, I firmly suggest this lens.

The Canon EF 24-70mm F2.8L II USM is ideal for any individual who requires a lens that will be powerful in most ordinary shooting circumstances, including faint lighting, and who should be prepared to catch pretty much anything without a moment’s notice.

That blend of components makes it perfect for photojournalists who will need to catch both wide scenes and close subtle elements. It is additionally a shockingly viable representation lens when there’s no other option; the 70mm end of the zoom range, matched with the splendid F2.8 maximum aperture, can adequately blur away foundations, bringing your subject’s face into sharp contrast.

The 24-70 L II USM will be the best wedding lens for a huge rate of expert picture takers. The 24-70mm central length range permits an extensive group shot or a close photo of the groom and bride without a lens change.

The 24-70 L II USM is likewise an extraordinary decision for short-range sports activity.

Despite your profession, the lens will work in your home as it does in the gym, church or other different indoor venues. Catching the recollections of family life is, as I would like to think, a standout amongst photography interests. You can offer the lens later if accounts turn out to be tight, however, those valuable family minutes will never be back for a catch later.

Don’t Buy this lens if:

In case you’re not a professional and simply need a decent, skilled zoom lens, this is likewise a fine decision, however, you might need to consider Canon’s more moderate EF 24-70mm F4L IS USM, which exchanges an additional stop of aperture for the image stabilization and a more conservative outline.

Low-light sports photographers and indoor picture takers are frequently working in comparable conditions as wedding picture takers and photojournalists. Be that as it may, their subjects are regularly moving quicker. An F2.8 opening is, for the most part, the tightest I prescribe for indoor games.

The lens could be a decent landscape lens (however it would be a far superior decision in the event that it had IS), particularly on a full-edge body. It will work fine with a crop body, however, the full frame angle of view comparable is somewhat long for the wide end of a devoted scene lens. Include a Canon 10-22mm USM Lens to your 24-70 L II USM pack if scenes are your objective. Then again get the 17-55 or 15-85 instead.


The Canon EF 24-70mm F2.8L II USM conveys the best picture nature of any Canon standard zoom lens, but on the other hand, it is an inconceivably expensive standard zoom lens as well. Despite the fact that it includes a quick maximum aperture of F2.8 all through the zoom run and is helpfully weather-proofed, the absence of implicit image stabilization may put a few clients off.

One More Thing..

In the event that you can bear the cost of the eye-watering sticker price and you wouldn’t fret the absence of image stabilization, then I can prescribe the Canon EF 24-70mm F2.8L II USM as the standard zoom lens that conveys the best picture quality for full-frame Canon DSLR proprietors.

Walk through the below video to see the sample photos of the lens.

You Can Get The Lens From My Recommended Retailer

>>Check Here All Canon Lens Reviews<<

Thanks for reading hope you enjoyed the review & found it useful If you have any questions just leave a comment below & I will be happy to answer you.

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  • Great thorough review Ehab. I own a canon t5i, and nowadays I’ve only been shooting video, mainly action, specifically, parkour, do you think that this lens would be a great fit for me or no? Bear in mind I’m 20 with no job except for Fiverr, so I have a limited budget.

    Would really appreciate your input. Thanks!

    • Actually I don’t have experience in video-photography, I think you should look for camera body video settings not the lens as it will not change a lot in the video output. thanks for dropping by.

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