Mini-Review: Sigma 24mm f/1.4 DG HSM Art Lens–Yeah, this one is awesome too!

Sigma 24mm f/1.4 DG HSM Art Lens

After being blown away by the Sigma 35mm and Sigma 50mm Art Series lenses, I wasted no time getting my hands on the all new Sigma 24mm f/1.4 DG HSM Art Lens. I’ve had a chance to kick the tires on it for a few hours and have once again been impress with what Sigma brings to the table with their silver dot Art series lenses.

With the same great build quality as the 35mm and 50mm, I’ll have to refer you to my Sigma 35mm and Sigma 50mm Art Series lens reviews for additional construction comments. I love the build of this lens, but my only gripe is the pinch lens cap that loves to fall off frequently. Here a quick video where I go over the construction and this complaint:

Now before you flame me for not getting the cap connected in the video, I would like to point out that YES it is possible to get it connected – with careful care – and if securely locked it stays on most of the time. However, it’s not quite as secure as what I’m used to seeing from Nikon lens caps which outperform the pinch design of both Canon and SIGMA.

Real World Shots

As my readers have come to expect, here’s my 100% unedited real world images with all their flaws and incredible detail. These are all straight out of the camera JPEG’s taken from a Canon 1D X with no cropping, rotating, etc - nothing. 

All images are copyright ® Ron Martinsen – ALL RIGHTS RESERVED. You may click to view the in-camera originals, but you must delete them when you are done reviewing them. You may not edit, print, copy, upload or otherwise use or modify these images without written consent – yes, even the ugly ones!

f/4 @ 24mm for 1/400 sec at ISO 320
This is one of those crazy sharp images that make you think – how come this blows away my other lenses that cost twice as much?!!!

f/5.6 @ 24mm for 1/60 sec at ISO 100
This shot should dispel any question about sharpness concerns - you’ll find gobs of sharpness at at f/5.6!

f/2.8 @ 24mm for 1/320 sec at ISO 320
Creamy delicious bokeh and sharp detail – what’s not to love about that?

f/8 @ 24mm for 1/10 sec at ISO 100
f/8 is indeed great with lots of detail on the pilings and the boulders on the right

f/5.6 @ 24mm for 1/60 sec at ISO 500
The nice thing about sharp lenses is that even as the ISO’s start to climb, you get such sharp captures that you get back some detail that might have otherwise been lost by ISO noise.

f/16 @ 24mm for 1/125 sec at ISO 2000
This lens is so sharp that even the diffraction at f/16 isn’t enough to make me fear using it.
This is definitely a very sharp lens!

f/5.6 @ 24mm for 1/125 sec at ISO 160
After a while I started to think that the biggest “con” of this lens is that it is so sharp that it makes everything so hyper-realistic that anything less than perfection looks ugly – you know, kinda like how the news people got real ugly when HDTV first went live?

f/4 @ 24mm for 1/125 sec at ISO 100
I’ll remind you that these are unedited in-camera shots with zero post-processing beyond the Canon Standard Picture Style. I was just shaking my head at how sweet this lens is for such a great price!

f/4 @ 24mm for 1/500 sec at ISO 200
This lens has it all – sharpness, great bokeh, and excellent contrast. If you aren’t happy with your shots, blame the person pushing the button – not this lens!

Click here to see the complete gallery of images.

Bookshelf Shots

f/4 @ 24mm for 8 sec at ISO 100

I had a slight backfocus issue that can easily fixed with the SIGMA USB Dock so the focus ended up being on the green Hobbit book instead of the top center of the Lord of the Rings books like I typically do. This results in more softness on that book so don’t be thrown by that if you are used to looking at my bookshelf shots.

There was some mild distortion at the edges, but overall the center is crisp and sharp. Like most lenses of this type you have a small circle of sharpness at f/1.4 along with some vignetting and that sharpness circle expands to entire top and bottom of the image by f/2.8. f/4 is definitely the sharpness aperture and its still shallow enough to cause some blur on the surrounding books – which I both expect and like for a f/1.4 lens. f/5.6 – f/16 are all excellent so really the only softness is in the f/1.4 – f/2.8 range at the edges.

Click the image above to see the full-size in-camera original to see just how sharp it is while it still maintains a shallow depth of field for adjacent books.Click here to see the rest of the bookshelf shots in the gallery from f/1.4 – f/16.

Conclusion

I’m sounding like a broken record on these Art Series lenses which is why I didn’t do a big review. Once I started seeing the images on the camera I knew that it was going to be more of the same awesomeness that SIGMA fans expected to see from this lens. It’s certainly worthy of the Art Series moniker and definitely worthy of my highly recommended stamp of approval!

Simply put, if you are looking for a 24mm prime lens then is one you should definitely buy and try out before considering anything else.

Where to order

Click here to learn more or order on the B&H web site.

Other articles you may enjoy

If you enjoyed this article, you may also enjoy these reviews:

• SIGMA 120-300mm
• SIGMA 35mm Art Series
• SIGMA 50mm f/1.4 Art Series (includes comparisons)
• SIGMA 85mm f/1.4 EX DG
• SIGMA USB Dock
• Tamron SP 15-30mm f/2.8 Di VC USD vs Canon EF 11-24mm f/4L
• Zeiss Otus 55m f/1.4
• Zeiss Otus 85mm f/1.4
• Ron’s Recommendations 
• Discount Coupon Code page 

Disclosure

If you make a purchase using links found in this article, I may make a commission. It doesn’t cost you a penny more, but it does help to support future articles like this.

WPPI 2015 Trip Report–Part II of II

Click here for Part I

WPPI Pool Party 2015 at MGM Las Vegas

Normally you can count on Las Vegas to be warm, so a pool party would be a big hit. This year the weather failed to cooperate so we ended up with a cold night, but that didn’t deter a packed house at the party. With lots of  tasty food and great company, there was still plenty of fun to be had.

WPPI guests pack the pool area for food and conversation

Nikon D7200 Hands On

Nikon D7200 with 18-140mm lens

Big news was the D7200 which is basically the much loved D7100 with an EXPEED 4 processor, WiFi & NFC included as well as much improved buffer. How much improved? My testing on a pre-release unit without an SD card – resulted in 40 photos (Lossless Compressed RAW + JPEG Fine) being stored in the buffer before it filled.

Nikon D7200 Rear View

40 images!!!! Imagine if it had a card to write to and it didn’t have to keep all that in memory!!!!

Nikon D7200 Top View

I loved the D7100 as a sports camera when I tested it, so this is a nice upgrade. The EXPEED 4 seems to be incredible from what I saw in my D4s, D750, and D810 reviews, so this is going to be a lot of bang for the buck for the sports and wildlife photographers. It could be my new favorite camera for parents too!

Nikon D7200 Front View

There’s actually several other benefits of the new D7200 like 2 stops of improved ISO, more time lapse intervals and more. Click here to see a complete list of features of the D7200 compared against the D7100.

Click here to pre-order today!

SIGMA

New SIGMA 150-600mm Contemporary & Sport Models

The new SIGMA 150-600 models were on hand with the Sigma 150-600mm f/5-6.3 DG OS HSM Sports Lens (above left) and Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary Lens (above right). According to SIGMA, the optical stabilization (OS) and autofocus performance of both lenses are identical. What you really get with the Sport model is the all-important weather sealing and more weight! If you don’t need this weather sealing, then you can easily save nearly $1000 and get a pretty affordable sharp super zoom lens with the contemporary model. The question is will the autofocus be up to the task or will it fall short like the 120-300mm I tested? 

The Canon 200-400mm and all new 100-400mm  II blew me away, but they were both pretty expensive so I have no doubt these lenses will be hot sellers.

Sigma 24mm f/1.4 DG HSM Art Lens

The 35mm and 50mm Art Series lenses I reviewed were game changers on how I viewed SIGMA lenses. I loved them and have complete faith in SIGMA’s ability to deliver near Zeiss Otus performance in the Art series, so I have no doubt the new 24mm will be amazing. My hands on testing of a pre-release lens on a Canon 6D (which shares Canon’s best sensor with the 1D X ), left me impressed because the images were sharp with boatloads of detail. I can’t wait to see the final product myself!

Panasonic

Panasonic GH4 gets a Hollywood Worthy Video Kit

Panasonic has been touting the GH4 as a serious 4k camera, so it came dressed to impress at the show. While this roughly $40k setup is overkill for most, what Panasonic wants videographers to see is that this is no toy – it’s built for cinema quality results.

Is the beauty of the inexpensive GH4 4k video lost with this $40k setup?

The word RED camera kept coming up in conversations so it is clear that they have set expectations high on what this low cost 4k camera can deliver. I’ve had field reports that confirm that straight out of the box with no fancy accessories it delivers in a big way, so Canon videographers dreaming of doing 4k might want to give this one a closer look.

My friends at Flixel were at the Panasonic booth showing off the amazing results you can get with a GH4 and their awesome Cinemagraph Pro product. While I hate doing video, my review of this awesome product had me warming up to using that video feature a little more often on my camera.

Scott Kelby shares some good news

Scott Kelby, Ron Martinsen & Yechiel Orgel

While I can’t get into all the specifics at this time, Scott Kelby and I had a good conversation about his upcoming book and tour. What I can share is that he was excited about doing another VIP meet and greet like we did for the Seattle Shoot Like A Pro show.

My loyal readers who will be in Seattle when the show comes should definitely look forward to my official announcement. At that time I’ll give details on how to reserve your space at this private session with Scott Kelby. We also managed to get priority seating last time, so this should be a fun event for those who join in.

Scott is also working on a sequel one of my favorite books coming that I’ve been waiting years to see hit the shelves. The first version literally helped launch my career, so I can’t wait to see what is in store for this all-new 2015 version.

Lytro

Lytro Illum Light Field Digital Camera

I’m currently in the process of reviewing two Lytro cameras, but it is definitely not as easy as expected due to a new way of thinking with this camera. The good news is that my friend and former Canon Explorer of Light Stephen Eastwood was on around to give me a great hands on demo on how he uses the Ilum (shown above). It should definitely be an interesting review so I’m looking forward to finishing it up.

Mylio – Hot DAM

Mylio impressed me so I'm starting to review this ASAP

By DAM I mean Digital Asset Management, or software to manage your photos. Mylio’s slogan is “All of Your Photos. All of Your Devices. Always Protected.” From what I saw it looks like the might live up to that promise so I’m working on both a review and special offer for my readers.

Now I was skeptical when I first started to get the demo because I thought – I’ve got Lightroom, so this is a waste of my time! As we dug deeper into the review, I discovered it was so much more than what Lightroom offers – yet it doesn’t have to be a Lightroom replacement.

In short, you could think of it as a much sexier equivalent to Photo Mechanic designed for normal people, but even that doesn’t really do it justice. It’s basically an app that will help you locate all of your photos and keep them synchronized on all the devices you choose as well as manage your backups, find duplicates, and so much more.

Of course when I heard that I thought – I’ve got 12 TB of digital data – that’s impossible and undesirable! However, I quickly learned that’s the beauty of this product – it creates mini images for your devices so the demo I watched had no issues with over 285,000 photos on an iPhone! Once you have your devices in sync you can non-destructive edit, triage, categorize, etc… on one and instantly see the changes on the others. Skeptical? I’m there with you, but I saw it with my own eyes and soon will be trying it with my own images.

If it sucks, you know I’ll tell you the truth so I’m excited to separate the fact from the fiction on this one. I’m still working on the details, but yes I am trying to get my awesome readers a special deal so check back for my review!

Conclusion

My first time at WPPI was a good one and certainly worth the trip. If you’ve wondered if it is worth your time then I’d say absolutely – if your goal is to make connections and learn lots of cool new stuff.

Other articles you may enjoy

If you enjoyed this article, you may also enjoy these:

• WPPI 2015 Trip Report - Part I of II
• KelbyOne Discount & Free Trial
• Nikon D4s
• Nikon D610
• Nikon D750 - Yeah, you want this one!
• Nikon D810 (includes SIGMA 50mm Art & Otus 55mm)
• Nikon D7100 - A Mini D800?
• Printing Series
• NEC PA322UHD 4k for Pro Photo & Video Editing
• Ron’s Recommendations 

Disclosure

If you make a purchase using links found in this article, I may make a commission. It doesn’t cost you a penny more, but it does help to support future articles like this.

COMPARISON: Rokinon vs Canon 24mm Tilt Shift Lens

I’ve been hearing good things about the image quality of Rokinon lenses lately, so I thought I’d give one a try using tilt-shift lenses (defined) since those are so expensive from Canon that they are cost prohibitive to most of my readers (myself included). Would the Rokinon equivalent lens really be in the same league when it cost $1000 USD less (at the time of this writing with Canon rebate)?

Rokinon Tilt-Shift 24mm f/3.5 ED AS UMC Lens for Canon ($999 USD)

Canon TS-E 24mm f/3.5L II Tilt-Shift Manual Focus Lens ($2,199 USD)

Using a Tilt Shift as a Regular Lens

These are two really sharp and nice lenses. While the tilt and shift features will prove handy, you can also really enjoy them as just a regular 24mm lens. Both offered super sharp results with no adjustments at all:

Canon EOS 5D Mark III, f/8 w/ Canon TS-E 24 mm, 3.2s, ISO 100, No Flash

Canon EOS 5D Mark III, f/8 w/ Rokinon TS-24mm, 3.2s, ISO 100, No Flash

It was raining when these shots were taken and I was holding an umbrella to protect the lenses, so I didn’t bother to do a shift to correct the perspective. This is pretty much how these quick snapshots came out of the camera with the only variable was the lens swap. The difference in framing was probably due to me bumping the tripod a bit, but both seemed to perform great in my opinion.

Using a Tilt Shift for Perspective Control

Here’s a tough real world environment where distortion reigns supreme:

Canon EOS 5D Mark III, f/10 w/ Canon TS-E 24 mm, 1/25, ISO 100, No Flash

By doing a simple upward shift and re-composing the camera I can correct the distortion of the trees that are currently leaning inward:

Foreground corrected with an upward shift and recompose (Canon)

Now my trees look better. The building in the background is still off a bit due to my angle which is one of the challenges of being at this level. I can correct the trees or the building, but not both unless I get myself higher up where everything is level on the same plane (instead of the angle that I am now).

Here’s another example of that challenge as I take a shot of multiple objects that are on a slope (and the art object is actually not straight in real life which creates more challenges):

Canon EOS 5D Mark III, f/10 w/ Rokinon 24mm, 1/8, ISO 100, No Flash

We are used to looking at images like this so at first things seem okay. If we shift and recompose we can fix the tree on the left to make it nice and straight as shown here:

Left tree corrected, but art object is now worse

Art object corrected, but trees are worse than the original

To avoid these types of problems you should stay on the same plane as your subject when making your correction, and try to have all of your subjects on the same plane a well (if possible). See the bookshelf example below for a demo where one adjustment fixes all the problems.

Physical Differences

Physically you can tell where the money difference goes, but surprisingly the Rokinon didn’t feel like a cheap lens. It has more substance and quality feel than a typical Canon EF-S lens, but the devil is in the details. The Rokinon may have a red ring, but it’s no pro lens by any stretch of the imagination!

The Rokinon (right) lacks contact points, so the aperture must be set
on the lens instead of through the camera

I hated the controls on the Rokinon quite a bit because they were tiny, hard to grip, very cheap feeling, and overly tight to rotate – yet the lens slipped out of position easier. It also drove me insane that it lacks a red dot on the top of the lens (instead it’s on the silver edge of the mount). This made it very difficult to get this lens on at night without a flashlight.

The Rokion (right) has a slightly larger lens bulge which made it more prone to lens flare,
and it doesn't come with a lens hood like the Canon

Canon (left) has an advantage of bigger knobs that lock down better

The cheapo gray knobs on the Rokinon (right) sucked - a lot - in real world use

Some will like that the Rokinon had a pinch lens cap like Nikon (and now Canon offers on some newer lenses).

Bookshelf Test

For my first test, with the camera placed on the tripod and doing a typical bookshelf shot like readers of this blog are used to seeing, I then did the following adjustments (in clockwise order starting with the top left image):

1. Full shift up – no re-focus
2. Full shift left – no re-focus
3. Full shift right – no re-focus
4. Full shift down – no re-focus

The objective of this test was to just compare how the light, bokeh, and focus were impacted by the shifts. To eliminate variables, all images were shot at f/8 @24 mm, 25s, ISO 100, and No Flash using a Canon 5D Mark III. The results are impossible to interpret unless you zoom to 100%, but here’s a single 12000x8000 pixel file for both lenses to help speed up the comparison. Individual files are also available at http://photos.ronmartblog.com/lenses/24mmtiltshiftcompare.

Canon Tilts & Shifts - Click and view at 100%

Rokinon Tilts & Shifts - Click and view at 100%

100% Comparison - NO SHIFT, Canon (left) & Rokinon (right)
Click for a larger image

For fun I decided to take a shot with my Canon 24-70 f/2.8L II lens and then swap lenses using the same exact position for a no-shift comparison of these lenses against each others and a benchmark lens. You can see a 100% crop above, and here’s a link to the Canon TS-E 24mm image and the Rokinon TS 24mm image for additional review.

What I found was that the Canon was slightly brighter and better at the edges over the Rokinon, but otherwise they were both excellent lenses that compared favorably to the non-tilt shift lens.

Practical Shift Test

I don’t care much about the tilt feature of a tilt shift lens, but I do like it for shifting to perform perspective control. To limit the variables, I once again used the same bookshelf setup and camera settings to simulate a scenario that required shifting the lens to correct distortion.

Canon (shown with hood) - Practical Shift Test
Click to view at 100%

Rokinon - Practical Shift Test
Click to view at 100%

I had a minor angle error in my Rokinon shot, but it didn’t impact my conclusion. Both lenses did a great job after making an upward shift, a camera angle adjustment to re-compose, and a re-focus.

Conclusion

My overall conclusion was that you have to look pretty hard to see the differences, so the Rokinon impressed me quite a bit. Really all that I could fault the Rokinon for was a seemingly inferior bokeh and the fact that it was a little darker.  Sure, the Rokinon controls are garbage but they work so if you are gentle on your gear it should probably be fine. Image quality wise I’d call it “as good as” Canon, so there’s a lot you can do with that extra $1000 (like pick up other Rokinon lenses). Personally, I’ll just rent from

Tilt-shift lenses aren’t for everyone since they can be very tricky to use. Manual focus will be bothersome to some, but the real gotcha is the recompose requirement and exposure challenges once a tilt or shift has occurred. This is a pro users lens for sure, but it can be super rewarding too if you spend some time with it. It’s also a must for architecture because as good as the tilt shift correction is in Lightroom (especially 5) and Photoshop, you get more depth of field out of doing it in camera than you do when you correct the perspective in post-processing.

Where to order

Click here to order the Rokinon Tilt-Shift 24mm f/3.5 ED AS UMC Lens for Canon from the B&H web site.

Click here to order the Canon TS-E 24mm f/3.5L II Tilt-Shift Manual Focus Lens from the B&H web site. The current $200 OFF rebate ends on June 6th, 2013 at 8:59 PM Pacific, so act fast if you want this lens.

Where to rent

For expense, low-frequency usage gear it makes more sense to rent than buy for most people. That’s why I recommend LensRentals.com and BorrowLenses.com for your renting needs. See my discount coupon code page for a special discount when renting gear as well!

Not familiar with or worried about renting online? Check out my lens rental series where I show you what to expect and how it compares to renting from a local shop.

Other articles you may enjoy

If you enjoyed this article, you may also enjoy these reviews:

• Sigma 85mm f/1.4 EX DG
• Canon 40mm f/2.8 STM Pancake Lens
• Canon 8-15mm f/4L Fisheye Zoom
• Canon 24-70 f/2.8L II (vs 24-70 f/4L IS Comparison)
• Canon 70-200mm f/2.8L IS II USM First Look
• Canon 70-300mm f/4-5.6L IS vs 70-300 f/4.5-5.6 DO
• Which lens should I buy?
• Things You Need AFTER You Buy Your New Camera - Must Have Photography Accessories
• Lens / Camera Gear Rental Series
• MindShift Gear Rotation 180° – FINALLY A Proper Hiking Backpack (Special Offer)

Disclosure

If you make a purchase using links found in this article, I may make a commission. It doesn’t cost you a penny more, but it does help to support future articles like this.

B&H loaned me the lenses used in this article for this review.

Canon 24-70mm f/2.8L II and other new lenses announced (UPDATED: Review Included)

Canon EF 24-70mm f/2.8L II USM (Order now at Adorama and B&H)

UPDATE: You can find my review of this lens here.

Prepare to go broke this year as Canon is on a roll right now launching some great new products. The first is perhaps one of the longest and most anticipated lens launches of the last three years – the all new 24-70mm f/2.8L II. Here’s what Canon has to say…

Canon EF 24-70mm f/2.8L II USM Lens for Harsh and Rigorous Conditions

Canon continues the tradition of ensuring the Company's highest quality optical performance in its L-series lenses with the launch of the EF 24-70mm f/2.8L II USM zoom lens. This new version of one of Canon's most popular lenses utilizes one Super UD lens element and two UD lens elements to help achieve outstanding image quality throughout the full zoom range. The result is significantly reduced chromatic aberration in the outer area at wide-angle, high resolution and contrast in images and crisp clear edges around the subject. The lens coatings have been optimized to ensure exceptional color balance while minimizing ghosting, and reduced spherical aberration. With a circular nine-blade diaphragm, the lens delivers soft backgrounds and incredible bokeh.

In demand by architectural, corporate, adventure and professional photographers of nearly every discipline, the EF 24-70mm f/2.8L II USM lens combines amazing image quality with enhanced durability. Highly resistant to dust and water, the new lens has enhanced durability and weather sealing. The lens also features a zoom lock lever to secure the zoom position for safe transport, and fluorine coatings on the front and rear glass surfaces to reduce smears and fingerprints, making it an ideal lens regardless of the conditions.

The EF 24-70mm f/2.8L II USM lens is expected to be available in April for an approximate retail price of $2,299.00.

Here’s the specs of the new lens (differences in orange):

Focal Length & Maximum Aperture	24-70mm, 1:2.8
Lens Construction	18 elements in 13 groups
Diagonal Angle of View	84° - 34°
Focus Adjustment	Inner-focusing with USM
Closest Focusing Distance	0.38m/1.25 ft.
Zoom System	Rotating Type
Filter Size	82mm
Max. Diameter x Length, Weight	3.5 x 4.4 in., 28.4 oz. / 88.5 x 113mm, 805g

versus the specs for the outgoing lens:

Focal Length & Maximum Aperture	24-70mm 1:2.8
Lens Construction	16 elements in 13 groups
Diagonal Angle of View	84° - 34°
Focus Adjustment	Front-focusing method
Closest Focusing Distance	0.38m/1.25 ft.
Zoom System	Rotating Type
Filter Size	77mm
Max. Diameter x Length, Weight	3.3" x 4.9", 2.1 lbs. / 83.2mm x 123.5mm, 950g

The new lens has two more elements, inner focusing (which means the length is always constant), it’s bigger around and its about 5 ounces lighter. It’s also about $900 more, so expect great performance like the other new releases but at a steep price.

Here’s more info including sample images on Canon’s web site:

http://www.usa.canon.com/cusa/consumer/products/cameras/ef_lens_lineup/ef_24_70mm_f_2_8l_ii_usm

Click here to order now at Adorama.

Click here to order now at B&H.

EF 24mm f/2.8 IS USM & EF 28mm f/2.8 IS USM

Canon 24mm f/2.8 IS USM (Order at Adorama)

Empowering landscape and wide-angle photographers with improved optical performance, Canon has upgraded both its EF 24mm and EF 28mm lenses with Image Stabilization technology and Ultrasonic Motor-powered auto focus. Both lenses feature Canon's Optical Image Stabilizer technology providing up to four shutter speed stops of correction. With the Optical Image Stabilizer turned on, photographers can capture sharp wide-angle images in low-light settings reducing the need for a flash or a tripod. New aspherical lens elements improve the peripheral image quality and a seven-blade circular diaphragm delivers beautiful, soft backgrounds. The silent and smooth operation of each lens makes them ideal choices for shooting video as well. The EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM lenses each have a minimum focusing distances of 0.20m and 0.23m, respectively.

Canon 28mm f/2.8 IS USM (Order at Adorama)

The EF 24mm f/2.8 IS USM lens is expected to be available in June for an approximate retail price of $849.99, while the EF 28mm f/2.8 IS USM lens is expected to be available in June for an approximate retail price of $799.99.

Pre-Order Information

Pre-order info from Adorama and B&H will be posted Tuesday morning after it is released, so please keep checking back. I will release it as soon as I’m given clearance to share it with you.

24-70mm f/2.8L IS II order links

• Click here to order now at Adorama.
• Click here to order now at B&H.

Other order links

• Canon 24mm f/2.8 IS USM (Order at Adorama)
• Canon 28mm f/2.8 IS USM (Order at Adorama)

You may click

Conclusion

The new primes are interesting, so I’m hoping Canon will send me some to try out. However, the big news here is the long-awaited arrival of the new 24-70mm f/2.8L II USM. This is the lens I’ve been waiting for for quite some time, so I can’t wait to get my hands on it. It will definitely be the replacement for my beloved 24-105mm.

UPDATE: You can find my review of this lens here.

Disclosure

I may make a commission if you make purchases using some links found in this article. Please support this blog by using my links when you are ready to purchase.