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Canon EF 85mm f/1.8 USM Medium Telephoto Lens for Canon SLR Cameras - Fixed

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Style: Lens Only


Features

  • 85 millimetre standard lens with f 1.8 maximum aperture for Canon SLR cameras, Lens Type:Telephoto Zoom Lens
  • Ring-type ultra-sonic monitor (USM) brings subject quickly into focus, Focal length: 85 millimetre, closest focusing distance: 2.8 feet
  • Natural angle of view and perspective is ideal for portraits and natural images
  • Designed to produce beautiful background blur; weighs 15 ounces
  • Measures 3 inches in diameter and 2.8 inches long; 1-year warranty. Refer User manual for troubleshooting steps.
  • Lens not zoomable

Description

The Canon EF 85mm f/1.8 USM Standard & Medium Telephoto Lens is highly practical and ideal for a range of applications including portraiture. Its fast f/1.8 maximum aperture is effective in low light and ideal for shallow depth of field focus control. An ultrasonic autofocus motor (USM) provides fast, smooth and quiet AF action and because the front lens group does not rotate during focusing, polarizing and special filter effects can be used effectively. From the Manufacturer Canon EF 85mm f/1.8 USM Medium Telephoto Lens.

Brand: Canon


Focal Length Description: 85


Lens Type: Telephoto


Compatible Mountings: Canon EF


Camera Lens Description: 85 month


Product Dimensions: 2.83 x 2.95 x 2.95 inches


Item Weight: 15 ounces


Item model number: 2519A012


Is Discontinued By Manufacturer: No


Date First Available: November 14, 2002


Manufacturer: Canon Cameras US


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Top Amazon Reviews

    • My most-used, best quality portrait lens
Style: Lens Only
I bought this lens right before an overseas vacation to supplement the kit zoom lens Canon EF 28-135mm f/3.5-5.6 IS USM Standard Zoom Lens for Canon SLR Cameras that came with my Canon D50. I thought the zoom lens would be my primary lens, but I ended up leaving the zoom lens in the bag more often than I had thought and used this one the most. I bought this primarily as a portrait lens but it performed so well at a variety of tasks and turned out to be much more versatile than I had expected. Our trip was for a month. I did have to shoot a wedding, but the rest of the time was purely personal. Don't get me wrong - the 28-135 did good, but after a few hundred shots I noticed a pattern of overall better color under natural light conditions AND better auto-focus on the subjects with the EF 85. Of course, fixed focal length lenses such as the EF 85 typically have fewer elements in fewer groups than zoom lenses, which as a rule of thumb should produce better images. While reviewing the wedding photos, I noticed that the EF 85 was more likely to focus on the subject's face than the 28-135, which tended to focus on who knows what - the clothing maybe? I was using auto-focus with both lenses, but was sometimes getting slightly blurry shots when using the zoom lens. I discarded more photos taken with the 28-135 zoom, and had I know this prior to the wedding I would have used the EF 85 more often. Once the wedding was over and I was just shooting for fun, there were a couple of times that I noticed a "busy" message on my camera that temporarily prevented me from shooting. I was both perplexed and upset. It said my battery still had plenty of power, I wasn't using the flash, and my memory card is fast and was far from full, so I couldn't determine what the problem was. The second time this happened I realized I had been using the zoom lens both times, so I switched over to the EF 85, and the problem went away. After a lot of research I learned that the IS system on certain IS lenses can cause temporary delays while compensating for low light or motion, but since the EF 85 does not have IS, there are no IS-compensaton delays. That being said, this lens performs just fine even without a tripod (unlike longer teles). Towards the end of our trip I was visiting the United Nations' Joint Security Area in the middle of the DMZ between North and South Korea, and they have a strict lens length limit of 90mm, no exceptions. A couple of people only had longer zoom lenses or teles, and they ended up having to leave their cameras behind - what a disappointment! By this time I was quite comfortable with the EF 85, and once again it exceeded my expectations. I always shoot in the highest quality mode (full "L" + RAW), and I was getting crystal-clear photos even when shooting from a slow-moving vehicle, and I was able to shoot at a rate of several photos per second. Again, great clarity, color, and the auto-focus was always spot-on. Keep in mind that in the days of film cameras, the best portrait lens length was somewhere above 80mm. For Canon APS-C cameras (non full-frame) like the EOS 50D, 7D, and Rebel models, this 85mm lens length would be the equivalent of a 136mm lens if it were on a film camera. For full-frame models such as the EOS 1D and 5D, this lens is the equivalent of 111mm. This translates into perfect portrait depth-of-field and produces awesome boke in the f/1.8 - f/2.0 range, and even a decent amount of boke up to f/4.5. But this lens can do so much more than just portraits - the fast f/1.8 aperture is much wider than most zoom lenses, yet the cost, weight, and length are relatively small. In short, an indispensable, very convenient lens. I couldn't be happier with this lens. The Ultra-Sonic motor works silently and flawlessly. As with all lenses, I would recommend using a lens hood and/or a QUALITY filter (think B+W UV MRC series B+W 58mm UVA (Ultra Violet) Haze MRC Filter #010) to protect the lens and limit unwanted light. L-series lenses come with their own hood, but for this lens you must purchase it separately Canon ET65III Lens Hood for Canon SLR Lens. *** UPDATE *** I recently added the Canon EF 70-200mm f/4L USM Telephoto Zoom Lens for Canon SLR Cameras AND the Canon EF 24-70mm f/2.8L USM Standard Zoom Lens for Canon SLR Cameras to my lineup. I mothballed the 28-135 kit lens (planning on selling it) and am using the 24-70mm f/2.8 L in its place. Still using the EF 85mm as my primary portrait lens with no regrets. I can't say it's exactly the same level as L-series glass, but it's pretty damn close. ... show more
Reviewed in the United States on March 30, 2010 by CG
    • One of Canon's best for price/performance
Style: Lens Only
Review Image by Ben Ben
Review Image by Ben Ben
Review Image by Ben Ben
The Canon EF 85mm f/1.8 II USM lens is a moderate weight (15 oz), very well built lens. It does not come with the appropriate hood, the Canon ET-65 III. You get both a lens cap and a mount cap, all packed inside tight conformal foam to protect the lens during shipping. There's also a very brief manual and the usual warranty paperwork. The lens offers AF and manual focus, and allows manual focus even when AF is set to on, a very useful feature for low-light and other challenging focus situations. This is a USM lens, and as a direct consequence focus is fast and precise, just as you'd expect. The AF/Manual switch is in a reasonable location, close to the camera body. There is a range indication on the barrel of the lens behind a transparent window which serves to keep dust and debris out of the workings of the lens. Manual focus is controlled with a broad, easy to manage textured ring about mid-body on the lens. During focus, nothing external on the lens body moves or rotates, so there are no complications for using polarizing filters, and no concerns about the lens "pumping" air and so causing dust contamination in either the lens or camera with use. The lens lacks any form of image stabilization. IS is showing up in more and more lenses, though for the price... perhaps this is one of the justifications for building IS into the camera body. I'm sure that this design wouldn't be anywhere near its current price point with IS added to the build. One last point is that since the lens is a fairly fast design, perhaps there is less overall need for IS (though that argument falls completely apart the first time you *do* need it!) It takes a 58mm filter, though I highly recommend the use of the ET-65 III hood rather than a filter; filter use should be limited to polarizers, neutral density filters and so on, rather than keeping a filter on the lens with the idea of protecting it. Here's why: filters create a flat surface over the end of the lens that can (and often does) create low-level reflections. These are most apparent in low-light shots, but they are almost always there. In the case of a UV filter, no other benefit is gained (UV can't get through the lens system anyway) other than physical protection. The hood, however, keeps the lens out of harms way quite effectively, and it increases contrast and reduces flare at the same time by preventing light from entering the lens at high angles of attack. I have shot with both hoods and filters, and after decades of experience, I have to come down firmly on the side of hood technique. It only takes one shot ruined by a filter reflection to wake up to this reality; and hoods never, ever compromise an image. They're simply the best way to go. Finally, the hood for this lens is inexpensive, well worth the extra few dollars it costs. Aperture is controlled by an 8-blade system. The available f-stops range from f/1.8 wide open to f/22.0 fully stopped down. MTF (sharpness) peaks at f/5.6, and vignetting is almost gone by that setting. On my camera, an EOS 50D, resolution loss from diffraction effects begin at f/7.6, so in many ways, the "sweet spot" for this lens for me lands naturally at f/5.6. On a camera with a lesser sensel density such as the 40D, diffraction doesn't set in until higher f-stops, but you're beginning to lose sharpness from other effects, so I'd still call the sweet spot as f/5.6 (which also provides a fairly extensive depth of field) for shots where detail is the primary consideration. For portraits, you'll want to go right for f/1.8 if lighting conditions allow in order to take advantage of the shallow and pleasing DOF isolation this lens is famous for; background blur is very soft yet very strong, while the in focus region remains deep enough to keep the important features of the face in focus from ear to nose. The loss of MTF at f/1.8 is noticeable, especially once you get a feel for how the lens performs at f/5.6, but in my opinion, the compromise is perfectly acceptable in a portrait context. There's another benefit as well; at 85mm, and especially on a crop body like the 40D or 50D, this lens allows you to get some distance from your subject which tends to make them more comfortable, while giving you the modest compression that is the hallmark of any telephoto lens. Portraits "pop" and backgrounds blur away with commendable speed. Head-and-shoulders work will put you at about eight feet, and as the lens can focus down to just under three feet, this gives you considerable control over framing without ever running into a limit imposed by the lens design. This is also a truly excellent lens for not-very-wide field astrophotography, although at critical focus and maximum aperture, chromatic aberration will make itself felt on the brightest stars, which you will then have to compensate for. I have successfully used this lens to capture the the Orion nebula, Andromeda galaxy, Triangulum galaxy, and a number of other astro objects that range from the easy to the difficult, all using no more than a standard (non-tracking) tripod, this lens, and the EOS 50D. On a crop body, 85mm (136mm effective FOV) is definitely the place to be to compromise between star trailing and magnification, and the f/1.8 aperture allows fast enough exposures to eliminate trailing at ISO 1600 and above. I carry this lens nested in a large camera bag (a Tamrac 5612 Pro 12, *highly* recommended); I rarely put the lens on the camera until I am ready to use it, and when I am done, I take it right back off, cap it, and bag it without wasting any time or motion. I do both the assembly and disassembly "blind" in the bag, using the bag top to shield the camera and lens from the wind and environment as best I can manage. The lens has a raised alignment dot that makes blind assembly practical. It's the size of the overall investment that drives this behavior, of course; both the camera and a lens like this deserves -- demands -- good care and that is just what I try to provide. Physically speaking, this lens isn't as large as you might think. Canon did a great job of packing a lot of glass (nine elements in seven groups) into a decent form factor of 3" diameter by 2.8" long; even with the hood mounted, this lens provides a fraction of the intimidation factor of, for instance, the 70-200mm f/2.8L. But at 85mm, it can still "get in there" and catch a lot of action without forcing you to crop to extremes. It's light enough that you can shoot for quite a while before fatigue sets in, an issue that will rear its head in any situation that goes on a while, like a wedding or a play (and that low-light capability is great for stage work, where a flash annoys literally everyone.) Plus it is black, and so looks more like it is designed as part of the same camera system, unlike the L's with the white bodies. That's also less distracting in a dark theater. I can honestly say that this is definitely one of my favorite lenses. I have a fair collection of primes to compare it to, some of which are L glass, and I've got some great L zooms as well; yet for portraits, I inevitably turn to this specific lens as it outperforms everything else I own in the successful shooting methodologies I find myself returning to over and over. Frankly, at the price, I think it is perfectly fair to characterize this lens as a "must-have"; if you're ever going to shoot a portrait, trust me, this is the lens you want (even over the 85mm f/1.2L, which has far too narrow a depth of field for most reasonable portraiture, though you can't beat it for light-gathering.) Like Canon's 100mm f/2.8 macro lens, the 85mm f/1.8 is one of those where you're left scratching your head as to why it doesn't have an "L" designation. It is an outstanding performer. If Canon were to re-do this lens, I'd like to see them add image stabilization, and perhaps some modern anti-CA elements, as this is the one area where this lens occasionally bites the photographer in high-contrast situations. Until that day, though, this lens is unmatched by anything else in Canon's line for price/performance, and I can't imagine anyone ever regretting its purchase. ... show more
Reviewed in the United States on November 19, 2008 by Ben Ben

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