Photography Gear Reviews

Canon 18-135 STM Lens Review - Perfect Kit Lens Upgrade

Is the Canon 18-135 STM Lens the perfect kit lens upgrade?

In this video we take a look at the Canon 18-135 STM Lens and ask is this the perfect kit lens upgrade? Many new Canon cameras come with an 18-55mm kit lens. People are often surprised about how limiting that range can actually be and quickly look to upgrade. The Canon 18-135 STM Lens offers an impressive range so may seem like on obvious upgrade at the time of purchase or as a replacement for the 18-55mm. So let's delve into this and have a look.

I recently went to the Lake District to test out this lens, using the range fully to capture both landscapes and more zoomed in detailed shots. Check out my vlog of the day and see more of the beautiful landscape here:

https://www.firstmanphotography.com/vlog/vlog-6

The Canon 18-135 STM Lens is an EF-S lens so is only suitable for APS-C cameras like the Canon 750d/Rebel T6i or Canon 80d. With the crop factor of those cameras taken into account, the lens has a 35mm equivalent of 29-216mm. This is an amazing range that will be suitable for so many different areas of photography. When starting out in photography, this versatility is extremely useful allowing you to try lots of different styles of photography without having to switch lenses all the time and invest more money.

Specs

The lens has a maximum aperture between f/3.5 and f/5.6 depending on the focal length you are using. This is very similar to the 18-55mm kit lens. However thanks to those longer focal lengths, a much better background blur can be achieved. With 7 aperture blades the bokeh is not as creamy as you might find in more expensive lenses but anything from 85mm and above will achieve decent results. In the pictures below you can see the bokeh effect at 85mm, 100mm and 135mm. This works well for portraits where the subject can be isolated.

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The camera has a:

Minimum focus distance of 0.39m
7 diaphragm blades
Weight 480g
Filter 67mm
16 elements in 12 groups

The Canon 18-135 STM has 4-stop image stabilisation that is extremely useful on a lens with this focal range. The image stabilisation is particularly impressive on this lens. The IS on the Canon 18-135 STM performs better than the 18-55mm at the same focal range. At the longer focal lengths the stabilisation is capable of smoothing out some pretty severe movements. This is especially useful for shooting video and can provide some very steady footage even when handheld like this shot. The stabilisation also improves low light performance allowing you to reduce your shutter speed up to 4 stops slower than normal. The Canon 18-135 STM also has the STM focus motor meaning smooth focus adjustments can be made whilst shooting video.

Taking a quick look around the Canon 18-135 STM the thing that instantly strikes is the quality is slightly improved over the 18-55mm. It feels solid and the metal mount adds a little extra strength although like all EF-S lenses it is not weather sealed. The zoom ring is nice and smooth and has a lock switch you can employ to lock the zoom at 18mm. There is the IS switch and the autofocus switch on the side. The focus on this lens is a focus by wire system, like the other STM lenses, meaning the camera has to be powered on for the focus to function whether in autofocus or manual. The focus ring turns easily and smoothly although it feels a little loose. This should not cause too many issues thanks to the focus by wire system. Autofocus is accurate and fast enough for most situations.

Image Quality

Image quality of the Canon 18-135 STM is at the level you would expect for a lens in this price range. It is not the sharpest lens in the box but the quality is very reasonable for a lens with this amount of zoom range. At the wide end, the lens acts as a perfectly reasonable landscaping lens. The ability to zoom in so far also opens up opportunities that do not always exist when going out to shoot landscapes with a wide angle or normal kit lens. This shot of the misty Lake District mountains shows the kind of landscape images that can be captured at longer focal lengths. If you want to take your landscapes even further the Canon 10-18mm matches up very nicely to this lens giving you a combined focal range from 10-135mm for relatively little money.

Cost

This lens is £275/$285 so it’s offering very good value for money when it comes to camera lenses, particularly in the US. Alternatives include lenses with an 18-200mm zoom range from Sigma, Tamron and Canon themselves. These are older lenses though. The quality does not quite match up to this one and they don't have that all important STM focus motor that makes this lens so good for video.

Get the lens in the UK - https://www.firstmanphotography.com/get/canon-18-135mm-stm-lens-uk
Get the lens in the UK - https://www.firstmanphotography.com/get/canon-18-135mm-stm-lens-us
Get the Camera and Lens UK - https://www.firstmanphotography.com/get/camera-plus-lens-uk
Get the Camera and Lens US - https://www.firstmanphotography.com/get/camera-plus-lens-us

Conclusion

Overall I really like the Canon 18-135 STM. Thanks to the versatility and the excellent image stabilisation the lens was a joy to use for both still images and videos. With good build quality and more than reasonable image quality this lens will be the only lens many casual shooters will ever need. If you are looking to buy a good quality family camera system with the versatility to do a few other things then this is the lens for you. If you are buying your first DSLR camera I would heartily recommend getting it with this lens as opposed to the standard 18-55mm. If you already own the 18-55mm this lens could be a worthy upgrade, particularly if you are not interested in changing lenses too often and just want a DSLR that is ready for anything.

Other Videos - https://www.firstmanphotography.com/reviews/canon-10-18mm-lens-review

Rode VideoMic Pro Review

Is the Rode VideoMic Pro the king of the video microphones?

When you enter the market looking to purchase a microphone it can be a daunting place. The terminology is immediately confusing with talk of condensers, dynamics, cardoids and directionals. It feels like you're like a child walking into the middle of a movie with no frame of reference.

If you are reading about this microphone it is likely that you want to shoot some video and capture great sound. With Rode now being such a respected manufacturer of microphones it is safe to trust them that this is the right kind of microphone to do that. And indeed it is, it is a directional, condenser microphone that will capture the sound from the direction it is pointing in.

The Rode VideoMic Pro is specifically designed for use with a camera. It attaches to the hot shoe flash mount and has a 3.5mm jack that will attach directly into your camera or portable audio recorder like a Zoom H4N. It comes with an included shock mount to reduce some of the clicks and knocks that naturally occur from the camera, like focusing and zooming. If you buy the Rode VideoMic Pro today it ships with the new and improved Rycote® Lyre® shock mount.

The actual microphone is covered by a foam cover and this cannot be removed. It sits nicely on the shock mount and has this short wire to connect to your camera or audio recorder. Many reviews mention the flimsiness of this wire. Whist it certainly isn't a robust wire I have had it for a few years now and I have never had any issues and there is no sign of it breaking or snapping.

Round the back and it reveals the biggest strength of this camera that makes it perfect for shooting video with your camera. It has a switch that will add 20db of gain to your audio. This lets you manually turn down the gain in your camera, effectively reducing noise that is normally created by the poor audio circuits in your camera. This is a killer feature and for many the sole reason they buy this mic. You can also reduce the mic gain by 10 db to properly record very loud audio sources like concerts.

In addition to this it also has a selectable hi-pass filter that reduces low end noise such as traffic and other background sounds and this is just another nice little feature that will improve your overall sound.

These features do require power though and this brings me onto the only real weakness of the Rode VideoMic Pro. This is a portable microphone so a 9v battery is used to power it up. Although it claims to have 70 hours of use there is no auto-off feature so when you’re finished filming if you forget to turn it off you can be left without power the next time you come to shoot.

This has happened to me a few times before and can be potentially prevent you from capturing the moment. I now just carry a spare 9V battery so it never happens again.

So all in all this is an excellent video microphone that gets a full 5 star review from me. There are smaller and cheaper alternatives out there. There are also video microphones out there that do not require power so if you think the batteries may be a problem for you it might worth looking at alternatives such as the rode video micro or the Sennheiser MKE 400 Shotgun Microphone.

Get the Rode VideoMic Pro in the UK

Get the Rode VideoMic Pro in the US

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The other products featured in the video are listed below:

Sennheiser MKE 400 - UK - http://amzn.to/28PLUQs
Sennheiser MKE 400 - US - http://amzn.to/28Yzx1j
Zoom H4N - UK - http://amzn.to/28Yzcvi
Zoom H4N - US - http://amzn.to/28NESWi
Rode Video Micro - UK - http://amzn.to/28OfMLu
Rode Video Micro - US - http://amzn.to/28OfHHO

Canon 10-18mm IS STM Review

The Canon 10-18mm is Ultra Wide Angle on a Budget

The fact that Canon decided to make this lens is a great thing. Opening up ultra wide angle photography to a new audience is a welcome move with this Canon 10-18mm budget lens.

When you first strap an ultra wide lens to your camera it is an exciting moment discovering the new perspective it brings to the world. Scenes look bigger and it displays an image much wider than what your eyes would see. The Canon 10-18mm lens picks up nicely where your 18-55mm kit lens leaves off and is a perfect accompaniment to this on a cropped sensor EF-S camera.

Wide angle photography opens up your creative possibilities in landscape photography, architecture photography and is always used to sell houses by making rooms look bigger.

On paper the Canon 10-18mm lens is excellent. It has the ultra wide angle, it's relatively cheap, it's light, the front element does not rotate, meaning you can happily attach filters like a circular Polariser to improve your landscapes. It also has IS that assists video and the STM focus is an excellent focus by wire system that is literally silent.

So all in all the perfect lens?

Well no. In my written reviews over on my website one element of my star rating is ‘Joy Factor’. It describes that feeling you get when using a new product, the fizz, the excitement, the desire to use it again and again, that unexplainable feeling that makes you truly love a product.

The Canon 10-18mm does not have that. It just leaves you feeling flat and the images it produces are just ‘ok’ and nothing more. Other downsides include the plastic mount, the simply dreadful distortion when at the widest angle. Anything outside the very centre of the frame, whilst at 10mm, is going to be skewed out of shape like your image has melted. The lens is also quite slow at f/4.5 - f/5.6 with the aperture adjusting as you move through the zoom range. Also I have found the image stabilisation of very little use.

For stills it will allow you to handhold exposures down to around 1/20 second but at f/4.5 this will still be pretty dark in low light situations without a decent ISO boost. I have been using this lens for my blogs and I have haven't found the image stabilisation has been of any benefit over using a wide angle lens without IS. If you're stood still and handholding then it will do a good job but this is pretty restrictive for creating interesting and varied shots.

I'm not saying don't buy the Canon 10-18mm, especially currently at £180/$279. It will still do a job for you, as it is for me, it's just there are better options out there. The Canon 10-22 is a great lens and is pretty much L lens quality just without the red ring. The Sigma 10-20mm is also another good option and can be picked up very cheaply on the second hand market. Saving up for one of these lenses may be your better option.

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Manfrotto BeFree Tripod Review

Could the Manfrotto BeFree be the best tripod ever?

The Manfrotto BeFree Tripod is an impressive item before you even take it out of the very neat little carry bag that is included. Once removed, you immediately see the Manfrotto BeFree Tripod is an evolution in tripod design. The legs fold 180 degree up against the central column and allow the legs to wrap around the built in head so it can be packed into the very compact size.

For a landscape photographer, a lightweight tripod is everything if your shot requires any amount of trekking. Carrying this tripod around adds very little extra weight and would not be burden even if you had to carry it all day. It is so small that is should attach to most good camera bags without any difficulty and, if not, the included bag has a handy shoulder strap.

During the review the tripod was put to the test in very windy conditions in the Yorkshire Dales. A tripod like this is a balancing act between light weight and portability versus the risk of it moving or blowing around in the wind.

https://www.firstmanphotography.com/vlog/vlog-no-1

The Manfrotto Befree Tripod seems to have an uncanny ability to remain solid and secure even in heavy wind. The shot of the tree featured in the video was a four minute long exposure and you can see there is no lack of sharpness in the image other than where the branches are blowing around in the wind. This ability could be due to the Manfrotto BeFree maintaining very similar dimensions to much heavier tripods. The legs can also be adjusted to spread to about 45 degrees allowing for a wider base and lower shooting angle.

The Manfrotto BeFree Tripod comes with an included tripod head. This represents great value because tripod heads alone often cost more than this tripod in total. The camera attaches to the tripod via the Manfrotto RC2 quick release plate. This is used on several other Manfrotto tripods so if you already use this quick release plate it will slot straight onto the tripod.

There is not much more that can be said. The is potentially the best lightweight tripod on the market today. It will facilitate your ability to travel light whether you are trekking up a mountain or boarding a plan with only hand luggage.

If you were to only own one tripod then I would recommend buying something slightly bigger. However as a lightweight travel tripod the Manfrotto BeFree is the best tripod I have ever used.

Buy in the UK - Click here.

Buy in the UK - Green Version

Buy in the US - Click here.

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Unboxing the Perfect Vlog Setup

The best gear for your vlog setup.

Vlogging is becoming increasing popular with more and more people starting it up everyday. The concept is simple. Record aspects of your life in video and share them with the world. Family vlogs have taken YouTube by storm where we are allowed into people's homes to see how they live their life. Whilst this does not sound immediately brilliant, many are funny, cute and show experiences that the viewer may also be going through. Topics cover everything from a toddler potty training to break ups and deaths.

Many vlogs are creative, entertaining and moving stories that also provide valuable information and are almost always free. It is little wonder people are tuning into vlog channels in their millions with the full spectrum of lives on offer, "hey, this guy is cool, he's just like me".

With the eyes of the world turning to vlogs it is also no wonder so many people are starting their own. Where to start can be a daunting prospect. A good story and an entertaining or interesting host are a must, but beyond that all you need is a camera. Any camera will do to get started. We all have a mobile phones with a camera on, so do not waste anymore time and get started today.

This is a photography channel though so I wanted to enter the vlog world with the best shot possible using the best gear and vlog setup I either have or can afford. I decided that flexibility and weight were key. With camera gear this is so often a trade off as the better gear is often heavier.

Below is a list of my gear for my vlog setup and thoughts around why I chose each item:

GorillaPod SLR-Zoom - I knew I wanted to use a GorillaPod thanks to the flexibility it offers. Using the GorillaPod as a selfie stick keeps the camera away from your body which provides a better shot. It also ensures you don't see your whole arm in the shot. It acts as a small tripod and can be strapped to a post, fence or other object providing the flexibility for different shots. The GorillaPod SLR-Zoom is half the weight and cheaper than the more expensive version that features more links.

Buy the GorillaPod SLR-Zoom in the UK | US

Canon EOS 700D - This is where a trade off occurs in this vlog setup. The Canon EOS 700D is cheap and light and that goes in it’s favour. However the camera does not feature the Dual Pixel Auto Focus system ,featured on mid range cameras like the Canon 70d and 80d, that provides smooth and reliable auto focus whilst shooting video. The 700D does have a Hybrid AF system that does a similar job but just not as fast or reliably. The flip out screen is another feature the Canon EOS 700D provides and this makes composing your shot much easier.

Buy the Canon EOS 700D in the UK | US

Canon EF-S 10-18mm f/4.5-5.6 IS STM - A wide angle lens really helps to take a handheld vlog to the next level. Having the subject appear further back from the camera coupled with the ability to capture more of the background creates a more appealing image and increased context. The Canon EF-S 10-18mm f/4.5-5.6 IS STM provides that. Many vloggers are using the Canon EF-S 10-22mm f/3.5-4.5 USM. This offers a similar wide angle and has very slightly better low light capabilities but the Canon EF-S 10-22mm f/3.5-4.5 USM has a couple of killer features. The first is the STM focus. This is very quiet and smooth and it would be greedy to ask for more, it is literally silent whilst focusing video. Secondly it also has image stabilisation. When it comes to hand held video this can really improve the quality of your shot.

Buy the Canon EF-S 10-18mm f/4.5-5.6 IS STM in the UK | US

RODE VideoMic Pro - Using an external microphone is virtually a necessity when using a DSLR camera on a Vlog. The onboard camera is very poor quality and will be offensive to many viewers. The RODE VideoMic Pro is light but provides great quality. The key to this is the built in hi-pass filter that cuts out low level hiss and background noise and also the 20dB boost. This allows the gain on the camera to be reduced to a minimum level meaning sound quality will be improved with very little hiss. The final piece to the sound puzzle is to add a wind shield to keep quality up when shooting outside in windy conditions.

Buy the RODE VideoMic Pro in the UK | US

I will be starting my own vlog very soon.

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Canon 17-40mm f4L USM Lens Review

Why you should still consider the Canon 17-40mm f4L.

The Canon 17-40mm f/4L has been around for a while now but it is still worth considering for many photographers. There are better lenses out there but this is no slouch and given the incredible value now offered by this lens it is well worth another look.

Who is the Canon 17-40mm f/4L for? Arguably everyone shooting with a DSLR today has use for a focal range like this.

We talk about sensor crop factor so often in modern day photography. The majority of the time it makes very little difference. If people spent more time focusing on the progression of their skills and less time worrying about their gear we would all be better off. At the wide end of the scale though, crop factor is an issue and this is particularly true with the Canon 17-40mm f/4L. However this turns out to be one of it’s biggest strengths.

Attached to a cropped sensor camera the lens has a 35mm equivalent range of 27-64mm. This is a perfect range for so many types of photography and will act as a very good general purpose lens. It is also very similar to the classic 24-70mm on a full frame camera. On the wide end it is probably not wide enough for all your landscape needs so coupling it with a 10-22 would be a very good option.

Image quality is a significant step up from the kit lens with good sharpness across the frame. The low light performance is limited due the the constant f/4 aperture but a boost in ISO will still make it useable and it is still better than the f/5.6 kit lens.

Most DSLR photographers are looking to upgrade to a full frame camera at some point in their photography journey. If you owned this lens at the point of upgrade it would then turn into very good landscape lens. The lens works on both cropped and full framed cameras. I have now used this lens as my main landscape lens for many years and it is very well suited to that purpose.

The focal range is perfect for so many landscape situations and the quality is a very reasonable and rarely have I wished I had more. In landscape photography the quality of your image will depend on your location, your composition and your light, much more than the having the best lens attached to your camera.

Despite this, the image quality does fade to the edge of the frame when shooting at 20mm and below. It softens slightly and there is some relatively severe distortion, although this is common for a wide zoom like this. You will probably want to keep people out of the edges at 17mm or they will end up looking very warped. With landscapes this is not too much of a problem but is worth being aware of when composing your shot.

The lens is well made and has a quiet USM motor. The lens is weather sealed although only once a filter is attached to the front threads. The front element moves inside the barrel when you zoom so allows water to creep in if no filter is attached. The filter threads are attached to the outside of the barrel though and do not move or rotate making it ideal for attaching a circular Polariser. The filter thread is 77mm matching many other lenses meaning you may not have to reinvest in filters. This is especially true if upgrading from the 10-22 lens. The lens is also relatively light at 500g meaning carrying it out to hard to reach landscapes is not an arduous task.

The lens has 12 elements in 9 groups, it has 7 aperture blades, a minimum aperture of f/22 and focuses nice and close at 28cm. This means you can get nice and close to your subject and get some really interesting wide angle shots.

There is a small amount of Chromatic Aberration but this very effectively removed in Lightroom particular in landscapes where the majority of your image will be in sharp focus.

In the process of buying and researching this lens it is likely going to be compared to both the Canon 16-35mm mkii f/2.8 and the Canon 16-35mm f/4 IS. Both these lenses offer better image quality and versatility than the 17-40mm. They are, however, both more than double the cost of the Canon 17-40mm f/4L leading to a questionable return on that extra investment. It would really come down to a decision about what you want to use the lens for. For example, if you plan to shoot a lot of video then the 16-35mm f/4 is going to be worth it, thanks to the stabilisation. If low light ability is key then the 16-35mm f/2.8 may be the one to go for. If it is purely for landscapes then the Canon 17-40mm f/4L wins hands down. The quality difference does not justify a doubling of the price. Once a landscape image is printed you would really struggle to tell the difference between these three lenses.

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As mentioned earlier the cost of this lens is now it's big selling point. It is now more affordable than ever. Under $500 in the US and around £350, when bought second hand, this is the cheapest Canon L lens currently available. That represents incredible value for money considering everything the lens offers, especially when it comes to landscapes. The lens has been capturing beautiful photographs for many years and will continue to do so despite newer and more expensive models being available.

I can recommend the Canon 17-40mm f/4L to anyone, but particularly those looking for a big bang for their buck and a lens that will transition well from a cropped sensor camera to a full frame one.

Buy in the UK - Canon EF 17-40 mm

Buy in the US - Canon EF 17-40mm

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My Photo Editing Setup

What device are in my photo editing setup?

In a recent video I mentioned that I had invested in a new 4k monitor. I promised to make a video covering my photo editing setup, so here it is.

I have been using a 27 inch iMac for a number of years and have been very happy with it. However it started to feel a little sluggish despite a couple of DIY upgrades over the years. Once i started making videos I invested in the Apple MacBook Pro 15inch with the 2GB graphics card. I quickly realised this was packing more punch than my iMac. Running two machines is also still problematic when working with Abobe Lightroom as there is currently no way to easily sync a catalogue. This for me is a big downside of the Adobe Lightroom workflow.

I decided two things. Firstly I want a seamless workflow where all my current live files and work is in one place and secondly, I need to upgrade to 4K.

Having done some research I was happy to see that my Macbook Pro was capable of driving 4K screen at 60hz. This was perfect but I wanted ease of use where there was no time wasting plugging and unplugging cables.

Enter the OWC Thunderbolt 2 Dock. The OWC Thunderbolt 2 Dock allows me to connect all my different devices to the laptop by plugging in just one Thunderbolt cable. It is the perfect solution to ensure I can be mobile again very quickly and plug back in when I want full workstation functionality.

The monitor I went for in my photo editing setup was a reasonably priced Asus 4k monitor. Specifically the Asus PB279Q 27-Inch 4k. I have been really pleased with the quality of the Asus PB279Q 27-Inch 4k so far although I feel a longer period of testing and is required.

I have written before about how I love music. I honestly do not think I could have been a photographer without music. If I am editing photos then I am listening to music. I am also bit of an Audiophile so I see value for money in having good audio gear. The Sennheiser HD650 headphones and Graham Slee Solo headphone amp take care of this along with the Bose Soundlink Mini for when I want to go mobile or avoid wearing headphones.

The Mac mini server setup, with attached HDD’s, gives me all the storage space I need (a lot for videos) and keeps everything organised and in one place.

I am very pleased with how my current setup is working and most importantly the investment has seen a great improvement in my productivity.

If you are looking to purchase any of the items included in the setup then please support me by using the affiliate links below.

Hardware:

Asus PB279Q 27-Inch 4k - UK | US
OWC Thunderbolt 2 Dock - UK | US
Bose Soundlink Mini - UK | US
Graham Slee Solo - UK | US
Sennheiser HD650 - UK | US
Airport Extreme - UK | US

Software:

Adobe Lightroom and Photoshop - To get a free trial and try them for yourself click here.

Other items include the:

Macbook Pro 15 Inch
Focusrite Saffire Pro 24
iPhone 6S
Cambridge Audio DacMagic

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Canon 400mm f5.6L Lens Review

Could the Canon 400mm f5.6L be the best lens for wildlife photography?

In this video we review the Canon 400mm f5.6L and decide if it is the best lens for wildlife photography.

What is a lens like the Canon 400mm f5.6L for? It's a long lens that is going to find its natural use with wildlife photography and sports. It is for times when you want to get closer to your subject when you are physically not able to get any closer.

This lens has been around for a long time but it continues to be a great lens and demand attention and it is easy to see why. The price is now also extremely competitive for a lens like this.

When deciding which long lens to buy, it is important to think about what you are going to be shooting and where. Currently there is no perfect long lens. If top image quality is your main priority, you are going to be looking at an extremely expensive piece of glass that is very large and heavy. This is generally fine for sports. You find a good spot, setup a tripod or monopod and then the action happens around you enabling you to capture it.

With wildlife though, most of us are not high end wildlife videographers and we just want to capture nice shots. It is therefore about finding the right balance between quality, size, cost and whether you can hand hold it.

For me, the Canon 400mm f5.6L lens gets that balance bang on. Let me tell you why.

Firstly, the weight of this lens makes it portable enough to carry pretty much anywhere. At under 2kg almost any adult can handhold this lens for a decent length of time. For me this is vital, especially if you want to shoot birds in flight. On my recent trip to Scotland we went to shoot the sea eagles on the Isle of Skye. We were on a boat that was swaying about and there would have been no way I could have captured the same images using a bigger lens on a tripod or monopod. I also just prefer the versatility of handholding and being able to swing around in a different direction at a moments notice.

Secondly. The image quality. The lens is a prime lens with the quality to match. It's nice and sharp and chromatic aberration is well handled. There are, however, better lenses out there in terms of image quality. The 500mm f/4 mkii is about as good as it gets but the cost of this is astronomical and equal to a small country.

Thirdly is the cost. At around £900 in the UK and $1200 US for a new one it is cheaper than many other lenses, especially Canon L lenses. It is an older lens though so there are many examples out there. Second hand you can pick up a good one for under £700. If you do buy second hand be sure to check the serial number to establish the age of the lens as this could effect the cost further.

Next up the auto-focus of this lens is nice and fast. Again, it is not as good as the higher end lenses but is better than other lenses in a similar range, such as the Canon EF 300mm f/4.0L IS. The focus of the Canon 400mm f5.6L is accurate and generally locks on well.

The Canon 400mm f5.6L lens is not perfect however. Although the f/5.6 aperture allows canon to keep the weight down, it is not the best low light performer. To capture birds in flight and other wildlife you generally want a nice fast shutter speed to freeze the action so a bigger aperture can be a great help in keeping your ISO and noise down. However as time moves on cameras are becoming better and better in low light so you can safely increase your ISO without introducing a massive amount of noise. Effectively this mean this lens just keeps getting better and better.

The lens also does not have image stabilisation. At first thought this may seem a big loss but for me, because I am working most of the time with high shutter speeds, the IS really wouldn't have any effect other than helping me a bit when tracking a subject. The shutter speed alone will freeze all the movement.

The closest focal distance of this lens is also quite large so if you get too close to your subject the lens won't focus. At 3.5 meters you will not get much use out of the lens indoors although the lens clearly is not designed for that.

The lens can be used with full frame and Aps-c cropped sensor cameras. Used on a cropped sensor camera you get an effective focal length of 640mm. This is nice but is certainly not something I ever worry about. I have achieved good quality images with both a full frame camera and a cropped sensor. Also the Canon 400mm f5.6L is not ideal when used in conjunction with a tele-converter. Adding the 1.4x teleconverter will push the maximum aperture up to f/8 which would reduce auto-focusing capability to the 1Dx, 5Dmkiii and the 7Dmkii. You would also need some seriously bright conditions or high ISO’s to get well exposed shots at f/8. In both scenarios better images will always be captured by getting just a few feet closer to your subject.

Overall the Canon 400mm f5.6L is an amazing lens for wildlife photography. The balance between cost and image quality is just about perfect. With the ability to carry all day and hand hold comfortably, this lens is perfect for wildlife photography and still deserves serious attention after all these years. This is without doubt high up, if not top, of the rankings for ‘best lens for wildlife photography’

Buy now Canon EF 400mm f/5.6 L - in the UK

Buy now Canon EF 400mm f/5.6L - in the US

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Several images from the post and video were contributed by Lyle McCalmont, a very talented wildlife photographer from the North of England. Check him out on Flickr.