With its efficient focal length range of roughly 16 35mm in 35mm format, the EF S 10 22mm f/3. 5 4. Five USM is a extraordinary lens with remaining image quality that will take your photography into new dimensions and regions of dramatic expression. The super wide zoom not only gives you the freedom to get exactly what you want in the shot, it considerably alters perspective to let for dynamic expression. The lens lets you to get very close to subjects, exaggerating the difference in size between a near object and its background. Creative photographers can use this phenomenon to create excellent separation between subject and background for a strong sense of presence, or for a pan focus effect with everything from foreground to background sharply in concentrate. Very light and compact for its focal length range, the EF S 10 22mm f/3. 5 4. Five USM also has an very close minimum focusing distance of just 24cm. A ring type USM works in concert with the camera to offer super fast, precision auto focusing and predictive tracking with full manual override available at any time. Intended exactly for digital photography, the lens has specially shaped lens elements and Super Spectra coatings to suppress ghosting and flare, which may be caused by reflections off digital camera sensors. An exclusive optional lens hood can more decrease the incidence of flare. A round aperture gives a pleasing background blur when shooting with a large aperture; ideal for creating a sense of depth and to get your subject or model to stand out from the background.

640 of 667 people found the following review helpful:
5.0 out of five stars The answer to the crop sensor problem., November 19, 2006
By Jim Krupnik “jkrupnik” (Watchung, NJ United States) See all my reviews This review is from: Canon EF S 10 22mm f/3.5 4.5 USM SLR Lens for EOS Digital SLRs (Camera) My take on this lens is that it’s an “L” quality optic in a good, non “L” package. There’s nothing else on the market to compete with it (nothing at all), and it produces supurb pictures. It is not an f/2.8 lens, but it’s close enough for most uses. The competition from Tamron is a full stop slower, not as sharp, and is terrible in dim light in comparison to the Canon 10 22 lens (sorry, Tamron fans, but the Tamron lens is not playing in the same ballpark).

I use this lens on a 30D body, and I generally keep it on hand if I am doing any indoor, or tight group photography. It’s the perfect solution to the perennial problem of not having enough room to catch all the kids at a birthday party in one shot because your back is up against a wall. This lens will just about get your toes into the picture at the widest setting, still delivers tack sharp, colorful, and contrasty pictures. The auto concentrate is spot on, silent, and fast. It’s a must have lens for the active amateur, or any pro using a 1.6 crop factor camera. You simply can not beat this lens with anything available on the market today.

That beng said, don’t attempt to convince yourself that this will make a good “walkaround” lens. It is not. At max length, it’s far too short to live on your camera as a regular lens. You need this lens, if you do not know it still, but it shouldn’t be your 1st lens, as it’ll only be used 15 to 20 of the time. At those times, it is performance simply can not be equaled by any other zoom lens on a 1.6 crop factor camera. You’ll be amazed by the quality of this lens. It competitors the performance of modern prime lenses, presents a bright viewfinder image, and delivers the products in tight situations.

This isn’t a informal evaluation, nor a Canon “feel good” moment on my part. I developed my 1st B&W contact prints in 1964, in my own darkroom at the era of nine (my parents were concerned:)), and have been an avid photographer since. Small, medium, and big format cameras and lenses passed through my hands over the years, and Canon became my favorite small format brand. Still, Canon builds many trash lenses that should be evaded. The 10 22 USM isn’t one of them .

Before you go out and purchase this lens, you may want to already own the EF S 17 55mm IS f/2.8 lens. That’s the king of 1.6 crop factor standard lenses, and will include the awesome Canon IS feature. It’ll end up being mounted on your camera 80 of the time, and keep you smiling after every shoot. Get that lens 1st. Then, get the 10 22mm lens. Then, let your imagination run wild, and plan on serious telephoto lenses for the future. Trust me or not, the two lenses mentioned above will give you photographic tools that will astound you. Get them in your kit once you may be able to pay for them.

A little warning about either lens.. many here will argue the point, but with either lens, get a GOOD quality UV filter that’s multi coated on both sides, and built extra thin to avoid vignetting at large lens settings. A good filter will cost a little less than one hundred Dollars, and can cost up to one hundred forty Dollars. The minimum brand could be Hoya Pro one multi coated filters, and the ante goes up from there.

Everything else is garbage, as well as the Canon “sharp cut” filter that costs less than fifty bucks. No kidding, no conjecture. If you use cheap filters, you’ll never see what your lens can really do. Ever. No doubt that many will react with claims that their twenty Dollar filter works just good, but they simply do not know any better, and have never used their costly equipment to it is full possible. It is akin to a Chevy owner passing judgement on a Mercedes Benz. The Chevy may feel real good, but till you own the Mercedes, you just dont have clue.

Bottom line.. be sure that the quality of your filters surpass the quality of your lenses. Yes, at a hundred bucks a pop for a 77mm filter, it hurts, but you’ll never regret it. As well, doesn’t stock lens hoods for all non L Canon lenses. The price is stupid high for those hoods, but they make a night and day difference in in picture quality. Whenever you order a non L Canon lens, find a web seller who has the hood in stock, and get it now. Again, you’ll never regret owning it.

That’s it for my review/rant. Purchase this lens. Purchase the 17 55 IS f/2,8 1st. Purchase the lens hoods for both. Toss any “kit” lenses that came with the camera in the trash bin (where they belong), and be happy.

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223 of 233 people found the following review helpful:
5.0 out of five stars The best lens I own, March 29, 2005
By M. A. Filippelli “Marc12074″ (Roseville, CA, US) See all my reviews
(VINE VOICE) (REAL NAME) This review is from: Canon EF S 10 22mm f/3.5 4.5 USM SLR Lens for EOS Digital SLRs (Camera) I have had this lens for some number of months now and let me start out by saying WOW. I looked at the lens in the store with the Sigma 12 24 and I was in total awe of what I saw though the view finder with the Canon 10 22. This is an super large angle lens that’s unbelievable. I went home and thought about where I could use this lens and decided that I could use it a pretty bit. I went ahead and bought the lens and I continue to be more impressed with it every time I use it. I used the lens for both close up (which can give you many interesting distortion shots)and large angle shots with great success.

The 10 22mm is equivalent to 16 35mm field of view using a canon 20D which isn’t a full frame sensor. With a minimum focal distance of .24m (about 9.5 inches) you may be able to get close to objects and still get alot of focal width in the photo. There’s unbelievable clearness in the lens. The photos I have taken are clear with only a slight hint of softening at the corners at 10mm; everything else is sharp after that. There’s a little barrel distortion at 10mm but everything else up to 22mm is nice. I haven’t gotten any light flare in my photos. The Ultrasonic motor is calm. The depth of field is remaining. A thin UV filter helps prevent many slight vignetting at 10mm. With a maximum aperture that varies from f/3.5 to f/4.5, the Canon EF S 10 22mm f/3.5 4.5 USM Lens is a medium speed lens. I could recommend using a tripod if you’re at all unsure about your capability to hold the camera still for action shots with this lens. The lens it is self is pretty light weight. If you’re going to use filters the lens requires 77mm.

The lens can create many interesting distortion shots if you’re taking close ups and aren’t perpendicular to the object. For close up shots with out distortion it’s best to be perpendicular to the object.

Inside the lens housing there are three aspherical lens elements and a Super UD element that produce clear vibrant shots. The lens it is self sturdily built and comfy to manage.

UPDATE 7/30/2011: I still love this lens. It functions every bit also as it did the day I got it.

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552 of 591 people found the following review helpful:
4.0 out of five stars good lens, but costly, March 28, 2005
By Svend (Seattle, WA USA) See all my reviews
(VINE VOICE) This review is from: Canon EF S 10 22mm f/3.5 4.5 USM SLR Lens for EOS Digital SLRs (Camera) I’m very impressed with this lens. I did not realize just how wide angle this lens was. At 10mm, I can stand just some feet in front of a 13 story building, and get the whole thing in the picture, from the entrance to the top of the building.

As with all very wide lenses, you must be cautious that you do not have people at the edges of the frame or too close to the lens, or they’ll appear distorted when taking pictures at 10mm. Also note that a large angle lens isn’t easy to use at 1st to create compelling pictures, as it is easy to include too much clutter in your compositions.

PROS
Optical quality is excellent (deserves an “L” lens designation)
Uses the higher quality ring type USM focusing
Minimum focusing distance is close
Amazingly lightweight
Flare resistant without hood
The only choice for EOS digital cameras (Rebel, Rebel XT, 20D) to get true large angle shots caused by the smaller APS C sensor in those cameras.

CONS
It is expensive! But at least it’s cheaper than a year ago.
The lens is a little soft in the corners at 10mm, but is sharp at 12mm and up.
Canon hasn’t formally dedicated to how long they’ll continue to make cameras and lenses using the EF S system.
The lens now only works on the lower end dSLR cameras the 10D, 1D, 1Ds, and 5D cameras can not use this lens.
The hood isn’t included with this lens, but it is like ugly hood and the lens does not have flare problems, so I do not really think it’s needed anyway.

In five years when you upgrade your camera, there’s a possibility that it’ll not support this lens. This depends on what direction Canon goes in making camera sensors:
1) continue to make cameras that use the smaller APS C sensor, and keep improving its density to support more and more resolution. This will assist keep the dSLR cameras smaller and lighter, and will necessitate making EF S lenses the standard.
2) make the sensors match the size of a frame of 35mm film. And simultaneously increase the density to yield more resolution. Now sensors this big are costly to produce.

I now think that #2 is more probably to happen. The other lenses out there are constructed for a 35mm film sized sensor, and now that Canon released another full frame camera (5D) at a lower price, I am betting that in another not many years the APS C sensor will be practically out of date. A 5D body and 16 35 or 17 40 lens will give you better results than a 20D with this lens, but the difference in price between the two setups is some thousand dollars now.

The 10 22 is an excellent lens, but it’ll most likely not hold its value also as the Canon 16 35 and 17 40 lenses. A somewhat more cheap alternative is the Sigma 10 20mm, which sounds like it almost equals the optical quality of this lens.

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Fast f/1.8, compact FX format prime (fixed focal length) lens
Optimized for FX format D SLR cameras but equally at home on any Nikon DX format D SLR, this updated classic with a fast maximum aperture is ideal for everyday shooting, perfect in low lighting situations and great for producing pictures with beautiful background blur (bokeh). The AF S 50mm f/1.8G will include Silent Wave Motor technology (SWM) for fast and exact autofocus, M/A concentrate Mode Switch for seamless changes between manual and autofocus operation and an aspherical lens element for remaining optical performance with high contrast.

323 of 329 people found the following review helpful:
5.0 out of five stars Review of the Nikkor 50mm f/1.8G AF S versus other Nikkor 50mm AF lenses, June 16, 2011
By LGO “LG10″ (QC MM RP) See all my reviews
(VINE VOICE) This review is from: Nikon 50mm f/1.8G AF S NIKKOR Lens for Nikon Digital SLR Cameras (Camera) Review of the Nikkor 50mm f/1.8G AF S versus other Nikkor 50mm AF lenses

This fast review is depending on my use of this lens for nearly 3 weeks. It’s meant for those already familiar with Nikkor’s line of 50mm prime lenses but are wondering how this lens compare with the other Nikkor 50mm autofocusing lenses that I also own. I did but supply a section for beginners or novice at the last section of this review.


AGAINST THE NIKKOR f/1.8D

The Nikkor 50mm f/1.8G is somewhat bigger than the Nikkor 50mm f/1.8D and a bit heavier but by a mere 31 grams, hardly obvious at all. Unlike the 50mm f/1.8D, it comes with a reversible hood which does a great job in defending and shading the lens. Unlike the 50mm f/1.8D which uses a 52mm filter, this lens uses a 58mm filter. Unlike the 50mm f/1.8D which has a maximum aperture of f/22, the maximum aperture of this lens is f/16 (as do the Nikkor 50mm f/1.4D and 1/4G). As the “G” suffix indicates, the 50mm f/1.8G doesn’t have an aperture ring while the 50mm f/1.8D has an aperture ring (see notes below for the significance of this).

The new Nikkor 50mm f/1.8G is sharper and has better bokeh. The aspherical element in the new Nikkor 50mm f/1.8G has more improved the acuity of this lens specially obvious at the corners at its wide open setting. Still Nikon also improved the bokeh of this new lens versus the 50mm f/1.8D! I also noticed many slight improvement in the color and contrast, specially when shot from f/2.0 and above. Concentrate speed is decently fast and is about the same on a Nikon DX D7000 still the 50mm f/1.8G looks to be more steadily exact and considerably quieter. Priced reasonably, this 50mm f/1.8G lens also now concentrates on Nikon bodies without fitted focusing motors like the Nikon D3000, D3100, D5000, D5100, D40, and D60. Concentrate speed is decently fast. This lens is a winner by a clear margin!

As the price of the 50mm f/1.8D has risen in the recent months, the price disparity between this lens (USD$219.00) and the Nikkor 50mm f/1.8D narrowed. Considering that the 50mm f/1.8G has better optical performance (sharper, better bokeh, improvement on color and contrast), has an included hood, lens pouch, plus the flexibility of being able to use this lens with all of Nikon’s dSLR, I strongly recommend anybody looking for a Nikkor 50mm f/1.8 lens to decide this Nikkor 50mm f/1.8G over the Nikkor 50mm f/1.8D.


AGAINST THE NIKKOR 50mm f/1.4D

The Nikkor 50mm f/1.8G is somewhat bigger than the Nikkor 50mm f/1.4D but is lighter by 63 grams. Unlike the 50mm f/1.4D, it comes with a reversible hood which does a great job in defending and shading the lens. Unlike the 50mm f/1.4D which uses a 52mm filter, the 50mm f/1.8G uses a 58mm filter.

At the same aperture setting from f/1.8 and above, the new Nikkor 50mm f/1.8G is again sharper and has better bokeh. This is surprising considering that the 50mm f/1.4D is already stepped down 2/3 of a stop when these two lenses are compared at the same aperture setting. The bokeh of the 50mm f/1.8G is better! concentrate on the 50mm f/1.8G looks about the same or just a bit faster than the 50mm f/1.4D on a Nikon DX D7000 but the difference is so small as to be nearly imperceptible. Concentrate precision between these two lenses are about the same but the 50mm f/1.8G concentrates quieter than the 50mm f/1.4D.

The main benefit of the 50mm f/1.4D over this lens is mainly in it being 2/3 of a stop faster and it having an aperture ring. The former is vital for still photography while both are vital for video where 2/3 of a stop advantage and being able to manually set the aperture have a considerable affect on the last output. The 50mm f/1.4D remains nice for these. For still photography shooting at f/1.8 and above, I could decide the 50mm f/1.8G over the 50mm f/1.4D.


AGAINST THE NIKKOR 50mm f/1.4G

In terms of size, this lens is about equal with the Nikkor 50mm f/1.4G and also uses the same 58mm filter. The 50mm f/1.8G is lighter by 94 grams than the 50mm f/1.4G. Like the 50mm f/1.4G, it comes with a useful hood.

At the same aperture setting, the new Nikkor 50mm f/1.8G is as sharp in the center and has about the same quality of bokeh. The 1.4G of course could have a better bokeh shooting at f/1.4 and f/1.6 still than the 1.8G at f/1.8. More obvious is that the 50mm f/1.8G is sharper at the corner than the 50mm f/1.4G when shot wide open. This is surprising considering that the 50mm f/1.4G is considerably better than the 50mm f/1.4D still the 50mm f/1.8G is still a bit sharper beginning at f/1.8 but more obvious at f/2.0 in spite of the 50mm f/1.4G being already stepped down! calculated by optical performance alone, the 1.8G has a slight advantage over the 1.4G in corner acuity at f/1.8 but more so at f/2.0 and above. Color and contrast are about equal and I’m unable to see any difference between the two. It could seem that the aspherical lens element that Nikon added to the 1.8G but not to the 1.4G has made a pretty significant difference. Still Nikon also endowed this lens with excellent bokeh in spite of it being half the price. Kudos to Nikon for doing this!

In terms of concentrate precision, the 1.8G doesn’t differ much from the 1.4G on my Nikon D7000 and D3100. By concentrate speed, the 50mm f/1.8G concentrates a tad faster than the 50mm f/1.4G. Manual focusing on the 50mm f/1.4G but is simpler than on the 50mm f/1.8G. This can be an vital consideration when picking a lens for video use.

Like the 50mm f/1.4D, the main benefit of the 50mm f/1.4G is its being faster by 2/3 of a stop which may be invaluable for still photography and for video also for those aiming for the thinnest depth of field (DOF) or more light to keep the ISO setting as low as possible. For these benefits, the 50mm f/1.4G cost about double the price of this lens.

If only Nikon included nano coating and added an aspherical element into the 50mm f/1.4G to make it perform like or possibly better than the 50mm f/1.8G, then the extra cost of the 50mm f/1.4G could be easier to justify and the 1.4G could be a clear choice. But as it stands, one could decide the 1.4G when shooting at f/1.4 to f/1.6. But when shooting at f/1.8 and above, the 1.8G could be a better and also a less costly choice (at just half the price).


NOTES RE THE 50MM AND VIDEO ENABLED NIKON DSLRS:

The 1.8G like the 1.4G not has an aperture ring that the 1.8D and the 1.4D still retained. The aperture ring remains useful and useful for manual control of aperture in video more so as the current video enabled Nikon dSLRs don’t let the changing of aperture settings when video recording started. With an aperture ring, the aperture setting may be changed manually once video recording started.


ADDITIONAL NOTES holders OF THE NIKKOR 35mm f/1.8G

The Nikkor 50mm f/1.8G is somewhat bigger and somewhat heavier than the Nikkor 35mm f/1.8G but the weight difference isn’t really obvious. The 50mm f/1.8G exhibit the same qualities as the Nikkor 35mm f/1.8G in that it’s usable and sharp when shot wide open. These two lenses are priced about the same. While the Nikkor 35mm f/1.8G is a DX lens, I used it with an FX body at night where the vignetting at the corners isn’t as issue as it isn’t obvious under certain light conditions. I could not but use the Nikkor 35mm f/1.8G on an FX body on daytime or where the light is . Sharpness at the corner is not good. The Nikkor 50mm f/1.8G may be used with a DX body also as with an FX with no vignetting or corner sharpness issue like I portrayed. Like the Nikkor 35mm f/1.8G, color and contrast improves considerably when this lens is stepped down a bit by 1/3 to 2/3 stop. If you own a Nikkor 35mm f/1.8G and need the field of view of this lens, to get this lens could be a no brainer.


SUMMARY

In sum, this lens is now the best Nikkor 50mm lens for general still photography when shooting from f/2.0 and above. The stellar performance of this lens paired with its comparatively low price and its capability to autofocus on Nikon’s lower model dSLRs makes it a hands down winner.

For still photography or video where every bit of light is required or where to get the thinnest DOF is crucial, the Nikkor f/1.4D and f/1.4G remains the better choice. The Nikkor f/1.4D with its aperture ring is especially useful for video with its capability to change the aperture setting through the aperture ring after video recording started. Changing the aperture setting after video recording started is now not possible with the Nikon D7000 and the Nikkor 50mm f/1.4G. This circumstance makes it needed for me to own many kind of Nikkor 50mm lenses.


FOR THE NOVICE OR BEGINNER

This lens is light, compact inexpensive, but produces remarkable results. On a DX body like the Nikon D40, D60, D3000, D3100, D5000, D5100, D7000 and D300(s), this lens has a field of view of a 75mm. On an FX body like the Nikon D700, D3(s) or D3x, this lens has a field of view of a 50mm.

Despite it being a fixed focal length and not being able to zoom, I greatly recommend this lens for beginner Nikon dSLR users who own only the kit zoom lens. This prime lens is a safe, inexpensive, and exceptional path to trying out how good a prime lens may be as against zoom lens. Also, this lens lets you to shoot at low light or to blur the background of the subject of the photo. It also hints at what the professional Nikon zoom lens are able of should you get serious in this hobby. This lens is compact and easily filled in the bag for those times when a large open lens is required for shooting in low light conditions.

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43 of 44 people found the following review helpful:
5.0 out of five stars smart Lens a review from Someone who owns both the 1.8D and 1.8G and a former owner of the 1.5G., July 13, 2011
By B. Fuller (United States) See all my reviews
(TOP 500 REVIEWER) (REAL NAME) () This review is from: Nikon 50mm f/1.8G AF S NIKKOR Lens for Nikon Digital SLR Cameras (Camera) The 50 f/1.8 is a lens nearly every FX shooter should have. But, which one of these you may want to purchase is a little difficult. The D is about $80 cheaper, is smaller, lighter, has less distortion, and has manual aperture control. The D does not have auto concentrate but as of now every FX camera has an autofocus motor fitted. What the G really brings to the table is curved aperture blades, better construction, sharper corners, quieter autofocus and instant manual override concentrate.

On a DX camera it’s still a no brainer lens but not as much as on a FX. The 1.5x crop makes this a 75mm lens on a DX. Typically portrait lenses start around 85mm. So this lens, on a DX, is too long to be a normal focal length and too short to be a portrait lens. With that said, they are just generalities. At 75mm it’ll work great in a black house and great outside. In the house you may find yourself running out of room to back up. But, that can most likely help many peoples photography as one of the biggest mistakes majority of people make isn’t framing in close enough. The 35mm f1.8 DX only lens is most likely a better starting lens to get as it’s 52mm on the DX and the 50mm f1.8 a good second lens.

I used to own the f1.4G but it was stolen from me. I personally do not believe it’s worth the extra money over this. It has nine rounded aperture blades for a smother bokeh and is 2/3 stop faster but has important distortion. As well, it was shown that many manufactures have been playing with the ISO on the edges to get the f1.4. At large apertures the light hitting the edges of the sensor isn’t perpendicular to the sensor but is angled. Because digital sensors are sensitive to the direction of light, camera manufactures have been rising the ISO at the edges of the sensor to get the same total of light as the center. This causes many sound. It isn’t hugely obvious but you’re paying a premium for a somewhat worse image. But, the bokeh is nicer, you may be able to shoot a 2/3 faster in low light, and you have a shallower depth of field. If they are vital to you then the 1.4G is the way to go.

Compared to the 1.8D the 1.8G is
Bigger
Will autofocus on the cheaper bodies with no fitted auto concentrate motor (D3100 and D5100)
A little better optically in the corners but has more distortion
About $80 more expensive
Has full time access to manual focusing
7 rounded aperture blades instead of straight
Tops out at f16 instead of f22
Has quieter focus

If you have a body that has a fitted autofocus motor and you want the smallest lightest and cheapest kit then the 1.8D is a no brainer.

If you do not have the fitted autofocus motor and size isn’t an issue or you want instant capability to manually concentrate then the 1.8G is the way to go.

The 50 f1.8 is a smart lens and one of the true bargains in photography. A must for nearly every kit.

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33 of 33 people found the following review helpful:
5.0 out of five stars A beginners point of view, July 11, 2011
By Ryan Encarnacion (Orlando, FL) See all my reviews
(REAL NAME) This review is from: Nikon 50mm f/1.8G AF S NIKKOR Lens for Nikon Digital SLR Cameras (Camera) I totally love this lens. This lens hasn’t come off my D3100 since I bought it three weeks ago. My main function for purchasing this lens was to take portrait pictures indoors of my two year old son. I found that with using the kit lens, I still had to use the flash at times with a high iso. That is when I started researching new lenses.

I chose the new 50 mm lens caused by its low light potential. This lens does such an amazing job that I haven’t used the flash at all since. It’s vital but to switch the white balance settings when moving from indoors to outdoors. I love how this lens can blur the backround, so more than the kit lens could. I firstly bought the d3100 to take better pictures than a point and shoot could, I feel that this lens has made a alike step up from the kit lens.

All in all, I can not see myself using the kit lens again. I easily got used to moving around many to take pictures, but when you are trying to concentrate in on a active two year old, you are used to doing that anyways. The investment really is worth it I believe, particularly if you are trying to catch those priceless times.

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