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LENS CANON EF 24-105 F/4L

LENS CANON EF 24-105 F/4L
LENS CANON EF 24-105 F/4L
Giá: 150.000đ đ/ngày
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*REVIEW

    Canon-EF-24-105mm-f-4-L-IS-USM-Lens Canon-EF-24-105mm-Lens-Focal-Length-Comparison-24mm Canon-EF-24-105mm-Lens-Focal-Length-Comparison-28mm Canon-EF-24-105mm-Lens-Focal-Length-Comparison-35mm Canon-EF-24-105mm-Lens-Focal-Length-Comparison-47mm Canon-EF-24-105mm-Lens-Focal-Length-Comparison-60mm Canon-EF-24-105mm-Lens-Focal-Length-Comparison-73mm Canon-EF-24-105mm-Lens-Focal-Length-Comparison-85mm Canon-EF-24-105mm-Lens-Focal-Length-Comparison-105mm Use the mouseover links under the above picture to compare the field of view at various focal lengths. The 24-105 L was used on a full frame body for these shots. A focal length comparison was not on my mind when shooting these pictures, but when reviewing them, I decided you might like to see them in this way. The composition jumps around some, but the mountain top can be seen in all of the frames and used as a reference. A B+W MRC Slim Circular Polarizer Filter was used in these shots. As you can see, the difference between 24mm and 105 is quite large. Canon EF 24-105mm f/4L IS USM Lens mounted on an EOS 5D Mark II  
Model Weight Dimensions w/o Hood Filter
Canon EF 16-35mm f/2.8L II USM Lens 22.4 oz (635g) 3.5 x 4.4" (88.0 x 112.0mm) 82mm
Canon EF 17-40mm f/4L USM Lens 17.5 oz (500g) 3.3 x 3.8" (83.5 x 97.0mm) 77mm
Canon EF-S 17-55mm f/2.8 IS USM Lens 22.8 oz (645g) 3.3 x 4.4" (83.5 x 110.6mm) 77mm
Canon EF-S 17-85mm f/4-5.6 IS USM Lens 16.8 oz (475g) 3.1 x 3.6" (78.5 x 92.0mm) 67mm
Canon EF 24-70mm f/2.8L USM Lens 33.6 oz (950g) 3.3 x 4.9" (83.2 x 123.5mm) 77mm
Canon EF 24-105mm f/4.0L IS USM Lens 23.6 oz (670g) 3.3 x 4.2" (83.5 x 107.0mm) 77mm
Canon EF 28-135mm f/3.5-5.6 IS USM Lens 18.9 oz (540g) 3.1 x 3.8" (78.4 x 96.8mm) 72mm
Looking at the numbers ... The 24-105 is not the lightest/smallest or the heaviest/longest lens in this general purpose zoom lens class. But it is lighter than the 24-70mm L lens by a noticeable amount.

Canon EF 24-105mm f/4L IS USM Lens Review

 
Boasting the superb build, mechanical and optical quality found in the Canon L-Series Lenses and a widely used range of focal lengths, the Canon EF 24-105mm f/4L IS USM Lens is one of the best andmost popular Canon general purpose lenses made. The 24-105 L Lens quickly became one of my favorite and most-used lenses. If I had only one lens, this would be the one. One of the most important features in a lens is the focal length or focal length range - get it wrong and you might not be able to take the shots you want. And the use for a particular focal length or focal length range varies, of course, depending on the FOVCF of the body being used. That said, this lens gives us a very nice general purpose focal range to work with. On a full frame body, 24mm is very wide. On a 1.6x body, 24mm is only moderately wide (equivalent of 38.4mm). And the advantage or disadvantage - whichever it is for you personally - is the opposite on the other end as well.
Canon EF 24-105mm f/4L IS USM Lens focal length range example Use the mouseover links under the above picture to compare the field of view at various focal lengths. The 24-105 L was used on a full frame body for these shots. A focal length comparison was not on my mind when shooting these pictures, but when reviewing them, I decided you might like to see them in this way. The composition jumps around some, but the mountain top can be seen in all of the frames and used as a reference. A B+W MRC Slim Circular Polarizer Filter was used in these shots. As you can see, the difference between 24mm and 105 is quite large. Canon EF 24-105mm f/4L IS USM Lens mounted on an EOS 5D Mark II
When you care about the pictures, you want a well-built lens with great optical quality. The 24-105 L delivers in both of these regards. As you would expect from an L-Series Lens, the 24-105 L is solidly built. The zoom and focus rings are smooth and the entire lens feels nice and handles even better. I really like the size and weight of this lens in the field. Weather sealing seals the deal if you are going afield - note that Canon recommends a UV filter for complete weather sealing on this lens. I can't tell you how much "weather" this lens can take, and don't condone the practice, but I've cleaned my 24-105 L under a gently-flowing kitchen faucet. Do note that this is not a "waterproof" lens.
Model Weight Dimensions w/o Hood Filter
Canon EF 16-35mm f/2.8L II USM Lens 22.4 oz (635g) 3.5 x 4.4" (88.0 x 112.0mm) 82mm
Canon EF 17-40mm f/4L USM Lens 17.5 oz (500g) 3.3 x 3.8" (83.5 x 97.0mm) 77mm
Canon EF-S 17-55mm f/2.8 IS USM Lens 22.8 oz (645g) 3.3 x 4.4" (83.5 x 110.6mm) 77mm
Canon EF-S 17-85mm f/4-5.6 IS USM Lens 16.8 oz (475g) 3.1 x 3.6" (78.5 x 92.0mm) 67mm
Canon EF 24-70mm f/2.8L USM Lens 33.6 oz (950g) 3.3 x 4.9" (83.2 x 123.5mm) 77mm
Canon EF 24-105mm f/4.0L IS USM Lens 23.6 oz (670g) 3.3 x 4.2" (83.5 x 107.0mm) 77mm
Canon EF 28-135mm f/3.5-5.6 IS USM Lens 18.9 oz (540g) 3.1 x 3.8" (78.4 x 96.8mm) 72mm
Looking at the numbers ... The 24-105 is not the lightest/smallest or the heaviest/longest lens in this general purpose zoom lens class. But it is lighter than the 24-70mm L lens by a noticeable amount. I find the 77mm filter size to be an asset. This is not the least expensive filter size, but many of Canon's better lenses use this size. This makes sharing filters between lenses possible - which has various benefits including cost and travel size/space considerations. How does this size compare visually? Canon Normal Zoom Lenses Size Comparison - Retracted
Pictured above from left to right are the Canon EF 28-135mm f/3.5-5.6 IS USM LensCanon EF 17-40mm f/4L USM LensCanon EF 24-105mm f/4L IS USM Lens and Canon EF 24-70mm f/2.8L USM Lens. The same lenses are pictured below in their fully extended size. Canon Normal Zoom Lenses Size Comparison - Extended Of note is that the 24-70mm L reverse extends - it becomes longest at 24mm as shown above. Most lenses including the 24-105 L become fully extended at their longest focal length setting and their lens hoods travel along with this extension. The 24-105 L's autofocus is driven by Canon's excellent Ring USM (Ultrasonic Motor). It is internal, fast, quiet - and accurate. The 24-105 L is deemed a parfocal lens - "There's a cam inside the 24-105mm lens that is designed to maintain an accurate focus when the lens is zoomed from tele towards wide." [Chuck Westfall, Canon USA] Though the image remains mostly in focus during focal length change, it is best to focus at the desired focal length. The 24-105 does not extend with focusing and the barrel does not rotate - which makes using circular polarizing and similar rotation-dependant filters much easier. FTM (Full Time Manual) focusing is available. Good build and mechanical quality does not mean much to a lens without good optical quality to go along with it. In this regard, the Canon EF 24-105mm f/4L IS USM Lens ranks at the top. The Canon EF 24-105mm f/4L IS USM Lens is quite sharp wide open and shows only very slight improvement when stopped down. Corner sharpness is very good - Full frame DSLR users will see some softness in the far corners at the wider focal lengths until stopped down. As with most lenses, full frame users will also see some light fall-off with the 24-105 L wide open - especially at the far corners at the widest focal lengths. The light fall-off quickly improves as the lens is stopped down. Reduced field of view Digital SLRs will avoid most of this effect. I see varying amounts of physical vignetting at 24mm when using a standard thickness circular polarizer filter - I recommend using a slim circular polarizer filter for this lens. Also common with lenses in this focal length range is distortion. The 24-105 L shows noticeable barrel distortion from 24mm until disappearing near 40mm. Pincushion distortion begins at 80mm and becomes mild at 105mm. As usual, this distortion is most noticeable of a full-frame body. Flare? Well, flare is very well controlled with one exception. In very early models of this lens, a very bright point-light source positioned precisely in the corner of a full frame viewfinder with the lens set to 24mm and not stopped down much will result in often beautiful but generally not wanted rays of flare. The rays gets smaller as the lens is stopped down. The rays fade away as the focal length is increased until completely disappearing at 35mm or so. Canon has posted a Service Notice acknowledging the flare problem and will repair any affected lenses (a Canon date code/control number less than UT1000) at no charge (including shipping). Be aware of this issue if buying an old used lens as it may or may not have been repaired. Canon EF 24-105mm f/4L IS USM Lens Original Flare Problem Example The above picture attempts to show the maximum rays-of-light flare I could produce at the tested focal lengths and apertures. I was shooting into a very bright spot light positioned just into the frame. The rays disappear by 35mm. I eventually sent my 24-105 L to Canon for repair - they promptly replaced the lens with a new one. The new copy does not exhibit the rays-of-light flare issue and works excellently. 24-105 L Rear 24-105 L Switches Also very nice are the recessed switches for IS (on/off) and AF/MF (Autofocus/Manual Focus) as shown above. Canon's previous switches are nice, but raised and susceptible to being accidentally changed to a different setting. I have missed shots on occasion because I inadvertently turned IS off on other lenses. Although still easy to use, the recessed switches should eliminate this problem.
Model MFD MM 12mm ET 25mm ET
Canon EF 16-35mm f/2.8L II USM Lens 0.92' (0.28m) 0.22x   n/c - 0.62x   n/c - 1.11x
Canon EF 17-40mm f/4L USM Lens 0.92' (0.28m) 0.25x 0.83 - 0.32x 1.02 - 0.40x
Canon EF-S 17-55mm f/2.8 IS USM Lens 1.15' (0.35m) 0.17x 0.45 - 0.23x 0.71 - 0.51x
Canon EF-S 17-85mm f/4-5.6 IS USM Lens 1.15' (0.35m) 0.2x 0.43 - 0.14x 0.72 - 0.33x
Canon EF 24-70mm f/2.8L USM Lens 1.25' (0.38m) 0.29x 0.63 - 0.18x 1.25 - 0.40x
Canon EF 24-105mm f/4.0L IS USM Lens 1.48' (0.45m) 0.23x 0.60 - 0.40x   n/c - 0.61x
Canon EF 28-135mm f/3.5-5.6 IS USM Lens 1.64' (0.50m) 0.19x 0.53 - 0.09x 1.09 - 0.21x
Canon-EOS-5D-Mark-II-with-24-105mm-Lens        

* IMAGE QUALITY

      2009-01-26_21-01-03 CENTER 2009-01-26_21-01-03 (1) MID - FRAME 2009-01-26_21-01-03 (2) CORNER      

*SAMPLE PICTURE

     
10-Rated Glacier National Park Sunrise
 
When all comes together, the rewards are worth every ounce of effort required to get the shot.
Getting to Glacier National Park is a modest challenge for much of the world - it is at best two flights away from most of the us - and three for many of us. For me, it started with an early bedtime and a 2:30 AM alarm setting. Actually, I set two of alarms for insurance. One was on my phone which was on the nightstand beside the other. The phone went off first. I shut it off and tried to wake my wife (the family was joining me on this trip). After several attempts over a few minutes, she rolled over and in a somewhat unfriendly tone, said "WHAT?". That should have been my first clue. I said "How much time do you want to get ready?" (I thought I was giving her the amount of time she requested the evening before). My next clue - She said "It's 12:30 AM!?" That's when I realized that I had an actual call - the alarm had not gone off. And that's when I learned that my trip to Glacier National Park had just become much more complicated. A voice mail informed me that our first flight of three had been cancelled. I then spent an hour on the phone with someone from half way around the world trying to figure out how I was going to make one of the few daily flights into Kalispell. And one that returned to the same originating airport (don't ask). A 3.5 hour drive put us on an afternoon flight that put me at the St. Mary Lodge at 1:00 AM PDT (3:00 AM in my EDT time). This of course resulted in a missed evening shoot - and required a sleep-in the next morning, so I missed an AM opportunity also. It didn't take me long to get over the travel exhaustion. This national park is worth every ounce of effort and cost it takes to get there.
Gear Used
Canon EOS 1Ds Mark III Canon EF 24-105mm f/4L IS USM LensBuy ► Gitzo GT3541LS 6x Carbon Fiber TripodBuy ► Arca-Swiss Monoball Z1 Ball HeadBuy ►
Camera and Lens Settings
24mm  f/11.0  30s ISO 100 3744 x 5616px
 
 
 
 
 
Ricketts Glen State Park Picture
Water cascades over the rocks at Ricketts Glen State Park in the fall.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
24mm  f/10  1/2s ISO 100 3328 x 4992px
 
 
 
 
 
Bass Harbor Lighthouse, Acadia National Park, Maine
There are a lifetime of photo opportunities in Acadia National Park, but the Bass Harbor Lighthouse is one of the best and most-visited locations.
This image is a composite of three shots. A 20 second primary shot includes the water and sky while a second 30 second shot was used to pull detail out of the rocks on shore. A third shot was used to capture the light shining on the trees beside and behind the lighthouse. These three shots were selected from a huge number I shot at various times during the sunset - with lots of bracketing taking place. The three layers were merged in photoshop. To keep the long exposure sharp, mirror lockup and the two-second self-timer were used as was a Gitzo GT3530LS tripod with an Arca Swiss Z1 Ballhead mounted to it. A custom white balance and a small amount of saturation were the primary post-processing tweaks aside from compositing the 3 images. When you are shooting the next sunset, don't leave when the sun sets below the horizon (most photographers I observed in Acadia do). There may be many opportunities yet to come with easier to handle dynamic ranges.
Gear Used
Canon EOS 1Ds Mark III Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
24mm  f/11.0  20s ISO 100 5616 x 3744px
 
 
 
 
 
Little Princess Picture
A little princess playing dress-up. Lighting is from Elinchrom monolights and softboxes.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
98mm  f/11.0  1/200s ISO 100 3328 x 4992px
 
 
 
 
Forest Fire Across Yellowstone Lake
Yellowstone National Park is ablaze. A huge heat-formed cloud rises above the smoke from this lightning-started forest fire across the beautiful Yellowstone Lake. A thermal feature (they are everywhere in YNP) is visible at the waters near edge. Closer in the picture are white trees - killed by the minerals they have absorbed. A circular polarizer filter was used to reduce glare and increase contrast in this picture.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ► Circular Polarizer FilterBuy ►
Camera and Lens Settings
35mm  f/8.0  1/100s ISO 100 4944 x 3263px
 
 
 
 
 
Sunset Over Devils Garden, Arches NP
One type of sunset photo I like is the silhouette. I found this unique landscape in Devils Garden, Arches National Park to be a great sunset foreground. Sometimes the sky performs so well that getting good shots almost feels like cheating.
Gear Used
Canon EOS 5D Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
73mm  f/7.1  1/40s ISO 100 5616 x 3744px
 
 
 
 
Bison and Mormon Row Barn, Grand Teton National Park
Bison are very large (up to 2,000 lbs) and can be very dangerous. I was not far away from this heard of about 50 Bison, but there was a barbed wire fence between us. I was comfortable with them getting as close as about 20' from me. The heard was filing through an opening in the fence about 100 yards/meters away and out into a vast Sage Brush plain. I was busy shooting and enjoying nature when I heard a deep grunt close behind me. I turned to see a large bull coming around my SUV. I quickly went the other way and jumped in the passenger door - and shot from inside the balance of my time there.In this shot, a lone bull approaches a bull tending a cow.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
70mm  f/8.0  1/320s ISO 160 4992 x 3328px
 
 
 
 
 
Rainbow in the Grand Canyon of Yellowstone
Lower Falls puts a lot of moisture in the air - moisture that delivers a beautiful rainbow at the right time of the day under sunny skies. The moisture also enables plant life to live on the harsh rock face of the canyon. A slim circular polarizer filter was used to reduce reflections in this shot. Lower falls and the Grand Canyon of Yellowstone are located near Canyon Village. The canyon itself is mostly inaccessible but the park has a handful of viewing locations.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ► Circular Polarizer FilterBuy ►
Camera and Lens Settings
28mm  f/10.0  1/80s ISO 100 3328 x 4992px
 
 
 
 
 
Cinnamon Bay, St. John
Cinnamon Bay has one of the many spectacular St. John beaches. When shooting on a beach, I spend a lot of time waiting for the right wave action to complete my composition. Great clouds also help.
Gear Used
Canon EOS 1Ds Mark III Canon EF 24-105mm f/4L IS USM LensBuy ► Circular Polarizer FilterBuy ►
Camera and Lens Settings
32mm  f/11.0  1/80s ISO 160 3744 x 5616px
 
 
 
 
Girl Jumping Wildly Picture
A little girl jumps wildly - hair, arms legs, tongue and everything else is flying out - while playing dress-up. Lighting is with Elinchrom studio lights.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
55mm  f/11.0  1/200s ISO 100 2743 x 4114px
 
 
 
 
 
 
Rainbow in the Grand Cayon of Yellowstone Canyon
A large waterfalls sends a mist into the air which separates the colors in the light. This view can be found in the Grand Cayon of Yellowstone Canyon
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
32mm  f/8.0  1/250s ISO 100 3328 x 4992px
 
 
 
 
Pretty Woman 3
A gentle breeze lifts the hair to add to this head shot portrait.
Gear Used
Canon EOS 5D Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
100mm  f/4  1/160s ISO 200 4368 x 2912px
 
 
 
 
 
Rainbow Over St Mary, Montana
This was the longest-lasting rain-caused rainbow I've ever seen. It was visible from mid-morning until the sun rose high enough to put it into the ground in the afternoon.The weather in Glacier National Park, especially at higher altitudes, can be unpredictable. It is wise to have packable rain gear with you when hiking in this park. This storm was hanging over Glacier National Park but dissipating as it moved out the eastern side of the park - allowing full sun to shine through.The foreground in this picture is a forest fire regrowth area showing fall color.
Gear Used
Canon EOS 1Ds Mark III Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
70mm  f/11.0  1/80s ISO 100 5616 x 3744px
 
 
 
 
 
 
Bubble Pond, Acadia National Park, Maine
A carriage road leads the way for an easy walk to this location at the end of Bubble Pond in Acadia National Park.
Gear Used
Canon EOS 1Ds Mark III Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
24mm  f/8.0  1/125s ISO 100 5616 x 3744px
 
 
 
 
 
 
Above the Clouds
A line of beautiful clouds hover over the Rocky Mountains in Colorado. This picture was taken through an airplane window. FYI - Circular Polarizer filters are generally not compatible with jetliner windows.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ► Circular Polarizer FilterBuy ►
Camera and Lens Settings
95mm  f/10.0  1/400s ISO 100 4992 x 3328px
 
 
 
 
 
 
Upper and Lower Yosemite Falls, Yosemite National Park
Upper and Lower Yosemite Falls are two of the most visible Yosemite National Park falls. This view, with the Acorn Woodpecker-holed tree, is from Cook's Meadow.
Gear Used
Canon EOS 1Ds Mark III Canon EF 24-105mm f/4L IS USM LensBuy ► Circular Polarizer FilterBuy ►
Camera and Lens Settings
24mm  f/11.0  1/40s ISO 160 5616 x 3744px
 
 
 
 
 
Morning at Schwabacher Landing, Grand Teton National Park
The sun is just starting to reach the trees in the valley while the Grand Teton mountain range behind them is fully lit. A pair of ducks hunt for breakfast in the mirror-like Snake River.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
30mm  f/11.0  1/15s ISO 100 4992 x 3328px
 
 
 
 
 

 

Fireworks
Brightly-colored trails track the path of the fireworks explosions through the black sky. A 2-stop Neutral Density Filter was used to allow a sharper aperture on this shot - f/8 is sharper than f/16.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
50mm  f/8.0  13s ISO 100 3102 x 3244px
 
 
 
 
 
 
Emerald-colored Hot Spring, Norris Geyser Basin
This very-round-shaped and emerald-colored hot spring is located in the Norris Geyser Basin in Yellowstone National Park.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
24mm  f/9.0  1/60s ISO 100 4992 x 3328px
 
 
 
 
 
Sunset in Yellowstone National Park
The sun sets behind a mix of mature standing, falling over and young growth trees in Yellowstone National Park, Wyoming.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
105mm  f/9.0  1/160s ISO 100 4992 x 3328px
 
 
 
 
 
 
Mammoth Hot Springs View
Dead trees form artistic shapes in the unusual landscape at Mammoth Hot Springs, Yellowstone National Park. A forest fire burns in the distance.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ►
Camera and Lens Settings
24mm  f/10.0  1/160s ISO 100 3328 x 4992px
 
 
 
 
 
Clouds, Trees and Thermal Area
This picture was captured near Old Faithful in Yellowstone National Park. A slim circular polarizer filter was used to enhance this image.
Gear Used
Canon EOS 1Ds Mark II Canon EF 24-105mm f/4L IS USM LensBuy ► Circular Polarizer FilterBuy ►
Camera and Lens Settings
28mm  f/9.0  1/100s ISO 100 4992 x 3328px
 
 
 
 
 

* LENS FLARE

    +24MM:   2010-08-28_12-53-06 F4.0 2010-08-28_12-53-11 F5.6 2010-08-28_12-53-14 F8.0 2010-08-28_12-53-18 F11.0 2010-08-28_12-53-22 F16.0     +28MM:   2010-08-28_12-54-42 f4.0 2010-08-28_12-54-46 f5.6 2010-08-28_12-54-51 f8.0 2010-08-28_12-54-55 f11.0 2010-08-28_12-55-00 f16.0     +35mm:   2010-08-28_12-55-37 f4.0 2010-08-28_12-55-42 f5.6 2010-08-28_12-55-47 f8.0 2010-08-28_12-55-51 f11.0 2010-08-28_12-55-55 f16.0   +50mm:   2010-08-28_12-56-29 f4.0 2010-08-28_12-56-33 f5.6 2010-08-28_12-56-37 f8.0 2010-08-28_12-56-40 f11.0 2010-08-28_12-56-44 f16.0     +70mm:   2010-08-28_12-57-20 f4.0 2010-08-28_12-57-24 f5.6 2010-08-28_12-57-27 f8.0 2010-08-28_12-57-31 f11.0 2010-08-28_12-57-36 f16.0   +105mm:     2010-08-28_12-58-21 f4.0 2010-08-28_12-58-25 f5.6 2010-08-28_12-58-29 f8.0 2010-08-28_12-58-32 f11.0 2010-08-28_12-58-37 f16.0        

 

*LENS DISTORTION 2011-04-05_11-52-06 24MM 2011-04-05_11-57-5935MM 2011-04-05_13-42-31 50mm 2011-04-05_13-49-0670mm 2011-04-05_13-56-59105mm    

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