Here are some of my initial comparative thoughts based on multiple copies tested:
You will see very low distortion from the 24-70 f/4L IS relative to similar zoom lenses. Noticeably less than from the 24-105 f/4L IS - significantly less at 24mm. Landscape photographers shooting over a flat horizon (such as water) will especially appreciate the difference at 24mm, though the 24-70 f/4L IS still has some barrel distortion.
The 24-70 f/4L IS is nearly void of CA (Chromatic Aberration) until the longer end of the focal length range where mild CA becomes apparent at 70mm. The 24-70 f/4L IS has noticeably less CA than the 24-105 f/4L IS at the wide end, but more at 70mm.
The 24-70 f/4L IS is similar to the 24-70 f/2.8L II in regards to both CA and distortion.
The 24-70 f/4L IS has less vignetting than the 24-105 f/4L IS at the wide end at f/4, but more at the long end. By f/5.6, the two lenses are close in this regard. The 24-70 f/2.8L II, with its 1-stop wider aperture, has the comparable-aperture vignetting advantage until about f/8 where the two are nearly equal.
If you are shooting at f/11, the 24-70 f/4L IS, 24-105 f/4L IS and 24-70 f/2.8L II lenses produce essentially equal sharpness. The 24-105 has the longest focal length range to its advantage in this comparison. The 24-70 f/2.8L II lacks IS.
At 24mm with a wide open aperture, the 24-70 f/4L IS bests the 24-105 L IS in sharpness by a modest amount. The 24-70 f/4L IS gets softer (especially in the mid and peripheral image circle) by 50mm f/4 where the lens performs its worst.
That this lens performs its worst at a mid-focal length vs. an extremity focal length is unusual. Since most people shoot their highest percentage of images at the focal length range extremes of a lens, the 24-70 L IS weakness is perhaps well placed. Roger at LensRentals.com has confirmed the 50mm weakness in his vast stock of this lens.
The 24-105 L delivers a sharper image at 50mm f/4. Sharpness improvement at 70mm brings the 24-70 f/4L IS back up to near equality with the 24-105 L. These two lenses perform more similarly at f/5.6 and at f/8, results from these two lenses are nearly comparable. Again, the results are similar at f/11.
COPENHAGEN, January 14, 2013 — Phase One has released Capture One Pro 7.0.2 for immediate download. This service release has focused on solving bugs reported by customers, strengthening overall stability, and adding support for new models of Canon, Olympus, Fujifilm and Sony cameras, and includes new tethered support for Canon EOS 6D and Canon EOS M cameras.
New preliminary camera support includes:
Canon EOS 6D
Canon EOS M
Olympus XZ-2 iHS
Canon EOS-1D X and EOS 5D Mark III (sRAW and mRAW)
Numerous bug fixes have improved stability, including support for Canon tethering on Apple OS X 10.8, and improved support for pen tablets on Windows 8.
Other changes in Capture One Pro 7.0.2 include aligning the use of image counts in the library tool: no counts for smart albums on Mac and no image counts shown for Groups and Projects on Windows.
Capture One Pro 7 is a raw converter and workflow software which enables photographers to reduce the time and effort required to deliver stunning ready-to-use images with excellent color and detail. Capture One Pro 7.0.2 is available as a free download for Capture One Pro 7 customers.
Mastering The Illusion of Perfection with Photo Retoucher Amy Dresser
Amy Dresser is one of the industry's leading photo retouchers and illustrators. Her clients have ranged from editorial (TIME, Allure) to advertising (Barbie, Pepsi, Target) to individual photographers (Jill Greenberg, Jeremy Cowart).
In this live webinar on Tuesday, January 15th at 4pm EDT Amy will take us behind the Photoshop layered curtain of her work, and discuss her thought process, technique, and end result.
Note: Only the first 1,000 registrants will be able to attend this live webinar. After that, registration will close. We will post a video recording on The PhotoShelter Blog, but sign up if you want to attend on January 15th.
In 2009, when Kodak announced that production of Kodachrome film would be coming to an end, legendary photographer Steve McCurry saw an opportunity, and asked if the company would give him the final roll. Given his reputation and the many famed photographs he’s taken on Kodachrome, it’s no surprise Kodak said yes.
As a tribute to this final roll, a crew from National Geographic decided to follow McCurry and document the momentous last 36 frames that would ever be shot on that film — the video above is the result.
The video is much more than just a chronicling of how McCurry spent that last roll of film. As with any great artist, when the NatGeo crew put McCurry on camera he inevitably managed to spout some phenomenal advice. It really makes you appreciate digital (or perhaps miss film) to see McCurry being so careful with his shots, making sure that each one did the Kodachrome roll justice.
In reality, the days already came and went when that roll was shot and developed; the last lab to process Kodachrome stopped at the end of 2010 and you can see the gallery of those final shots on McCurry’s website. But this documentary acts as yet another farewell to a film so loved there are plans for a movie about its demise.