Canon 100-400mm L IS IIFull-Frame EF USM (2014-)World's Best Telephoto ZoomPerfect for Mirrorless (w/adapter), DSLR & 35mmSample Images Intro Specs Performance Compared Usage Recommendations R3 R5 R5C R6 II R6 R R8 RP R7 R10 R50 R100 Bodies Compared RF Lenses EF Lenses Flash Canon EF 100-400mm f/4.5-5.6L IS II USM (metal 77mm filter thread, 54.7 oz./1,550g without tripod foot, 57.0 oz./1,616g with foot, 2.75'/0.84m close focus, $2,399, or about $1,270 used if you know How to Win at eBay). bigger. I got mine at Adorama; I'd also get it at Amazon, at B&H or at Crutchfield, or used at eBay (How to Win at eBay). This 100% all-content website's biggest source of support is when you use those or these links to approved sources when you get anything, regardless of the country in which you live — but I receive nothing for my efforts if you take the chance of buying elsewhere. Never buy at retail because Canon doesn't seal its boxes, so you can't tell if a lens is used, damaged, a defective return or missing accessories. Thanks! Ken.
April 2024 Better Pictures Canon Reviews Canon Lenses Canon Flash All Reviews Best 80-400mm & 100-400mm Lenses Compared. Older version Canon 100-400mm L IS review.
Sample Images top Sample Images Intro Specs Performance Compared Usage Recommendations These are just snapshots; my real work is in my Gallery. More samples throughout this review at Autofocus, Bokeh, Falloff, Image Stabilization, Macro, Sunstars and Teleconverters. Devil's Dawn, Mono Lake, California, 9:25 A.M., 14 October 2023. Canon EOS R6 II and EF 100-400mm L II IS USM on EF to RF Ring adapter. bigger. This is a composite of two images with the same EOS R6 II and EF 100-400mm L II IS USM on EF to RF Ring adapter. I used an image the crescent of the eclipsed sun and dropped on top of a shot of a glorious sunrise. I had planned to do this even before I shot the eclipse, since I realized the eclipse would be up in the sky at 9:22 AM and not make for much of an image by itself.
Sports (Nature & Landscape)Surfing, Pacific Beach, California, 3:28 P.M., Saturday, 02 December 2023. Canon EOS R6 II, EF 100-400mm L II IS USM on EF to RF Ring adapter at 200mm, f/5 at 1/1,000 at Auto ISO 500 (LV 12.3), Skylum Luminar Neo. bigger.
Surfing Dog Catching a Frisbee, 10:42 AM Sunday Morning, 18 September 2022. Cropped from Canon EOS R7, OWC ATLAS S PRO 256GB SDXC card, Canon EF 100-400mm f/4.5-5.6L IS USM II on EF to RF adapter at 400mm (650mm equivalent) wide-open at f/5.6 at 1/1,250 at Auto ISO 160, +0.3 stops exposure compensation (LV 14.7), Perfectly Clear. bigger. I cropped the image above from this much larger image below: Complete image from which the above was cropped. bigger. My 100-400mm is so sharp that this is never a problem.
Surfing Pug with His Mom & Dad, 10:56 AM Sunday Morning, 18 September 2022. Cropped from Canon EOS R7, OWC ATLAS S PRO 256GB SDXC card, Canon EF 100-400mm f/4.5-5.6L IS USM II on EF to RF adapter at 400mm (650mm equivalent) wide-open at f/5.6 at 1/1,250 at Auto ISO 160, +0.3 stops exposure compensation (LV 14.7), Perfectly Clear. bigger. I cropped the shot above from this EOS R7 frame: Complete image from which the above was cropped. bigger. The insane resolution of my EOS R7 and my EF 100-400mm f/4.5-5.6L IS USM II (on EF to RF adapter) lets me crop whatever I need. This family was hundreds of feet away; I was standing back on the dry sand! I prefer my EF 100-400mm f/4.5-5.6L IS USM II over the RF 100-500mm because it works much better with teleconverters, althogh I was too lazy to carry any today.
Surfing Chocolate Lab, 10:58 AM Sunday Morning, 18 September 2022. Cropped from Canon EOS R7, OWC ATLAS S PRO 256GB SDXC card, Canon EF 100-400mm f/4.5-5.6L IS USM II on EF to RF adapter at 340mm (550mm equivalent) wide-open at f/5.6 at 1/1,250 at Auto ISO 200, +0.3 stops exposure compensation (LV 14.3), Perfectly Clear. bigger.
Surfing Dog with Blue Mohawk, 11:13 AM Sunday Morning, 18 September 2022. Cropped from Canon EOS R7, OWC ATLAS S PRO 256GB SDXC card, Canon EF 100-400mm f/4.5-5.6L IS USM II on EF to RF adapter at 400mm (650mm equivalent) wide-open at f/5.6 at 1/1,250 at Auto ISO 250, +0.3 stops exposure compensation (LV 14.4), Perfectly Clear. bigger.
Here's the frame from which the above was cropped: Complete Image. bigger. If I really wanted to crop-in, I can read the markings on his sunglasses, see the ocean spray on the lenses and see all us landlubbers and the bluffs reflected in them! Tighter Crop, Surfing Dog with Blue Mohawk. bigger. Not bad for a couple of hundred feet away.
Katie plays tennis, 11 October 2016. (Canon 1DX Mk II, Canon 100-400mm L IS II at 200mm, f/5.6 at 1/1,000 at Auto ISO 1,250, Perfectly Clear.) bigger or original file (image size M1, JPG quality 1).
Katie learning backhand for the first time, 23 June 2015. (Canon 5DS, Canon EF 100-400mm IS L II at 200mm, f/10 at 1/640 at Auto ISO 400, Perfectly Clear V2.) bigger.
Katie practices her backhand, 23 June 2015. (Canon 5DS, Canon EF 100-400mm IS L II at 188mm, f/10 at 1/640 at Auto ISO 400, Perfectly Clear V2.) bigger.
Nature & LandscapesSee also Yosemite and the Eastern Sierra, October 2015. Dawn over Lee Vining and Mono Lake as seen from Conway Summit, California, 7:02 A.M., 13 October 2023. Canon EOS R6 II, EF 100-400mm L II IS USM on EF to RF Ring adapter at 135mm, f/5 at 1/100 at ISO 100 (LV 11¼), Skylum Luminar Neo. More tech details. bigger or fit-to-screen.
Pacific Beach Sunset, California, 4:39 P.M., Saturday, 18 November 2023. Cropped from Canon EOS R6 II, EF 100-400mm L II IS USM on EF to RF Ring adapter at 140mm, f/11at 1/100 at Auto ISO 100 (LV 13.6), as shot. bigger.
Blue, Gold, Green and Aquamarine, Pacific Beach Pier, California, 4:13 P.M., Saturday, 25 November 2023. Canon EOS R6 II, EF 100-400mm L II IS USM on EF to RF Ring adapter at 241mm, f/5 at 1/250 at Auto ISO 100 (LV 12.6), Skylum Luminar Neo. bigger.
Foggy Sunrise, Toscana, Italia, 6:58 AM, Wednesday, 27 September 2023. Canon EOS R6 II, Canon EF 100-400mm L IS II USM on EF to RF Ring Adapter at 148mm at f/5.6 at 1/250 at Auto ISO 100, +0.7 stops exposure compensation (LV 13.0), Perfectly Clear (now sold as Radiant Photo). bigger or camera-original 24MP © LARGE NORMAL JPG file (7 MB).
Moonrise over Potato Peak as seen from Bridgeport, California, 6:22 PM., 18 October 2021. Canon EOS R5, EF 100-400mm IS L II on EF to RF adapter at 371mm wide-open at f/5.6 hand-held at 1/80 at ISO 100, shade white balance to make it all more orange (but turned the sky more purple than its original deep blue), -2.0 stops exposure compensation to preserve details in the bright moon (LV 11.4), Skylum Aurora HDR to restore detail in the resulting very dark everything else as well as in the bright moon, all from my one JPG file. bigger or fit-to-screen.
Snowy Sierras, 9:11 AM., 18 October 2021. Canon EOS R5, EF 100-400mm IS L II on EF to RF adapter at 100mm at f/16 (for depth-of-field) hand-held at 1/100 at ISO 100, -0.7 stops exposure compensation (LV 14.6), Perfectly Clear. bigger or fit-to-screen.
Wood or Brick? Bridgeport, CA, 6:21 PM., 18 October 2021. Canon EOS R5, EF 100-400mm IS L II on EF to RF adapter at 100mm wide-open at f/4.5 hand-held at 1/10 at ISO 100 (LV 7¾), 4:5 in-camera crop, Skylum Aurora HDR to boost color and highlight the center from my one JPG file. bigger or fit-to-screen.
Snowy Sierras and Fall Color, 9:11 AM., 18 October 2021. Canon EOS R5, EF 100-400mm IS L II on EF to RF adapter at 114mm at f/8 at 1/500 at ISO 100 (LV 15.0), Perfectly Clear. bigger or fit-to-screen.
Desert Palms at Last Light, 7:29 PM, 17 June 2020. Canon T8i, Canon EF 100-400mm L IS II at 170mm wide-open at f/5 hand-held at 1/320 at Auto ISO 200 (LV 12.0), Perfectly Clear. bigger or 24 MP camera-original © 6.2 MB JPG file.
Walker Reservoir, Sportsmen's Paradise, Bridgeport, California, 5:47 P.M., 20 October 2019 (best trip ever!!!). Canon 5DS/R, Canon EF 100-400mm IS L II at 400mm, f/5.6 hand-held at 1/200 at Auto ISO 125 (LV 12.3). bigger or camera-original @ file.
Sunrise over Mono Lake, October 2018, 7:11 A.M. Canon EOS R, Canon 100-400mm L IS III at 400mm, f/8 hand-held at 1/640 at Auto ISO 100, Perfectly Clear v3.6. bigger or © full-resolution file.
Water Flowing over a Rock in Lee Vining Creek, October 2015, 10:11 A.M. Canon 5DS R, Canon 100~400mm L IS II at 114mm, f/20 hand-held at 1/8 at Auto ISO 100, Perfectly Clear. bigger. My stabilized 100-400mm lens lets me hand-hold it at 1/8 of a second, so I can capture blurry water motion without having to lug around a tripod. The Canon 100~400mm L IS II is state of the art and better than any other general purpose telephoto lens.
Yellow Aspen Leaves at Silver Lake, October 2015, 11:55 A.M. Canon 5DS R, Canon 100~400mm L IS II at 400mm, f/10 hand-held at 1/30 at Auto ISO 100, Perfectly Clear. bigger. I love that I can hand-hold my stabilized 100-400mm lens at slow enough speeds to let me stop down in shade without needing a tripod!
The Moon as seen from Yosemite Valley, October 2018, 7:17 P.M. Canon EOS R, Canon 100-400mm L IS II with Canon EF Extender 2x II and Canon EF Extender 1.4x II at 1,040mm total, f/16 hand-held at 1/50 at Auto ISO 400, Perfectly Clear v3.6. See this crazy rig that actually works hand-held. bigger.
Moon Behind Pines Atop Sentinel Rock, Yosemite National Park, 8:56:32 P.M., 16 October 2021. Canon EOS R5, EF 100-400mm IS L II at 400mm wide-open at f/5.6 on EF 2× extender II (800mm actual focal length and f/11 actual resulting aperture) on EF to RF adapter at 1/200 at ISO 1,600 (LV 10.6), cropped a bit but otherwise as shot, split-toned print. bigger or fit-to-screen.
Yellow Aspen Leaf on River Rock, Merced River, Yosemite Valley, October 2018, 7:59 A.M. Canon EOS R, Canon 100-400mm L IS II at 124mm, f/11 at 1/25 hand-held at Auto ISO 400, Perfectly Clear v3.6. bigger.
Sunrise as Seen from Conway Summit, October 2015, 7:12 A.M. Canon 5DS R, Canon 100~400mm L IS II and Canon Extender EF 1.4x II making 560mm, f/11 at 1/640 at Auto ISO 100. bigger.
Rainbow at Bridal Veil Falls, October 2015, 4:31 P.M. Canon 5DS R, Canon 100~400mm L IS II at 400mm, f/5.6 at 1/250 at Auto ISO 100, Perfectly Clear. bigger.
Last Light on Half Dome as Seen from Stoneman Meadow, October 2015, 6:05 P.M. Canon 5DS R, Canon 100~400mm L IS II at 107mm, f/4.5 at 1/100 at Auto ISO 100, Perfectly Clear. bigger.
Dawn's First Light on Distant Tree-Lined Mountainside, October 2015, 7:25 A.M. Canon 5DS R, Canon 100~400mm L IS II at 263mm, f/5 hand-held at 1/60 at Auto ISO 100, Perfectly Clear. bigger.
Sunlight on Sheet Metal, Open Mine, October 2015, 4:38 P.M. Canon 5DS R, Canon 100~400mm L IS II at 248mm, f/14 at 1/1,600 at Auto ISO 100. bigger.
Blue Roof, Bridgeport, October 2015, 6:10 P.M. Canon 5DS R, Canon 100~400mm L IS II at 330mm, f/5.6 at 1/80 at Auto ISO 1,000, Perfectly Clear. bigger.
Valley Floor Fog, October 2015, 7:57 A.M. Canon 5DS R, Canon 100~400mm L IS II at 241mm, f/5 hand-held at 1/50 at Auto ISO 160, Perfectly Clear. bigger.
Valley Floor Fog, October 2015, 8:18 A.M. Canon 5DS R, Canon 100~400mm L IS II at 400mm, f/5.6 hand-held at 1/80 at Auto ISO 320, Perfectly Clear. bigger or full 50 MP (20MB JPG) file to explore on your computer (mobile devices rarely can display this resolution properly). Man, this is a sharp lens and camera, and the stabilization is so good that I can shoot in dim dawn light at 400mm and not need a tripod.
Galen Clark's Headstone, Yosemite Cemetery, October 2015, 12:27 P.M. Canon 5DS R, Canon 100~400mm L IS II at 120mm, f/5 at 1/125 at Auto ISO 100, Perfectly Clear. bigger.
Bike Del Mar, 10:08 AM Sunday morning, 18 September 2022. Canon EOS R7, Canon EL-100 flash, OWC ATLAS S PRO 256GB SDXC card, Canon EF 100-400mm f/4.5-5.6L IS USM II on EF to RF adapter at 100mm (160mm equivalent) at f/5 at 1/250 at Auto ISO 100 (LV 12.6), Perfectly Clear. bigger or camera-original 32 MP © 9 MB NORMAL JPG file.
Works great in the dark, too! (20 December 2014, Canon 5D Mk III at Auto ISO 5,000, Canon EF 100-400mm L IS II at 100mm, f/5 at 1/125, Perfectly Clear V3.) bigger.
Mercedes S550 in Diamond White 799, 3:15 PM, Wednesday, 13 May 2020. Canon 90D, Flash ON, Canon EF 100-400mm L IS II at 106mm at f/10 at 1/250 at Auto ISO 100 (LV 14.6), as shot. bigger or full resolution 5 MB file. Introduction top Sample Images Intro Specs Performance Compared Usage Recommendations
Did you see my Sample Images? I've used just about every telephoto zoom ever made, and this is the best for mirrorless (use use any EF to RF adapter), for a DSLR or even for any 35mm EOS camera. Read on if you like, but feel free to save yourself the time and just get yours at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay (How to Win at eBay). This 100-400mm IS L II is ultra sharp due to its exotic fluorite element and it's made of all metal to last a lifetime. The only concern is that it's a big, heavy lens, and not something I enjoy carrying all day if I'm not actually shooting it all day. If I'm on vacation with mirrorless, I'd opt for the much smaller, lighter and mostly plastic RF 100-400mm IS USM. My new Canon 100-400mm IS L II changed the game in professional telephoto zooms, replacing all 70-200mm lenses that used to be popular for decades because:
Close Focus1.) The new 100-400 focusses so close that it replaces both my macro and any 70-200mm! It focuses closer than any 70-200mm or 80-200mm lens. No longer are we stepping back just so we can get focus! While rated to 3.3 feet/1 meter, my 100-400mm actually focuses to 78 cm (31" or 2.55 feet) from the sensor at most focal lengths and to 90 cm (35" or 2.95 feet) from the sensor at 400mm. No LEICA telephoto can focus this close, nor can any 70-200mm lens focus this close — and this lens goes to 400mm! That's from the sensor (back of the camera); it actually focuses to 54 cm (20") from the front of the lens at 100mm and 57 cm (23") from the front of the lens at 400mm! Because it focuses so close, for many people like myself, this new 100-400 replaces our old 70-200 zoom and our macro! The reach to 400mm is far more useful than the little bit of range lost at 70mm, and being able to focus so close lets us photograph far more different subjects. 2.) This 100-400 gives much better perspective at its longer focal lengths than shooting with a dedicated 100mm macro. It shoots down to about 1/3 life size, and does it with plenty of room between you and your subject — better than the 100mm f/2.8 IS L.
Flourite Sharp introduction top3.) It's ultra-sharp, especially at 400mm, but we expected that. It's so good that you don't need a lens profile for image correction — but you can use one if you like. 4.) Part of the reason it's so sharp is that has a Fluorite element. To get a Fluorite element in a Nikon lens, you have to spend over $10,000 for this kind of sharpness.
Fast Focus introduction top5.) It focuses almost instantly, even at 400mm and even if it's way out of focus when we start autofocus. This is quite a surprise; every other ultra-tele is slower, while this new lens just snaps silently from one subject to the next. 6.) Even more astounding, autofocus is almost instantaneous even with my Canon EF Extender 1.4x II!
Made Better introduction top7.) Unlike Nikon's mostly plastic 80-400 VR G, this Canon L lens is made almost entirely out of metal. This lens also focuses twice as close and costs much less than Nikon's. Ha! 8.) This huge zoom zooms easily and precisely without creep, even pointed up or down. If it does start to creep; there is a variable zoom drag setting ring right next to the zoom ring! 9.) It's got a real metal 77mm filter thread, not a plastic one or an oddball 82mm filter thread like too many of Canon's mechanically downgraded but optically superb L lenses today like the 24-70mm f/2.8 L II.
Works GREAT with Extenders introduction topCanon 100‑400L IS II, 1.4x and 2x converters, EF Lens Adapter and EOS R. bigger. More at Performance > Extenders.
Works GREAT On Mirrorless introduction topJust use any EF to RF adapter.
This Canon 100-400 II is an extraordinary lens. Images are astounding, but you won't fully appreciate the feel, instant autofocus and smooth zooming until you get your own. This is a newer version of the classic Canon 100-400mm L IS, which has been a staple of professional nature and wildlife photographers since it was introduced in 1998. This new 2014 lens updates the old lens from a push-pull to a rotary zoom, adds much closer focussing and greatly improves its Image Stabilization. Its image stabilization lets us shoot at 400mm hand-held in almost any light at low ISOs. Like most Canon pro lenses, the 100-400mm's autofocus is fast and silent, and you may grab the focus ring at any time for instant manual override. It's a tough all-metal, fast-focusing super zoom that's the same size and weight as the 70-200mm f/2.8 lenses. While 70-200mm f/2.8 lenses are for indoor sports or use with 35mm film, this new 100-400mm is far superior for nature, wildlife, portraits, daytime sports and landscapes, and anywhere you need the reach. Its performance is far better than adding a converter to a 70-200mm lens, and its zoom range is broader, too. This 100-400 is one of Canon's Best Lenses. I got mine at Adorama; I'd also get it at Amazon, at B&H or at Crutchfield, or used at eBay if you know How to Win at eBay.
Canon EF 100-400mm L IS II. enlarge.
Specifications top Sample Images Intro Specs Performance Compared Usage Recommendations
I got mine at Adorama; I'd also get it at Amazon, at B&H or at Crutchfield, or used at eBay if you know How to Win at eBay.
FormatThis is a full-frame lens, so it works on all formats.Full frame lenses are at their best on full-frame, which is how I will be reviewing it. You can make the usual inferences when used on smaller sensors.
Compatibility specs topWorks GREAT on mirrorless, just use any EF to RF adapter.This lens is optimized for full-frame digital, and of course works on older 1.3x and 1.6x Canon cameras as well as 35mm EOS cameras all the way back to 1987. This works perfectly with every Canon EOS camera ever made, meaning every Canon DSLR and every Canon autofocus film camera made since 1987. This means of course it works great on today's EOS R3, R7 and other mirrorless, 5D Mark IV and I tried and autofocus and IS work just as well on my original Canon EOS 650 from 1987!
Name top Canon calls this the Canon Zoom Lens EF 100-400mm f/4.5-5.6 L IS II USM. EF: Electronic Focus. All modern Canon lenses focus with a motor in the lens. L: Expensive as L. IS: Image Stabilization so we don't need a tripod. II: Second version of the original Canon 100-400mm L IS. USM: UltraSonic focus Motor. The focus motor is silent.
Optics top Glass, Fluorite, Super UD Glass and the Image Stabilizer section. 21 elements in 16 groups. One Fluorite element. One Super UD element. Internal focus, nothing moves externally as focussed. Fluorine coatings on outer surfaces to repel water, dirt and fingerprints. "Air Sphere Coatings" inside, which are the same as Nikon's Nano coating, which are all variable index-of-refraction coatings that work better than multicoating. Each works by mixing submicroscopic nanobubbles of air and coating material in varying concentrations. Since the air pockets (named "spheres" by the marketing department) are much smaller than wavelengths of light, it makes the coating look like its solid and simply varying its index of refraction in a continuous fashion to gently bend the light into the glass with next to nothing reflecting off. "Pumper" zoom; the front extends as zoomed to 400mm: Canon 100-400 IS II at 400mm. enlarge.
Diaphragm top Front, Canon 100-400mm IS II at 400mm at f/5.6. bigger. 9 rounded blades. Round to f/11. Nonagonal from f/16. Stops down to f/32-40.
Close Focus top 3.2 feet (1 m), rated. 78 cm actual (31" or 2.55 feet) at most focal lengths, 90 cm (35" or 2.95 feet) at 400mm.
Working Distance (front of lens to subject) top 54 cm (20") at 100mm. 57 cm (23") at 400mm.
Maximum Reproduction Ratio top 1:3.2 (0.31x), rated.
Minimum Subject Field top 3.0 x 4.5 inches, rated. 77 x 115 mm, rated.
Focal Length top 100-400mm. On APS-C cameras, it gives angles of view similar to what an 160-650mm lens would give on a 35mm or full-frame camera. See also Crop Factor.
Angles of View top On full-frame: 24º - 6.1º diagonal. 20º - 5.1º horizontal. 14º - 3.5º vertical.
Maximum Aperture top f/4.5-5.6.
Caps top New 77mm Canon pinch-type front cap and standard EOS rear cap.
Hood top Canon ET-83D hood. enlarge. The plastic bayonet ET-83D hood is included. It has a hole with a little slide, here shown half open, to make it easier to adjust polarizers.
Tripod Collar & Foot top The collar is permanently attached, however the foot comes off.
Case top
Zippered and velcro closing padded LZ1326 case included. This is a very useful sturdy padded case. You can use the double-handled zipper for solid closing, and once open, there's velcro on the top for shot-to-shot open and closing. Bravo!
Size top 3.7" (94 mm) diameter x 7.6" (193 mm), when set to 100mm. Gets much longer when set to 400mm.
Weight top Actual Measurements 56.998 oz. (1,615.8 g) with tripod foot. 54.680 oz. (1,550.1 g) without foot.
Canon's Specifications 57.9 oz. (1,640 g) with foot. 55.4 oz. (1,570 g), foot removed.
Announced top 11 November 2014.
Promised top For December 2014.
Shipping Since top December 2014.
Canon Model Number top EF100-400LIS2.
Canon Product Code top 9524B002 (9522B001 in Japan).
JAN Code top 4549292-010350.
Includes top Lens. Caps. Tripod Collar with removable foot.
Price, U. S. A. specifications topApril 2024$2,399 at Adorama, at Amazon, at B&H and at Crutchfield. About $1,270 used if you know How to Win at eBay.
November 2023$2,399 at Adorama, at Amazon, at B&H and at Crutchfield. About $1,200 used if you know How to Win at eBay.
February 2023$2,199 at Adorama, at Amazon and at B&H. About $1,200 used if you know How to Win at eBay.
September 2022$2,399 at Adorama, at Amazon, at B&H or at Crutchfield. About $1,450 used if you know How to Win at eBay.
January ~ August 2022$2,399 new at Adorama, at Amazon, at B&H or at Crutchfield. About $1,500 used if you know How to Win at eBay.
December 2021$2,399 new at Adorama, at Amazon, at B&H or at Crutchfield. About $1,600 used if you know How to Win at eBay.
November 2020$2,399 new at Adorama, at Amazon, at B&H or at Crutchfield. About $1,400 used if you know How to Win at eBay.
October 2020Canon raised the price to make it less attractive versus the more expensive RF 100-500mm: $2,399 new at Adorama, at B&H or at Crutchfield. About $1,500 used if you know How to Win at eBay.
$2,199, June 2020. $1,799, July~November 2019. $1,899, July 2018. $2,049, January 2017. $1,649 after rebate, Christmas 2016. $1,899, December 2016. $1,999, October 2016. $2,100, January 2016. $2,200, August 2015. $2,200, at introduction in November 2014. 300,000 yen, January 2015.
Performance top Sample Images Intro Specs Performance Compared Usage Recommendations
Overall Autofocus Bokeh Color Distortion Ergonomics Falloff Filters Focus Breathing Macro Max & Min Apertures Mechanics Sunstars Teleconverters Zooming
I got mine at Adorama; I'd also get it at Amazon, at B&H or at Crutchfield, or used at eBay if you know How to Win at eBay.
Overall performance top The Canon 100-400mm II is fantastic. It feels great, and the images are superb — even without a lens profile. It's ultra-sharp as was its predecessor, but what really stands out are its insanely fast and close autofocus, even with a 1.4x teleconverter. Like many close-focussing telephoto zooms, it isn't really 400mm at close distances due to an optical trick. It is 400mm at long distances where we need it.
Focus performance top Katie hits one while she's in the air, 27 October 2016. (Canon 1DX Mk II, Canon 100-400mm L IS II at 214mm, f/5 at 1/1,000 at Auto ISO 1,250, Perfectly Clear.) bigger. AF is fast, silent and accurate.
AF Speed Autofocus is essentially instantaneous, even from very close to very far. It's the fastest focusing telephoto I've ever used!
Auto/Manual Switching Just grab the focus ring anytime for instant manual-focus override. To lock it into manual mode, move the switch on the lens.
Bokeh performance top Bokeh, the quality of out-of-focus areas as opposed to the degree of defocus, is great. Backgrounds get very soft and never distract. That's why long teles lenses are a top pro choice for portrait lenses. Here are full-frame samples shot wide open from headshot distance. Click any to enlarge:
Color Rendition performance top The color balance of this 100-400 seems the same as my other Canon EF lenses. No news here.
Distortion performance top The Canon 100-400 II has little to no visible distortion. In the lab, it has moderate barrel distortion at 100mm, none at 135m and moderate pincushion distortion from 200 to 400mm. For more critical use, use these values in Photoshop's Lens Distortion tool to remove the distortion. These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
© 2015 KenRockwell.com. All rights reserved.
Ergonomics performance top Canon EF 100-400mm II at 180mm. bigger. Ergonomics are great. This big, fat lens handles super fast. Zooming is a dream; just turn the ring and it moves smoothly, even if pointed up or down. It won't creep, even if pointed straight up or down! The only thing that feels slightly weird is how the focus ring changes diameter towards the rear of the lens.
Falloff (darkened corners) performance top Falloff is negligible, even without a profile. In a DSLR with an automatic correction profile like the 7D Mk II, 6D, 5D Mk III and 1DX, the falloff is completely invisible. I've greatly exaggerated the falloff by shooting a flat gray target and presenting it against a gray background:
Filters, Use with performance top There's no problem with vignetting even with a stack of several filters. There's no need for thin filters; regular thick and rotating filters work great.
Focus Breathing performance top Focus breathing (the image changing size as focused) is mostly of interest to cinematographers who don't want the image changing size ("breathing") as the lens is focused among different subjects. There is only the slightest bit of breathing. The image gets a little bit smaller as focussed more closely.
Flare & Ghosts performance top There's no problem with flare or ghosts. Only if you really push it and use a filter might you get a slight green blob in the darkest part of the image, but you're never going to see this in actual use.
Lateral Color Fringes performance top There are nearly no color fringes, even without a lens profile. There's none at 400mm, and only the slightest green-magenta at the 100mm end. This is excellent performance; no profile needed. With a profile, these will go away completely.
Macro performance top Macro gets close. Here's what you get on full-frame at three feet (1m) at 400mm. The dark corners at the top aren't vignetting; they're the ends of my table: Longines 23ZS at close-focus distance at 400mm at f/5.6. bigger or full-resolution.
Crop from above at 100%. bigger or full-resolution. If this is about 6" (15cm) on your screen, printing the complete image at this same high magnification would result in a 20 x 20" (50 x 75 cm) print! If this is about 12" (30cm) on your screen, printing the complete image at this same high magnification would result in a 40 x 60" (100 x 150 cm) print! This is super-sharp, and this is wide-open at f/5.6. Stop down and it ought to get even better. What look like chromatic problems are actually caused by the plastic watch crystal, and what looks like noise is the surface of the 60-year-old wristwatch. Also here we are seeing the vapor-thin depth of field we always get at macro distances with every lens. Only parts of the watch face are in focus; the hands are closer and out of focus!
Maximum and Minimum Apertures top
Mechanics performance top Rear, Canon 100-400 II. enlarge. The Canon 100-400 II is mostly metal. It's a real pro lens.
Filter Threads Anodized aluminum.
Hood Mount Anodized aluminum.
Front Barrel Plastic.
Identity Painted on the (plastic) front extension of the zoom ring, forward of the red L ring.
Zoom Ring Rubber-covered metal.
Zoom Cams Feel like metal.
Zoom Index Plastic.
Zoom Stiffness Control Ring Metal.
Focus Ring Metal, rubber covered.
Internals Metal and plastic.
Tripod Collar Metal. Bottom part is removable.
Rear Barrel (section with switches and focus distance window) Metal.
Switches Plastic.
Moisture seal at mount Yes.
Mount Chromed metal.
Markings Paint.
Serial Number Engraved into metal lens barrel near mount. Filled with black paint.
Date Code None found.
Noises When Shaken Very mild clunking.
Made in Japan.
Sharpness performance top Image sharpness depends more on you than your lens, and lens sharpness doesn't mean much to good photographers. It's the least skilled hobbyists who waste the most time blaming fuzzy pictures on their lenses, while real shooters know that few photos ever use all the sharpness of which their lenses are capable due to subject motion and the fact that real subjects are rarely perfectly flat. This Canon 100-400 is extremely sharp throughout all of the full frame image at every setting. If you're not getting sharp images, you're doing something wrong. It's super-sharp wide open, and diffraction will dull the image at the smallest apertures. Even better than sharp, it's sharp even with teleconverters. I shoot it with the 1.4x, and it's great. You can see that Canon has even published MTF curves with the 1.4x and 2x extenders:
Canon's specified MTF curves:
Stabilization performance top Optical Image Stabilization (OIS, IS or VR (Vibration Reduction)) is wonderful,adding about four stops of real-world improvement and letting me hand-hold at very slow speeds even at 400mm. It's much better than in the previous 100-400mm. My 45 MP EOS R5 adds in-camera stabilization, and also adds more resolution, making any slight blur more visible than in my 22 MP 5D Mk III shots further below. "Percent Perfectly Sharp Shots" are the percentage of frames with 100% perfect tripod-equivalent sharpness I get when I'm shooting hand-held while free-standing with no support or bracing. Hand tremor is a random occurrence, so at marginal speeds some frames will be perfectly sharp while others will be in various stages of blur — all at the same shutter speed. This rates what percentage of shots are perfectly sharp, not how sharp are all the frames:
At 100mm on my 45MP stabilized EOS R5
I see a four-stop real-world improvement.
At 200mm on my 45MP stabilized EOS R5
I see a three to four-stop stop real-world improvement
At 200mm on my 24MP stabilized EOS R3
I see only about a two-stop real-world improvement.
At 400mm on my 45MP stabilized EOS R5
I see a 4½-stop real-world improvement, which is spectacular.
Here's a hand-held shot at 1/15 on my Canon 5D Mk III: Christmas Tree, 20 December 2014. (Canon 5D Mk III at ISO 1,600, Canon EF 100-400mm L IS II at 124mm, f/4.5 at 1/13 hand-held, Perfectly Clear V2.) bigger. I get consistently sharp shots at 400mm at 1/15 on my Canon 5D Mk III. It doesn't get better than this. Palm, 21 December 2014. (Canon 5D Mk III at ISO 100, Canon EF 100-400mm L IS II at 400mm, f/22 at 1/15 hand-held, Perfectly Clear V2.) bigger or full-resolution. In this shot, the reason it's this soft is because diffraction is dulling it at f/22.
Sunstars performance top Best-case sunstar, f/36 at 1/15 hand-held at 227mm. bigger. With its 9-bladed rounded diaphragm, this Canon 100-400mm L IS doesn't usually make sunstars. The diaphragm becomes straight-sided from about f/16, but we need to stop down to f/36 to get much of anything. The good news is that IS lets us hand-hold at f/36 quite well.
Teleconverters performance top The Moon as seen from Yosemite Valley, October 2018, 7:17 P.M. Canon EOS R, Canon 100-400mm L IS II with Canon EF Extender 2x II and Canon EF Extender 1.4x II at 1,040mm total, f/16 hand-held at 1/50 at Auto ISO 400, Perfectly Clear v3.6. See this crazy rig that actually works hand-held. bigger.
Moon Behind Pines Atop Sentinel Rock, Yosemite National Park, 8:56:32 P.M., 16 October 2021. Canon EOS R5, EF 100-400mm IS L II at 400mm wide-open at f/5.6 on EF 2× extender II (800mm actual focal length and f/11 actual resulting aperture) on EF to RF adapter at 1/200 at ISO 1,600 (LV 10.6), cropped a bit but otherwise as shot, split-toned print. bigger or fit-to-screen.
Extenders on Mirrorless teleconverters performance topIt works great, even with two stacked extenders, on Canon's full-frame mirrorless cameras with an EF Lens Adapter. It has fast, full-frame autofocus even with both my 1.4x II and 2x II extenders at the same time! This is a 280‑1,120mm f/12.6‑16 equivalent, and is easily hand-holdable! This is because the AF sensors are on the image sensor, not buried deep inside a DSLR, so they see what the sensor sees and just work. With a DSLR, only the center AF sensor works at all with the 2x converter, and there is no AF on a DSLR when using both converters at the same time with the 100-400. The one gotcha has always been that while Canon Mirrorless easily records the lens and teleconverter used, and reports the true f/stop (T stop) and effective focal lengths with teleconverters, when you use the 1.4x II and 2x IIconverters at the same time it only calculates the effects of the 2x converter - but the pictures still look great and AF is still fast and sure. The -III extenders don't stack. Using full-frame mirrorless cameras with an EF Lens Adapter completely changes the rulebook. Teleconverters work great with no slowing of AF performance and focus out to the edges!
Canon 100‑400L IS II, 1.4x and 2x converters, EF Lens Adapter and EOS R. bigger.
Borrowed Solar Filter on EF 100-400mm L II IS USM on EF TC 2× II extender on EF TC 1.4× II extender on EF to RF Ring adapter on EOS R6 II on Nikon AH-5 Tripod Adapter on Manfrotto 410 (née Bogen 3275) Geared Head on my original 1995 Gitzo M1228 Mountaineer Carbon-Fibre Tripod. bigger. I used this rig for my eclipse photo.
Extender 1.4× on DSLRs teleconverters performance topPerformance is excellent with the Canon EF Extender 1.4× II. It's sharp, and focuses extremely well. Since the combination is only f/8, only the center AF area in my 5D Mk III and 7D Mk II work, but boy do they work well! Neither will let me select any of the other AF points. Stone. Canon 5D Mk III at ISO 100, Canon 100-400mm IS L II with Canon EF Extender 1.4x II, 560mm at f/8 (wide open) at 1/400 hand-held, Perfectly Clear V2, no lens profile used. bigger or full-Resolution.
Plant. Canon 5D Mk III at ISO 100, Canon 100-400mm IS L II with Canon EF Extender 1.4x II, 560mm at f/8 (wide open) at 1/320 hand-held, Perfectly Clear V2, no lens profile used. bigger.
Extender 2× on DSLRs teleconverters performance topThere is no autofocus with my Canon EF Extender 2× II on the 5D Mk III and 7D Mk II because the combination becomes f/11. Everything else works great and of course manual focus, IS and Live View work great, but I haven't shot any samples.
Zooming performance top Zooming is a breeze. It's smooth, well-spaced, precise and fast. There is a drag control, marked SMOOTH—TIGHT so you can make it as easy or stiff as you like. I leave mine at SMOOTH for easy zooming, but it will extend towards 400mm as I walk around with a camera and this lens pointing down around my neck. My 100-400 II holds focus very well as zoomed. Don't ever get one at retail because Canon does not seal its boxes, so you have no way of knowing if you're getting someone else's return or one that was dropped. They have to be well adjusted for the focus to hold as you zoom.
Compared top Sample Images Intro Specs Performance Compared Usage Recommendations
Best 80-400mm & 100-400mm Lenses Compared.
I got mine at Adorama; I'd also get it at Amazon, at B&H or at Crutchfield, or used at eBay if you know How to Win at eBay. Versus the RF 100-500mm L ISThe RF 100-500mm L IS is more expensive and more plasticy. Both are optically superb, however the RF 100-500mm L IS can't work set to shorter than 300mm when used on an extender, while this EF 100-400mm L IS II works throughout its entire zoom range, and the original EF and EF II extenders can be stacked! The EF 100-400mm L IS II is a brilliant lens that sells for much less and works magnificently with an EF to RF adapter ring on mirrorless cameras. The EF 100-400mm L IS II is just as sharp and focuses just as close and just as fast, and works great with the EF 1.4× and EF 2× extenders. The 100-500mm weighs less. The EF 100-400mm L IS II is made with a lot more metal and feels much tougher, but weighs as much with no foot as the RF 100-500mm weighs with its tripod collar.
Versus the Original EF 100-400mm L ISCanon EF 100-400mm L IS USM. The original Canon 100-400mm L IS USM also has superb optics, but is a push-pull zoom. This new -II lens adds much closer and faster focusing, much better image stabilization and updates to a rotary zoom ring. This II lens has extremely fast autofocus, and it's still fast even with a 1.4x extender. This new lens also has dirt and fingerprint resistant fluorine coatings on the outside, and "Air Sphere Coatings" on the inside to reduce flare. The new hood also has a hole to make it easier to adjust polarizers. Close focus alone is enough reason to prefer this new lens, and improved stabilization is also very welcome. The original Canon 100-400mm L IS was among Canon's first lenses with stabilization, and while stunning in the 1990s, is nowhere near as good as Canon's newer lenses. The improved IS of this new lens is also a huge reason to get it for us who hand-hold everything; the old lens was only sharp down to 1/60 hand-held at 400mm and this new lens is hand-holdable much slower. The original Canon 100-400mm L IS costs much less today new or used, and also has superb optics. If you use this lens often you'll prefer this newer lens for its closer and faster focus, zoom ring and improved IS to allow hand-holding at much slower speeds, but if all you want are superb long-range optics, either is wonderful. See also Is It Worth It.
* elements/groups.
More Comparison Charts
Usage top Sample Images Intro Specs Performance Compared Usage Recommendations
I got mine at Adorama; I'd also get it at Amazon, at B&H or at Crutchfield, or used at eBay if you know How to Win at eBay.
Teleconverters and Tele-ExtendersSee my Teleconverters section above.
Canon 100-400 II. enlarge.
Controls, Canon 100-400 II. bigger. Zoom Drag Control (SMOOTH — TIGHT) The SMOOTH — TIGHT control sets the zoom drag. I leave mine at SMOOTH, which means loose. If your lens flops out on you while carried around your neck, set it more towards TIGHT. Unlike amateur lenses with locks, you're never locked into one setting if a photo opportunity appears and you're set to TIGHT. It's stiffer in TIGHT, not locked.
Focus RangesUse the FULL setting. If you're shooting far-away objects and are having a problem with the lens getting confused and trying to focus on close objects, the 3m - ∞ setting will prevent the lens from trying to focus any closer than 10 feet (3 meters). AF - MF Use AF, in which setting you may grab the ring for instant manual override. The MF setting is only for if you want to lock-out autofocus.
Image StabilizationI'd leave it ON all the time, except for time exposures on a tripod. MODE 1 is normal. MODE 2 is for panning. MODE 3 is the same as MODE 1, but only active while exposing; it won't stabilize the viewfinder image.
Recommendations top Sample Images Intro Specs Performance Compared Usage Recommendations I got mine at Adorama; I'd also get it at Amazon, at B&H or at Crutchfield, or used at eBay if you know How to Win at eBay. This is the lens for professional hand-held general-purpose nature and wildlife shooting. If you're taking an African safari, this is your lens. It's also wonderful for portraits, with a long zoom range that will blow-out backgrounds better at 400mm at f/5.6 than a 200mm will at f/2.8 (focal length is far more important to selective focus than aperture). This is a better lens than any 70-200 for nature and landscape work because it now focuses even closer and faster than the 70-200s. We lose very little on the short end, and gain double on the long end. Since you probably have a zoom that goes to 70 or 105mm anyway, you don't need the 70-100mm range of the 70-200, and everyone will use the 200-400mm extra range of this 100-400mm lens. Get a 70-200mm if you're shooting action in low light, but with the super high ISOs of digital, my 70-200 just got booted out of my bag in exchange for this lens. I will use the extra 200-400mm range of this lens, and don't need the 70-100mm range of the 70-200. See also Assembling a System. The only reason for the old f/2.8 lenses is for shooting indoor sports. Otherwise, the added reach and closer focus of this new lens replaces the 70-200. Especially for portraits, the 400mm end gives even softer backgrounds than a 200mm f/2.8. If you think you want one, get it. You'll LOVE it! I have a friend who's owned one of the original versions for years leading safaris in Africa, and we have his images on our walls. They look fantastic! This new lens makes it even easier to get great results. I leave the hood at home; I use my hand to block the sun if needed and otherwise don't get any benefit from carrying the little hood. I use a clear (UV) protective filter instead of a cap (exactly like an iPhone) so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either. The best protective filter is the relatively indestructible 77mm Hoya multicoated HD3 UV which uses hardened glass and has special coatings that really do repel dirt and fingerprints. For less money, the the B+W multicoated 010 MRC is an excellent filter, as is the 77mm Nikon Clear (NC - UV), the 77mm Canon PROTECT and the basic multicoated 77mm Hoya UV filter, but the Hoya HD3 is the toughest and the best. If I was working in nasty, dirty areas and don't want to spring for the HD3 filter, I'd use a plain glass (uncoated) 77mm Tiffen UV filter instead. Plain glass filters are much easier to clean with soap and water or Windex out in the field, but more prone to ghosting. Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt, and will outlast this lens. For color slides like Fuji Velvia 50, I use a 77mm Nikon A2 outdoors. For B&W film outdoors, I'd use a 77mm Nikon Y48 or O56 filter, or a 77mm Hoya HMC Yellow K2 or 77mm orange filter. Use a yellow filter for normal results outdoors on B&W, and I prefer the orange for stronger clouds. If you use no filter the skies and clouds will be washed-out because B&W film is overly sensitive to blue and ultra-violet light; a yellow filter gives a natural rendition. A 77mm red filter will give darker skies with even more prominent clouds. More at How to Use Filters for B&W photos. All these filters are just as sharp and take the same pictures, the difference is how much abuse they'll take and stay clean and stay in one piece. Since filters last a lifetime or more, there's no reason not to buy the best as it will last you for the next 40 years. Filters aren't throwaways like digital cameras which we replace every few years, like it or not. I'm still using filters I bought back in the 1970s!
I got mine at Adorama; I'd also get it at Amazon, at B&H or at Crutchfield, or used at eBay if you know How to Win at eBay.
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