Canon EF 24-105mm f/4L USM Review
Canon EF 24-105mm f/4L USM Review: The Lens That Taught Me What Sharp Actually Means
The golden hour light was fading fast over Buttermere, and I had about fifteen minutes before the alpenglow disappeared completely from the high fells. Problem was, I couldn’t decide on a composition. The wide view at 24mm captured the entire valley with its perfect mirror reflection, but zooming to 70mm isolated the dramatic ridge line of Haystacks beautifully, and at 105mm I could pick out the individual crags where Wainwright himself used to scramble. Three completely different shots, all equally compelling, all requiring different focal lengths. Thank goodness for the Canon EF 24-105mm f/4L USM mounted on my Canon 60D – instead of agonising over which prime to choose and potentially missing the light entirely, I could fine-tune each composition in real time, chasing that perfect moment as the last rays caught the fellsides.
- For high-quality images that impress
- Extended zoom range with constant maximum aperture
- Stay sharp even in low light. Diagonal angle of view: 84°00′ – 23° 20′
That’s the thing about this lens – it’s been my photographic education condensed into 670 grams of Japanese engineering. Not because it’s perfect (it isn’t), or because it’s the sharpest glass Canon makes (definitely isn’t), but because it’s the lens that taught me the difference between taking photographs and making them.
From Argos Special to L-Series Reality
I couldn’t wait to upgrade my lenses. Coming from a budget setup with a £90 Argos 50mm (don’t judge – we all start somewhere), I was desperate to see what proper glass could do. That cheap 50mm was my introduction to photography, and whilst it did the job, it was plasticky, the autofocus hunted constantly, and calling the image quality “soft” would be generous. But it was all I could afford, and it got me hooked on capturing the English countryside.
The 24-105mm was my first proper L-series lens, purchased about eleven years ago from eBay for £320. The seller was honest about some minor dust spots inside (which I’ve genuinely never noticed in actual use), and the exterior showed proper wear from a working photographer’s kit. I was buzzing to see what all the fuss was about with L-series glass.
The difference was absolutely night and day. Suddenly I had a lens that actually worked in challenging conditions, that focused exactly where I pointed it, and that produced images with genuine contrast and sharpness. It was a revelation – this is what photography was supposed to feel like when the gear wasn’t fighting you every step of the way.
- Extended zoom range with constant maximum aperture
- Stay sharp even in low light
What Makes This Lens Special
The zoom range is genuinely practical. That 24-105mm spread covers the vast majority of landscape photography situations I actually encounter. Wide enough at 24mm for sweeping Lake District vistas, long enough at 105mm for picking out distant peaks or isolating interesting details. It’s not the most exotic range, but it’s useful in a way that more extreme zooms often aren’t.
Build quality that laughs at abuse. This is L-series glass, which means weather sealing that actually works and construction that borders on indestructible. I’ve used it in proper Lake District weather – the kind where you can’t tell if it’s raining, snowing, or just generally damp – and it’s never missed a beat. After eleven years of abuse, this lens has been dropped down scree slopes, kicked accidentally during tent packing, and generally treated like the workhorse it is. I’m genuinely surprised I can still thread a filter onto it, never mind that the focus still works perfectly. The metal construction feels reassuring, and the smooth focus ring makes manual adjustments a pleasure.
Image stabilisation that actually matters. Canon’s IS system gives you roughly 2-3 stops of stabilisation, which means I can often shoot handheld at 1/30th second or slower when the light starts to fade. Perfect for those golden hour shots when you don’t want to faff about setting up the Benro Tortoise tripod, or when you’re somewhere precarious where a tripod simply isn’t practical.
Autofocus that works when it matters. Coming from that budget 50mm, this was the biggest revelation. Even in challenging conditions – low light, low contrast subjects, moving between vastly different focal distances – this lens locks focus quickly and confidently. The USM motor is virtually silent too, which matters when you’re trying not to wake your tent neighbour at 5am for sunrise shots.
Colour and contrast that actually pops. This is where the L-series pedigree really shows. Even wide open at f/4, the images have that distinctive Canon look – rich colours, good contrast, and pleasing tonality that makes post-processing a joy rather than a rescue mission.
Filter compatibility that just works. The 77mm filter thread takes my Lee Filters LEE100 system perfectly, and there’s no vignetting even with the full stack. The front element doesn’t rotate during focus either, which means my carefully positioned polariser stays exactly where I set it.
Weight that’s actually reasonable. At 670g, it’s not exactly lightweight, but it’s considerably lighter than carrying multiple primes plus the inevitable lens-changing faff. When every gram counts on a multi-day wild camp with the MSR Access 2 tent and Rab Mythic 600 sleeping bag, that matters.
The Honest Limitations
- Extended zoom range with constant maximum aperture
- Stay sharp even in low light
But more than that, it gave me the focal length range to actually learn composition on the Canon 60D. With the 50mm, I was stuck with one perspective – I had to physically move to change the shot. The 24-105mm let me explore different framings from the same position, understanding how focal length affects not just what’s in the frame, but how the elements relate to each other. It was like having a photography course built into a single lens.
f/4 isn’t exactly fast. That constant f/4 aperture is perfectly usable for landscape work, but there are times when I miss the extra stop of light. Not so much for depth of field control (I’m usually shooting at f/8-11 anyway), but for those marginal handheld situations when every bit of shutter speed helps.
Corner sharpness takes a hit wide open. At 24mm and f/4, the corners are noticeably softer than the centre. It’s not terrible, and it improves significantly when stopped down to f/5.6-8, but it’s worth knowing if you’re planning to make large prints or crop heavily.
The lens hood feels cheap. For a lens that costs serious money, the plastic lens hood feels flimsy and cheap. I’ve already cracked mine during a particularly graceless scramble, and the £35 replacement cost seems steep for what’s essentially a shaped piece of plastic.
Chromatic aberration can be noticeable. High-contrast situations – bright sky against dark rock faces – can show purple fringing around the edges. It’s easily corrected in Lightroom, but it’s there if you look for it.
The zoom ring can be stiff in cold weather. During winter photography sessions, the internal lubrication seems to thicken, making zoom adjustments require more effort. Not a deal-breaker, but worth warming the lens up before heading out in freezing conditions.
Real-World Performance Through the Seasons
Spring awakenings in the Lake District: This is where the lens really proves its worth. The changeable weather means you need to be ready for anything, and the 24-105mm range covers everything from wide shots of the fells emerging from winter to tighter compositions of early wildflowers. I’ve used it extensively around Buttermere and Crummock Water, where the ability to quickly switch from a wide valley view to a tighter shot of the opposing fells is invaluable.
During one particularly memorable morning at Ashness Bridge, the light was changing by the minute as clouds raced across the sky. Having the flexibility to compose wide at 24mm to capture the bridge in its full context, then zoom to 70mm to isolate just the bridge and Skiddaw beyond, then out to 105mm to pick out detail in the distant fell tops, all without changing lenses, meant I could concentrate on capturing the light rather than fighting my kit.
Summer hiking and wild camping: The lens proved its worth during a three-day wild camping trip in the Yorkshire Dales. Weight is always a consideration when you’re carrying everything on your back, and the single zoom versus multiple primes debate becomes very real when you’re slogging up to Pen-y-ghent with the MSR Access 2 tent, Rab Mythic 600 sleeping bag, and Therm-a-Rest NeoAir XTherm sleeping mat already adding significant weight to the Lowepro PhotoSport Backpack PRO 70L AW III.
The 24-105mm handled everything from wide shots of the limestone pavement to tighter compositions of the distinctive dry stone walls. The weather sealing was tested during an unexpected thunderstorm on the second day – whilst I was safely tucked up in the tent, the camera and lens had taken a proper soaking during the scramble for shelter. No issues whatsoever, and the lens performed flawlessly for the rest of the trip.
Autumn colour in the Lakes: This is perhaps where the lens’s colour rendition really excels. The rich golds and reds of autumn foliage seem to have extra saturation and depth when shot with this lens. I spent a glorious October afternoon around Tarn Hows, constantly zooming between wide contextual shots and tighter compositions of individual trees. The ability to fine-tune the composition without moving position was perfect for capturing the fleeting light as it moved across the fell sides.
One particular shot that stands out was taken at 85mm – a perfect medium telephoto perspective that isolated a single rowan tree against the dark backdrop of Coniston Old Man. The bokeh at f/4 was smooth and pleasing, though not quite as creamy as you’d get from faster primes.
Winter mountain photography: The real test came during a particularly harsh February weekend on Scafell Pike. Temperature dropped to -8°C with brutal wind chill, and I was wearing full winter kit including the Rab Mythic Ultra Down Jacket, Rab Argon Pants, and Rab Baltoro Gloves. Changing lenses in those conditions would have been genuinely dangerous – exposed fingers lose dexterity quickly in that cold, and dropping a lens cap could ruin the entire shoot.
The 24-105mm handled everything from wide shots of the snow-covered Lake District peaks to telephoto details of ice formations. The image stabilisation was crucial for the handheld shots, as setting up the tripod required removing gloves, which wasn’t always practical. The weather sealing dealt with everything Mother Nature threw at it, including a proper blizzard on the descent.
How It Fits My Complete System
This lens has become the default choice for day hikes and situations where I need to travel light. Originally paired with the Canon 60D and now with my Canon 5D Mark IV, it covers about 80% of the shots I actually take, leaving the specialist primes for specific situations where I need that extra stop of light or ultimate optical quality.
The 77mm filter thread means it shares filters with several other lenses in my kit, which simplifies the system considerably. My Lee Filters LEE100 Deluxe Kit Plus works perfectly, and I can use the same 0.6ND Medium Grad, 0.9ND Hard Grad, and 1.2ND Medium Grad filters across multiple lenses. The MindShift Gear Filter Hive keeps everything organised and protected.
Storage wise, it fits comfortably in the main camera compartment, either attached to the camera body or separately in the padded dividers. The GearUp PRO XL camera insert provides excellent protection, and the lens hood reverses neatly to save space.
For clothing integration, the lens works well with the layering system I’ve developed over the years. Even wearing the bulky Rab Cinder Downpour Jacket over the Rab Geon Pull-On fleece, the camera controls remain accessible, and the weight distribution doesn’t throw off the balance of the pack when worn with the Mountain Equipment Ibex Mountain Pants and proper hiking boots.
The Jetboil Flash cooking system and other camp essentials still leave room for the camera kit, and the whole setup works whether I’m day hiking from the car or wild camping for multiple days.
Alternatives Worth Considering
Canon EF 24-70mm f/2.8L II USM (£1,200-1,400): The obvious upgrade if you need that extra stop of light. Significantly sharper across the frame, better build quality, and that faster aperture makes a real difference in challenging light. However, it’s considerably heavier (805g vs 670g), much more expensive, and you lose the useful 70-105mm range. I’ve used this lens, and whilst the image quality is noticeably better, the weight penalty and price premium are hard to justify for landscape photography.
- High-speed AF with optimized lens coatings
- Highly resistant to dust and water droplets
- Min. focusing distance of 0.38m at all focal lengths
Canon EF 24-70mm f/4L IS USM (£400-500): A more direct competitor that’s actually lighter (600g) and often cheaper used. The image stabilisation is similar, and the build quality is comparable. However, you lose that extra 35mm of reach, which I’ve found more useful than expected for picking out distant details. If you primarily shoot wider landscapes, this could be better, but the 24-105mm range wins for versatility.
- Versatile 24-70mm zoom range.
- All-new optical design
- Ultra-low dispersion (UD) and super UD elements
Tamron 24-70mm f/2.8 G2 (£800-900): Third-party option that offers f/2.8 throughout the range at a significant saving over the Canon equivalent. Image quality is supposed to be excellent, and the build quality has improved dramatically. However, it’s heavier, the 24-70mm range is more limiting for landscapes, and I’ve heard mixed reports about long-term reliability in harsh conditions.
- Builds upon the success of the original and much acclaimed SP 24-70mm VC USD A007
- State of the art CIPA certified image stabilisation level of 5 stops
- eBAND and BBAR coatings further improve light transmission and suppress internal reflections
Canon RF 24-105mm f/4L IS USM (£900-1,000): The mirrorless version for Canon’s R-series cameras. Optically superior to the EF version, with better image stabilisation and overall performance. However, it requires the newer RF mount cameras, which means a complete system change. Given that I’m more interested in jumping to Sony than staying with Canon, this isn’t really on my radar.
- Compact, high-quality Lens with broad zoom range for the EOS R system
- Bright, constant f/4.0 zoom Lens
- First L-Series Lens with Nano USM
Sigma 24-105mm f/4 DG OS HSM Art (£600-700): The third-party alternative that’s often compared directly to the Canon. Supposedly sharper in the corners and with better distortion control. However, it’s significantly heavier (885g), the focus can be less reliable in challenging conditions, and the weather sealing isn’t quite as robust. For fair-weather shooting, it might be superior, but for the conditions I shoot in, the Canon’s reliability wins.
- High quality FLD, SLD and Moulded Ashperic optics
- Optical Stabilisation
- High speed and near silent autofocusing
The Honest Verdict
After eleven years of proper use – and by proper use, I mean English winters, Lake District deluges, and Yorkshire Dales scrambles – the Canon EF 24-105mm f/4L USM has been my photographic education made manifest. It’s the lens that taught me composition, showed me what sharp actually looks like, and proved that sometimes the best lens is the one that’s always ready when the light gets good.
It’s not the sharpest lens in the bag, it’s not the fastest, and it’s certainly not the lightest, but it’s the one that’s most likely to get the shot when conditions are challenging and changing fast. The image quality is more than good enough for large prints and professional use, the build quality has proved virtually indestructible, and the versatility of the zoom range covers the vast majority of landscape photography situations.
Would I buy it again? Probably not, if I’m being honest. After eleven years of solid service, it’s been a brilliant lens that’s earned its keep many times over. However, I’m starting to pick up more wedding photography work, which means I need something razor-sharp like an 85mm prime for those critical portrait shots. Plus, I’m seriously considering jumping ship to Sony – possibly the A7R V – for the better low-light performance and those incredible mirrorless lenses. The 24-105mm has served me well, but when you’re being paid to deliver pin-sharp images and your needs are evolving, it might be time to move on from the trusty old Canon system entirely.
But for anyone starting their journey into serious landscape photography, looking for their first L-series lens, or needing a reliable workhorse that’ll handle whatever English weather throws at it, this lens remains an excellent choice. It’s taught me everything I know about focal length, composition, and what professional glass can actually do. Not bad for something that’s been to hell and back and still focuses perfectly eleven years on.
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