Used Canon 24-105 f4 L: first or second version, which is better

The Canon EF 24-105mm f/4L IS USM is the zoom that for ten years was included in the kit with the 5D Mark II, 5D Mark III, and 6D. For this reason, it is one of the lenses we most often see coming back in trade-in: those switching to mirrorless often change their zoom as well, and the used market is left with many copies of the first version, many of which have ten to fifteen years of work behind them. The second version, released in 2016, costs about twice as much, and the question we are always asked at the counter is the same: is the difference worth it?

Here we compare the two versions using the data that matters: real edge sharpness, declared stabilizer versus actual handheld performance, weight, known defects, and current used market prices. We also look at how they perform on Canon RF mirrorless bodies with the adapter and what we check in the lab before putting a 24-105 up for sale. By the end, you will know which version makes sense for your camera body and shooting style, and in which cases neither is the right choice.

First and second version: what really changed between 2005 and 2016

Eleven years separate the two versions, but those expecting a completely new lens will be disappointed. Canon redesigned the optical scheme, updated the coatings, and reinforced the barrel. Aperture, focal length range, filter diameter, and minimum focusing distance remained the same. It is a reasoned renewal, not a revolution.

The optical design and coatings

On paper, the II has one fewer element and one more aspherical. It may seem like a minor difference, but the redesign was primarily aimed at improving edge performance at short focal lengths, which was the most noticeable limitation on the I. However, the most concrete change concerns the coatings.

• ASC: It is a layer with microscopic air bubbles that reduces internal reflections, the ones that cause flare and ghosting when the sun enters or grazes the frame.
• Fluorine: Repels water and grease. Fingerprints and raindrops can be removed with a dry microfiber cloth, without liquids and without rubbing for long.
• 10 blades: When stopping down the aperture, out-of-focus lights remain rounder, and point light sources become 10-ray stars instead of 8-ray.

Fluorine matters more than it seems. Many early versions that reach our workshop have front elements marked by years of cleaning with tissues and sweater hems. Fluorine does not make the glass indestructible, but it greatly reduces the need for rubbing.

Build, weight and zoom lock

The II weighs 125 g more, and after a day of wedding photography with the camera around your neck, you feel the difference. In return, the lens barrel has tighter tolerances: new copies of the II, straight out of the box, have less play between moving parts than the I models from fifteen years ago. On both, the zoom ring extends the barrel, so the structure is subjected to the same mechanical cycles.

The most practical feature is the zoom lock at 24 mm. When you carry the lens pointed downwards, on a shoulder strap, or hanging at your side, the barrel stays closed and does not slide out to 105 mm. On the I, this sliding occurs due to wear on the ring, and it is one of the first signs we check on a used copy.

Image quality: where the second version wins and where it doesn't

At the center of the frame, stopping down to f/5.6 or f/8, the two versions yield nearly identical results. Anyone comparing two files at 50 mm f/8 without knowing which lens produced them would struggle to guess. The real differences lie in a few specific points, and it is worth knowing what they are before paying double.

At 24 mm f/4 it is visible, at 70 mm f/8 it is not

The point where the II pulls ahead of the first version is the wide-angle at full aperture. At 24 mm f/4, the edges and especially the corners of the I are softer, and a couple of stops of stopping down are needed to get close to the II. From the intermediate focal lengths up, and from f/8, the gap narrows until it disappears in practice.

There are also defects that both have and that the II does not resolve:

• Vignetting at 24 mm f/4: strong on both, with visibly darker corners against a uniform sky.
• Barrel distortion at 24 mm: pronounced on both, immediately noticeable on straight lines near the edges.
• Flare and backlit performance: the II is better here, with fewer stray reflections and less contrast loss when the sun enters the frame.

Lens corrections in-camera and Lightroom profiles recover most of the vignetting and distortion on both versions. Corner softness, however, cannot be corrected: either there is detail or there isn't.

That is why the division by genre matters. If you shoot landscape and architecture, you often work at 24 mm and check the corners, so the II makes concrete sense. If you shoot portraits, reportage, events, or travel, you mostly work between 35 and 105 mm with the subject centered: you look for the difference with a magnifying glass and won't find it in print.

How important is the body resolution

The same lens reveals its limitations to varying degrees depending on the sensor behind it. The higher the pixel count, the more visible the softness at the edges becomes.

A concrete example: on a Canon EOS RP, which we currently have in stock for 600 euros, a grade I lens in good condition delivers files that hold up perfectly well at full screen and in A3 prints. On an R5 or a 5DS, the same lens wastes part of the resolution you paid for. The practical rule is this: below 30 MP, a grade II lens is only justified if you shoot a lot at 24 mm in backlit conditions; above 30 MP, it becomes the logical choice.

Stabilizer: 3 stops vs. 4 stops in practice

On paper, at 105 mm, going from 3 to 4 stops pushes the handheld shutter speed limit from 1/15 to 1/8 of a second. This is the theoretical gain of the second version over the first. However, the stated values are measured in the lab, with simulated vibrations and controlled conditions. No one shoots like that in the field. We advise customers visiting the store to subtract one stop from the rated value: the difference between the two versions remains approximately one stop.

What changes when shooting handheld

Let's start with the classic rule of thumb: a minimum shutter speed equal to 1/focal length. On high-resolution sensors, you should apply a safety margin, as micro-shake becomes visible sooner. These are the shutter speeds we consider realistic for a person standing still, without support, and with average stability:

With good technique (elbows tucked in, eye to the viewfinder, short burst) you can recover another half stop. The key point for those who have switched to mirrorless: the Canon EOS RP and the Canon EOS R do not have in-body stabilization. On these two camera bodies, the lens IS is the only help you have. The RP, with 26 MP, is the most affordable full-frame entry into the RF system and forgives a bit more on micro-movement. The R, with 30 MP and a more robust body, is where the extra stop of the II is noticeable when viewing files at 100%.

When the stabilizer isn't enough

IS compensates for hand shake, not the movement of your subject. In these three situations, having 3 or 4 stops makes no difference:

• Moving subjects: a person walking, shot at 1/15 s, will be blurry with any lens. For children, events, and street photography, shutter speeds between 1/125 and 1/250 s are required. In those cases, ISO is raised; image stabilization is irrelevant.
• Long exposures: silky water, night skies, cities after sunset. Beyond half a second, no stabilizer can hold the image steady, and a stable support is needed. On a tripod, with lenses from these generations, it is good practice to turn off the IS.
• Moving video: optical stabilization dampens fine vibrations when the camera is nearly stationary. When walking, the oscillations are too wide, and a gimbal is required.

If you mainly shoot landscape or night photography, the price difference between the first version and the II is better spent on a good tripod than on one stop of stabilization. We explained what to check before buying one in how to choose a used tripod.

The weak point of the first version: flat cable and Err 01

Almost all first-series 24-105 f/4L lenses that reach our counter with an issue suffer from the same fault. It is the flexible cable that transmits the aperture command from the camera body to the optical group. Every time you zoom, that cable bends and stretches. After a few years of reportage and tens of thousands of cycles, the internal track cracks and the signal becomes intermittent.

It is not the only sign of age. On heavily used copies, we often see zoom creep, meaning the barrel extends on its own when the lens is pointed downwards. Then there is internal dust: the extending barrel acts as a pump, drawing in air with every extension, despite the seals. Finally, there is slight lateral play on the extended section. Also keep in mind the service notice Canon issued for the very first 2005 batches, which were subject to abnormal flare. Almost all of those copies were corrected at service centers twenty years ago, but the serial number should still be checked.

The II, released in 2016, features a revised cable routing. So far, we see it coming back to the workshop much less frequently for this reason.

How the fault manifests

The fault is insidious because it initially appears only at certain focal lengths. A quick check at 24 mm may look perfectly fine even on a lens that is already compromised. Typical symptoms:

• Err 01 on the DSLR display, meaning "faulty communication between camera body and lens", often only towards 85-105 mm or only towards 24 mm.
• Overexposed photos at closed apertures: you set f/16, but the aperture stays open and the shutter count results in a white image.
• Black or nearly black photos when the aperture blades remain stuck in the closed position.
• Inconsistent exposures within the same burst, with one frame correct and the next two stops over.

The defect always worsens. An occasional Err 01 today becomes systematic within a few months of regular use.

What we do in our workshop

Every 24-105 I we put up for sale goes through a fixed procedure:

1. Bursts of certified shutter counts at 24, 35, 50, 70 and 105 mm, each at f/4 and f/22, comparing exposure under identical lighting conditions.
2. Repeated zoom cycles with a certified shutter count at f/22 during the excursion, to reveal intermittent contacts.
3. Visual inspection of the sensor when the tests leave even the slightest doubt.

If the cable shows signs of wear, we replace it before sale, without waiting for it to break. If you buy a 24-105 I elsewhere and the issue arises later, replacing the flat cable typically costs between 90 and 150 euros at an independent repair shop, including parts and labor. On a lens paid for at 300 euros, that is a significant amount, and it is worth knowing before comparing prices.

What do they cost today used, and what is the difference worth

As of October 2026, the price gap is clear. The first version can be found between €300 and €400, the II between €650 and €800, and the native RF 24-105 f/4L between €750 and €900. These are indicative prices, which vary depending on the condition of the unit and what is included in the box.

The price difference between the I and the II is around 350 euros. For that amount, you get one stop of stabilization and edge sharpness that you truly appreciate only on a 30 MP sensor or higher. If you shoot with a 26 MP EOS RP, you are mainly paying for a newer lens with less wear on its shoulders.

The price of an unrevised I

The I at €280–300 in a private listing seems like an obvious bargain. The calculation changes when the unit arrives with a failing flat, which is a concrete possibility for a lens that is 15 or 18 years old. Here is what gets added to the purchase price:

• Flat replacement: between 90 and 150 euros, covering both the part and labor.
• Internal cleaning: if there is dust between the optical groups, the cost starts at around 80 euros, as disassembly is required.
• Warranty: none. If the Err 01 appears after three months, the issue remains yours.

A €300 I with a flat lens to replace quickly adds up to €400-450, at which point it costs as much as a serviced and guaranteed unit, if not more.

A complete full-frame kit under €1,100

The Canon EOS RP currently in our catalog costs 600 euros. At 485 g, it is one of the lightest Canon full-frame bodies, and its 26 MP are more than sufficient for the I. Let's compare the two kits:

For €1,090, you get a full-frame body with a versatile zoom that covers almost everything you need for travel, events, and reportage. What you sacrifice is the perfect edge sharpness at 24mm f/4 and one stop of margin on slow shutter speeds. With the II, you spend €340 more, but on a 26 MP sensor, you will see the difference especially in 100% crops. If you put that money into a second fast lens, like a 50mm f/1.8, you gain more.

If you prefer a sturdier camera body, start with the Canon EOS R, currently available between 720 and 800 euros. It features 30 MP and a deeper grip, which better balances the weight of an adapted zoom. With the II and the adapter, the price rises to around 1,600 euros: here the II starts to make sense, as the 30 MP reveal the limitations of the I.

On Canon mirrorless: EF-EOS R adapter and APS-C bodies

Mounted with the EF-EOS R adapter, which can be found used for between 100 and 130 euros, both versions of the 24-105 work on the EOS RP and EOS R as if they were native. Dual Pixel autofocus and Eye AF function without limitations. The correction profiles for both versions are already in the camera body and activate automatically. Two things remain to be evaluated: weight and price.

EOS RP and EOS R with the adapted 24-105

The real issue is balance. The II with the adapter exceeds 900 g, while the RP weighs 485 g: the kit tilts forward, the pinky finger sticks out of the grip, and after an hour of reportage, your wrist notices. The I, at 670 g, handles it a bit better. The EOS R has a deeper grip and supports the weight with less strain.

The II adapted vs. the native RF 24-105 f/4L

If you are starting from scratch with the RF system and do not have any other EF lenses, do the math:

• II plus adapter: between 750 and 930 euros on the used market, over 900 g on the camera body.
• RF 24-105 f/4L native: between 750 and 900 euros, approx. 700 g, silent Nano USM motor and programmable control ring.

For the same price, the native version is lighter, focuses silently during video recording, and eliminates the need for an additional adapter between the camera body and the lens. The adapted II version makes sense in two cases: if you already own the adapter, or if you still use an EF DSLR alongside your mirrorless camera and want to use the same lens on both. For many, the most sensible choice remains the refurbished I version at 300-400 euros, including the adapter, which costs half as much as the native version.

Why we do not recommend the 24-105 on APS-C

On Canon APS-C, the crop factor is 1.6x: the 24-105 frames like a 38-168 mm. You lose the wide angle, which is exactly what makes it an all-rounder. Moreover, with the adapter, the lens weighs about twice as much as the camera body.

A Canon EOS R100 (ranging from 332 to 400 euros in our catalog) is a lightweight camera ideal for a first experience. The Canon EOS R50 V (540-550 euros) is designed for handheld video. For both, an RF-S lens makes more sense: the 14-30 mm power zoom for the R50 V, or an 18-150 mm if you are looking for an all-rounder. Spending 700 euros on a 24-105 L to mount it on a 400-euro body is a purchase we do not recommend, even when we have the lens in stock.

Which one to choose: the answer based on how you shoot

For most photographers who walk through our doors, the first revised version is the right purchase. The second only makes sense when the sensor or the specific genre of photography truly puts it to the test. Rather than asking which is better, consider which camera body you will mount it on and at which focal length you shoot most often.

When the first version is enough

If you have a 6D or a 5D Mark III, with 20 and 22 megapixels, the softness of the I at the corners won't show up in print. Spending twice as much for an advantage you can't see makes no sense. The same applies to those doing reportage, events, and travel: you mostly work between 35 and 105 mm, stopped down to f/5.6-f/8, and there the two versions are equivalent.

Under €400, the I is the only way to get an L zoom with this range. However, choose a unit with a certified shutter count, not the cheapest one found online. Even on a Canon EOS RP, the 26 megapixels do not justify the upgrade to the II.

When the second version pays for itself

The extra €300–400 are visible in the photos in three specific cases:

• Sensors of 30 MP and above: 5D Mark IV, 5DS, R5, but also the Canon EOS R: with its 30 megapixels, at 24 mm the corners of the I are already noticeable on screen at 100%.
• Landscape and architecture at 24 mm: here the corners are part of the composition, and the sun is often in frame. The II handles both better.
• Less years of wear: copies of the I are about ten to over twenty years old, while those of the II are at most ten. For those planning to keep it for a long time, this is a concrete argument.

What to check before buying a used 24-105

Ten minutes with the lens mounted count for more than any description in the listing. The checklist applies to both versions. On the I, some items carry more weight. You need a Canon body with an empty card, a flashlight, and a light, uniform wall.

• Zoom creep: set the zoom to 24 mm, point the lens downwards and shake it gently. If it slides on its own towards 105 mm, the ring has lost friction. On the II, there is a lock at 24 mm: the test must be done with the lock disengaged.
• Dust and fungus: illuminate with a torch from the front element and then from the rear. A few specks are not visible in photos. Branching filaments or a hazy film are fungus, and fungus can only be removed by disassembling the lens.
• Barrel play: set the zoom to 105 mm and slowly move the front part up and down. A minimal amount of play is normal. A click or a distinct shift is not.
• Stabilizer: with IS active, half-press the shutter button at 105 mm. The image in the viewfinder must stop noticeably, with a light rustling sound. If instead you hear grinding or buzzing, leave it alone.
• Switches, contacts, mount: the AF/MF and IS selectors must click sharply. The gold contacts must not have oxidation or deep scratches. Once mounted, the lens must not move on the mount.

The test you should never skip

The flatness of the aperture diaphragm is put to the test when the aperture needs to close down further. That is why the test is performed at f/22, not just at full aperture. Set aperture priority with fixed ISO values and always frame the same wall. Take certified shutter counts at 24, 35, 50, 70, and 105 mm, first at f/4 and then at f/22.

1. All shutter counts must have a similar exposure, as the camera compensates over time.
2. If a shutter count at f/22 is significantly brighter than the others, the aperture did not close at that focal length.
3. An Err 01, or a communication error with the lens on mirrorless cameras, is sufficient even at a single focal length: the sensor needs to be replaced.

Then move the zoom in and out about ten times and repeat the cycle. A flat that is failing sometimes holds up on the first pass and fails on the fifth.

Reading the date code

Close to the mount, Canon EF lenses have a small engraved code, different from the serial number. The first letter indicates the factory (U stands for Utsunomiya), the second indicates the year, and the two digits following indicate the month. For the I series, it ranges from T (2005) to Z (2011), then it restarts: A is 2012, E is 2016. The letters repeat every 26 years, but there is no doubt about this lens. On more recent copies, the code may be missing.

The code tells you the age of the lens, not how much it has been used. A 2014 copy used every weekend at weddings may have a more worn flat than a 2007 copy that stayed in a drawer. However, the age suggests what to check. On a copy with a T, U, or V letter, which is almost twenty years old, ask if the flat has ever been replaced and check if the rubber on the dials has loosened. The T units from the very first batches are also those affected by the Canon notice regarding flare, which we discussed above.

Frequently asked questions

Looking for a 24-105 f/4L or a refurbished Canon RF camera body? Let's talk

If you have doubts about a purchase or need advice for your specific case, contact us. We offer free advice because we are photographers first, and because a customer who buys the wrong gear stops shooting.

Three ways to get in touch:

• Contact form — response within 24 business hours
• WhatsApp at 342 362 3454 (messages only)
• Phone: 071 291 6347 (Mon-Fri 9-13/15-18, Sat 9-13)

And if you want to see what we have in stock right away, explore the used gear available today: every camera is certified, comes with a 2-year warranty, and ships within 24-48 hours.

Article written by Matteo for the ReflexMania Team. Last updated: October 2026. Prices and availability refer to the time of publication.