PR28mm.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-2.8-L-II-USM-Lens/Perspective-Example/R-28mm.jpg'
The 16-35 L IS gains a small amount of size and weight over the max-aperture-sharing 17-40 f/4 L, nearly matching the focal length range-sharing 16-35 L II. circular polarizer filter to really make the scene pop. Should I Get (or Use) the Canon EF 16-35mm f/2.8L III or EF 16-35mm f/4L IS USM Lens? This lens features Canon's Super Spectra Coating. It has a useful IS system that allows handholding for long exposures, and less vignetting and quality fall-off at the edges than expected. EXT35 = new Image(650, 447)
I tend to use the 24mm focal length the most for landscape photography. The 16-35 L IS controls CA (Chromatic Aberration) very well. This lens delivers impressive to-the-corner image quality at all focal lengths and apertures (until diffraction kicks in). Canon claims this version of IS gives us the ability to handhold a lens while using a shutter speed 4 stops longer than we should expect. The 16-35 f/2.8L II has the advantage of a 2x larger aperture opening, which results in less vignetting when stopped down to the 16-35 L IS lens' comparable f/4 setting. You could forgive most photographers for thinking that a 16-35mm lens would be intended for less-than-full-frame cameras. Some say that IS is not needed on wide angle lenses. Unique portrait perspectives can be fun, but don't overuse them as they get old fast – and your subjects may not be very happy with you. The retailers I recommend below are the ones I trust for my purchases. A beautiful bunch of flowers in front of a large mountain range (with a lake between them) is a good example of this concept. Click on the following image to open a comparison (in a new window) that will show the Canon EF 16-35mm f/4L IS USM Lens performing clearly superior to the Canon EF 16-35mm f/2.8L II USM Lens and comparing remarkably well
Coma causes point-of-light stars located in the peripheral image circle to stretch outward. We’ll always tell you what we find. Fast, quiet and accurate AF, including AI Servo mode AF, has been the rule for Canon's Ring USM AF implementations and I expected this lens to deliver nothing short of this performance. FL3b.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-4-L-IS-USM-Lens/Focal-Length/24mm-b.jpg'
Canon EF 16-35mm f/4L IS USM Lens
better image quality at f/2.8 than the f/4L IS does at f/4
The difference is about .2 stops over the entire focal length range at f/8. document[imgDocID].src = eval(imgObjName + '.src');
Introduction Being lighter, smaller and more accessibly priced than Canon’s high-speed models the firm’s f4 L-series are popular with professionals and amateurs alike. MTF3.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-4-L-IS-USM-Lens/MTF-17-40.png'
Corners darken by a noticeable 0.4EV at the widest setting of the lens, when used at f/4. The fit and finish are worthy of the red L ring and the looks reflect the professional use it is suitable for. PF35mm.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-2.8-L-II-USM-Lens/Perspective-Example/F-35mm.jpg'
I am seeing a small amount of CA in 16mm full frame corners, but very little at other focal lengths. PF16mm.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-2.8-L-II-USM-Lens/Perspective-Example/F-16mm.jpg'
The image quality coming from Canon's most recent L series lenses has been extremely good. Elements are treated on both faces with Super Spectra coating to reduce internal reflections – a particular problem in wideangles – and Canon has used fluorine coating on the exterior faces of the front and rear elements to discourage water and dust. This model includes Canon’s Ultra Sonic Motor (USM), with the aim of providing near-silent and extremely fast autofocus. P24mm = new Image(606, 406)
It also offers full-time manual focus and has a minimum focusing distance of 0.92 ft./0.28m across the entire zoom range. Edge sharpness remains mostly constant, but the centre is best at f/8 and 16mm. Though still shallow, the EW-88 provides some protection (including from rain) and the narrower width stores much more comfortably in your case. It is also, as illustrated above, smaller and lighter, but these differences are not big. When I received the 16-35 f/4L IS product announcement, I was excited. NHEXTMFD = new Image(1200, 411)
This isn’t the first Canon EF full-frame lens to provide viewing angles of 108°-63°, as the EF 16-35mm f/2.8 L II USM has been around for several years. It is going to see a lot of use. So, 24mm is a commonly used focal length for me. Remarkably light and narrow, the exterior gives the appearance of being coated with protective rubber, and Canon claims it is sealed against moisture and dust at all seams and joins. I asked for a Canon EF 16-50mm f/5.6L IS USM Lens. sometimes need to be done without the additional weight/bulk of a tripod. even when using a circular polarizer filter. Canon is proud of its nine-bladed aperture, which, it claims, produces the roundness of iris required for attractive out-of-focus highlights, or bokeh. FL5.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-4-L-IS-USM-Lens/Focal-Length/35mm.jpg'
This lens' measured image stabilization performance is very good, but so is the overall IS design. There is no shake in the viewfinder during startup or shutdown and I do not find myself fighting against IS even when panning rapidly. ‘Ultra’ is something of an overused word. I have them and use them, but I was never overly excited by them – until now. This effect is most prominent at f/4 and f/5.6 with greatly diminshed size and shape apparent by f/16. ),
The lens I see best competing against the 16-35mm f/4L IS from an overall quality perspective is the Canon EF 16-35mm f/2.8L III USM Lens. Basically, you can choose the wider aperture or image stabilization with a similar resulting size and weight. Canon EOS 5D Mark II from a stationary position (similar to the above focal length range example). A moderate amount of barrel distortion is present at 16mm (the amount is similar to or very slightly less than the 16-35 f/2.8L II). This is a new hood model designed specifically for this lens. FL3.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-4-L-IS-USM-Lens/Focal-Length/24mm.jpg'
This is not a small filter size, but being able to share CPOL and other filters is a great benefit – especially when hiking and/or traveling. The focal length range is not new and the max aperture in this range was already covered by another high quality lens. FL1b.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-4-L-IS-USM-Lens/Focal-Length/16mm-b.jpg'
FL4b.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-4-L-IS-USM-Lens/Focal-Length/28mm-b.jpg'
The same lenses are shown below in their fully extended states with their lens hoods in place. Absolute full frame corners are shown with the exception of the 24mm results which were cropped from very slightly inward from the corner to pick up more stars. EXT28.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-4-L-IS-USM-Lens/Canon-16-35mm-IS-Lens-28mm.jpg'
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Fast, quiet and accurate AF, including AI Servo mode AF, has been the rule for Canon's Ring USM AF implementations and I expected this lens to deliver nothing short … First, 24mm provides a great landscape perspective while remaining easy to compose with and retaining deep depth of field. EF 24-70 f/2.8L II USM Lens. PF16mm = new Image(606, 406)
After all, a focal range such as this would provide a sensible, if slightly odd, 25-56mm on an EOS EF-S APS-C body. PF35mm = new Image(606, 406)
P16mm.src = 'https://media.the-digital-picture.com/Images/Other/Canon-EF-16-35mm-f-2.8-L-II-USM-Lens/Perspective-Example/16mm.jpg'
The 16-35 L IS incorporates "Two UD elements and three aspherical elements, including one large-diameter aspherical element, have been incorporated into the optical design to minimize aberrations and
Vignetting is a feature of images taken with this lens, no matter what the focal length or aperture. With the sun in the corner of the 16mm frame, a modest amount of flare shows with narrow apertures having the most noticeable artifacts. A very slow trail-off in keeper rate ensued and with an occasional sharp image at exposures as long as an unreal 2.5 seconds (as shared above and a new record for me). I'm a big proponent of using lens hoods and I especially cringe when I see one mounted reversed on a lens that is in use. wider aperture lens can create a stronger star effect from lights in the frame. I don't see much value in adding this accessory. The properly-damped focus ring has a just-right amount of rotation (90°) for its function, though I would prefer a slightly less aggressive focus adjustment rate at 35mm for ultimate precision focusing.
Do you need/want the Canon EF 16-35mm f/4L IS USM Lens for only a short period of time? Little difference is seen between f/8 and f/11. In comparison, the 17-40 has twice as much corner shading at 20mm, but the difference declines as the focal length increases until the 17-40 has slightly less f/4 shading at 35mm. While tripods are extremely important to me, I am not always able to make use of them. EXT18 = new Image(650, 447)
The size and weight of this lens are ideal for long term carry and fixed-size lenses are very nice to use.
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