The worst image quality a lens delivers is generally in the corners and zoom lens corners frequently have a level of mushiness to them. Tell us what you think - send your emails to the Editor. Since an ultra-wide angle of view includes lots of background that tends to remain at least partially in focus and recognizable, that attractive foreground subject will ideally be in front of a large, attractive background. 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. 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 I anxiously awaited a production lens to see what reality brought us, but based on these charts, the 16-35 L IS appeared to be an excellent-performing lens from an image quality perspective. wider aperture lens can create a stronger star effect from lights in the frame. A stellar-performing image stabilization system makes this lens even more useful. Basically, you can choose the wider aperture or image stabilization with a similar resulting size and weight. I opted to have the girls repeatedly gallop their horses past me at 3-5' (1-2m) as shown below (EOS 1D X, 35mm, f/4). - Bryan. The overall physical shape of this lens is very comfortable and smooth, stepping to very slightly wider diameters from the mount to the objective end. Nearly 100% of my one shot mode images are focused where I intended. Both have an advantage, but I expect more to prefer the 16-35's extra 1mm on the wide end than the 17-40's extra 5mm on the long end. The 16-35 L IS delivers better image quality including notably sharper corners and less vignetting at wider apertures. This is the lens I requested from Canon. With lenses such as these, we have come to expect a fisheye design, with associated heavily barrelled images, but in this case, Canon assures us that it has provided rectilinear drawing across the frame – so buildings will appear as rectangles, rather than bulging in the middle. You will be challenged to see sharpness benefit from stopping the 16-35 f/5 L IS down to f/8. « Canon EF 16-35mm f/2.8L III USM Lens Review, Ready for Metal? While tripods are extremely important to me, I am not always able to make use of them. I used the lens with the EOS-1D X for this test, and the two worked nicely together, with the lens adding hardly any noticeable mass to the combination. EXT16 = new Image(650, 447) Quite heavy barrelling turns to pincushion at about 24mm, which provides a relatively undistorted haven. The difference is about .2 stops over the entire focal length range at f/8. 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. Add the hoods, extend the 24-70 f/4L IS to 70mm and the 16-35 f/4L IS appears considerably smaller in comparison. Get your Canon EF 16-35mm f/4L IS USM Lens now from: My Recommended Canon EF 16-35mm f/4L IS USM Lens Retailers, Rent the Canon EF 16-35mm f/4L IS USM Lens. Add this product to your shortlist for comparison. The 16-35 L IS has 9 rounded aperture blades (the 16-35 f/2.8L II has 7), which will create 18-point stars from specular highlights when very narrow apertures are used. Granted, an f/4 max aperture ultra-wide angle lens is not going to stress an AF system, but this lens is nailing AF nonetheless. Reducing the aperture opening, as usual, reduces the peripheral shading. We don't typically look at people from really close distances (that other person will become uncomfortable with us being in their personal space) As a generalization, sports photographers, event photographers and similar will want the f/2.8L III. The good news is that the answer to that question left me pleased. function switchimage(imgDocID, imgObjName) {
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