Canon 16-35mm f/4 L IS
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Canon 16-35mm f/4 L IS (2014-today)
Canon 16-35mm f/2.8 L II (2007-today)
Canon 16-35mm f/2.8 L (2001-2007)
Canon 17-40mm f/4 L (2003-today)
Canon 17-35mm f/2.8 L (1995-2001)
Canon 20-35mm USM (1993-2007)
Canon 20mm f/2.8 USM (1992-today)
Canon 20-35mm f/2.8 L (1989-1995)
Tokina 17-35mm f/4 (2011-)
I shot at f/22 to emphasize the sunstar.
Yes, it's this sharp all the way to the corners, and this is with no lens profile. It's this clean all by itself.
Hand-held at 1/3 of a second and sharp in the corners wide open! This is shot at LV -1.5, which means super dark.
The old 16-35/2.8 L II isn't this sharp in the corners at f/4, and it has no IS for sharp shots this slow hand-held. With the 16-35/2.8 L II you'd have to use a tripod, with which then you'd shoot at f/2.8 at 30 seconds at ISO 100 — but wait, at f/2.8 the old 16-35/2.8 L II isn't sharp, so to use the exposure you'd really want, f/11 at ISO 100, you'd need a remote release and an 8-minute exposure!
The key here is that at 1/20 second and f/4 I can shoot at ISO 100. With my old 16-35/2.8 L II I'd have to shoot at much noisier and softer ISO 1,600 to shoot at f/11 and 1/40.
The 16-35mm f/4 L IS is the sharpest ultrawide lens ever made by Canon. This new lens is by far the best ever from Canon for nature, landscape, interior, real estate, general architecture and outdoor photography.
While Canon's 17-40mm f/4 L and 16-35mm f/2.8 L II were the standards of the professional nature and landscape photography for years, they weren't very sharp in the corners — especially at large apertures. We always had to shoot them at f/11 for the best corner results. Many landscape professionals adapted the Nikon 14-24mm and 16-35mm lenses to their Canon cameras, or hauled the huge manual focus Zeiss lenses instead. This new lens ends all that; it's sharp right down to the pixels even in the corners.
This Canon 16-35mm f/4 L IS is Canon's first ultra-performance ultrawide for full-frame, and it's also Canon's first full-frame ultrawide with Image Stabilization (IS).
Grab the manual focus ring at any time for instant manual focus override.
Formats and Compatibility
This works on all Canon EOS cameras, meaning all Canon DSLRs and all Canon 35mm EOS autofocus SLRs.
While it works on all these, this is a full-frame lens and it is silly to use it on Canon's APS-C cameras. For these cameras, even the 18-55mm kit lenses work better because of their broader zoom ranges more appropriate for those cameras.
On APS-C, this is a normal, not wide angle lens. For a wide angle lens on APS-C cameras, use the Canon 10-18mm EF-s. It costs only one-fourth as much, and goes much, much wider than this lens does on those cameras.
This is a superior full-frame lens, and as such, I'll be testing it on full frame.
Canon EF 16-35mm f/4 L IS. bigger.
Canon 16-35mm IS.
Canon calls this the Canon Lens EF 16-35mm f/4 L IS.
EF: Electronic Focus. All modern Canon lenses focus with a motor in the lens.
L: Expensive as L.
USM: UltraSonic ring autofocus Motor.
16 elements in 12 groups.
Three Glass-Molded (GMo) aspheric lens elements and and two UD glass elements.
Front and rear dust-resistant fluorine coatings.
Four-group zoom system. The barrel doesn't move while the front and rear groups slide in and out.
Internal focus. Nothing moves externally.
Canon EF 16-35mm f/4 L IS (EF diaphragm not visible).
9 curved blades.
0.92 feet (0.28m).
Maximum Reproduction Ratio
Angle of View
63º - 108.2º diagonal on full-frame.
Rated four stops improvement.
Canon 16-35mm IS with EW-82 Hood.
EW-82 hood included.
It has a lock with a release button.
3.3" (82.8mm) diameter x 4.4" (112.8mm).
21.745 oz. (616.5g), actual measured.
Canon rates it at 21.7 oz. (615g).
13 May 2014.
I got the first one on 01 July 2014.
Canon Item Number
$1,100 after rebate, March 2015.
$1,200, May-July 2014.
Box, Canon EF 16-35mm f/4 L IS.
The Canon 16-35mm f/4 L IS is optically superb.
AF is virtually instantaneous, and also silent and accurate.
As expected for an ultrawide lens, AF is essentially instantaneous.
Just grab the focus ring anytime for instant manual-focus override.
To lock it into manual mode, move the switch on the lens.
Bokeh, the quality of out-of-focus areas as opposed to the degree of defocus, isn't visible. There is rarely anything out of focus except at macro ranges, where bokeh is excellent.
The color balance of this 16-35 seems the same as my other Canon EF lenses.
The Canon 16-35 IS has moderate barrel distortion at 16mm, and little distortion from 20-35mm. Bravo!
For 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.
© 2014 KenRockwell.com. All rights reserved.
* slight waviness remains after correction.
The best news is that the distortion is of a low order, so it usually corrects completely with Photoshop's Lens Distortion tool, no fancier software needed.
Canon EF 16-35mm f/4 L IS.
Ergonomics are easy: it's a big lens with big focus and zoom rings.
Focus is easy; a fingertip will suffice.
Zoom is stiffer; you'll want to use at least two fingers.
Falloff is negligible, even without a profile.
It's barely visible wide open at 16mm, and goes away a stop or two down.
Longer focal lengths don't have any significant falloff, even wide open.
There's no problem with vignetting, even with thick or rotating filters.
There's no need for thin filters; regular thick and rotating filters work great.
Even at 16mm I get no vignetting on full-frame with my Hoya HD polarizer and another regular filter.
I only grabbed my Hoya HD polarizer because it was handy for this vignetting experiment; don't use polarizers at the 16mm end because they make skies look funny.
I'm not a fan of the plastic filter threads. A $1,200 lens should have metal threads. They feel pretty loose; the filter has some play left and right.
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.
The image from the 16-35 IS gets smaller as focussed more closely.
There are no ghosts. I had to go way out of my way to shoot directly into the noontime summer sun and then add a lot of exposure, process in Perfectly Clear and put a dark tree in the area where I expected ghosts in order to to see any.
These are the worst I could do:
Shot directly into the sun at 35mm at f/10, 17 July 2014. full resolution.
There's no problem with flare or ghosts.
In actual use, there will be none.
This is excellent performance.
Image Stabilization works great. Presuming you know how to shot a rifle and thus shoot a camera properly at slow speeds, I get perfectly sharp shots most of the time at 1/4 second, and can get sharp shots at 1/2 if I shoot a few frames and pick the best.
I use a simple technique when I'm on the edge: just shoot several frames, and one is usually much sharper than the others. Use that, and delete the rest.
Even without an in-camera profile, there are no color fringes except for the tiniest bit of red-cyan at 16mm.
This is much better than any other Canon ultrawide lens, and of course it will correct with a profile.
Macro gets close.
It's rated as 11" or 28 cm, but that's from the image plane at the back of the camera.
I measure its close-focus distance as 4.5" (11 cm) from the front of the lens!
Here's what you get zoomed at 35mm on full frame:
GPW Watch at close-focus distance at 35 mm at f/4 on full-frame (would be even bigger on APS-C).
Crop from above 6MP image at 100%. If this is 6" (15cm) on your monitor, the complete image printed at this same high magnification would be 30 x 20" (75 x 50 cm) at this very same sharpness. Only the face is in focus; there is so little depth-of-field that the hands and bezel are out of focus.
Not only does it get close, it's sharp, too — even at full aperture as I've shown here!
Canon EF 16-35mm f/4 L IS. bigger.
The Canon 16-35mm IS L is all plastic on the outside, and metal on the inside. It's not as tough as the 16-35mm f/2.8 L II.
Painted on front plastic ring inside the filter threads.
Rubber covered plastic.
Moisture seal at mount
Laser-engraved into plastic lens barrel, 180º behind focus window.
See Canon Date Codes.
Noises When Shaken
It is Canon's sharpest ultrawide ever, however 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.
Shot at the test range at infinity, the 16-35 IS is ultrasharp at all apertures, all focal lengths and at all points in the image. It is a little less sharp in the last couple of millimeters in the full-frame far corners at f/4, but it's so good and so much better than anything ever made by Canon that I'm not complaining. The 16-35mm IS brings state-of-the art sharpness to Canon ultrawides for the first time.
No other Canon ultrawide is sharp all the way to the corners wide-open like this, and they all have lateral color fringes when used with no profile as I've done here. To be this sharp, Canon's previous ultrawides needed to be stopped down to f/11.
Even at f/11, older Canon lenses couldn't do this:
Here are Canon's MTF curves, which look excellent as well:
Canon 16-35mm sunstars at 16mm at f/11. bigger.
GL550 headlight at 35mm at f/13. Full Resolution.
With its rounded 9-blade diaphragm, this Canon 16-35mm IS makes only muted sunstars at most apertures.
Use f/22 for the best results:
Click any to enlarge.
The good news is that the 16-35's sunstars are very symmetrical. If you can get them, they look great.
Compared to Canon
This is by far Canon's sharpest ultrawide ever.
See also All Canon Ultrawides Compared.
Compared to Nikon
Nikon's 16-35mm f/4 VR is very similar.
There a many problems using the Nikon lens on a Canon camera with an adapters: the Nikon lens has no autofocus, no VR, no IS, feeds no lens data to the EXIF, has no lens profiles available, and most critically, has a completely manual diaphragm. You'll have to open and close the diaphragm by hand for each and every shot.
People used to mess with this before the introduction of the Canon 16-35 IS, but now that Canon offers essentially the same lens in a native Canon mount, forget about using the Nikon 16-35 or 14-28 on a Canon. The optics are all as good, and the Canon 16-35 IS has ergonomics a zillion times better for use on Canon.
Compared to Zeiss
I'd likewise forget the huge manual focus Zeiss lenses.
Before this 16-35mm the manual-focus Zeiss lenses were the smartest choices if you needed the very best optical performance for an ultrawide on a Canon DSLR, and again this new lens makes the Zeiss lenses completely obsolete.
The Zeiss lenses are too big and heavy and focus too slowly manually and don't zoom. Forget them today.
Canon EF 16-35mm f/4 L IS. bigger.
For nature, landscapes, fine art and architecture, this is Canon's sharpest ultrawide lens ever. There is no question about that.
For news, action, astronomy and sports, the more expensive 16-35mm f/2.8 L II is built more solidly and is a stop faster. Image Stabilization is of no help if the subject is moving or on a tripod, but f/2.8 will let you use a faster shutter speed or lower ISO for sharper pictures when things are moving or extremely dark.
The 16-35mm f/2.8 L II will become a dinosaur used only for professional news and sports shooting; you only need f/2.8 if you're shooting action. For everything else, the smaller size and price of this new lens coupled with its improved optics and IS eclipse the 16-35 f/2.8 L II.
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13 May 2014