Canon 24 70 Vs 16 35

By | 15/10/2022

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Canon 16-35mm f/two.viii L Two


Intro   Specs   Operation   Compared   Recommendations

Canon 16-35mm II


Canon 16-35mm f/ii.viii L 2
(metal 82mm filter thread, 22.4 oz./634 one thousand, about $1,399 new or nigh $900 used if you know How to Win at eBay). enlarge. I got mine at this link to it at Adorama; getting it at Amazon is also highly recommended, besides as this link directly to them used at eBay. My biggest source of support is when you employ those or any of these links to approved sources when you get
anything, regardless of the state in which yous live. Information technology helps me continue adding to this free website when you get anything through these links — merely I receive
nothing
for my efforts if you take the chance of buying elsewhere. Thanks for your support! Ken.

Adorama pays top dollar for your used gear, peculiarly the older model 16-35mm L.

December 2016

Catechism Reviews    Catechism Lenses    All Reviews


Catechism Ultrawide Lens Sharpness Comparison


How to Use Ultrawide Lenses

Catechism Ultrawide Lenses Compared



NEW

: Canon 16-35mm f/2.viii L Iii

(2016-today)

Canon sixteen-35mm IS
(2014-today)

Canon 16-35mm f/2.8 50 II
(2007-2016)

Canon 16-35mm f/2.8 Fifty
(2001-2007)

Catechism 17-40mm f/4 L
(2003-today)

Canon 17-35mm f/2.8 Fifty
(1995-2001)

Canon 20-35mm USM
(1993-2007)

Canon 20mm f/2.eight USM
(1992-today)

Canon xx-35mm f/ii.8 Fifty
(1989-1995)

Tokina 17-35mm f/four
(2011-today)

Canon 10-18mm IS vs. 16-35mm f/ii.8 L Ii
12 June 2014



Sample Images


(more throughout the review)

Moonrise over Mono Lake

Moonrise over Mono Lake, 6:48 PM, 18 October 2013.
Catechism 5D Mark III, Canon EF 16-35mm f/2.8 L II at 21mm, f/8 for two minutes, Canon RS-80M3 remote cord with lock used to agree-open the shutter in Bulb. Yes, the moon moves in ii minutes, but since this was only a digital camera and blows-out the disc of the lord’s day or moon without detail even when shot equally CR2 every bit I did here, you can’t run across it.) bigger.

The Milky Way

The Milky Way as seen from Bridgeport, California, viii:12 PM, 22 October 2013. Canon sixteen-35mm f/ii.8 L 2 at 16mm, f/2.8 at 32 seconds at ISO 6,400 (LV -8), Canon 5D Mk III with Canon RS-80N3 remote cord, shot as CR2, candy in Aperture 3 and Photoshop CS6. Bigger.

Canon 16-35mm II Sunstars

Dawn, Mono Lake Picnic Grounds.
(at 16mm, f/16, uncoated 812 filter). bigger.

Canon 16-35mm II flare

Dawn, Yosemite Valley.
Catechism 5D, 16-35mm f/2.8 50 Ii with Tiffen 812 warming filter at 16mm, f/xi @ 1/80 (Av mode), -0.iii exposure bounty, ISO 100, hand-held (tech details). Exactly equally shot in JPG. Camera-original file © (6MB).

Canon 16-35mm f/2.8 L II

Palm and Sunstar, xx December 2016.
Catechism 5DSR, Catechism sixteen-35mm f/2.8 L II at 16mm at f/11 at 1/60 at ISO 100. bigger or photographic camera-original file.

Sample Images from Yosemite
.

Zeiss 21mm f/2.8 Compared to Nikon 14-24, Canon 16-35 L Two and LEICA 21mm f/2.8 ASPH
16 December 2009

Zeiss 18mm f/3.five Compared to Nikon fourteen-24mm and Canon 16-35mm L II
xv Dec 2009





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Introduction





pinnacle

Intro   Specs   Performance   Compared   Recommendations

This xvi-35mm f/2.8 50 II was Catechism’s pinnacle ultrawide for professional news, sports and activeness shooting. It was Canon’south fastest and toughest — and most expensive — until information technology was replaced by the Canon 16-35mm f/2.8 L III at the cease of 2016, The new Mark 3 is much sharper in the corners at f/two.8, just also more expensive, bigger and heavier.

For photographs of things that are not moving, the newer 16-35mm f/4 L IS is much sharper on the sides and corners at big apertures, every bit well as less expensive and information technology adds image stabilization (IS) so y’all can shoot at hand-held at 1/2 to ane/four second just as precipitous equally if you had a tripod.

After thousands of shots, I couldn’t make a technically bad shot with this f/two.8 lens on my 5D. I simply kept cranking out winners. Skip to the Bachelor Light and Flare sections to see some examples.

When I employ whatsoever of these lenses, I’thousand normally using them at the 16mm or 17mm end. The 16mm end of the 16-35mm lens is much wider than the 17mm end of the 17-40mm lens, and is close enough that I no longer bother carrying my fixed 14mm f/ii.8 L lens.

If you have an APS-C photographic camera (Rebel, 70D, etc.), get the Catechism 10-22mm EF-Due south instead for wide angles, or the Canon 17-55mm f/2.viii EF-Due south IS if you want f/2.8. Yous pay a premium for either of the L lenses because they are much larger to embrace the larger sensors of total frame cameras, something you don’t want if you’re shooting a smaller-format camera.

Good

1.) Sharp plenty, better than the original 16-35mm f/2.8, same as 17-40mm f/4 L.

2.) Easy functioning; simply works great and never gets in the way of a slap-up photo.

iii.) seven-bladed diaphragm for great sunstars.

Bad:
Not much, but if I have to find something:

1.) Larger 82mm filter thread so y’all’ll have to purchase a bigger filter than the old 77mm filter yous might have form another pro lens. (I can hold 77mm filters in front of the 16-35mm and they piece of work fine).

2.) If brick walls are your thing, like all ultrawide zooms, at that place is enough of baloney at 16mm. Shoot at 21mm and information technology goes away, or fix it in DxO.

3.) A picayune bigger and heavier than the previous big and heavy 16-35mm, just it’southward however quite reasonable to carry. It’due south a few ounces (100g) less than my 70-200mm f/4 50 IS. It’south comfortable to lug my 5D Marking III and this 16-35mm II effectually my neck all twenty-four hour period.




Specifications





tiptop

Intro   Specs   Performance   Compared   Recommendations


Name

Catechism calls this the Canon Zoom Lens EF 16-35mm f/2.eight Fifty II USM.

   EF:
Electronic Focus. All modern Canon lenses focus with a motor in the lens.

   L:
Expensive as Fifty. No exact pregnant other than this beingness Canon’s lingo for lenses with extra immovability and atmospheric condition sealing. L lenses work on all cameras including film and full-frame digital. Canon puts a scarlet ring around the front of these. Come across also Canon L Lenses.

   USM:
Ultra-Sonic Motor: The focus motor operates silently.


Focal Length

16-35mm.

Used on a 1.3x camera it gives angles of view similar to what a 20-44mm lens would give on a 35mm motion-picture show photographic camera.

On a 1.6x camera it gives angles of view similar to what a 26-57mm lens would give on a 35mm film camera. Run into also Crop Cistron.


Maximum Aperture

f/2.eight.


Optics

Canon 16-35mm L II construction

Internal Construction.


Aspheric

and

UD

elements.

sixteen elements in 12 groups.

Three of these elements are aspherical: i is an expensive custom-ground aspherical chemical element, some other is a replica (plastic) aspherical chemical element and one is a drinking glass-mounded (GMo) element.

Two elements are made of Ultra Low Dispersion (UD) glass (same as Nikon’due south ED glass), which helps reduce color fringing.


Diaphragm

7 blades.

Stops down to f/22.

It’s round until f/4 and heptagonal from f/eight.

It gives smashing xiv-pointed sunstars.


Filter Size

82mm.

In the days of film this non-standard size would mean I’d take to buy some other dozen filters just for this lens since today’s pro standard size is 77mm, but for digital, all I’d have to buy is an 82mm Tiffen grad ND 0.6.

Don’t buy a polarizer; polarizers rarely work well on ultra-wide lenses.


Shut Focus

0.92′ ( 0.28m) from the image aeroplane (the back of the photographic camera), marked.


Maximum Reproduction Ratio

one:4.5 (0.22 ×).


Focus Distance Scale

Yes.


Depth of Field Scale

NONE.


Infrared Focus Index?

Just at 16mm.


Size

iii.486″ diameter x 4.394″ extension from flange (88.54 x 111.60mm), measured.

3.48″ bore x 4.39″ extension from flange (88.5 x 111.6mm), rated.


Weight

22.375 oz. (634.3 g), measured.

22.half dozen oz. (640 g), rated.

The original 16-35mm weighs 1.230 oz (34.9 g) less, and the Canon 17-40mm f/4 L weighs 5.670 oz (160.7g) less.


Hood

EW-88, included.


Instance

LP1319, included.


Introduced

March, 2007.

Catechism Model Number

EF16-35L2.

Canon Product Code

1910B001.

Jan

4960999-416632.


Price, USA

December 2016:
$one,399 new or well-nigh $900 used if you know How to Win at eBay (230,000 yen catalog toll in Japan).

Baronial 2016:
$1,499 new or most $900 used if you lot know How to Win at eBay (230,000 yen catalog toll in Japan).

April 2014:
$one,699 new or about $1,300 used if you lot know How to Win at eBay.

Christmas 2013:
$1,549 at checkout. final price after mail service-in-rebate: $one,349.00.

July 2012:
$1,619.

Late 2007-13 January 2008:
$i,399 later on rebate.




Performance





top

Intro   Specs   Performance   Compared   Recommendations

Autofocus       Available Calorie-free       Color       Color Fringes

Construction    Distortion    Ergonomics    Eyeblow    Falloff

Film     Filters     Flare     Sharpness     Sunstars     Zooming



Overall

The Catechism sixteen-35mm f/2.8 Fifty Two is a dandy lens that just works. When mine arrived, I took it out and shot with it for two weeks in California’s Eastern Sierra and Yosemite before I bothered to pick it apart with whatever formal tests.

The results for existent photos are simply stunning. You ought to see them on a 30″ monitor or in print! All I tin show on your screen are much smaller vignettes.


Focusing
   back to Performance or back to Introduction.

Focusing is excellent in every way. It’southward much more consistent than the original 16-35mm.

What Moves

The focus is entirely internal. Nothing moves externally when autofocused.

Ease of Manual Focusing

Fantabulous. Merely catch the ring. Manual focus requires no switches.

Speed

AF speed, like about wide lenses, is just near instantaneous.

Autofocus Beginning

I get expressionless-on focus on my 5D.

Autofocus Consistency
(how often is it in focus?)

I get perfect focus every fourth dimension on my 5D. This is much better than the original 16-35mm f/two.eight, with which I got a disturbing few percent of images that were simply out of focus, even though the AF system confirmed that information technology was locked on.

We pay for the speed of the Canon AF arrangement in that a pocket-sized percentage of shots, fifty-fifty when the AF system confirms perfect focus, are but out of focus. Nikon may be a little slower, simply it never misses.

The percentage of misses varies with lens and camera, from 100% OK, as I go with this xvi-35mm Two and my 5D, to several percent bad, as I get on my Insubordinate XTi and some other lenses as mentioned in their respective reviews.

Focus Breathing

Breathing is a motion picture show term which refers to what happens equally you pull (change) focus from most to far while the photographic camera and subjects remain in the same place. I list this for people putting these lenses on their Catechism XL-1s for shooting video.

At 35mm there is no breathing.

At shorter settings like 16mm, the magnification reduces as one pulls focus closer. This is the contrary from most traditional lenses. Too, with a fixed camera and field of study, the distortion becomes more barrel as i pulls focus closer.


Bachelor Light

   back to Performance or back to Introduction.

f/2.viii lenses are more than fast enough for hand-held dark shooting with digital cameras. f/1.4 lenses are for shooting my favorite ISO fifty Fuji Velvia.

With digital cameras, ISO 3,200 is eminently usable, and even f/5.6 lenses are fine.

Here’s a paw-held grab shot:

Redwood Motel, Bridgeport, California

Redwood Cabin, Bridgeport, California.
(at 25mm, ane/half dozen of a second at f/four, hand-held, ISO three,200, 5D.)

25mm and 1/6 of a second at f/4.

Unsharpened, unaltered crop from centre at 100%
(44″ [1.1m] broad print).

And here’s another mitt-held shot while having dinner:

Rhino's Bar and Grill, Bridgeport, California

Rhino’s Bar and Grill, Bridgeport, California.
(at 16mm, f/2.eight at 1/5 second, hand-held, ISO 800, 5D.)

Rhino's Bar and Grill, Bridgeport, California

Unsharpened, unaltered crop from bottom right at 100%.

(44″ [1.1m] wide print).

This is a huge comeback over the original sixteen-35mm f/two.8, which got very soft and fuzzy in the corners at 16mm and f/two.8.


Lateral Color Fringes

back to Performance or back to Introduction.

There are none on Canon’s 2012 and newer cameras like the 1DX and 5D Mark Three, which correct these automatically.

For use on older cameras, this lens is approved past the PPLFPA, Professional Patio and Backyard Furniture Photographers’ Association, with a grade of “A-.”

You really have to go out of your way to see any, and fifty-fifty if you do, they are only at the widest stop. There are none at the longer end.

Hither are the total guide images from which the crops are taken:

Canon 17-40mm LCA Canon 17-40mm LCA

Full epitome, 16mm

Total Image, 35mm


Canon 17-40mm LCA


Canon 17-40mm LCA at 21mm

100% ingather from 5D at 16mm, f/5.6

100% crop from 5D at 20mm, f/8


Canon 17-40mm LCA


Canon 17-40mm LCA

100% crop from 5D at 24mm, f/5.6

100% crop from 5D at 35mm, f/8

On newer cameras, at that place won’t be whatever color fringes.



Color Rendition


back to Functioning or dorsum to Introduction.

I see no differences from my other Canon lenses.


Structure Quality

back to Performance or back to Introduction.

It has a rubber gasket on the lens mount to go on grime out of your camera.

Exterior

Plastic and metal.

Filter Threads and Hood Bayonet

Anodized aluminum.

Filters have a tendency to unscrew themselves from these metallic lens threads, so go on checking to be sure yous don’t lose whatever.

Focus Ring

Rubber-covered metallic.

Markings

Paint.

Switches

Plastic.

Mount

Metal.

Internals

I encounter by and large metal.

Noises when shaken

Klunking, which is normal.

Serial Number

Engraved and filled with black paint in an indentation of the mating surface of the mountain.

Appointment Lawmaking

Hot-stamped in plastic on rear of lens.

Made in

Japan.


Distortion

back to Operation or back to Introduction.

Wide angle lenses are supposed to stretch round things, similar people’south heads, out towards the edges of the frame . This sucking is why we love ultra-wide bending lenses.

Directly lines should always remain straight. When they curve slightly, that’s the undesirable baloney of which I speak.

The distortion of the Canon 16-35mm Ii is typical for whatsoever ultrawide zoom: circuitous butt distortion at the widest end and pincushion at the longer end.

If you waste your time shooting brick walls direct-on, an ultrawide is the last lens you lot’d desire. Similar near ultrawide zooms, shoot in the heart of the range to get the least distortion. Shoot the Canon 16-35mm f/two.8 Fifty 2 at 20mm and the baloney goes away for shooting straight lines parallel to the frame edges.

The proper way to shoot walls is at an bending, in which case distortion is invisible:

Lee Vining Market

Red Market place, at 16mm.

If you shoot head-on, you lot’d better make sure it’south an interesting wall. Shoot at 21mm and there’s no trouble.

Lee Vining Market

Red Market, at 21mm.

Brick walls worth shooting are rarely direct.

Lee Vining

Brick wall, at 21mm.

If you’re lightheaded plenty to shoot a blank wall straight-on at 16mm, you’ll go this:

Wall of Shame at 16mm.

Roll mouse over to run across after correction in Photoshop CS2’s lens distortion filter at +iii.5.

Plug these figures into Photoshop CS2’s lens distortion filter to correct the distortion.

at 50′ (15m)

16mm

+three.5 barrel.

20mm

0.0: none.

24mm

-1.2 pincushion.

28mm

-2.one pincushion.

35mm

-2.0 pincushion.

Fifty-fifty after this elementary correction in Photoshop, some waviness will remain if yous’re looking for it. If this is you, use DxO for better correction.


Ergonomics

back to Performance or dorsum to Introduction.

Splendid. Nothing gets in the mode of a great photo.

At that place are no switches required for macro ranges or manual focus.

The only switch on the 16-35mm Ii is a switch marked AF-MF, just manual focus is available whatever time you take hold of the focus band. The switch’southward only purpose is to deactivate AF when set up to MF.

Information technology’s a good-sized lens, but lighter than it’s Nikon 17-35mm f/two.8 analogue. The Canon xvi-35 II is actually quite low-cal when used on the all-plastic Catechism EOS Rebel G, and delivers great results.


Exposure Accuracy

dorsum to Performance or back to Introduction.

Perfect, no problems seen.


Eyeblow

back to Performance or dorsum to Introduction.

None: no wind blows out the eyepiece every bit I zoom.


Falloff (Darkened Corners)

back to Operation or back to Introduction.

I saw no falloff in whatever of the thousands of existent photographs I made with the 16-35mm Two, even at 16mm at f/two.viii in dark interiors with onetime cameras.

If I deliberately look for information technology, yes, information technology’due south got a lot of falloff at 16mm at f/2.eight. Otherwise, I never noticed it.

2012 and newer cameras like the 1DX and 5D Mark Three can right this automatically.

The shots below of an Expodisc greatly exaggerate falloff. I never saw this in thousands of real shots.

Uncorrected Falloff.
(2012 and newer cameras can correct this in-camera.)

f/2.8

f/4

f/v.half dozen

f/eight

16mm

20mm

24mm

35mm


Utilise on 35mm Cameras

   dorsum to Performance or back to Introduction.

Perfect. It’s designed for total-frame digital and 35mm film similar the EOS 1V and EOS 3, or fifty-fifty the earliest 1987 EOS 650.


Use with Filters

  back to Performance or back to Introduction.

It works perfectly on full-frame with any traditional old, thick filter. I tried information technology with my 7.2mm (0.28″) thick traditional Hoya polarizer.

There is no demand for expensive thin filters.

You volition get some vignetting with ii thick stacked filters. Zoom to a longer focal length if you insist.

Every bit you can see below, I was able to drib my 77mm circular grads into the front of the 16-35mm Ii and concur them with my fingers. When I did, I got no vignetting even at 16mm, except if my fingers got in the way!


Flare and Ghosts

dorsum to Performance or dorsum to Introduction.

Yous actually accept to button the sixteen-35mm Ii to become ghosting. You tin exercise it, but you’re on the verge of going blind. All these shots were made with completely uncoated Tiffen glass filters, either a two-stop grad or an 812. The Tiffen 812 filter is a mild warming (magenta/amber) filter. I used information technology because information technology was the only 82mm filter I had handy to protect this borrowed 16-35mm lens.

Canon 16-35mm II flare

Dawn, Conway Top.
(at 28mm, f/5.6, 77mm uncoated drinking glass 0.6 ND grad held into front of lens.)

Canon 16-35mm II flare

Dawn, Yosemite Valley.
(at 25mm, f/11, uncoated 812 filter)

Canon 16-35mm II flare

Blinding glare, Bodie.
(at 16mm, f/11, uncoated 812 filter)


Sharpness
  dorsum to Performance or back to Introduction.

Sharpness is excellent at f/eleven. Sharpness is the same as my Canon 17-40mm f/4 L, which is also fantabulous.

Conway Summit

Unsharpened crop from left side of 100% total-frame 5D image from Conway Summit higher up.
This is equivalent to a crop from a 44″ (one.1m) wide impress. (at 28mm, f/5.vi, 1/60, had-held, uncoated glass 0.6 ND grad.)

When compared to the Canon 17-40mm f/iv L, which lens is sharper depends on which corner you are comparison! Normal slop in the position of zoom lens elements means sharpness will vary from shot-to-shot and corner-to-corner more than any sharpness difference betwixt these 2 lenses

This 16-35mm Two and the 17-40mm 50 are much sharper in the corners at wide settings and larger apertures than the original xvi-35mm f/2.eight Fifty, which was awful at 16mm and f/2.8 if you were looking hard. The original lens, designed in the days of picture show, could be and then sloppy in the corners on digital cameras if used improperly (shot at f/2.eight for sharpness tests) that many people mistakenly thought their lenses, or Canon’southward total-frame cameras, were lacking. In fact, it was the photographers who were defective.

Diffraction is commonly the sharpness-limiting factor for all lenses, specially digital SLRs, at nigh f/xi and above. See likewise How Sharpness Varies with Discontinuity.

It’south likewise extremely precipitous on 35mm Fuji Velvia 50, likewise as digital.

My particular sample has what seems like the usual manufacturing variation, and has its field shifted a fiddling such that if its focused at infinity on the right, the left side is focuses a little closer at 16mm.

If shot at f/two.eight and you’re counting your pixels in the corners, it’s very soft. Information technology’due south not every bit soft as the original 16-35mm f/2.8 L, but if you’re looking at 100% shot wide-open, the new 16-35mm f/4 50 IS is much, much sharper. But amateurs shoot wide open up and look in the corners for sharpness at 100% — but if you do, get the xvi-35mm f/4 L IS instead. Get this f/two.8 Two lens if yous want a tougher, faster lens than the IS version.

Canon 16-35mm L II MTF


Sunstars
   back to Performance or back to Introduction.

Canon 16-35mm II Sunstars

Dawn, Mono Lake Picnic Grounds.
(at 16mm, f/sixteen, uncoated 812 filter)

I love the 14-pointed sunstars caused past the 7-blade diaphragm. The effect is strongest at small apertures like f/16, and less at large apertures like f/iv.


Zooming
   back to Performance or dorsum to Introduction.

The zoom range is evenly-spaced forth the zoom ring. It’due south picayune to set up precise limerick holding the camera in 1 hand and using 1 finger to zoom.

Zoom Creep

None.

Focus Shift while Zooming

I can’t see any focus shift. Feel free to zoom afterwards yous’ve focused.

Focal Length Encoding Accuracy

The EXIF data agrees with the settings marked on the lens at sixteen, 20, 24 and 35mm.

I take not correlated the accuracy of the markings with actual focal lengths.



Compared


pinnacle

Intro   Specs   Functioning   Compared   Recommendations

This 16-35/2.8 II is tougher, smaller and lighter than the 16-35mm f/2.8 Three. The xvi-35mm f/4 IS is about the aforementioned size as this Mark II lens, but much flimsier. Notwithstanding, the 16-35mm f/2.8 Three and 16-35mm f/4 IS are much sharper in the corners at big apertures.

Canon 16-35mm lenses compared

Canon sixteen-35mm f/ii.viii L II, 16-35mm f/iv Fifty IS and 16-35mm f/2.eight III.
bigger.

Canon Ultrawides Compared.

Canon xx/2.8 USM, 17-40/4 L, sixteen-35/2.8 50 Ii and 16-35/four L IS.
bigger.

Canon 20-35mm f/2.8

Catechism 20-35 USM, xx-35mm f/2.8 L, 17-40mm f/4 50 and sixteen-35/2.8II.
enlarge.

Canon 20-35mm f/2.8

Canon 20-35 USM, 20-35 L, 17-35mm, 17-40mm and xvi-35mm L Ii.

overstate.

Hither are crops from corner areas. Click any of these for the camera-original fifty megapixel files from a Canon 5DS R:

Canon 16-35 IS sharpness comparison

Canon 16-35 III sharpness comparison

Canon 16-35 II sharpness comparison

Every bit you lot can see, the sixteen-35/4 IS and the 16-35/2.8 Mk III are equally great, and this old 16-35/2.eight II is so blurry it looks broken.

Of course no i really shoots daylight landscapes at f/2.8 and expects the corners to be ultrasharp, but if you do, this new lens is night and day improve than the quondam Marking 2.

Since we’re also dealing with depth of field and other issues, don’t read much more into these shots than that this old Mk Two was for news and sports, non landscape shooting, and that the f/4 IS and this new Mk III are both excellent. The IS looks a bit sharper in the corners because the depth of field at f/four is deeper than the Marker Iii at f/2.eight.


Catechism Ultrawide Lens Sharpness Comparison

.

Canon Ultrawide Lenses Compared



Recommendations


top

Intro   Specs   Performance   Compared   Recommendations

For full-frame, 1.3x or 35mm cameras, use this for news, action and sports. It’s lighter than you recall for such a remarkable lens, and Canon’s toughest and fastest ultrawide.

The newest Canon xvi-35mm f/ii.8 Fifty Three is sharper in the corners if you’re shooting test charts at f/2.viii, only otherwise merely bigger, heavier, more than expensive, and made with a lot more plastic.

If y’all want the sharpest lens and worry less about toughness, the 16-35mm f/4 50 IS is better for nature and landscapes because it’due south sharper in the corners and adds image stabilization.

If you aren’t as fond to the 16mm cease as I am, the Canon 17-40mm f/4 Fifty is just as sharp, weighs less and costs half as much.

For a ane.6x camera, get the 10-18mm EF-S instead for ultrawide, or the Canon 17-55mm f/2.viii EF-S IS if you desire f/ii.8.


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