A new Canon EF 16-35mm f/2.8L II USM Lens succeeds the versatile EF16-35mm f/2.8L USM Lens as a superior L-series fisheye zoom lens, specifically designed for improved peripheral image quality. Compatible with all eos SLRs past and gift, it uses 3 high-precision rounded lens components and 2 radical Low Dispersion (UD) lens parts to reduce lateral distortion and to provide excellent image quality with wonderful resolution and distinction.
It features three high-precision aspherical lens parts, each of a unique type: ground, duplicate and GMo for even higher image quality than the first EF 16-35mm f/2.8L USM. The circular aperture produces a good looking and natural background blur once shooting at wider apertures.
Other options embrace internal focusing, a hoop sort USM (Ultra Sonic Monitor), and new AF algorithms for quick and quiet autofocusing. New coatings minimize ghosting and flare. it’s an inside focus style, therefore the front component doesn’t rotate throughout focusing and zooming, a convenience for users of circular polarizer filters. The lens is also absolutely gasketed and sealed for dirt and wet resistance, and it options an electronic diaphragm with circular blades for natural-looking background blur effects.
The Canon EF 16-35mm f/2.8L II USM is an update to a classic ultrawide lens. If you are reading this review, you most likely already apprehend what you are looking for – a flexible fisheye optical lens with a relentless wide aperture, engineered robust as nails. The II version of this lens has solely a number of refinements on the outside: it’s forty grams heavier, takes 88mm filters rather than 77mm, and has slightly totally different styling. tucked away within, there ar 2 a lot of parts, and also the literature suggests that there ar new algorithms intrinsical for quicker and quieter autofocusing. providing the discharge of a brand new version of a lens tends to force a value drop on the older models, the question are, is it worth the value to upgrade?
We were a trifle crucial of the first 16-35mm f/2.8L USM, as a result of for the worth, we tend to were expecting a chiseler lens. Generally, it’s tough to urge sharp imaging across the frame with a good angle lens: the glass should curve lots quite in a very standard lens, and lens designers got to juggle what quantity sharpness they are willing to sacrifice so as to upset different factors like distortion and distortion. The 16-35mm f/2.8L II USM is usually a pointy lens, but shooting at its widest distance (16mm), it shows some corner softness. apparently, the lens looks to be optimized for sharpness wide open at f/2.8, because it performs quite well at this aperture, the softness increasing within the corners at 16mm and f/4 and f/5.6, subsidence down by regarding f/11 to some pretty consistent across-the-frame sharpness, till the total frame softens at f/16 and a lot of at f/22. Zoom bent on simply 20mm and your corner softness disappears. The sweetest spot for this lens looks to be around 24mm at f/5.6.
Canon should have found out that if someone’s planning to pay the premium value to urge a quick lens, they’re going to in all probability use it at that quick aperture a big quantity of the time. The previous version of this lens (I’ll decision it the “non-II” lens to differentiate them, calculation that a “I” would be confusing, as no such marking seems on it) shows usually similar sharpness characteristics, except at 16mm wherever it’s truly slightly chiseler than the II lens at each aperture from f/4 to f/16, but not f/2.8. the first version showed wild sharpness fluctuations as you zoomed through its distance vary at f/2.8. The new II version is way higher behaved during this respect. On a full-frame body, the 16-35mm II still will well at longer focal lengths, but at the short finish of its vary, includes a ton of bother with corner sharpness, all the solution to f/8. we do not have full-frame check information for the first 16-35 to check it to, but providing lens’ problems at massive apertures on a sub-frame camera, we’ve to believe that it’d be even worse on a full-frame body.
The II and non-II versions of this lens even have somewhat similar distortion characteristics. On sub-frame bodies, there’s some distortion to talk of with either lens, however the II version of the 16-35mm f/2.8L is way improved at its widest angle settings and at the f/2.8 finish of the aperture vary. On the non-II lens, CA becomes less of an element once you zoom bent on 24mm and on the far side, however with the II version, it drops off by 20mm. At 16mm, the II version has lower CA wide open, but will less well at smaller apertures. – Again, Canon looks to own paid a lot of attention to optimizing this lens to be used at its widest aperture.
On a full-frame body, the story changes somewhat, with the 16-35mm II showing quite an ton of CA at 16mm and f/2.8, decreasing as you stop it down. Things improve as you zoom longer, but at 35mm, CA creeps back up once more, albeit to not the amount seen at 16mm.
On a sub-frame body, you are doing see some vignetting with either version of the 16-35mm f/2.8L lens, however nothing to put in writing home regarding – at its worst, you’re losing 1 / 4 stop just about of sunshine within the corners, zoomed out wide (16mm) and quick (f/2.8). At f/4 with either lens, you will not see any at over 20mm.
As noted, we do not have take a look at information for the initial 16-35mm on a full-frame body, however the II version will struggle quite an bit additional there than it will with sub-frame sensors: Shading was terribly high at 16mm on our EOS-5D take a look at body, hitting 1.75 stops at 16mm and f/2.8, decreasing as you stop down, however ne’er improving than zero.5 eV at that focal distance, notwithstanding the aperture. It will higher at longer focal lengths, but never gets higher than regarding 1/3 eV anyplace in its focal distance or aperture vary.
Distortion is sometimes an element with wide angle lenses, and it’s no exception here. Lens makers use aspheric lens components to atone for the distortion that may result from the short focal lengths employed in camera lens photography, to variable levels of success. within the case of the 16-35mm f/2.8L, the lens seems to possess been designed to provide the lowest-distortion pictures at 28mm on sub-frame bodies, and at regarding twenty two millimetre on full-frame bodies. At 16mm on a sub-frame body, you are looking at a worst-case situation of but zero.5% barrel distortion averaged across the frame and slightly over zero.5% barrel distortion within the corners. At 35mm, you truly get to a small degree (less than zero.2%) little bit of cushion distortion within the corners. this is often a major improvement over the non-II lens, that showed nearly 125th of barrel distortion within the corners at 16mm, and did not break down till absolutely zoomed out at 35mm. In either case, Photoshop makes it quite simple to correct for any distortion gift in a picture. On full-frame bodies, the 16-35mm II shows way more distortion, variable from slightly below a hundred and twenty fifth barrel at 16mm to regarding zero.5% cushion from 24-35mm.
With its USM (ultra-sonic motor) designation, it does not get a lot of quieter and quicker once focusing the 16-35mm f/2.8L lens. A full-rack focus takes but half a second, and point-to-point focusing is lightning fast.
The 16-35mm f/2.8L II USM includes a rated close-focusing distance of 28cm (0.9 feet), however this is not a lens you’d generally use for macro work. The non-II lens has identical characteristics during this regard.
Build Quality and Handling
As an L-class lens, Canon does not spare a lot of within the means of expense to make sure that these lenses keep going and going. The 16-35mm f/2.8L is weather- and water resistant, using many rubber seal seals. Its construction is primarily metal, weighing in at a chunky 640 grams (22 1/2 oz). one in every of the changes enforced within the II version of this lens was a rise of filter size from 77mm to 88mm; i believe this was to eliminate the necessity for special ultra-thin filters to avoid vignetting once shooting at 16mm. The 88mm filter uses metal rings, and as you’d expect for this caliber of lens, the filter does not rotate whereas focusing. It’s geared to permit manual focusing at any time (just flip the main focus ring) however you’ll be able to switch the main focus selector to manual if you’d rather not optical device once half-pressing the shutter button.
As an EF lens, it’s compatible with full-frame film and digital bodies, which implies it’ll go as wide on a full-frame body because the Canon EF-S 10-22mm f/3.5-4.5 USM can on a subframe camera. The boxed package comes with a monstrous 88mm lens hood, that will a decent job of limiting lens flare returning in from the edges. Shooting straight into the sun, flare could be a dead letter, however you are doing got to get on the lookout for lightweight placing the large hooklike front part from associate degree angle, if you have got flare sources off-axis. confine mind that employing a camera’s inbuilt flash with the hood connected to the present lens is just about bound to provide you with a shadow on rock bottom third of your pic.