Further readings for the Canon EF 16-35mm f/4L IS USM
To provide photographers with a broader perspective about mobiles, lenses and cameras, here are links to articles, reviews, and analyses of photographic equipment produced by DxOMark, renown websites, magazines or blogs.
Following its intriguing 24-70mm f2.8 stabilized model, Tamron has added a high-speed ultra-wide 15-30mm f/2.8 version, also with stabilization. Read on to find out how well the Canon-mount model performs.
Canon has launched the 3rd iteration of its popular EF 16-35mm f/2.8L wide-angle zoom lens, predominantly for full frame press, sport and action photographers. Significant improvements to outer field sharpness on the new $2199 EF 16-35mm f/2.8L III also make it a viable option for landscape or astrophotography on the 50Mp EOS 5DS R, as well as wedding or event photography on the EOS 5D Mark IV. Although headline specifications are basically the same as its predecessor, improvements to the new lens’s durability, including water and dust resistance, equip the new lens better for the hammer of pro shooting in fast-paced, all-weather environments. Despite being specifically intended for use on full frame Canon DSLRs, the new EF 16-35mm f/2.8L III also remains compatible with Canon APS-C sensor cameras, such as the 7D Mark II, where it offers a less wide-angle and less useful 26-52mm equivalent focal range.
We’ve tested 130 lenses on Canon’s flagship camera, the full-frame 18-Mpix Canon EOS-1D X Mk II, covering focal lengths ranging from an incredibly wide 11mm up to a super-telephoto 600mm.
We’ve split the results between primes and zooms and then arranged them into three groups according to use. This equates to ultra-wide and wide-angle, standard, and telephoto to help you narrow down the best performer in each.
However, this time we’ve compared lenses from the perspective of the camera’s intended market — the photojournalist. While they’re not really any different from the next photographer when it comes to choosing focal length, there are some models that perhaps require further consideration.
A wide-angle is a must-have lens for landscape and architectural photographers, with a versatile wide-angle zoom often favored by those shooting press, weddings, events, or street photography. That there are different DSLR sensor sizes (35mm full-frame or cropped APS-C) means that it’s important to buy a lens designed specifically for each format. This is especially true for wide-angle zoom lenses, because although a full-frame format wide-angle will still work on APS-C, the crop means it’s not really wide-angle.
Launched side-by-side, the EOS 760D and EOS 750D (aka T6s and T6i in North America, respectively) share a lot in common, including the same high-resolution 24.2-Mpix APS-C CMOS sensor complete with Canon’s Hybrid CMOS AF III for fast and accurate focusing. We’ve put the two models through our labs coupled with a wide range of native and third-party Canon-mount lenses. Read on to find out how these models perform.
The original stabilized EF 100-400mm f4.5-5.6L IS USM was a favorite of wildlife and action photographers, but as one of Canon’s oldest telephoto zoom models, a replacement was well overdue. Announced towards the end of last year, the updated model features a completely revised optical formula and replaces the traditional one-touch control mechanism with a conventional two-ring design. Read on to find out how well this new model performs.
Canon shooters who need to squeeze more into the frame will be licking their lips at the announcement of the world’s widest-angle rectilinear lens. Launched within the Canon L series of professional grade optics, the new Canon EF 11-14mm f/4L USM lens is designed with the professional landscape or architectural photographer in mind. Let’s see how it shapes up.
Canon has introduced an accessibly priced stabilized ultra wide-angle zoom complete with a stepper motor that should appeal to stills photographers and budding movie-makers alike. Read on to see how well this new model performs.
Canon has been instrumental in offering lightweight f4 lenses for professional users, and this new ultra-wide angle zoom L-series model is the first from the maker to include stabilization. Read on to see how well it performs.
Both the Canon EF 16-35mm f4L and the Canon EF 16-35mm f2.8L USM achieved the same DxOMark score of 22, but the former has a sharpness of 15 while the latter has a sharpness of 14 P-MPix. In fact your own comment says: "The Canon EF 16-35mm f4L is the best performing Canon ultra-wide so far but it’s only marginally ahead of the EF 16-35mm f2.8L USM"
So why is it listed in 3rd place in your table of best lens for the Canon EOS 5D Mark III, while the EF 16-35mm f2.8L USM is listed in 2nd place?