To experience the ultimate in wide-angle photography, the EF 11-24mm f/4L USM brings L-series construction and optics to the widest zoom lens Canon has ever made. With an expansive wide-angle range of 11-24mm, this is an ideal lens for landscapes, interior shots, and unique perspectives on subjects close and far. Its new optical design features Super UD and UD lenses that correct chromatic aberration. Four aspheric lens elements help to minimize distortion from the center of the image to the periphery and throughout the zoom range. A Subwavelength Coating (SWC) and Air Sphere Coating (ASC) significantly reduce flare and ghosting, while a 9-blade circular aperture diaphragm creates beautiful, blurred backgrounds. For silent and fast AF, it features a rear focus system and ring USM, and can be manually focused even when in AF mode. It has a minimum focusing distance of 11 in. /0.28m (extreme telephoto) for admirable performance and results even when shooting in tight spaces. Constructed to L-series specifications, the EF 11-24mm f/4L USM is durable and rugged due to its highly dust and water resistant design, so it is prepared for shooting in any number of environments. It also has fluorine coatings on the front and rear elements for reducing smears and fingerprints. With a compact design that includes an integrated hood and compatibility with all EOS cameras, the EF 11-24mm f/4L USM is a must-have lens for photographers that demand excellent performance for truly expressive images anywhere.
To experience the ultimate in wide-angle photography, the EF 11-24mm f/4L USM brings L-series construction and optics to the widest zoom lens Canon has ever made. With an expansive wide-angle range of 11-24mm, this is an ideal lens for landscapes, interior shots, and unique perspectives on subjects close and far. Its new optical design features Super UD and UD lenses that correct chromatic aberration. Four aspheric lens elements help to minimize distortion from the center of the image to the periphery and throughout the zoom range. A Subwavelength Coating (SWC) and Air Sphere Coating (ASC) significantly reduce flare and ghosting, while a 9-blade circular aperture diaphragm creates beautiful, blurred backgrounds. For silent and fast AF, it features a rear focus system and ring USM, and can be manually focused even when in AF mode. It has a minimum focusing distance of 11 in. /0.28m (extreme telephoto) for admirable performance and results even when shooting in tight spaces. Constructed to L-series specifications, the EF 11-24mm f/4L USM is durable and rugged due to its highly dust and water resistant design, so it is prepared for shooting in any number of environments. It also has fluorine coatings on the front and rear elements for reducing smears and fingerprints. With a compact design that includes an integrated hood and compatibility with all EOS cameras, the EF 11-24mm f/4L USM is a must-have lens for photographers that demand excellent performance for truly expressive images anywhere.
To experience the ultimate in wide-angle photography, the EF 11-24mm f/4L USM brings L-series construction and optics to the widest zoom lens Canon has ever made. With an expansive wide-angle range of 11-24mm, this is an ideal lens for landscapes, interior shots, and unique perspectives on subjects close and far. Its new optical design features Super UD and UD lenses that correct chromatic aberration. Four aspheric lens elements help to minimize distortion from the center of the image to the periphery and throughout the zoom range. A Subwavelength Coating (SWC) and Air Sphere Coating (ASC) significantly reduce flare and ghosting, while a 9-blade circular aperture diaphragm creates beautiful, blurred backgrounds. For silent and fast AF, it features a rear focus system and ring USM, and can be manually focused even when in AF mode. It has a minimum focusing distance of 11 in. /0.28m (extreme telephoto) for admirable performance and results even when shooting in tight spaces. Constructed to L-series specifications, the EF 11-24mm f/4L USM is durable and rugged due to its highly dust and water resistant design, so it is prepared for shooting in any number of environments. It also has fluorine coatings on the front and rear elements for reducing smears and fingerprints. With a compact design that includes an integrated hood and compatibility with all EOS cameras, the EF 11-24mm f/4L USM is a must-have lens for photographers that demand excellent performance for truly expressive images anywhere.
To experience the ultimate in wide-angle photography, the EF 11-24mm f/4L USM brings L-series construction and optics to the widest zoom lens Canon has ever made. With an expansive wide-angle range of 11-24mm, this is an ideal lens for landscapes, interior shots, and unique perspectives on subjects close and far. Its new optical design features Super UD and UD lenses that correct chromatic aberration. Four aspheric lens elements help to minimize distortion from the center of the image to the periphery and throughout the zoom range. A Subwavelength Coating (SWC) and Air Sphere Coating (ASC) significantly reduce flare and ghosting, while a 9-blade circular aperture diaphragm creates beautiful, blurred backgrounds. For silent and fast AF, it features a rear focus system and ring USM, and can be manually focused even when in AF mode. It has a minimum focusing distance of 11 in. /0.28m (extreme telephoto) for admirable performance and results even when shooting in tight spaces. Constructed to L-series specifications, the EF 11-24mm f/4L USM is durable and rugged due to its highly dust and water resistant design, so it is prepared for shooting in any number of environments. It also has fluorine coatings on the front and rear elements for reducing smears and fingerprints. With a compact design that includes an integrated hood and compatibility with all EOS cameras, the EF 11-24mm f/4L USM is a must-have lens for photographers that demand excellent performance for truly expressive images anywhere.
Last updated at 06/10/2026 10:32:46
Canon EF 16-35mm f/4L is USM Lens
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Canon EF 16-35mm f/4L IS USM Lens
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Canon EF 16-35mm f/4L IS USM Lens
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Canon EF16-35mm F4L IS USM (EF Lens (full-frame Compatible)) EF16-3540LIS
Delivery between 14–21 June $115.62
Canon EF 16-35mm f/4L IS USM at Etoren
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CANON Camera Lens EF16-35mm F4L IS USM Black [Canon EF / zoom lens]
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Canon EF 16-35mm f/4 L IS USM Camera Lens - Black
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Canon EF 16-35mm f/4 L IS USM Camera Lens - Black
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Canon EF 16-35mm f/4L IS USM Lens - Ex-Display Stock
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Canon Ef 16-35mm F/4l Is Usm Lens 16-35 F4 L For Eos Dslr 1 Yr Au Wty
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originally posted on thetedstore.com
Disclaimer: I did not get my lens through Amazon, but got through a photo retailer that I have a long time relationship with.I've got the 16-35 f/2.8L II lens, and its pretty good, not really great. It gets the job done.The last time I used the "2.8 II" lens, I was really disappointed with the performance. It wasn't bad, but just didn't have much zip. I was shooting indoors, the lighting was sort of flat, and the images lacked that ol' zippity-do-dah. Outdoors, the lens always did better, but I think that was an illusion, due to the higher contrasts normally seen outdoors. At any rate, I just wasn't impressed.So, I decided to get a 16-35 f/4.0L IS lens, since on paper at least, it looks like a much better image maker.It is. The difference between the "2.8 II" and ... MoreDisclaimer: I did not get my lens through Amazon, but got through a photo retailer that I have a long time relationship with.I've got the 16-35 f/2.8L II lens, and its pretty good, not really great. It gets the job done.The last time I used the "2.8 II" lens, I was really disappointed with the performance. It wasn't bad, but just didn't have much zip. I was shooting indoors, the lighting was sort of flat, and the images lacked that ol' zippity-do-dah. Outdoors, the lens always did better, but I think that was an illusion, due to the higher contrasts normally seen outdoors. At any rate, I just wasn't impressed.So, I decided to get a 16-35 f/4.0L IS lens, since on paper at least, it looks like a much better image maker.It is. The difference between the "2.8 II" and the "4.0 IS" is remarkable. The "4.0 IS" is just a crisper lens, especially out to the edges.Color rendition is identical to all the Canon lenses. No odd color casts. "Stars" caused by the diaphragm blades and bright points of light (specular highlights) are pleasing too. Contrast is better on the "4.0 IS" version.The two lens versions are very close to the same size, but the "4.0 IS" feels and handles like a smaller lens. Maybe its just me, but the larger lens hood on the "2.8 II" lens is just too big and rather silly because it doesn't do all that much. The "4.0 IS" has a more manageable hood.I was able to try the newer EF 16-35 f/2.8L III lens... and frankly, I couldn't see any difference in image quality between the "4.0 IS" and the "2.8 III". Maybe in the most demanding situations, under the most severe lighting conditions you'd see a difference. For me, shooting groups and street scenes, social events, building interiors, and some landscapes, they were the same. Since the 4.0 has stabilization, that was my choice. Some people say the f/2.8 throws the background out of focus more than 4.0, and that is technically correct, but _REALLY_ is that what you choose a wide angle lens for? Not me!One word about the image stabilization. It works, but you have to do your part. I was able to hand hold 16mm shots down to about .8 seconds to .5 seconds. They were essentially motion blur free, but I had to concentrate on things. At 35mm I was able to hand hold down to about 1/4 second, and again, I had to concentrate on things. I don't need to concentrate as much with the longer lenses that have IS, like the 300/4.0L or 70-200/4.0L or even the 24-105/4.0L. But the IS works, and makes shooting informal groups, at f/4.0 and 35 or 28 mm lengths easily done in low light without raising the ISO through the ceiling.Very very happy with the lens. My only real complaint is it deserves a better case than just a soft pouch that comes with it, not enough to detract a star though.
originally posted on lensrentals.com
This was the first time using this lens and I was pleasantly surprised. I had a real estate shoot and the rooms were quite small. The 16mm was a great option. Images were sharp (shot f9-11) and distortion was minimal. The lens correction option in Lightroom was a minimal difference when selected. The distortion was not as drastic in most shots as I thought it would be! Enjoyed the lens - I would rent again, maybe even buy!
originally posted on canon.com
Amateur using EF/EFs mount lenses since the EOS 350D. This is simply the best lens I've ever used. It produces crystal-clear images on ASP-C and full-frame, with the focal length on full-frame opening up a whole new world of possibilities for landscape and travel shots. I've not tried the 2.8, but at this price you could buy a prime lens to go along with it! Its light weight and IS mean you can walk around all day, for your whole trip, without your arms feeling like jelly. It's great for time-lapse. The lens is almost always on my camera when I leave the house. To anyone looking for their first "L-lens," don't look any further -- you'll likely use this 20x more than a 70-200 :)
| Lens system | |
| Closest focusing distance | 0.28 m |
| Lens mount interface | Canon EF |
| Minimum aperture number | 4 |
| Focal length range (f-f) | 16 - 35 mm |
Canon EF 16-35mm f/4L is USM Lens
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Canon EF 16-35mm f/4L IS USM Lens
Delivery $11
Canon EF 16-35mm f/4L IS USM Lens
Free delivery between 16–23 June
Canon EF16-35mm F4L IS USM (EF Lens (full-frame Compatible)) EF16-3540LIS
Delivery between 14–21 June $115.62
Canon EF 16-35mm f/4L IS USM at Etoren
Delivery $36
Disclaimer: I did not get my lens through Amazon, but got through a photo retailer that I have a long time relationship with.I've got the 16-35 f/2.8L II lens, and its pretty good, not really great. It gets the job done.The last time I used the "2.8 II" lens, I was really disappointed with the performance. It wasn't bad, but just didn't have much zip. I was shooting indoors, the lighting was sort of flat, and the images lacked that ol' zippity-do-dah. Outdoors, the lens always did better, but I think that was an illusion, due to the higher contrasts normally seen outdoors. At any rate, I just wasn't impressed.So, I decided to get a 16-35 f/4.0L IS lens, since on paper at least, it looks like a much better image maker.It is. The difference between the "2.8 II" and ... MoreDisclaimer: I did not get my lens through Amazon, but got through a photo retailer that I have a long time relationship with.I've got the 16-35 f/2.8L II lens, and its pretty good, not really great. It gets the job done.The last time I used the "2.8 II" lens, I was really disappointed with the performance. It wasn't bad, but just didn't have much zip. I was shooting indoors, the lighting was sort of flat, and the images lacked that ol' zippity-do-dah. Outdoors, the lens always did better, but I think that was an illusion, due to the higher contrasts normally seen outdoors. At any rate, I just wasn't impressed.So, I decided to get a 16-35 f/4.0L IS lens, since on paper at least, it looks like a much better image maker.It is. The difference between the "2.8 II" and the "4.0 IS" is remarkable. The "4.0 IS" is just a crisper lens, especially out to the edges.Color rendition is identical to all the Canon lenses. No odd color casts. "Stars" caused by the diaphragm blades and bright points of light (specular highlights) are pleasing too. Contrast is better on the "4.0 IS" version.The two lens versions are very close to the same size, but the "4.0 IS" feels and handles like a smaller lens. Maybe its just me, but the larger lens hood on the "2.8 II" lens is just too big and rather silly because it doesn't do all that much. The "4.0 IS" has a more manageable hood.I was able to try the newer EF 16-35 f/2.8L III lens... and frankly, I couldn't see any difference in image quality between the "4.0 IS" and the "2.8 III". Maybe in the most demanding situations, under the most severe lighting conditions you'd see a difference. For me, shooting groups and street scenes, social events, building interiors, and some landscapes, they were the same. Since the 4.0 has stabilization, that was my choice. Some people say the f/2.8 throws the background out of focus more than 4.0, and that is technically correct, but _REALLY_ is that what you choose a wide angle lens for? Not me!One word about the image stabilization. It works, but you have to do your part. I was able to hand hold 16mm shots down to about .8 seconds to .5 seconds. They were essentially motion blur free, but I had to concentrate on things. At 35mm I was able to hand hold down to about 1/4 second, and again, I had to concentrate on things. I don't need to concentrate as much with the longer lenses that have IS, like the 300/4.0L or 70-200/4.0L or even the 24-105/4.0L. But the IS works, and makes shooting informal groups, at f/4.0 and 35 or 28 mm lengths easily done in low light without raising the ISO through the ceiling.Very very happy with the lens. My only real complaint is it deserves a better case than just a soft pouch that comes with it, not enough to detract a star though.
This was the first time using this lens and I was pleasantly surprised. I had a real estate shoot and the rooms were quite small. The 16mm was a great option. Images were sharp (shot f9-11) and distortion was minimal. The lens correction option in Lightroom was a minimal difference when selected. The distortion was not as drastic in most shots as I thought it would be! Enjoyed the lens - I would rent again, maybe even buy!
Amateur using EF/EFs mount lenses since the EOS 350D. This is simply the best lens I've ever used. It produces crystal-clear images on ASP-C and full-frame, with the focal length on full-frame opening up a whole new world of possibilities for landscape and travel shots. I've not tried the 2.8, but at this price you could buy a prime lens to go along with it! Its light weight and IS mean you can walk around all day, for your whole trip, without your arms feeling like jelly. It's great for time-lapse. The lens is almost always on my camera when I leave the house. To anyone looking for their first "L-lens," don't look any further -- you'll likely use this 20x more than a 70-200 :)
I do Landscape Architecture, so I had been keeping an eye on this lens for quite a while. Then, after looking at the differences between the 2.8L versions and this one, I went ahead with this lens.The picture quality is exactly what you would expect out of a Canon L-series Lens. The images are very sharp; however, they are a little (and I mean little) bit blurred at the 16mm focal length. This is only noticeable (typically) when photographing a wide expanse of land.... Aside from that, it has proven itself to be a very reliable and strong quality lens. It is absolutely perfect for performing any Landscape Architecture work in the field, or any Real Estate Photography. As long as you have at least 1 flash present while using this lens inside or in dark situations, ... MoreI do Landscape Architecture, so I had been keeping an eye on this lens for quite a while. Then, after looking at the differences between the 2.8L versions and this one, I went ahead with this lens.The picture quality is exactly what you would expect out of a Canon L-series Lens. The images are very sharp; however, they are a little (and I mean little) bit blurred at the 16mm focal length. This is only noticeable (typically) when photographing a wide expanse of land.... Aside from that, it has proven itself to be a very reliable and strong quality lens. It is absolutely perfect for performing any Landscape Architecture work in the field, or any Real Estate Photography. As long as you have at least 1 flash present while using this lens inside or in dark situations, the lens performs admirably.
This review is written from the perspective of a non-German buyer. Before purchasing the lens I made extensive research online considering different options to find a general purpose zoom lens for my APS-C camera (Canon EOS 7D Mark II). The general opinion on several photography forums seemed to be in favour of lens offerings aimed exclusively for crop sensor cameras, such as Sigma's seemingly fast and sharp 16-35 mm f1.8 DC HSM or Canon's own 17-55 mm EF-S f2.8 IS USM. However, I decided to gor for this particular lens because it enables moving to full frame in the future. And I have not regretted my decision.When unboxed, Canon 16-35 f4 felt like a surprisingly sturdy and weighty piece of kit for a person used to lower end lenses, like the "nifty fifty" (Canon ... MoreThis review is written from the perspective of a non-German buyer. Before purchasing the lens I made extensive research online considering different options to find a general purpose zoom lens for my APS-C camera (Canon EOS 7D Mark II). The general opinion on several photography forums seemed to be in favour of lens offerings aimed exclusively for crop sensor cameras, such as Sigma's seemingly fast and sharp 16-35 mm f1.8 DC HSM or Canon's own 17-55 mm EF-S f2.8 IS USM. However, I decided to gor for this particular lens because it enables moving to full frame in the future. And I have not regretted my decision.When unboxed, Canon 16-35 f4 felt like a surprisingly sturdy and weighty piece of kit for a person used to lower end lenses, like the "nifty fifty" (Canon 50 mm f1.8). The lens is provided with a lens hood, which is a nice addition and - in my opinion - should be included in all Canon's lenses, not just L-series. The lens pouch on the other hand doesn't offer much protection, but is adequate for home storage preventing dust from gathering.Paired with the modern AF system and improved sensor capabilities of Canon EOS 7D Mark II the lens is a pleasure to use. I was a bit worried about the sort of slowish maximum aperture f4, but image stabilization makes up for that. Used on a crop sensor camera the lens offers standard range zoom, while on full frame it's all about getting that ultra wide angle. The zoom range is rather narrow, but suits my needs for capturing architectural masterpieces and buzzing cityspaces. How about the all-important image quality? I am not a pixel peeper, but in my eyes the lens provides great results. The images tend to be from reasonably sharp to tack sharp depending on the conditions (camera settings, tripod vs. hand held etc.).In conclusion, I can heavily recommend Canon 16-35 f4 for crop shooters as well, with the restrictions stated above.Yet a few words about Calumet. I decided to order from Germany, since the prices of camera gear are often lower than in my home country (Finland). I chose Calumet because their payment methods and delivery options were wide-ranging and hassle-free compared to many other companies. There were no extra charges and delivery within EU was free. I came to this result by comparing different camera stores via idealo.de website.
Using this lens professionally on wedding shoots and its sharper than all other wide angle zooms Ive tried in the past, like the 17-40mm f/4 and both the 16-35mm f/2.8 versions Mark 1 & 2. I havent tried the f/2.8 Mark 3 16-35 and Im sure its a beast in the field but the f/4 with Image Stabilization has helped my hit rate go even higher. In my opinion, the sharpness of the 16-35mm at f/4 rivals my prime lenses. Stopped down to 5.6 for group shots and I have a hard time figuring if it was my 50mm or the 16-35 when editing time comes. Its also smaller, lighter, and much less expensive than the 16-35mm f2.8 Mark 3 on the used market. When the light goes really low at receptions, I just switch to my 24mm f1.4 Mark 2 for wide shots. Your mileage may vary as they say ... MoreUsing this lens professionally on wedding shoots and its sharper than all other wide angle zooms Ive tried in the past, like the 17-40mm f/4 and both the 16-35mm f/2.8 versions Mark 1 & 2. I havent tried the f/2.8 Mark 3 16-35 and Im sure its a beast in the field but the f/4 with Image Stabilization has helped my hit rate go even higher. In my opinion, the sharpness of the 16-35mm at f/4 rivals my prime lenses. Stopped down to 5.6 for group shots and I have a hard time figuring if it was my 50mm or the 16-35 when editing time comes. Its also smaller, lighter, and much less expensive than the 16-35mm f2.8 Mark 3 on the used market. When the light goes really low at receptions, I just switch to my 24mm f1.4 Mark 2 for wide shots. Your mileage may vary as they say about camera gear but Im really happy with this lens, its superb.
My background:I don't have much to compare to as I came from a crop-sensored and just recently upgraded to full-frame with tihs lens. Started off with these lenses, brand new: Canon 50mm f1.8, Canon 28mm f1.8, Canon EF-S 17-55mm f2.8. Decided to upgrade and picked up the Canon 35mm f1.4L and Canon 16-35mm f/4L. This is the sharpest lens I've owned so far. I shoot RAW and process in Lightroom -- although I do this for fun, and am a noob that's still learning, I'm quite OCD and picky.Build:Seems solid, mixed in with some plastic. It's not too heavy, compared to my previous 17-55mm f2.8. I'm super careful and protective of my personal belongings so I don't really put my things through any abuse, so I don't really know how rugged or durable it is, but my friends ... MoreMy background:I don't have much to compare to as I came from a crop-sensored and just recently upgraded to full-frame with tihs lens. Started off with these lenses, brand new: Canon 50mm f1.8, Canon 28mm f1.8, Canon EF-S 17-55mm f2.8. Decided to upgrade and picked up the Canon 35mm f1.4L and Canon 16-35mm f/4L. This is the sharpest lens I've owned so far. I shoot RAW and process in Lightroom -- although I do this for fun, and am a noob that's still learning, I'm quite OCD and picky.Build:Seems solid, mixed in with some plastic. It's not too heavy, compared to my previous 17-55mm f2.8. I'm super careful and protective of my personal belongings so I don't really put my things through any abuse, so I don't really know how rugged or durable it is, but my friends have the same lens and they beat the shit out of it and it's held up quite well.Image quality:Didn't notice too much distortion or chromatic aberration. Sharp edge to edge in comparison to all of my other lenses I've listed above. I'm no pro, so I won't say anything about the colors or sharpness at different stops. I have my 35mm f/1.4 for specific shots or if I want a shallow depth of field at 35mm...and I use the 16-35mm f/4 more for landscape or shots of a single person posing in front of some epic landscape, and so far it does exactly everything I wanted. Also my friend has the 16-35mm f/2.8 and it isn't as sharp, but the larger stops are nice I guess if you need more light...then again you also don't get IS as you do with the f/4 version... although IS doesn't stop motion blur, but then it also depends if you need that shallow depth of field at these focal lengths. Try them both, see what fits for you, and don't look back.
The 16-35mm f4 L IS USM lens is one of the sharpest wide angle zoom lenses Canon has made. It's very well corrected for aberrations and has tack sharp corners wide open. On the used market is is one of the best value versus performance deals around. Sure, the 17-40mm L USM lens is cheaper, but the softer corners and chromatic aberration can be frustrating. There are some prime lenses that are sharper and faster, but the convenience of zoom and Image Stabilisation make it a great option for videographers or landscape photographers. It's going to be slow going for low light situations but for best image quality a tripod will be your friend. Images straight out of the camera are sharp and bright, with minimal distortion. It's a versatile zoom range and will match up ... MoreThe 16-35mm f4 L IS USM lens is one of the sharpest wide angle zoom lenses Canon has made. It's very well corrected for aberrations and has tack sharp corners wide open. On the used market is is one of the best value versus performance deals around. Sure, the 17-40mm L USM lens is cheaper, but the softer corners and chromatic aberration can be frustrating. There are some prime lenses that are sharper and faster, but the convenience of zoom and Image Stabilisation make it a great option for videographers or landscape photographers. It's going to be slow going for low light situations but for best image quality a tripod will be your friend. Images straight out of the camera are sharp and bright, with minimal distortion. It's a versatile zoom range and will match up perfectly with the 24-70 and 70-200 or 100-400 zooms.
Item received in perfect condition as described. Ive shot video and stills on a couple of different camera bodies and the lens has performed perfectly on all of them. Nails focus on moving targets even on a 5D classic. Image quality is top notch. Image stability for video works really well on a hand held Canon c300 mkii. Looking forward to using this on many shoots to come.
I wrote a review of the first 16-35 2.8 in which I said: when Canon improves on this lens, I'll buy it, but will be happy until then. Two months later this lens came out. And I bought it. To be fair, I figured to send it back after running tests to compare my 2.8 with this 4.0 IS interloper. Setting up tripod and 5D Mk III, I shot identical photos with each lens and was surprised when viewing the images in Aperture that the 2.8 was soft along the edges from 16 all the way to 35. Not terribly, but noticeable as I zoomed into the corners. The 4.0 IS was sharp from center to edges. Different focal lengths, apertures, shutter speeds, light levels, the 4.0 was as good and better than my beloved 2.8. And, it has IS. Sure, critical shots will likely be from a tripod, but I ... MoreI wrote a review of the first 16-35 2.8 in which I said: when Canon improves on this lens, I'll buy it, but will be happy until then. Two months later this lens came out. And I bought it. To be fair, I figured to send it back after running tests to compare my 2.8 with this 4.0 IS interloper. Setting up tripod and 5D Mk III, I shot identical photos with each lens and was surprised when viewing the images in Aperture that the 2.8 was soft along the edges from 16 all the way to 35. Not terribly, but noticeable as I zoomed into the corners. The 4.0 IS was sharp from center to edges. Different focal lengths, apertures, shutter speeds, light levels, the 4.0 was as good and better than my beloved 2.8. And, it has IS. Sure, critical shots will likely be from a tripod, but I do a lot of monopod work inside buildings and this lens is great, and even better outside when I aim it at Nature. Indeed, though my favorite lens, Canon's amazing 11-24, outdoes my other lenses on about every level, its sheer bulk and weight prevent me from taking into the backcountry, but this lens makes those trips and does the job right.
| Lens system | |
| Closest focusing distance | 0.28 m |
| Lens mount interface | Canon EF |
| Minimum aperture number | 4 |
| Focal length range (f-f) | 16 - 35 mm |
