This L-series ultra wide-angle zoom incorporates an Optical Image Stabilizer, and offers up to four stops of correction for admirable performance even in dim light.
It features three aspheric lens elements and two UD lens elements to minimize aberrations throughout the zoom range, plus a fluorine coating that helps to minimize ghosting. A circular 9-blade aperture delivers gorgeous background blur.
The EF 16–35mm f/4L IS USM features inner focusing and ring USM for accurate, discreet and speedy AF. It also offers full-time manual focus and has a minimum focusing distance of 0.92 ft./0.28m across the entire zoom range. Built to function even in unfavorable weather conditions, the EF 16–35mm f/4L IS USM is dust-resistant and water-resistant (when used with an optional Canon PROTECT filter) for professional caliber ultra-wide performance, everywhere.
Specifications
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OPTICAL PERFORMANCE wide open is sharp and significantly better in corners than my 17-40 4L. In other words, sharp across the entire frame. The best overall performance is from 16mm to 24mm, with ever so slight slight deterioration towards 35mm. There is a wee bit of light falloff (corner darkening) at F4 but better in this regard than the 17-40 4L and 24-105 4L. By F8 light falloff is inconsequential.
Chromatic Aberration (CA) almost nil: a tiny bit of magenta fringing is visible when pixel peeking in corners at 16mm, but almost nothing at longer settings. It certainly bests my 17-40 4L my a large margin in this regard. Beyond high contrast situations--tree branches against bright sky--and pixel peeping in corners, I'd never notice CA.
FLARE is well controlled and sunsets, spotlights and other bright light sources were sharp and suffered very little flare. However, I could invoke flare at certain zoom settings by shooting with the blazing summer sun in the frame. Oddly 24mm was almost impossible to flare but 28mm showed a tiny ghost image. Use of the included EW-82 hood is a good idea albeit my hat is often more effective at flare busting. The EW-83 is nicely designed: petal shape and significantly smaller but deeper than the silly dish-like hood that came with the 17-40.
BUILD is exemplary with quality plastics, attractive semi-matte finish and sturdy metal mount. Electrical switches are beefy and nearly impossible to inadvertently change. The ribbed rubber zoom and focus rings are large and grippy. Finally, at 615g, the 16-35 is noticeably larger and heavier than the 17-40 4L but feels balanced and nimble on my 6D and 5D MKII. For kicks I tried it on my SL1: appeared awkwardly large but handled surprisingly well if supported by the lens rather than grip.
FOCUS & ZOOM: Focusing is internal so the barrel doesn't rotate or change in length and AF is fast and accurate on my 6D. The manual focus ring is smooth and finely pitched, allowing precise adjustments. Zoom action is also silky and precise and doesn't drift when pointed up or down. Plus, zoom operation is quasi-internal: front element moves sightly within the barrel but doesn't turn or protrude. Due to front element movement, the manual indicates a filter is required for weather sealing.
IMAGE STABILIZATION (IS) gave me two additional stops of hand holdable range at 16mm and three stops at 35mm. But not the four-stops claimed by Canon. Somebody with a more steady hand might squeeze out another stop.
LAST BLURB: The 16-35 4L delivers top image quality with satisfyingly sharp, contrasty and vivid images. I especially enjoyed using it for stills and video on a cramped stage. Plus, the image stabilization allowed me to shoot in low light venues I didn't dare tread without a tripod. It's a significant upgrade over the 17-40L in terms of edge sharpness and the inclusion of IS. You do pay for those upgrades with increased size, weight and cost. Nevertheless it's a joy to use and boasts excellent handling and surefooted AF.
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