EF 16-35L f/2.8 : Mr. Two Faces
This is a monster lens for full frame cameras on the ultra-wide realm. But how good is it in subrframes?

It's easy to take for granted a lens by reading its specifications. But the 16-35L proves once again that glass is much more than a paper with data: it's about image, about the feelings that a very familiar scene produces with a different piece of glass.

Yes, it's easy to take for granted that being a "L" class lens it better be good. But when we began shooting our usual sets our mood changed very fast. Our typical city landscape vista was OK, but when we moved to the interior available-light scenes we were amazed with the quality that this lens is capable of.

The lens is built like a tank and is weather sealed. It is just a pleasure to admire and use this kind of quality glass. Construction is superb and you won't find a better construction or optical quality.

We tried this lens with two different cameras because it vastly changes its usability and the optical performance: the full frame 5D and the sub frame Rebel XTi. We chose both cameras for differente reasons. First, the 5D is very demanding with optical quality because the sensor is so good, any flaw in the lens shows immediately, the problem with the 5D is that the sensor delivers incredibly good images, so the optical quality may get to second plane. We also used a 5D because this lens has an ultra-wide angle coverage of 16mm that will only work for such purpose in a full frame camera. Now, the second camera is a Rebel XTi. This is an extremely popular APS-C size sensor camera, so you'll get a very good idea of this lens performance in sub-frame conditions. Second, the XTi's sensor is good, but not as good as the 5D, so we could check the quality of images based more on the optical side.

EF 16-35L and the 5D

	For anyone looking for a truly fine ultra wide angle lens for a full frame camera, this is the choice. The 16-35 has a large maximum and constant aperture of f/2.8 so it's a fast lens.
	Distortion is typical of an ultra-wide length at 16mm that improves at 24mm. You will find soft corners, specially at the wider end.
	You can note slight vignetting at the wider end.
	With such a fast lens you may notice softer images wide open. Since this glass has round blades with narrow dephts of field a smooth bokeh is produced even at 16. mm.
	Although images are soft at the wider end, details are well retained.

The 16-35 is an excellent choice for ultra-wide photography with a full frame sensor. The EF 17-40L is a lot cheaper but slower lens.

Subframe camera

With a good glass like this, you can only expect everything improving with an APS-C sized sensor cameras: reduced disortion, sharper images and better detail. The focal range with this lens is not as attractive with a subframe camera than a full frame. The 35mm equivalence is 25.6mm-56mm. It is true wide angle, but the tele end is frankly short at practically normal 50mm length. There are other lenses covering a more useful focal length such as the EF-S 17-85mm f/4-5.6 IS USM or the EF-S 17-55mm f/2.8 IS USM or the new EF-S 18-55mm f/3.5-5.6 IS, although none of this is in the "L" class and all these options feature Image Stabilizer.

	Although 26mm is not as exciting as 16mm, it is true wide angle and with much lower distortion.
	Although barrel distortion remains visible, it's quite good even in the wide angle arena.
	The lens is slightly sharper using the best part of the glass. The APS-C size sensor of our Rebel XTi provides a very nice image.
	Distortion is much better and vignetting is practically imperceptible.
	The tele end is very good, altough really short.

This lens is excellent for an ultra-wide angle coverage in full frame cameras, and although it is pricey, this glass is a really upper class model.(The subframe owner may choose the EF-S 10-22 for the same purpose.)

Now, using this lens with a subframe camera is both good and bad news: good news is that everything improves in an already fine lens, bad news is that 25-55mm focal length is short and many photographers would fine it limiting. Considering the $1,324 price tag, we strongly recommend subframe cameras to calmly ponder the pros and cons of this particular glass.

>> EF 16-35L f/2.8 USM with 5D Full Frame Camera

>> EF 16-35L f/2.8 USM with Rebel XTi Sub Frame Camera

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