The Canon EF 16-35mm f/4.0L tops our list. It’s a wide-angle zoom with beautiful image quality. It uses Canon’s latest AF system for smooth and quiet focusing. And it has reliable optical stabilization. It’s a brilliant wide-angle Canon lens. [Note: ExpertPhotography is supported by readers. Product links on ExpertPhotography are referral links. If you use one of these and buy something, we make a little bit of money. Need more info? See how it all works here.]
The Best Wide Angle Lens for Canon EF-mount
You’ll find a mixture of zoom lenses and primes. They each have their strengths and weaknesses. You’ll also find prices ranging from eye-wateringly expensive to extremely reasonable. As always with photography gear, it’s a case of matching wants, needs and budgets. Before we look at each lens in detail, here’s a summary of all the lenses in this review for you to look at.
What is the Best EF-mount Wide-Angle Lens?
So let’s look at these lenses in more detail, and why you should consider them. Landscapes are expansive, interiors are roomy, and everything is pin-sharp. That’s the beauty of the Canon EF 16-36mm f/4L. Even better, it has image stabilization, which is less common on an ultra-wide zoom. It makes low-light photography even easier, and means you won’t always need a tripod. A 35mm lens used to be the favorite alternative standard lens for photographers. It provides that little bit more width. For genuine wide-angle, 24mm was a favorite. With this Canon EF 16-35mm f/4L IS USM lens, you get both those focal lengths, and an ultra-wide 16mm. If you’ve never used an ultra-wide lens, you’re in for a treat. I’ve written elsewhere that when my photographer daughter first used my 16-35mm, she hated it. Now I have to steal it back from her on multiple occasions. For comparison, a GoPro has a full frame equivalent of about 16.5mm. So that is the type of field of view you are getting. The Canon EF 16-35mm f/2.8L III USM is the latest lens in this series. You do need a bigger budget for this one. But you won’t regret buying it once you see the quality. Image stabilization won’t do you much good with a wide-angle lens if your subject is moving. So the f/2.8 maximum aperture is important in this lens if you want to capture a moving object. Think of a goal-mouth view of the whole soccer pitch. Or a worm’s eye view of the steeplechase. This solid, super-sharp ultra-wide-angle zoom will excel in all of those circumstances. Exceptionally-clear optics, even stopped wide open, will also work well for interiors and landscapes. But you can probably do as well with our top-choice lens with its IS for that. It’s an expensive lens. But it’s superbly-made and utterly reliable. It gives you sharp images across the focal length range and apertures. The Canon EF 16-35mm f/2.8L III USM is a good investment. The Canon EF 17-40mm f/4L USM is another versatile wide-angle zoom lens. It gives you a good focal length range. You won’t see much distortion, even at the extremes. And budget-conscious photographers will appreciate the price tag. You sacrifice 1mm of wide-angle, gain 5mm at the other end, and could nearly buy two of these for the price of the 16-35mm f/4L. In other words, this is great value for a lens. It is pretty much as sharp as either of the 16-35mm Canon lenses. And it pulls you that little closer to the subject with its maximum 40mm. Make no mistake, even though this lens is markedly cheaper than the previous two, it is still a hefty price. But it will deliver reliable results, whether it’s for real estate interiors or landscapes. That cost saving does mean you have neither the fast f/2.8 maximum aperture, nor the image stabilization. But there are some jobs where you need an ultra-wide lens on a full frame camera. If that’s your situation, this could be the one for you. Don’t be fooled by the bulbous front element. The Canon EF 11-24mm f/4L USM is not a fish-eye lens. Straight lines will, pretty much, stay straight. In tight spaces—or indeed wide-open spaces—this lens will deliver pictures like no other. Despite the acres of domed glass, Canon have managed to control flare and ghosting. To eliminate it would be impossible. But it never intrudes, nor does it reduce the punch of the contrasty images. A 16mm lens isn’t always wide enough for real estate interiors. This ultra-wide marvel will enable photos that are otherwise impossible. There’s a hefty price-tag. But it delivers quality at an ultra-wide angle. The Sigma 14-24mm f/2.8 covers a useful range of wide- to ultra-wide focal lengths. It offers great value for money, for a lens with this range and a maximum f/2.8 aperture. A combination of aspherical and special low-disperison elements combines to give very low flare and little distortion. As with all Sigma Art lenses, the build quality is designed to stand up to everyday use. Sigma Art lenses have devoted followers who love the clarity and light their lenses deliver. I have a wedding photographer friend, whose photos are nothing short of luminous. She shoots exclusively with Canon bodies and Sigma Art lenses. The compromise with this lens is that its maximum zoom of 24mm won’t get you at all close to the action. In some ways it is less versatile than the 16-35mm. But, it will give you that extra width at the wide end, without the financial pain of the Canon 11-24mm. The most attractive thing about this Tamron 17-35mm lens is probably the price. But the worry will always be whether that brings compromises with quality. Those fears are not realized with this Tamron. Center sharpness is especially good. But even wide open the sharpness in the corners is impressive. Stopped down a couple of stops, and this gets even better. Even at its slowest, this Tamron is as fast as Canon lenses costing far more. On the down side, that extra 1mm focal length at the wide end makes a difference. And compared with similar Canon EF 17-40mm f/4L, the Tamron loses out on that extra reach at the longer end. Still, if you need a 17mm lens and your budget is limited (especially if you want the f/2.8) this is well worth a look. The Rokinon 14mm f/2.8 ED was considered cheap when it was around $400, and it’s a good deal cheaper now. There’s no denying you won’t get pin-sharp images from this lens. But, perhaps for occasional use, for on-screen reproduction, it’s worth it. If you have a number of properties to rent, this lens might be a good choice if you’re advertising them on rental apps. It has a super-wide focal length, fast f/2.8 aperture, and manual focusing. This is less than a ringing endorsement, but for the price, it gives you access to a great focal length for interiors. The Canon EF 24mm f/1.4 II USM delivers sharp, distortion-free images at most distances. And performance well in very challenging lighting. Sharpness is superb, even at f/1.4. Remembering, of course, that depth of field at that aperture is very shallow indeed. There is little to no problem with flare or loss of contrast, even shooting straight into the sun. It’s a professional lens, so that’s no surprise. The eight-bladed diaphragm provides attractive sunstars. Bokeh, never a priority with wide-angle lenses, is not on a par with some of Canon’s longer lenses. But it is acceptable. This lens will cost you a lot of money, but it will reliably give you sharp, accurately-focused images time after time. Although it’s not an ultra-wide lens, the Sigma 20mm f/1.4 Art does give you that extra “wow” factor over a 24mm lens. Its top-quality build will serve you well, and it delivers bright, clear images. It’s great for demanding indoor situations, like roving around at a wedding. The f/1.4 is helpful if your subject is moving. But bear in mind that depth of field is very shallow at that aperture. Straight lines pretty much remain straight with this Rokinon 10mm. So interiors and architecture will look more natural. They won’t look “normal” because of the unusual perspective. But this isn’t a fish-eye lens. Three aspherical elements, and low dispersion glass help to reduce flare. But on a lens with a bulbous front element, that collects light from almost everywhere, this won’t have the punch of a 16mm. But it will get you sharp photos in otherwise impossible situations. And although it’s not cheap, it is in a different world from Canon’s 11-24mm reviewed above. The Laowa 12mm f/2.8 is a fast lens with an ultra-wide focal length. You get close to zero distortion and edge-to-edge sharpness. Small rooms will look huge, with no fish-eye effect. Objects will look elongated, but that goes with the territory. Don’t consider this lens for any hurried shooting. Everything is manual. You have to set the aperture as well as the focus. So there’s no EXIF information with your file either. But for the price, this gets you a reliable, solid lens that achieves what only an ultra-wide lens can. Plenty of lenses say “macro” on the barrel but aren’t. The Laowa 15mm f/4.0 not only offers an ultra-wide 15mm focal length, but also genuine macro 1:1 capability. And it does this for a remarkable price for those features. It offers impressively sharp pictures even wide open. Of course, that maximum aperture of f/4.0 is not that fast. The 11-bladed diaphragm produces pleasant bokeh shapes, and the lens has plenty of punchy contrast. A really interesting choice for its macro and wide-angle combination at an enticing price. It’s not often you need a fisheye lens, and there aren’t many people can justify thousands of dollars to buy one. The Rokinon 8mm f/3.5 MF offers great results for not much more than a nifty-fifty. And the images it produces are beautifully sharp. This means that you can have one in your arsenal. And let’s remember that for some jobs, a fisheye lens is perfect. Obviously, straight lines become curves. But that’s the point. What’s remarkable about this lens is how well it stands up against properly-expensive fisheyes. The Sigma 14mm f/1.8 Art is a fast, ultra-wide-angle lens. And it’s superb for astrophotography. But you’ll appreciate the sharpness in any situation needing a lens this wide. It even manages to provide some bokeh and subject separation. Not easy to do with a 14mm lens. The lens has the top-quality construction we expect from an Art series lens. The autofocus is fast and whisper-quiet. A combination of aspherical and low dispersion elements provides low distortion and minimal flare. This is a premium lens at a premium price. But it will prove a reliable addition to your camera bag.
Conclusion
The range of wide-angle lenses available for your Canon camera could be quite bewildering. Especially when you think of how different two lenses, say a 16-35mm and an 8mm lens are. So you have to tailor your choice to your needs and your budget. With that being said, we don’t think you can go far wrong if you can afford the superb Canon EF 16-35mm f/4.0L IS USM zoom lens.
