A versatile fisheye zoom lens offering a choice of full frame or circular image. The EF 8-15mm f/4L Fisheye USM is part of Canons high performance L series lenses and delivers fantastic image quality, even with such a wide angle view.
While minimising distortion, the Sigma 14-24mm F2.8 DG HSM | Art offers outstanding F2.8 brightness throughout the zoom range and delivers top-level image quality at every focal length and at every shooting distance.
Canon users looking for a robustly made, weather sealed wide-angle zoom in EF-mount that’s smaller and lighter than the EF 16-35mm f/2.8L III USM will find their ideal partner in this lens. It’s not as well suited to shooting in challenging low-light situations with its slower maximum aperture, but presents significant advantages of its own, including 4-stop optical image stabilisation to compensate for handshake and Super Spectra coatings that enhance contrast and light transmission under harsh lighting conditions. Sharpness is outstanding and it handles chromatic aberrations admirably. It’s right up there as one of best performing wide-angle zooms Canon has ever made in EF-mount.
The Sigma 18-35mm F1.8 DC HSM Art is a fascinating lens and one that’s designed for cameras that employ an APS-C size sensor. With a constant aperture of f/1.8 and focal range that’s equivalent to 27-52.5mm, it lets you do what very few zooms allow, which is to shoot at a fast maximum aperture across a practical focal length range without having to switch between multiple prime lenses. It’s constructed to Sigma’s robust standards, however it’s not weather-sealed. It’s also fairly heavy (810g) for its size and balances best with APS-C cameras that have a large handgrip. It’s puts in an exceptional optical performance and produces highly attractive images at f/1.8.
The EF 24-105mm f4L IS II USM is the finest full-frame standard zoom Canon has made covering this extensive focal range. Ideal for times when you’d like one lens to do it all, it improves on its predecessor by being sharper in the corners and comes equipped with a more effective optical image stabiliser that provides 4 stops of correction. Those who shoot video will appreciate its electronic aperture diaphragm system that ensures smooth aperture adjustment and it accepts filters and adapters via a common 77mm thread. Canon’s EF 24-70mm f/2.8L II USM is sharper, however it’s not optically stabilised and doesn’t provide the same reach at the long end.
If you’re a Canon user after a general-purpose focal range combined with a fast maximum aperture look no further than the EF 24-70mm f/2.8L II USM. Built to Canon’s professional L-series standard with weather sealing and fast, silent autofocus, it’s a lens that’s hard to pick fault with and returns images of exceptional quality. As well as impressive centre sharpness wide open at f/2.8, users can expect it to handle ghosting and flare extremely well when shooting directly towards the light. The only downsides are its lack of optical image stabilisation to suppress camera shake and that it becomes a little soft wide-open at its minimum focus distance.
A versatile 24-70mm f/4 L-series lens with macro mode for up to 0.7x magnification. Ultrasonic AF provides fast, near-silent focusing. UD and aspherical elements deliver superb image quality.