Canon RF 14-35mm F4L IS USM Definitive Review | DA

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Hi, I'm Dustin Abbott and I'm here today to give you my definitive review of the new
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Canon RF 14-35mm F4L IS USM lens. This is a full frame wide angle zoom designed for Canon's
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EOS R system. In this case, I've done a review on the 45 megapixel EOS R5. When I reviewed
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I think it's been back about seven years ago that I reviewed the EF 16 to 35 millimeter F4 LIS
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And it was a lens that really hit a sweet spot for a lot of Canon photographers. The addition
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of an image stabilizer into the formula helped to make even the fact that it had only an F4 aperture
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helped make it more effective in more situations. It also was just really, really good. It was much
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sharper than what we had been seeing from Canon's wide angle zooms, including into the corners
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which was somewhat of a rarity at that point. And just, you know, it was reasonably sized
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reasonably priced at $1,199 US dollars. And so I think for many photographers who, you know
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were biased more towards landscapes, less towards maybe shooting weddings, it was a lens that many
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people added to their kit. So it has been highly anticipated to have an RF mount equivalent. That
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lens has arrived and while Canon has added some additional features, most notably the ability to
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go as wide as 14 millimeters, those we'll see in our image quality section, you can add a little bit
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of an asterisk to that and we'll see why then. But it also has some other features. It has an even
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better image stabilizer. They've managed to make it a little bit smaller and lighter in many
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dimensions and beyond that it also has a higher level of magnification. A lot of good things as
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a part of it but unfortunately something has grown and that's the price and I've definitely
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heard some rumblings from you as the audience already just anecdotally at the price point that
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is coming to market at $1,700 US, $500 more than the EF counterpart so you're definitely paying a
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premium like seems to be a trend with many of the RF mount lenses. Today however we're going to
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breakdown in some detail, both strengths and weaknesses of this lens. It's a little bit more
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of an exotic lens than what the 16 to 35 F4 LIS was. That lens, if I, there was very little to
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criticize. So I said, in some ways it was almost boring because while it was very competent in
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everything that it did, it really wasn't particularly dynamic as a lens. This is a more dynamic lens
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and it has some huge strengths to it, but Canon's engineers took more risk in this design. And it
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does show up in a few areas that we will highlight. First of all, however, a word from our sponsor
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Use code DUSTIN15 for 15% off when you're ready to check out. So let's start by taking a look
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up close at this lens and breaking down some of the physical details and we'll dive in and
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take a closer look. You know, overall, RF lenses have a little bit of a chunky feel to them, and so
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I was actually surprised to find out that this lens was a little bit smaller and lighter than
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the EF version. They are built a little bit differently. As noted, the RF lens is a little
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bit larger in diameter. It's about 84 millimeters versus about 82.5 millimeters for the EF version
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but it is a significantly shorter lens in its overall length. I'll pop off the lens hood so you
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can see its actual length here. And so this lens is right under 100 centimeters versus nearly 113
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centimeters for the EF version. And thus it's lighter, 544 grams versus 615 grams. And if you're
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interested, the 15 to 35 millimeter f2.8 is actually nearly 127 millimeters in length. So
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about 27 millimeters longer and it weighs in at 840 grams so nearly 300 grams heavier and so if
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you're wanting to travel small and light and have a great zoom range obviously this lens is going to
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be really attractive. Let's talk about that lens hood for a moment. Like most other wide angle
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zooms by necessity it is a really really narrow lens hood so the truth of the matter is is that
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in many situations, you're not actually doing a lot of shading here. It's more really probably
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for bump protection than anything. You might get a little bit of mild shading, but they can't make
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this too deep because at wide angles, it would cause mechanical vignette, which as we're going
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to see is already a little bit of a problem. There is a release button on there. It's plastic
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It's ribbed inside. Pretty standard fare. Now, one thing that I don't love in terms of the design
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the zoom ring moves nice and smooth, but it's kind of a rocker effect to where the fully retracted
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position is actually in the middle of the zoom range, about 22 to 26 millimeters. And it actually
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zooms out, gains about a centimeter in length. So not a lot, but at either the 35 or the 14
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millimeter position, it's actually extended somewhat. And so for those of us that are
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accustomed to just kind of retracting fully at the, you know, the wide angle, it doesn't work
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that way. This ring has kind of the bevel in it, and so it's easy to find by feel. The one that's
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a little bit hard to find is the manual focus ring. There's nothing to really make it stand out
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and it's very, very close to the zoom ring. And also, if you're wearing gloves, pretty much forget
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being able to find that by feel. The control ring up front is easier because it has a unique texture
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to it, and there's a little bit more separation between the manual focus ring and the control
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ring. This is clicked all the way around. You can have it de-clicked for a price. And obviously
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like all other RF lenses, you can program different functionality into that depending
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on what your preference is. A major achievement here is that up front, we have a standard 77
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millimeter filter thread, which makes this pretty rare among lenses that go to 14 millimeters on
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full frame, that it actually allows you to use traditional filters. That's a pretty huge
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achievement by Canon on that front. Inside, we have got some really good stuff. There is a thorough
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weather sealing package here, nice thick gasket at the lens mount, flooring coating on the front
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and about 10 or 11 other seal points throughout the lens. It has an advanced pro grade build
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that befits an L-class lens here. On the left side of the barrel, there are a couple of switches
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AF-MF switch and an on and off for the stabilizer. Nothing too fancy there However this on the stabilizer it is supposed to be an intelligent stabilizer so it does detect if you panning and it turns off the axis accordingly
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Now, the stabilizer itself is a really effective one. It's rated at five and a half stops
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but if you're using it in conjunction with the IBIS on something like the R5
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they're saying seven to seven and a half stops. That's outside of what I'm able to personally
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achieve, but I was able to see five stops, which for me is a really great performance
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It's enough to tell me that this is going to be a really effective stabilizer for both hand-holding stills in low-light conditions, but also for video use
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Though, as you can see from this footage, it's still not quite as smooth as moving on a gimbal
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But for static shots, it'll just lock you in and hold you pretty much perfectly
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There are nine rounded aperture blades inside. It does a good job of keeping a circular shape, though less of a big deal with a wide-angle lens that starts with a maximum aperture of f4
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I will also note that we have a much closer minimum focus distance of only 20 centimeters
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relative to either the 15 to 35 millimeters or the older EF 16 to 35 millimeter
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And that you can, those both are 28 centimeters. So you get a lower magnification 0.21 times 0.23 times with those
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But because you can get closer here, you can get it as up to 0.38 times of a magnification
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It means you've got about nine centimeters of working distance. So only out to about here
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However, you can get a nice high magnification and you get a good magnification even if you
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move back a little bit from that. So overall, some nice features here
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I mean, it's a robust made lens, you know, high level polycarbonates here on the exterior
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lots of metal inside. And of course, a finish that is proved very resistant over time
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And many of these Canon lenses to either fingerprints or scratching. This is a professional grade lens designed for use in difficult environments
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The big kind of takeaway to me when it comes to the build and the design there is that I was very pleasantly surprised by the fact that this lens didn't get bigger
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and that they managed to retain the ability to use traditional screw-in filters, which allowed me to do long exposure shots using very easily accessed materials
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whereas most 14mm lenses, traditional filters are just not really an option
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And so you have to have some kind of either rear filter kit or you have to use a front mount adapter and add-on square filters
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which gets expensive and cumbersome. To be able to throw one very common 77mm filter there is fantastic
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And so kudos to Canon for nailing that. Now on the autofocus front
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Canon has utilized what is to me my favorite of their current autofocus systems
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and that is nano USM. Nano USM, like the linear motors of some other manufacturers
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they tend to be fast, quiet, smooth in operation. All of those things are true here
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And autofocus has been very, very good in most all fronts. First of all, when it comes to things
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like focus pulls, you can see that they are smooth. I noticed them particularly being very
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nicely damped. And so none of these transitions are abrupt, but very nicely damped. And of course
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very quiet in operation. Likewise, I found that autofocus in all situations, including
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I just talked about using a 10-stop ND filter. I was able to autofocus without even a hesitation
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It's not like it hunted or struggled to find focus, but even with 10 stops of dark glass in
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front of it, it was able to quickly acquire focus. And so a very effective focus system
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and out in various usages, situations, I was able to get really good results
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My one minor caveat to that is that, as is somewhat common with wide-angle lenses
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IAF doesn't work as well. Part of that is just the reality of the fact that an eye occupies a much smaller portion of the frame
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relative to a telephoto lens, for example, and so you don't get as significant of tracking
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Typically, however, that's made up for the fact that depth of field is quite large
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with a wide angle and particularly a lens that only has a maximum aperture of f4
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And so I found that most of the time it did a fairly good job. For example, this shot of my sons and I, you can see that it achieved very, you know
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crisp, accurate focus in the shot. But, you know, just a few minutes later, my wife took a picture of my daughter and I together
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And though, you know, there's two sets of eyes that are facing the camera, well, we ended up with some front focus because it grabbed kind of the bark of the tree in front of us instead
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Not fantastic. And so there was a couple instances I saw of that where focus was missed in what seems often to be the easiest focus scenario of all these days
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I did note in the shot of Bella, our dog, however, that the animal IAF did a great job of locking onto her eye and giving me very crisply focused results
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So overall, I actually have very few complaints. Autofocus was great. It just does a great job, period
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but there was that little bit of a quirk with IAF where it just didn't work as I'm just kind of
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surprised to see some mis-focus results under those kinds of conditions but for the more typical
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things you're going to use this lens for it obviously did a fabulous job whether I was
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focusing up close and you know doing a little bit more shallow depth of field or if I was focusing
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at smaller apertures and wanted a deep depth of field in my shots whether I was shooting into
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something backlit. It really didn't matter. It just did the job. And so kudos to Canon for
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nailing that. So let's talk about the image quality. And as I noted, this is a lens where
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they took a few more risks in its design. And so that shows up in both some positive and some
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negative ways. Let's dive in and take a closer look. So as we dive into the image quality breakdown
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the first thing I do want to highlight, which is not so much a lens specific issue, it is a
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Canon R5 issue, and that is that when it comes at least to my chart test, I always get this
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kind of terrible white balance just as a byproduct of this. And it's weird because I don't get it on
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any other camera. So just I always have to do a custom white balance to get this kind of end
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result. So we'll focus on that. So the interesting thing here is that when I framed this in the
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viewfinder of the camera, I was framing this with it touching all four corners as I try to do when
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I set up this test. As you can see, that is not at all the result I got back in raw, where there is
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yet no standard profile here. And so what you can see is a fairly massive amount of barrel distortion
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that I have here, and also a very significant amount of vignette. More on that in just a moment
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Now on the right, you can see that trying to do a manual correction produces only so-so results
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There's a kind of a wave pattern, mustache type pattern there. And so I'm obviously going to get
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a much cleaner result if we use the profile here. And this is for a JPEG, which I took out of camera
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It's the same shot, but the JPEG shows just how much correction there is. In fact, let's toggle
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here for a moment. And you can see this is what the raw file back in post looks like. This is what
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the JPEG looked like So obviously Canon is leaving room for a significant amount of correction as a part of this We can see why if we look at my correction stats here I had to use a plus 34 to correct the barrel distortion which is a massive amount
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and I also had to pretty much max out the vignette slider to deal with the vignette. Now
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that is a little bit more of a complicated discussion. You'll note here, wide open, you can
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see some serious darkening of the corners, not just in a minor way. This is F4, but if I go to
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F5.6, it's still there. F8, it is still there. And so what we have got is actually some mechanical vignetting here
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where the lens is wide enough pre-corrected that it doesn't actually fully cover the full-frame image circle
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And so you can see that regardless of what aperture it's using, that doesn't really go away
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And that's because I think Canon's engineers had to really stretch to get this as a 14mm lens
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Now that does have some repercussions. On paper, this lens is wider, 14-35mm is wider than the Samyang RF version 14mm f2.8
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And so as you can see looking at here, that's true. It's basically the same framing on the left side, but you can see that it's wider here on the right side
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But you can see that tremendous amount of barrel distortion, which far exceeds what you see on the Samyang
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But you can also see down here that that mechanical vignette, which means if you go to the JPEGs
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and you correct them, you can see that now the Canon lens actually isn't as wide
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They're just about the same on the right side, but you can see here that all of these bricks that are showing up in the image
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are not showing up on the Canon image at all. Also up here, you can see that this line is much higher here, so on and so forth
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You can see that you lose a lot of the image after you correct for these aberrations
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So that's unfortunate, obviously, but as we move on throughout the zoom range, all of that goes away
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And I think that most of it will get masked by the correction profiles when they arrive, but it is something to bear in mind
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Here in the middle of the range, 24mm, you can see that it's basically neutral, very little distortion to correct, none really
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And definitely still some fairly heavy vignette, kind of a trademark of Canon wide-angle lenses, but it all corrects just fine
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And if we move on to 35mm, we find a little bit of pincushion distortion, not bad to correct, about a minus 5
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And a little bit less vignette, though you can see it penetrates pretty far into the frame
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But again, not a major deal there. Less than two stops there at 35mm
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Now longitudinal chromatic aberrations are often not really a big problem on wide angle lenses
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This lens is a little bit soft up close because it's a little bit softer at 35mm as we'll see
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But you can see there's just a tiny bit of fringing there and mostly just a little bit of kind of a spherical blur that robs it of a little bit of sharpness there
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More important in wide angle lenses, because there's not really all that many situations where you have a very narrow depth of field
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is whether or not you've got lateral chromatic aberrations along the edges of the frame in these transition areas
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Fortunately, you can see that they are very, very well corrected. You can also see that this lens is incredibly sharp, which we'll get to in just a moment
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And so those aberrations seem to be well controlled. And in fact, if we look here, like on a chart with the black and white transitions, I'm not seeing a lot of lateral chromatic aberration showing up there
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That's good news. So let's take a look at resolution and contrast. First of all, as I began to check these results, I thought, wow, this is a lot sharper than what I remember the 15 to 35 millimeter f2.8 L being
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And sure enough, when I went back to compare, I definitely saw sharper results with this lens
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And when I went to look at the MTF charts, as you can see here, they also show that not only is this lens significantly sharper than the EF 16-35mm f4 LIS, it's also considerably sharper than the 15-35mm
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And so if we come to our chart, we can see on a 45 megapixel sensor, EOS R5, this is a 200% magnification
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In the center of the frame, things are just awesome. Just a very mild uptick in contrast at f5.6
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the mid frame looks exceptionally good and if we look all the way down into the corner we can see
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that the result here is excellent and gets just a little bit better at f5.6 stopping down to f8
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gives us just a little bit more but already this lens is incredibly sharp at 14 millimeters across
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the frame if we move on to 20 millimeters we find that in the center of the frame things remain
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really really excellent as you can see here that there's just a really nice amount of sharpness
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and contrast. Pretty similar to what we saw at 14mm, mid-frame looks excellent and even better at
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f5.6 and down into the corner, a very, very crisp result. That's just an awesome result. And in some
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ways, it's a little bit better because you're not having to correct for the distortion, and that
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just gives you a cleaner result going out into the corners. Now, in the center of the frame at 24mm
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this is very close to being the best that we've seen thus far. It is just, you know, pretty much
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perfect. Very, very high resolution. Mid-frame, exceptionally good as you can see. And then
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looking down into the corners, the corners are also awesome. Not quite as good at the very
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very extreme last degree as what we saw at 20 millimeters, but it's arguably sharper at the
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other parts in the frame at 24 millimeters. And so, I mean, a very, very strong performance
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If you stop on down to F8 here, you get just a little bit extra in the corner. And so if you
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want to maximize your potential in the middle of the frame f8 seems to be the sweet spot now at 28
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millimeters in the center of the frame we also have a great looking in result even better stop
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down to f5.6 very very sharp there mid frame is looking good at f4 excellent at f5.6 and if we
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look down into the corners corners as the trend we saw at 24 millimeters just a little bit softer
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and a little bit of increasing contrast. You can see acuity is still down even at F5.6
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I recommend stopping on down to F8 for your landscape shots because you can see you're just getting the maximum potential across the frame
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all the way out into the corners. So as noted in our introduction
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there's definitely a contrast drop-off in the center of the frame at F4
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You can just see some haze on the textures that we've certainly never seen to this point
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There's actually a pretty significant improvement in contrast in the center of the frame
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If you go down to F5.6, you can see that it actually looks pretty good
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You can see the same issue here, mid-frame, and it also looks a little bit better stopping down to F5.6
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However, if you go into the corner, corner and edge acuity just is never really as good as it is anywhere else in the range
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You mostly make up for things at F5.6 at other parts in the frame
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But as we can see here, even if we go on down to F8, it's really not excellent
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And if we look at other spots, this is obviously considerably better looking here
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And looking up in this corner, you can just see the extreme corners themselves are just never awesome
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This, you know, you go a little bit off that axis and it looks fairly decent
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Let look at Sir Winston for a moment He looking pretty great here at F5 and F8 but it just doesn extend right out to the extreme corners Now unfortunately that does impact you a bit with your minimum focus distance
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As noted, we have a very high magnification here, but unfortunately it is marred a bit by the fact
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that, you know, our contrast is really not great. You can see there's actually a fair amount of
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detail there, but contrast is just kind of weak here. You might want to try to stop down to F5.6
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to improve that. Here's a real world case in point. You can see that at minimum focus here
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and this is getting really close, high magnification for sure, but you can see that
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you know, there's a little bit of haze on the texture that keeps it from being super sharp
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The trade-off though is that at 35 millimeters, the bokeh quality is quite nice for a wide angle
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lens. In this case with, you know, kind of a more better lighting, a more appealing setting
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you can see that I actually got really good looking contrast there. A little bit further away, not trying to get as high of magnification
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So if you move back a little bit, I think you can improve your results a bit
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On the wide end, your magnification isn't nearly as high here, obviously
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Same scene as what we saw at 35mm, but you can see contrast is just worlds away better here at this point
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And, you know, bokeh quality, everything still looks, you know, nice and round. And so overall, it's busier, obviously, doesn't have the same compression
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but still looks pretty decent. I do enjoy the creative storytelling opportunities
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being able to get close with a wide angle lens gives you. And so I'm certainly glad to have that increased magnification
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Like most Canon lenses and Canon sensors, color rendition is really a strength for the lens
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And so we've got a beautifully sharp lens here that also gives us really gorgeous colors
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And, you know, here's another shot that just shows off just beautiful, beautiful color rendition
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and even in kind of less exotic settings. Even here, just a hike in the woods in later autumn
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you can see that colors look really, really great and got to love the use at your own risk kind of sign
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You look ahead though to the plane of focus, you can see just how incredibly sharp this lens is
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Here's another autumn scene that just shows a lot of rich color and of course great detail throughout the frame
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This definitely is a great landscape lens. The fact that you can use traditional screw-in filters
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of course makes getting long exposures that much easier. And because the lens is so incredibly sharp
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as you can see, even if you do long exposures, this is a 10-stop ND filter
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to get this river that's rushing along to slow down. You can see that detail still really holds up just fantastically
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I had good results when it came to flare resistance. Tiny bit of ghosting artifact here
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but you can also see that the sunburst effect is pretty nice. And again, here you can see, you know, this is a kind of scene where there's a lot of potential for flare, very directional, very bright, low sun
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But you can see that it's handled it really well. Good coatings on the lens. Finally, when it comes to coma performance, a lens like this at f4 is not going to be a top choice for shooting the night sky
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But what you've got is a very sharp lens with low aberrations. And so as a byproduct, there's a little bit of stretching towards the edges of the frame, but very little instances truly of coma
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I see a little bit up in here, but, you know, not too bad, really
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And so if you're under under ideal conditions, only real downside here is the heavy vignette, which kind of makes for uneven lighting in the sky
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It's a little bit hard to correct for in this kind of setting. And so you see we've it's not perfect here
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But overall, I think that if you figured out how to counteract all of that, you might as well use it for shooting the night sky if you have nothing better on hand
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So overall, you know, a little bit of up and down, but my some conclusion is that this is an extremely sharp lens, beautiful color, great contrast
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It's going to make for a very nice landscape lens, if not a great architectural one
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So yes, at 14 millimeters, there's some quirks there. That mechanical vignette, more barrel distortion than what I would like to see
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It's also incredibly sharp at 14 millimeters. And frankly, if you're shooting landscapes, you're probably not going to see those quirks
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very much. And also, if you're shooting JPEGs, you don't see them at all
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If you're shooting video, you don't see them. And of course, very soon, this is a brand new lens, but very shortly, we will see correction
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profiles and editing software like Dolby Lightroom that I just used. And so when that's there, you know, those flaws are going to be corrected for
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but this is a lens that does require some software intervention to really give you
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you know top rated results and that's a little bit surprising at a professional grade lens it's
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priced at 1700 us dollars or 2250 here in canada and so i mean yeah i was a little bit disappointed
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by that but i also realized that it was that kind of shortcut that enabled them to go as wide as 14
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millimeters even if maybe you don't get 100 of 14 millimeters after things are corrected it's still
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a very wide lens, and thus it gives you more potential kinds of shots you can get, more
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environments you can use it in. And there's a reason why we really haven't seen this big of a
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zoom range in a professional grade, you know, full frame wide angle zoom before. And so impressive
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that Canon pulled it off and did a good job overall, I would say, in the image quality performance
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managing to give us a lens that's really sharper probably than any wide angle zoom that we've seen
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from Canon before. So that makes it a pretty top-notch option if you're a landscape shooter
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Maybe a little less desirable if your object is real estate or architectural photography
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because of that more extreme distortion on the wider end. So at the end of the day, I think that
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unfortunately this is a lens that's a little bit less accessible to photographers, not because of
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its performance, but because of its price. Part of the reason why the 16-35mm f4 LIS ended up in
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so many photographers kits is that while it isn't cheap, it was relatively affordable. And so it
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you know, was more accessible by more photographers. You move up towards $1,700 and obviously that's
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less the case, though I will point out that comparatively the 15 to 35 millimeter f2.8 runs
27:56
a much steeper $2,400. So no matter how you slice it, you're going to have to open up your wallet
28:02
if you want a professional grade wide angle zoom on your fancy Canon RF mount camera
28:08
And if you can look past the bit of flaws that I've pointed out
28:12
this is a lens that does a lot of things really, really well. And so certainly comes with a recommendation from me
28:18
I'm Dustin Abbott. And if you look in the description down below, you can find linkage to Craig and I's new channel
28:24
which I encourage you to check out and subscribe. There's content there that you don't find here
28:28
So go and check that out. There's also linkage there to follow Craig or I on social media
28:33
There's linkage to my full text review, to an image gallery if you want to see more photos
28:37
Buying links, if you would like to purchase one there and using my links, does help to support this channel for which I really appreciate those of you who use them
28:45
You can also sign up for my newsletter. You can become a patron and buy merchandise
28:51
And of course, if you haven't already, please click that subscribe button right here on YouTube. Thanks for watching. Have a great day
28:57
And let the light in

Canon RF 14-35mm F4L IS USM Definitive Review | DA

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Canon RF 14-35mm F4L IS USM Definitive Review | DA

dustinabbott.net