Canon EF 16-35mm F/2.8L III USM vs Canon EF 24-70mm F/4L IS USM — Which Is Better?
Side by side43 specifications |
Canon · f/2.8 · Canon EF mount
Canon EF 16-35mm F/2.8L III USM
78
SCORE
|
Canon · f/4 · Canon EF mount
Canon EF 24-70mm F/4L IS USM
90
WINNER
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|---|---|---|
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| General | ||
Read the General ComparisonGeneralThe Canon EF 16-35mm F/2.8L III USM and the Canon EF 24-70mm F/4L IS USM are Canon EOS full-frame L-series zooms on the same EF mount, but they answer different focal-length needs. The 16-35mm, from 2016, is an ultra-wide lens for architecture, interiors and landscapes. The 24-70mm, from 2012, is a standard zoom covering group frames through light telephoto portraits. | ||
| Release Year | 2016 | 2012 |
Production Status ⓘCurrent status of lens manufacturing (e.g., in production, discontinued). |
 In Production | In Production |
Version ⓘThe iteration or release number of a particular lens model. |
III | N/A |
Pro Branding ⓘSpecific branding codes used for professional-tier lenses. |
L | L |
Lens Mount ⓘThe lens mount will tell you what type of lens range you can fit onto the camera body. Often the same camera company will have different lens ranges for different cameras. |
Canon EF | Canon EF |
System ⓘIndicates which camera system the lens is designed to attach to. |
Canon EOS | Canon EOS |
Maximum Format ⓘLargest sensor size compatible with the lens. |
 Full Frame | Full Frame |
| Physical | 100/100 | 100/100 |
Read the Physical ComparisonPhysicalThe 24-70mm is the smaller, lighter carry at 600 g and 93 mm long, against 790 g and 127.5 mm for the 16-35mm, making it the easier lens to pack or keep mounted. Direct-fit filters differ, with 82mm threads on the 16-35mm and 77mm on the 24-70mm. Both accept front filters and share the Canon EF mount, so either fits the same EOS bodies. | ||
| Lens Weight | 790 g | 600 g |
Lens Diameter ⓘWidth of the lens at its widest point |
88.5 mm | 83.4 mm |
Lens Length ⓘHow long the lens is from front to back. |
127.5 mm | 93 mm |
Front Filter Compatible ⓘSome lenses are compatible with front filters, some are compatible with back filters and some are compatible with both. Front filters are usually more convenient to add and remove. |
 Yes | Yes |
Front Filter Size ⓘDiameter of attachable filters. |
82 mm | 77 mm |
| Optics | 81/100 | 71/100 |
Read the Optics ComparisonOpticsThe 16-35mm is the stronger choice for handheld low-light wide-angle work, because it holds f/2.8 across the whole zoom range while the 24-70mm is f/4 throughout. That keeps dim interiors and evening cityscapes shootable before raising the ISO. Focal range does most of the deciding here: the 16-35mm gives a much wider 16mm view, while the 24-70mm doubles the long end to 70mm for portraits. The 16-35mm also focuses closer, 28 cm against 38 cm, and reaches 0.25x maximum magnification against 0.21x. | ||
Focal Range ⓘShortest to longest focal length of the lens (zoom range start - end ) |
16–35 mm | 24–70 mm |
Aperture Range ⓘLargest aperture at the lens's shortest focal length to longest focal length (aperture range start - end) |
2.8 | 4 |
| Focal Length Angle of View | 107.03°–63.44° | 84.07°–34.35° |
Flange Focal Distance ⓘDistance from lens mount to sensor. |
44 mm | 44 mm |
Diaphragm Type ⓘStructure and design of the aperture |
 Automatic | Automatic |
Blades ⓘNumber of diaphragm blades in aperture |
9020 | 9020 |
Zoom Lens ⓘZoom allows you to vary the focal length, change between long shots and close-ups |
 Yes | Yes |
Zoom Mechanism ⓘSystem enabling zoom function |
 Manual | Manual |
Zoom Ring ⓘIf zooming is adjusted using a zoom ring |
 Yes | Yes |
Zoom Type ⓘThe design or approach to zooming |
 Rotary | Rotary |
Closest Focusing Distance ⓘMinimum distance for a subject to be in focus. |
28 cm01500 | 38 cm01500 |
Maximum Magnification ⓘLargest size a subject can be reproduced |
0.25x | 0.21x |
| Autofocus Mode |  Yes | Yes |
| Manual Mode |  Yes | Yes |
| Manual Focusing Ring |  Yes | Yes |
| Features | 52/100 | 73/100 |
Read the Features ComparisonFeaturesThe 24-70mm has 4-stop image stabilization, which helps hold interiors, still-life details and dim cathedral views sharp at slower handheld shutter speeds. The 16-35mm has no stabilization, so its low-light work rests on the f/2.8 aperture. The 24-70mm also has a zoom lock that stops the barrel drifting when carried, which the 16-35mm does not. Both lenses are weather sealed, and both use a fluorine coating that makes dust and fingerprints easier to wipe away. | ||
Weather Sealing ⓘWeather sealing capabilities will give you more confidence when shooting in unfavourable conditions. |
 Yes | Yes |
Fluorine Coating ⓘCoating to repel water and oil from lens elements. |
 Yes | Yes |
| Built In Lens Hood | ✗ | ✗ |
| Lens Hood Type |  Petal | Petal |
Zoom Lock ⓘZoom lock allows the zoom ring to be locked at the desired focal length |
No |  Yes |
Teleconverter ⓘA teleconverter (extender) is an extra piece of equipment that fits between the lens and the camera body to enhance magnification |
✗ | ✗ |
| Image Stabilization | ✗ | ✓ |
IS Efficiency ⓘIS efficiency refers to the effectiveness of the image stabilization system in compensating for the blurring effects of camera shake, quantified by the number of stops of stabilization it provides. |
N/A | 4 stops |
| Construction | 69/100 | 31/100 |
Read the Construction ComparisonConstructionThe 16-35mm zooms internally, so the barrel does not extend as you change focal length, which helps when shooting close to a wall or in tight crowds. Its focusing is internal too, while the 24-70mm extends both when zooming and when focusing. The two designs differ in corrective glass. The 16-35mm uses 16 elements in 11 groups, including three aspherical and two UD elements, while the 24-70mm uses 15 elements in 12 groups with one of each. That extra corrective glass accompanies its wider 16mm coverage. | ||
Elements ⓘLens elements refer to individual pieces of glass within the lens. |
16 | 15 |
| Groups | 11 | 12 |
Aspherical Elements ⓘThe number of aspherical lens elements which can help correct aberrations such as spherical aberration. |
3 | 1 |
Bi Aspherical Elements ⓘElements with two non-spherical surfaces |
2 | 0 |
Low Dispersion ⓘElements that reduce chromatic aberration |
2 | 1 |
Super Low Dispersion ⓘAdvanced elements further reducing chromatic aberration |
0 | 0 |
CA Reduction ⓘBuilt-in features to reduce chromatic aberration |
0 | 0 |
Internal Focusing ⓘInternal Focusing means that the lens does not change in size during focusing, and the front element does not rotate. |
 Yes | No |
Read: Verdict
Verdict
Pick the 16-35mm if ultra-wide framing drives your photography: cathedral interiors, starry skies and dim event wides all draw on the 16mm view and the constant f/2.8 aperture. Pick the 24-70mm if you want one general-purpose zoom reaching 70mm for portraits and details.
For travel and walkaround use, the 24-70mm makes the stronger case: 4-stop stabilization for handheld static scenes, plus a zoom lock for bag carry. Choose the 16-35mm when your work needs the 16mm view or the f/2.8 aperture.