Canon EF 11-24mm lens information
Canon EF 11-24mm f/4 L USM zoom lens information
A collection of information and reviews for Canon’s new ultrawide EF lens
There are also some initial test images and technical specifications further down this page. This page will contain new information and news about the lens as we find it.
An ultrawide zoom
Canon has added the Canon EF 11-24mm f/4 L USM zoom lens to the EF range, the widest rectilinear zoom available.
Since I’ve been lucky enough to get one, this page will contain updates and info, along with first impressions of use.
Reviews and info
- >> Keith’s review of the 11-24
- EF 11-24mm manual [PDF]
- Real (measured) MTF charts at Lensrentals
- David Noton using the 11-24 at CPN
- CPN article about the lens
- Review at Petapixel
- Review by Tim Dodd
- Lens analysis at dxomark
- A review at PZ
- Review at TDP
- Comparison with Nikon 14-24 at 14mm [LR]
- Review at AP magazine
- Review at EPZ
- A review at RMB
29th An effusive review at RMB
More samples at PB
20th A review at EPZ
19th A review at AP magazine
13th Masses of (good) sample images from the 11-24 at Mob-1
12th Excellent review at TDP
11th Quick comparison with the Nikon 14-24 at 14mm [LR]
9th A good non techy review by Tim Dodd
7th The EF11-24 review is now published – I hope it helps people get a good feel for what the lens is like to use.
This page will be updated with new info and other reviews as I find them.
There is a detailed lens comparison tool available at TDP where you can compare aspects of 11-24 performance with other lenses
6th The review should be finished this weekend – I’m getting to visit somewhere nice today, so am hoping to get a few more examples of just what the 11-24 does well.
Canon UK have some more samples on their lens info page.
Canon Asia posted this video filmed with the 11-24
3rd After using the 11-24 a bit more ‘for real’, I’m even more impressed by it’s quality across the zoom range.
Someone asked why I couldn’t post more ‘nice’ photos taken with the 11-24?
Well, it’s not a lens that you are just going to rush out and get great results with – also I believe that lens reviews are not the place to promote the idea that just buying expensive new kit will magically improve your photography ;-)
All the shots here so far are uncropped, but an important feature of this lens is being able to keep it level, thereby avoiding converging verticals. However this may mean that there is a whole part of the image you don’t want. Now, I’ve never gone along with any ‘whole frame’ ethos, and have no difficulty in cropping an image if it works better.
The view below (hand held 1/20 f/6.3) is a 24mm x 24mm square crop from my full frame 24 x 36mm sensor. If this were from the upcoming 5Ds, I’d still have a 33MP image. That’s one reason I want more pixels…
This photo of the library at Leicester University was also hand held. Correcting it required a 0.1 degree rotation and small adjustment for convergence. There was a tiny bit of barrel distortion at 11mm, fixed at the lowest setting of the slider. With many images this level of distortion would not be visible.
It handles flare very well too.
Landscape photography – the problem of leaning trees if you don’t have the horizon across the middle of the frame.
A shot of the entrance to Leicester Station (14mm), showing the many pointed stars from bright lights
2nd A quick comparison at different focal lengths
Here’s a left-right stitch of three TS-E17 images.
The view at 11mm, with the camera vertical
Here’s a comparison of the EF14 2.8L II and EF 11-24 full frame and in the top RH corner.
Move your mouse over the images to see the alternative view.
Two corner detail images (mouse over to see)
Second pair is a comparison, using the CA correction in ACR (Photoshop CS6)
The 14mm exhibits stronger distortions than the 11-24, but once corrected is still a superb lens. I should note that the EF14 2.8LII is supported by lens profiles (both in ACR and DxO Optics Pro) with my 1Ds mk3, but the 11-24 is too new.
Just how they will perform on the 5Ds is something I’m keen to see ;-)
1st I was photographing a new venue last night, and took along the 11-24 to test with a few additional shots. This example shows how even a modest downwards tilt produces dramatic convergence of verticals – something to consider with trees in landscapes?
This is one reason I like the TS-E24 and TS-E17 for landscapes – see using tilt/shift, if you’re not familiar with such lenses.
BTW If you’re new to the site you might also find my reviews of some other wide lenses of interest?
EF8-15 | EF-S 10-18 | Samyang T/S24mm | Samyang 14mm
It’s not easy to see in these smallish images, but this is very sharp in the corners (for 11mm) [Larger version on G+]
Levelling the camera (almost) gives this view (also at 11mm)
This 100% crop shows some detail (1Ds3 ~21MP no sharpening other than standard in ACR). This is at f/8 focused on the nearest support. The pots and mirror are circular – this is a normal consequence of a wide rectilinear projection.
The 11-24 makes the 1Ds3 body look a bit smaller than usual.
This lens is going to be great with the 5Ds when it turns up…
28th The lens arrives, from Park cameras in the UK
(it’s raining, so testing outside is delayed – I don’t like getting wet ;-)
The lens cap is big but quite light – it almost felt a bit flimsy when taking it out of the box, but it fits just fine.
It is huge – and only weighs a bit less than my 70-200 2.8L IS
This side view doesn’t really give a feel for the bulk.
Look at the front elements though.
The rear element almost touches any gel filter at 11mm – forget any front filters that are not the size of a car door window…
The front element moves with focal length. There is a lot of glass moving when you zoom, you can really feel it when zooming.
Some people call 24mm ‘wide angle’.
Compare with the view below.
It’s a comparison between 14mm (where I have the EF14 2.8LII ) and 11mm
Hardly a precise test, but this is a 100% crop from the corner of the image at 11mm
It’s when I think that a lot of people consider 16mm very wide (on full frame) that you see just how far this lens goes.
A quick check, out in the street, compares the view at 11mm with a left-right stitched shot using the TS-E17mm both at f/8.
There are 2000 pixel wide examples of these two images on one of my G+ pages
The stitched shot is wider (~10mm), but even at f/8 is showing some vignetting.
The stitched shot needs correcting for residual chromatic aberation, whilst the 11-24 mm shot can be corrected with the basic setting in ACR/Photoshop. The image is of the top RH corner at 200%.
Move your mouse over the image below to see the correction (there are no lens profiles for this lens as yet).
27th I’m told that our EF 11-24mm F4L should be here tomorrow… :-)
Some real (measured) MTF charts at Lensrentals show how good the lens is over the full zoom range.
The lens manual is available [PDF]. I note that it mentions that the gel filter holder gets in the way of the rear of the lens at its widest setting.
17th A suggestion that the initial lengthy delays for shipping the 11-24 in the UK were a trifle pessimistic and we may yet see them (in limited quantities) this month in the UK.
16th The 11-24 is shipping in some parts of the Far East [ETP – Google xlt]
8th A few more pre-production sample images at EPZ
6th Lens is announced.
This lens has been rumoured since early 2014, based on a Canon optical patent.
Photos of the lens appeared around the time of Photokina.
It’s obviously been nearly ready for some time, so perhaps it’s just taken longer than expected to produce the glass for some of it, or they just wanted to wait for the 5Ds?
The Canon US press info says availability within weeks, whilst here in the UK I’m hearing months. I’ll update as I find out more.
There is a CPN article about the lens and some great photos of the Dorset coast in an article about David Noton using the 11-24, at CPN
L-series ultra-wide zoom lens with an 11mm starting focal length
New optical design and the use of one Super UD element and one UD lens element helps significantly reduce chromatic aberration.
Four aspheric lens elements help minimize distortion from the center of the image to the periphery and across the entire zoom range.
Subwavelength Coating (SWC) and Air Sphere Coating (ASC) help to significantly reduce flare and ghosting.
Highly resistant to dust and water.
Inner focusing, ring USM, a high-speed CPU and optimized AF algorithms.
Circular aperture (9 blades) helps deliver beautiful, soft backgrounds.
Minimum focusing distance of 11 in./0.28m (at 24mm) is ideal for shooting in tight spaces.
Full-time manual focus allows manual focus adjustment while in AF Mode.
Fluorine coating on front and rear lens surfaces helps reduce smears and fingerprints.
Exotic glass of the 11-24 – from CPN
MELVILLE, N.Y., February 5, 2015 – Canon U.S.A., a leader in digital imaging solutions, is proud to introduce the superb new Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens designed to deliver high quality, minimally distorted images throughout the entire zoom range. Featuring the widest angle of view (126º05’ diagonal) ever achieved for a rectilinear full-frame Digital SLR lens*, and a minimum focusing distance of 11 inches (at 24mm), this new lens is ideal for professionals who want the ultimate in creative image expression with sharp, crisp detail whether shooting entire buildings from a close position, entire stadium shots from a high-vantage point, large group photos at a scenic wedding or even astrophotography. Cinematographers will be equally as impressed with the lens’ ability to retain straight lines.
Fully compatible with all EOS cameras, but particularly effective with full-frame cameras such as the new Canon EOS 5DS and EOS 5DS R Digital SLR cameras also announced today, this new L-series lens features newly developed optics comprised of 16 elements in 11 groups with a three group zoom system and rear focus. The new optical design utilizes four aspherical lens elements to help minimize distortion from the center of the image to the periphery, across the entire zoom range. This new optical array provides straight lines with minimal curve throughout the zoom range, ideal for architectural, event, and forensic photography. The lens also features one Super UD element and one UD lens element to help significantly reduce chromatic aberration and deliver sharp images with high resolution. Canon’s advanced lens coating technologies are also liberally employed to help minimize ghosting and flare, while simultaneously enhancing accurate color balance and maximum light transmission efficiency.
“Canon is very proud of its optical heritage. The creation of this new lens continues our tradition of providing photographers with unique image-making solutions that are not only thoughtfully designed but precisely engineered and manufactured,” said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. “The new Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens features newly developed optics and an unprecedented combination of Canon optical technologies. We are very eager to see the beautiful images that photographers will create using this new lens with Canon EOS DSLR and Cinema EOS cameras.”
The new Canon EF 11-24mm f/4L USM lens’ impressive 11mm starting focal length and 9-blade circular aperture help deliver beautiful, high-quality, detailed images. The new lens accurately reproduces straight lines in the subject with minimal distortion, ideal for architectural and landscape photographers looking to create images with tremendous depth and strong perspective.
Wide-angle lenses are especially prone to flare and ghosting. To help reduce these effects, the new Canon EF 11-24mm f/4L USM lens features Canon’s proprietary Sub-Wavelength Structure Coating (SWC) and Air Sphere Coating (ASC). SWC is applied to the rear surface of the first and second aspheric lens elements, while ASC is used on the front of the fourth element. The SWC coatings are particularly effective for combatting flare and ghosting caused by light rays entering the lens at a large angle of incidence, while the ASC coating helps mitigate the same problems for light rays entering the center of the lens. The new lens also employs Canon’s Super Spectra Coating (SSC) to enhance light transmission while at the same time optimizing color reproduction accuracy.
The Canon EF 11-24mm f/4L USM lens features a meticulously designed inner focusing system and zoom ring, as well as a built-in petal type lens hood with light-shielding grooves. Along with a high-speed CPU and optimized AF algorithms, this lens enables fast and accurate autofocusing, while its full-time manual focus feature allows manual focus adjustment even in AF mode. As with all L-series lenses, this durable new lens is highly resistant to dust and water — ideal for outdoor photography even when conditions are harsh. In addition, a fluorine coating on the front and rear surfaces of the lens helps reduce smears and fingerprints and makes the lens easier to clean.
Pricing and Availability
The Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens joins the robust line up of Canon f/4L USM zoom lenses including 16-35mm, 17-40mm, 24-70mm, 24-105mm, 70-200mm, and 200-400mm + 1.4X Extender models. It is scheduled to be available in late February 2015 for an estimated retail price of $2,999.00.
Full optical construction details not yet published
|Angle of view (horzntl, vertl, diagnl)||117º 10′- 74º,|
95º 10′ – 53º,
126º 05′ – 84º
|Lens construction (elements/groups)||16/11|
|No. of diaphragm blades||9|
|Closest focussing distance (m)||0.28 (at 24 mm)|
|Maximum magnification (x)||0.16 (at 24 mm)|
|AF actuator||Ring USM¹|
|Filter diameter (mm)||Filter Holder|
|Max. diameter x length (mm)||108 x 132|
|Lens cap||Lens Cap 11-24|
|Rear cap||Lens Dust Cap E|
|Magnification w/ Extension Tube EF12 II||0.73-0.53¹|
|Magnification w/ Extension Tube EF25 II||Not Compatible|
|Extender Compatiblity||Not Compatible|
|AF actuator||¹ Full time Manual Focus|
|Magnification w/ Extension Tube EF12 II||¹ Not Compatible at wide angles|
|*Lenses with dust/moisture resistance are fitted with a rubber ring on the lens mount which may cause slight abrasion of the camera mount.|
|This in no way effects either the lens or camera performance.|
|A quick guide to MTF charts (which only measure contrast and resolution. Canon’s guide to their MTF charts)|
Remember that MTF charts are good for comparing similar lenses, so comparing ones from the 14mm f2.8L and 300mm 2.8L won’t tell you much at all, whilst comparing the EF14 2.8L with the EF14 2.8L II will show meaningful differences. Note that other manufacturers may have different ways of displaying such information that may or may not match up with the Canon figures.
Here’s the lens compared in size to the 8-15 and EF14
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