Exactly. The contrast and color of the 16-35 f/4 IS and 24-70 f/2.8 II are exceptional and why many have described the 24-70 f/2.8 II as being like a Prime. The 16-35 f/4 IS photos have that exact same character. This is visible in the comparison shots I've taken and these lenses top the TS-E 17 & 24 in that regard, which is saying a lot. The lack of CA also makes a big difference for those shooting landscapes and architecture with intricate detail (leaves & branches, windows, bricks, etc.) when you process the photos.Khalai said:Mr_Canuck said:I'm also interested in the 17-40 performance in the f8-16 range as I like its price (can get an almost new one for $600 vs the $1200 plus tax of the 16-35). I also prefer lighter and smaller, and I have steady hands (or a tripod). Any reason I shouldn't buy it?
I've had 17-40L for about three years. That lens is ofter underrated for its soft corners at wide open 17mm end. But at f/8-f/11, those corners are acceptable. The new 16-35L is not just about sharpness, but also about microcontrast and colours. It's actually very comparable to the 24-70/2.8L II in terms of "punchiness"I barely have to postprocess the files with that lens, 17-40L always needed some more to get to that impactful look.
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