South & Southeast Asia
South & Southeast Asia
From the start we wanted to create a wide zoom lens for pros to use as their main lens. This was our initial development goal, and we were aware that specs vary for the f/2.8 zoom series lenses, especially among wide-angle lenses.
First, there’s the telephoto end. 30 mm was an idea we had from the start, with competitive lenses and market trends in mind. We could have gone with 15-24 mm, if only for continuity with our existing 24-70 mm lenses. But analysis of EF16-35mm f/2.8L III USM usage showed us how often 35 mm telephoto is used. We decided that 35 mm was non-negotiable in a mainstream wide-angle lens that pros would use regularly. Having a focal length range of 15-35 mm for the outstanding optical performance of a “trinity” lens is quite an advantage. Thanks to this, the lens excels not only at landscapes and starry skies but also weddings, reporting, casual shots, portraits, and many other kinds of photography.
Next, there’s the wide-angle end.
We’ve seen advances in f/2.8 wide-angle zoom EF lenses from 20-35 to 17-35 to 16-35 mm, but in EF lens technology, the wide-angle end actually peaked at 16-35 mm. This time, the new EOS R system has enabled an even wider angle of view. To build on this, we considered three options for the wide end.
Initially the first option of a compact 16-35 mm lens seemed most promising. But everyone knew the R system’s short back focus was a distinct advantage in wide-angle lens design. That’s why we couldn’t give up on making the angle wider. I must admit, I was also very interested in the third option of 14-35 mm. It’s just one millimeter different but it makes a world of difference in photos. Still, the filter diameter of 82 mm would have complicated 14-35 mm design, making the lens larger than EF16-35mm f/2.8L USM III. 15 mm for beautiful wide-angle shots in a lens compact enough to handle or carry easily. These overall goals led us to go with the second option of a 15-35 mm lens.
Along with optical performance, another key point of the lens is its aperture, f/2.8 across the range. Combined with effective IS, this makes the lens very capable even under low light. A lens that's f/2.8 at the 15 mm end is bright enough to keep stars clear and sharp. You might have taken your camera along to shoot starry skies, but all you need is to bring this lens with you to shoot anything from casual daytime shots to the stars at night. For landscapes, people might tell you to stop down the aperture. Focus with the aperture open and the image bright to create background bokeh. Doing this in wide-angle shots blurs the background and makes subjects stand out. It’s possible thanks to the maximum aperture of this bright lens.
The 1 mm difference from 16 mm to 15 mm makes a huge difference to photographers. Scenes can be broader, of course, but they can also feel quite different – with greater depth, for example. This difference of 1 mm took a lot of refinements in development." Without any other adjustments, increasing the range by 1 mm would also make lenses longer, heavier, and less durable." Maintaining these specs for a range down to 15 mm took repeated simulation and testing, as we optimized the dimensions of each component on a scale of 0.1 mm. But ultimately, not only was 15 mm possible with the short back focus of the R system, the system also enabled the lens to be smaller than the current EF16-35mm f/2.8L III USM.