It also beats both Canon lenses for image quality, especially in terms of corner-to-corner sharpness. You also get fast and near- silent HLD (High/Low toque-modulated Drive) autofocus and 4-stop VC (Vibration Compensation). The Tamron has better build quality than both Canon lenses, while adding weather-seals and a fluorine coating on the front element, and it comes complete with a hood. That might seem a bit superfluous but it can actually be very helpful, reducing the number of times you need to swap between different lenses while shooting. It matches both of Canon’s ultra-wide EF-S 10-18mm and 10-22mm zooms for maximum viewing angle, at 107.5 degrees, while beating them for long-end reach. Naturally, the longer 24mm gives a lot of overlap with, say, an 18-55mm standard zoom. Even so, if you can still track down a new one, or a good used example, it's a lens well worth having in your kit bag. The Tamron 10-24mm was one of our favourite wide-angle zoom lenses for APS-C DSLRs, but it, along with many other DSLR lenses, has now been discontinued as Tamron focusses increasingly on lenses for mirrorless cameras. Quite expensive to buy, although it’s still very good value for the quality Sigma 14-24mm f/2.8 DG HSM | A full review (opens in new tab) If you want to go even wider without spending silly money, look no further than Sigma’s companion 12-24mm f/4 DG HSM Art (opens in new tab) lens. Sharpness in amazing right into the corners of the frame and, remarkably for such a wide-angle lens, there’s virtually zero distortion even without using in-camera corrections. The ring-type ultrasonic autofocus system is fast and whisper-quiet and top-notch glass includes a large, ultra-high-precision moulded glass element at the front, along with three FLD (‘Fluorite’ Low Dispersion) and three SLD (Special Low Dispersion) elements. This Sigma Art lens is well under half the price and, while it has a more modest 114-degree maximum viewing angle, it’s a really fabulous lens as well as being a full f/stop faster than the Canon.īuild quality is excellent with a high-quality feel throughout, a full set of weather-seals and a fluorine coating on the front element. However, it goes similarly large on selling price, putting it beyond the reach of most of us. Integral hood precludes the use of screw-in filters or a screw-in filter adapterįor the ultimate in wide viewing angles on Canon full-frame cameras, there’s no beating the own-brand Canon EF 11-24mm f/4L USM (opens in new tab), which delivers an astonishing 126 degrees on the diagonal. A 10-24mm lens is therefore worth using to its full extent, not just as a 10mm lens as some photographers tend to! It's also worth noting that the long end of a wide zoom will often provide better optical quality than the wide end of a standard lens, with less distortion and vignetting. This means that a wide zoom offers a huge amount of shooting versatility, and it's good to make use of the entire zoom range when you're using one. This is partly because the difference of a millimetre or two is pretty significant when you're talking ultra-wide. Ultra-wide zooms are generally preferred to ultra-wide primes, to the point that the choice of ultra-wide primes is pretty limited, especially when using a crop-sensor body. The apparent distance between foreground and background will appear greatly increased, creating a unique "look" that isn't achievable otherwise. The generous viewing angle means you can get really close to a subject, allowing the background to shrink away, and create an exaggerated perspective. There are more possibilities for these lenses, however. Ultra-wide lenses can be as useful indoors as outdoors for this purpose. This makes practical sense, as landscape photographers tend to want to squeeze as much of a fabulous view into a frame as possible, and architecture photographers will sometimes be working to fit a lot of building into a frame from limited vantage points. You tend to see ultra-wide lenses in the hands of landscape and architecture photographers.
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