PetaPixel

Canon Unveils New EF 16-35mm f/4L, EF-S 10-18mm f/4.5-5.6 and White Rebel SL1

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Canon released a little bit of something for everybody last night in a press release that debuted, not just the expected 16-35mm and 10-18mm lenses we had already known about, but also the white SL1 that until now was not available in the United States.

Canon EF 16-35mm f/4L IS USM

First up is the Canon EF 16-35mm f/4L lens, basically a slightly slower, optically stabilized, cheaper version of the f/2.8L zoom lens Canon offers at the same focal length. The IS gives shooters four stops worth of shake reduction.

Full-frame Canon shooters will be able to pick up this lens in June for $1,200 (or pre-order now), which, in case you’re curious, is $500 cheaper than the non-stabilized 16-35mm f/2.8L USM.

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Canon EF-S 10-18mm f/4.5-5.6 IS STM

Next up is the EF-S 10-18mm f/4.5-5.6: a lens for APS-C shooters or, more specifically, users of the Canon 70D and T5i (700D) who picked up those cameras in large part for the video capabilities.

At an aperture of f/4.5-5.6, this 16-29mm equivalent lens probably won’t tempt too many still shooters, but it does offer an STM motor for quiet focusing during video. It also comes at a very affordable price point of $300.

It, too, is scheduled to arrive in June and can be pre-ordered by clicking here.

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White Canon Rebel ST1 Kit

Finally, the last of the announcements is also the smallest. The white Canon Rebel SL1 Kit that, up until now, was only available overseas, is making its way to the US. It will also land in June at an estimated retail price of $750.

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To learn more about any of the products discussed here, head over to the Canon press room. And if you’re ready to pre-order, click on the provided links above.


 
  • tonyc0101

    It’s just so odd and frustrating that Canon and Nikon have been lacking in photo-lens tech innovations and cost-effectiveness that the third-party brands have been excelling in.

  • Kyle Sanders

    I am curious to see if the 16-35 IS L will be an [expensive] replacement to the 17-40, or more of a response to Nikon’s f/4 VR equivalent. 17-40/4, 16-35/4, and 16-35/2.8 seems to be an over saturation of super-wides.

    I think it would be a potentially fantastic replacement – the 17-40 is a great lens, and could only get better with IS and a presumably newer optical formula.

  • CalTek

    Agree. I am a hobby shooter but do a lot of shooting and would love a good quality lens for my camera (Canon 60D) but cannot justify the high price tags on such lenses.

    Really looking at Sigma line now as I have heard good things about them.

  • http://www.facebook.com/nanonyous Theo Lubbe

    Despite being a crop-only lens, I think that EF-S 10-18 is going to interest my uncle if its price landing in South Africa is low enough and its performance good enough.

  • Chris Rogers

    looks like that 10-18 has a plastic mount so imma pass on that one.

  • Fullstop

    Really Canon? Yeah this is exactly what I was looking for. A identical wide lens that doesn’t need stabilization and let’s also make it slower. Then a variable fstop crop lens for “video”?
    Oh and we can’t forget that white rebel, gotta stand out in a crowd of black camera clones.
    Can you please just come out with a full frame low light beast camera like the 5DMK3 or 6D WITH A FLIP OUT LCD SCREEN!?

  • http://www.youtube.com/jankiwi SwedishKiwi

    Besides the problem with your Caps Lock key, I totally agree that a flipout lcd screen would be nice.

  • roseskunk

    Screw Canon. I’m switching to Fuji.

  • Kyle Sanders

    I don’t think the flip out screens are durable enough for those lines of cameras. Why not go for a Zacuto / SmallHD EVF – that is a higher quality alternative, and you’ll pick up focus peaking as a bonus!

  • https://twitter.com/adamhowardcross Adam Cross

    yeah, lets compromise build quality and weather sealing with a flip out screen. no thanks.

  • Guest

    do love it when people complain about things they’re never going to buy :’)

  • Kellen Ainley

    I wonder how the 10-18mm compares with the 10-22mm.

  • Heath Collins

    Nice plug… Fuji Advertising Team ;)

  • Heath Collins

    It’s slower… but has IS… on an ultra-wide… meh.

  • Chris Malmberg

    Olympus E-M5 has a flip out screen and is of high build quality and weather resistant. So that shouldn’t have an effect on these things.

  • Jonathan Maniago

    Not every full frame shooter drags their gear into the Arctic or the Amazon.

    Besides, Kai of DigitalRev TV has already dropped an unprotected 600D down a flight of stairs and the damn thing still worked. Unless your work flow involves bashing heads in with your camera and letting your equipment soak in the blood, I don’t think weathersealing’s that big a deal.

  • Dino Traite

    These cheaper lenses are actually just what I was looking for, as a broke student. Will I upgrade to nicer glass when I have the money? Yeah. But for now the 10-18 is what works for my budget.

  • http://www.flyingsuicide.net/ Oj0

    DigitalRevTV is comedy, DON’T take their videos as gold. They’re good for a laugh, not solid advice.

    Other than that, DSLRs can often take a beating but occasionally you’re unlucky and a hard knock at the wrong angle is the end of your camera.

  • TheDman113

    The 16-35 is far from “identical”.

  • https://twitter.com/adamhowardcross Adam Cross

    and not everyone wants a damn flip out screen, If anyone is serious about shooting video, they should save some cash for an external monitor – not complain that Canon hasn’t put a sales gimmick on their pro line of full frame cameras.

  • Jonathan Maniago

    Releasing a full frame with a flip out screen doesn’t change
    the fact that the 1DX, the 1DC, the 5D III, and the 6D ALREADY EXIST. If build quality is your main priority, you can always buy those or similar options from other brands. Nobody is forcing you to buy a camera with a damn flip out screen.

    However, a camera with a flip out LCD allows easier framing from high or low angles without resorting to external hardware. There are scenarios (ex. overhead shot of a crowd at night using a monopod and fisheye lens) wherein a tilting screen would be more helpful than a rock solid build.

  • Fullstop

    I know many people hate it but the form factor is one of the advantages of dslrs when shooting video. Adding zacuto viewfinders and monitors adds more unnecessary weight and crap you have to carry with you. All I want is lowlight of the 6D (which by the way is not suppose to be a “pro line” camera) and a flip out screen. If Canon did this it would instantly be the #1 dslr for video in their lineup, which is why they won’t do it, they want to sell more cameras where they giveth and taketh away.

  • http://minnecapture.smugmug.com/ beans28

    I’m going to probably incur the wrath of all photographers, but I don’t understand why the 10-18mm lens “won’t tempt still shooters” because of the speed. I mean, most lenses, according to lens testing sites, need to be stopped down to take advantage of the lens’ sharpness. Most of my lenses look REALLY good at f5.6-f.8. And since this is an ultra wide, you’d want a fairly large DOP for, say, landscape/architectural shots.

  • http://minnecapture.smugmug.com/ beans28

    EXACTLY. I hate when “affordable” is synonymous with “beginner”.

  • Dino Traite

    I’m just glad that more and more manufacturers are realizing that there is a market for less expensive gear. (I have to admit that broke students probably aren’t the main reason, most likely “pro-sumers”, but still. works for me.)
    Also to echo off the “beginner” thing, another mini-rant: I hate when “student” is synonymous with “beginner.” Not to brag (okay I am bragging) but I like to think myself as a relatively well rounded and skilled photographer for my age and demographic, and I prefer not to be grouped as below amatuer when labeled as a “student.”

  • Jonathan Maniago

    Yeah, wide angle lenses aren’t the best option if bokeh is what you’re after.

    If you’re into events or astrophotography though, the narrow maximum aperture means you’re working with less light. With moving subjects (people or stars in the sky), you’d have to deal with either motion blur (due to longer exposures) or more visible noise (due to higher ISOs).

    On the flip side, the IS can be helpful if motion blur is exactly what you’re trying to capture. It would also be handy for landscapes or architecture if tripods aren’t convenient or permitted for the location.

  • ninpou_kobanashi

    The larger companies move slower, right?

  • tonyc0101

    Oddly enough.

  • Gordon Scott

    I wouldn’t buy another camera without a flip-out screen (currently have a Canon 60D), as without it, I wouldn’t get the low down shots because my back is in pretty bad shape, and causes considerable pain when bending over or crouching low. I’d love a full frame DSLR with one.

  • Dino Traite

    From the press release: “Compared to the EF-S 10-22mm f/3.5-4.5 USM wide-angle lens, the EF-S 10-18mm f/4.5-5.6 IS STM ultra wide-angle zoom lens is nearly 20% smaller and 38% lighter. When combined with a compact digital SLR, such as the Canon EOS Rebel SL1 camera, the smaller size makes it very convenient to carry with the camera when traveling.”

  • http://www.photos4u2c.com/ Photos4u2c

    Wow. A lot of haters here. Am I the only person that was waiting for the 17-40 f4 L to be replaced? I want a wide angle zoom for my 5D III but the 17-40 is too soft and the 16-35 f2.8 is too big and expensve for my needs. This new 16-35 f4 fits the bill perfectly (as long as it’s not huge) for a traveler like me.

  • Jack

    Why?

  • Cliff R.

    Olympus also has waterproof compacts with flip LCDs. Surely 33 feet or whatever underwater should be weather sealed enough for anybody!

  • moonbase2

    just out of curiosity, what improvements do you think could be made on the 17-40mm?

  • Martin Nilsson

    I’m tempted by the 10-18 STM and that has much to do with the prize. I got the 650D/T4i since it had better video. Noted early on it need the STM or at least an external microphone. My options then being the 40mm or swapping the kit-lens for the 18-135. When the 18-55 STM came out at $300 I was tempted. But it feels stupid to get an identical lens.

    The 10-18 adds a wide-angle to my kit. Good for indoors if nothing else. And a lot of the family stuff I shot and want to take videos of are indoors. I will keep an eye on reviews and see if I have any money over this summer. Maybe it’s time for a new toy soon.

  • moonbase2

    It’s also Olympus. Meaning, there are far more canon users out there that are getting irritated by their market-play or lack of innovation. We’re bored, but not willing to trade in our glass.

  • moonbase2

    All I want is a full frame 7D PERIOD.

  • moonbase2

    Full frame 7D please… and make it affordable.

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  • http://www.johnmaclean.com/ John MacLean Photography

    How about vignetting, CA, and soft edge sharpness for starters? I have the 16-35 2.8 Mark II and although better than my previous 17-40, and 17-35 2.8 before that, it still leaves some to be desired. If it can be somewhere in between the Mark II and my TS-E 17mm then I’d probably get it and sell my Mark II. I don’t need 2.8 on a wide lens.

  • disqus_C9aHdFPgZl

    but why so ugly? (the 10-18)
    The EOS-M line was pretty good looking comparing to that.
    they’re not even trying anymore.

  • Tim

    Full frame 7D = 5D MKiii

    Get saving.

  • Kyle Sanders

    What @John_MacLean_Photography:disqus said, @moonbase2:disqus. While CA and vignetting can be somewhat mitigated through software, wide angle zooms are generally not the sharpest lenses.

    Many people seem to view the f/4 line as the discount version of the f/2.8 “full deal”, but I think in some cases they have their own merits that make them better than the f/2.8 equivalents.

  • Tim

    Well since everyone else is bitching i wish canon would make a weather sealed crop sensor wide angle then i could buy a 7d and not worry so much aboit shooting landscapes in the wet. Currently the only way to get a decent seal on an ultrawide is to go full frame.

  • Los Ultimo Guerrero

    Those flip out screens are a weak point, the smallest of impact on my 600D screen when extended caused the thing to black out for a few days while working.

    The WiFi/remote view from the 6D is the right way to go and is an incredible feature which I find much more useful than the vari-screen on the 600D.

    I for one will be getting the 16-35 F4 as it fits my needs and think this is a great announcement.

  • moonbase2

    LOL, It’s close, but it’s not the same. 5D MKiii has a slower flash sync speed and doesn’t have that handy little built in flash that you can manually control.

  • trshaner

    I’ve been shooting with the 17-40mm F4 on a 5D MKII since 2009. I considered upgrading to the 16-35mm F2.8 II lens, but resolution results posted at Digital Picture’s test site aren’t much better than the 17-40mm. None of Canon’s full-frame ultra wide-angle zoom lenses maintain high image quality (IQ) across all focal lengths–There’s loss at one end or the other will all of them! My guess is that Canon is listening to their customer base and now offering a 16-35mm that has superior IQ at all focal lengths. If not then Canon is simply trolling the customer base with yet another new ‘IS’ lens to fit the price-point between the 17-40mm F4 and 16-35mm F2.8 II lenses. I’ll wait for the test results at Digital Picture and other websites before making any upgrade decision. If it proves to be a stellar performer I’ll be purchasing one!

  • https://twitter.com/adamhowardcross Adam Cross

    you might want to try the 1DX, it has the same 1/250 flash sync as the 7D.

  • http://www.johnmaclean.com/ John MacLean Photography

    @KyleSanders:disqus yes I should’ve pointed out that the CA and vignetting generally have correction profiles in ACR or LR if they’re popular lenses, but sharpness issues you can’t fix.

  • Kyle Sanders

    Exactly – especially if you compare it wide open to say a 35/1.4L; the difference couldn’t be more clear. While we usually accept that there’s a tradeoff between the flexibility of zooms and the quality of primes, some zooms seem to have both. The 70-200/2.8′s and Nikon’s 14-24 both seem rather capable.