Canon EF 17-40mm f/4L USM

Many entry-level and some midrange DSLR cameras come with a kit lens so you can try out the features and enjoy basic zooming capabilities so you can do a lot using the same lens without spending too much. One of the most common focal lengths is the 18-55mm which is in the standard zoom category. Some of these lenses like the 17-55mm cost far more because of the design construction. These types of lenses have wide-angle capabilities but are not entirely dedicated to wide-angle shooting. The Canon EF 17-40mm f/4L USM is the least expensive ultra wide angle lens that has the broadest zoom range.

Design & Construction

Although under the $1,000 price tag, the Canon EF 17-40mm f/4L USM ultra wide angle lens fits right into the L-series so it has some top quality ruggedness features like the weather-resistant construction that made many of the L-series Canon lenses feel very long lasting. With a UV Filter, you can seal the lens completely for maximum protection. The barrel measures 97mm and have a diameter of around 83mm.

While the Canon EF 17-40mm f/4L USM ultra wide angle lens has these rugged properties, it remains lightweight weighing roughly 500g. This is comparable to the overall weight of the Digital Rebel XTi. It is not too heavy nor too light making this a good walk around lens for a lot of people. It even makes it easier for you to take this lens with you because it comes with a convenient lens pouch as well as a lens hood. It also has the Canon Super Spectra Coating to help minimize ghosting and flare.

Features & Performance

The Canon EF 17-40mm f/4L USM ultra wide angle lens is an excellent lens for its intended purpose. Softness is hardly detectable unless you are shooting wide open where there is a lack of sharpness in the corners. This isn’t a big problem because the moment you make one f-stop down, a very nice improvement can be seen. You get really good performance at f/8 and you should have nothing to worry about regarding vignetting or corner darkness. The only minor weakness lies on the f/4 aperture setting where edge software is clearer.

Chromatic aberration is handled well because of the Super UD glass which also happens to reduce distortion. You can see a bit more of CA if you use the lens with a full-frame body since the lens needs to cover a larger image circle. When it comes to geometric distortion, the full-frame has more to deal with, but that normally applies to the longer focal lengths. Both barrel distortion and pincushion distortion do not reach to extreme amounts and at 40mm, the pincushion only goes up slightly.

The Canon EF 17-40mm f/4L USM ultra wide angle lens was released back in 2003, but the autofocus performance still matches well with the recent models making this a great performer in image quality, speed, and usability. The inner focus manual ring is fully rubberized so it starts as being easy to use. The USM works silently and smoothly without causing much delay. This also means that you will never see the lens extend beyond the metal casing as you zoom in or zoom out.

Conclusion

Priced at around $800, the Canon EF 17-40mm f/4L USM ultra wide angle lens is not really the type to give you the best bang for your buck especially with the focal length being quite limited. However, the unique characteristic lies on the build quality because L-class lenses are really for a higher category where top build quality is really needed. The Canon EF 17-40mm f/4L USM ultra wide angle lens is actually considered one of the lightest L-series lenses ever made. You just need to make sure that you will make the most out of its wide-angle capabilities. This is the best lens to get if you find yourself trying to get the subject and other details into the frame by zooming out. As for the rest of the specs, the quality optics is there and the quality does not disappoint especially when you look at the color accuracy, color, and center resolution sharpness.

Average User Rating:
Actual User Reviews:
• “For years, I have been using my 28-70 f:2.8 Canon zoom as my “normal” lens. It is sharp (Oh baby is it!) and at 2.8,fast enough for just about any pro or serious amateur. But there were plenty of times I needed a little more coverage than the 28MM focal length provided. Since most of my work is with long-lens and fast (and expensive) zooms, I couldn’t pony up the bucks for Canon’s superwide f2.8 zoom. When I saw the price on the 17-40MM lens and the fact that it was the “L” flavor with pro glass, I bought it immediately. I’ve had it for about a year and I have already sold several pictures – published in glossy magazines with picky photo editors. And I trust it to give me sharp pictures, even at the extreme settings – wide open and at the 17MM end. You have to remember to always use the weird looking but effective lens hood to control flare and as with any very wide lens, look at the edges of the frame (your feet could be in every picture!) It’s light, good enough to use as your normal lens and with their new 70-300 IS DO lens could make for an amazing and compact travel kit. So while Canon’s lens experts probably built this one for the growing digital crowd, as a film user I think it’s the bargain of the year and is in my camera bag every time I go on assignment. I suggest that you get a good quality “thin” UV filter and polarizer and you will be set to explore the exciting world of ultra-wide photography.” – D.Miliano (NJ,USA)

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• “No one lens accomplishes every photographic objective. Canon makes each lens at every price point well-suited to various tasks, but with limitations that can only be overcome by graduating to the next higher priced but similar item. A case in point: the wide-angle zooms.

The 17-40mm f/4 is one of Canon’s best deals in L-series glass. You have to spend twice as much to get a lens of similar quality, but just one stop faster. Does this make the more-expensive EF 16-35 f/2.8L a ripoff? Not for its own specific use: the extra stop gives you the speed to shoot in more indoor situations. Not all photographers need this. When indoors, we’re often taking pictures of people, which are better suited to lengths around 50-100mm. To capture sweeping panoramas of parlors for Architectural Digest (or Coldwell Banker) the f/2.8 is the better lens and worth the step up in price, though in many cases you could use the f/4 lens with a tripod. All this means is that the f/2.8 is priced for professional specialists whereas the f/4 is for more general use. My bigger point is that Canon has its whole lineup positioned: the differences across lenses are specific and appropriately priced, which is good news for the consumer. It’s hard to make a mistake buying homegrown Canon lenses, especially L-series lenses. You just have to figure out which set of two or three suits your range of uses.

The 17-40mm is a steal for people who need a walkaround lens for travel and outdoor photography. The shorter focal lengths of the zoom are great on a digital body, with nice reach and minimal distortion; just an ability to grab up landscape and wide situations end-to-end, even when standing close. The focal lengths around 40mm are tight enough for portraits and other local detail. Colors are strong and convincing; contrast deep and impactful. The lens itself is small enough and light enough to grab-and-go, but nicely machined, with solid fit and finish. It has an instantly recognizable profile, with the added bonus of the red ring.

This lens, plus a 70-200mm f/2.8 telescope and a nice fast fixed lens in the range betwixt are all you need. On vacation, and in most outdoor situations, the 17-40mm alone suffices. It makes a good first L-lens, and a staple in the arsenal.” – E.F.Fama (CA,USA)

• “I traded in my EF-S 10-22 for this one, realizing how often I switched back and forth between 10-22 and 24-70. I took some stats in fact, and it turns out I stay mostly between 17-35 range, and never really go any wider than 15-16 even with the 10-22. The wider range of 10-22 certainly gives you a lot of freedom, but I found it to be a bit too artificial due to the unavoidable barrel distortion.

Now, 10-22 is certainly a solidly built piece of glass, but 17-40 does deserve its L label and the red ring. It feels a little heavier than the 10-22, and the focus ring turns with sufficient weight (10-22 feels a little on the lighter side) you can actually fine-tune the focus with greater accuracy. Being an L-series lens, it comes conveniently with a lens pouch and hood.

Under darker conditions, the focus seems a little slower than my other faster lens, but even at f4, it takes crisp shots. I highly recommend this for anyone with a Canon dSLR. If you’re planning on moving on to the 1:1 crop bodies (1d or 5d, a less expensive sibling coming out in October) 17-40 can be a good piece of glass to have, as you’re going to have to let to of the 10-22 anyways.

I did have a chance to try the 16-35L, but at the smaller aperture range, the difference seems nominal, especially considering the price difference.

I use Canon EOS 20d and Elan 7, and they both pair up nicely with 17-40 4L.” – H.Kim (CA,USA)

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