Canon RF 16-28mm F2.8 IS STM Lens Review

Not everyone can afford Canon's flagship L-series lenses, but all want the performance and features, especially the wide aperture over the entire focal length range they usually offer. The recently-prior-released RF 28-70mm F2.8 IS STM Lens filled that position for the general-purpose lens class, and now the RF 16-28mm F2.8 IS STM Lens takes on that role for the wide-angle zoom lens class.

What ommissions would be acceptable to achieve the lower price point? Let's start with focal length range. Why pay for or carry redundant focal lengths? Most of us have a standard zoom lens in our kit, and that lens usually features a 24- or 28-something mm focal length range. Traditionally, Canon-based kits paired the general-purpose lens with a something-35mm option on the wider side. While having a longer focal length range mounted and ready for immediate use is optimal, redundancy is often unnecessary, and it comes with additional size, weight, and cost.

The RF 16-28 drops the focal length overlap to gain those other advantages. For example, this lens is dramatically smaller and 14 oz (395g) lighter than the Canon RF 15-35mm F2.8 L IS USM Lens, and the $1,050 price difference will catch your attention. That amount is nearly sufficient to buy the physically similar and perfectly complementary RF 28-70.

The RF 16-28mm F2.8 STM is a compact, lightweight lens that is easy to carry, including in a pack, and comfortable to use, including on a gimbal. This lens provides a wide f/2.8 aperture combined with excellent AF and IS performance and step-above image quality throughout a still-solid range of ultra-wide-angle focal lengths. These features in a lightweight, compact, and affordable package should capture your attention. This lens will be a valued member of many kits.

Focal Length Range

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The focal length range is usually listed in the lens name immediately after the brand and model, reflecting the importance of this aspect for lens selection. A specific angle of view is required to get a desired subject framing with the optimal perspective (or from within a working distance limitation).

Here is a quick example of the perspective change within this lens's range. The top dumbbell rack tier consumes a similar width of the two sample images.

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That perspective difference is dramatic.

When starting a kit, most will first select a general-purpose lens (consider the mentioned Canon RF 28-70mm F2.8 IS STM Lens). One of the next most-needed lenses is typically a wide-angle zoom lens. This lens's 16-28mm focal length range ideally covers that need.

While the 16-28mm focal length range is relatively short, well under 2x, the angles of view it contains are among the most useful. In addition, as mentioned, this range efficiently aligns with or overlaps with the widest angle provided by standard zoom lenses.

Ultra-wide images usually feature a significant amount of background in the frame. Thus, the challenge of aligning an optimal background increases when using ultra-wide angles of view. I generally find outstanding ultra-wide compositions more challenging to create than normal or telephoto compositions, but when the right scene is found, successful ultra-wide results are especially rewarding.

Placing an attractive or otherwise interesting foreground subject close to the camera, making it appear large in relation to a distant, still in-focus attractive background is a great ultra-wide-angle focal length composition strategy. For example, move in close to flowers in front of a large mountain range (perhaps with a lake between them) to utilize this concept.

Other ultra-wide strategies work, and sometimes, you need an ultra-wide angle because you can't back up any farther.

This focal length range is an outstanding choice for landscape photography, a perfect choice for gardens, parks, and most other beautiful places.

The 16-28mm angle-of-view range is an excellent choice for astrophotography.

While a close-up wide-angle perspective can look great in a landscape scene, it is generally to be avoided when a person is the primary subject. What you do not (usually) want appearing large in the foreground of your ultra-wide composition is a person's nose. We don't typically look at people from really close distances (that other person will become uncomfortable with us being in their personal space), and when we look at photos of people captured from these distances, certain body parts (usually the nose) start to look humorously large. Unique portrait perspectives can be fun, but this technique should not be overused – and your subjects may not appreciate it. Get the telephoto lens out for your tightly framed portraits.

Still, this lens is a great choice for photographing people. Simply move back and include your human subject in a larger scene, environmental portraiture. The only moderately wide 28mm focal length is a great choice for full-body portraits, and this focal length range also nicely handles small up to large groups.

The 16-28mm focal length range is a great option for wide work at weddings, at family and other events, as well as for photojournalism and sports photography (especially with the f/2.8 aperture available to stop subject motion in low light and to aid in blurring the background).

Many of those uses happen in a location/venue that also needs to be photographed, and this focal length range works well for architecture, interior, and real estate photography.

The 16-25 range is great for tight spaces, including building and vehicle interiors.

Going underwater? The 16-28mm range is a great choice for aquatic adventures utilizing an underwater housing. These angles of view permit close-distance framing of a subject, which minimizes the image degradation caused by water clarity issues.

Ultra-wide angles work great with leading lines, as seen here in this focal length range illustration.

The following images illustrate the 14-35mm focal length range:

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The 15, 16, 17, and 18mm focal lengths are not marked on the tested lens, but the EXIF reported the focal lengths matching the labels. At ultra-wide angles, a small change in the focal length imparts a big angle of view change.

Here is another comparison showing the 16-35mm range.

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This lens is optimized for video recording, with a range of uses that include self-recording.

Does it matter that this lens lacks the 29-35mm focal lengths? Maybe. Maybe not. Not all needs include that range, and in that case (or if you can satisfy infrequent needs via cropping), there is no concern.

Still, the 29-35mm range is especially useful for portraits and products, and I seldom go out without this range covered. However, a second camera with a standard zoom lens, such as the RF 28-70mm F2.8 IS STM, covers far more than this difference. If a lens change and the short downtime it entails is acceptable, the second lens unmounted in the case may also cover this need.

APS-C imaging sensor format cameras utilize a smaller portion of the image circle, framing a scene more tightly. The Canon field of view crop factor is 1.6x, with the 16-28mm range providing a 25.6-44.8mm full-frame angle of view equivalent. This angle of view has increased value for portraiture while foregoing some landscape and architecture angles.

Max Aperture

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Few zoom lenses feature a wider aperture opening than this one, and a wide aperture is a big advantage.

Wide apertures are useful for stopping action, both that of the subject and that of the camera, in low light levels while keeping ISO settings low. They also benefit AF systems, enabling them to function better in low-light environments.

Even when photographing under bright light conditions, wide apertures are useful for creating a strong background blur that clearly isolates a subject from distracting backgrounds.

These examples illustrate the maximum blur this lens can create:

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The low magnification at 16mm provides background blur, but the scene remains discernible even when the lens is focused at the minimum focus distance. In this range, an extra 12mm makes a big difference, and the 28mm results show a considerably stronger blur.

A disadvantage of a wide aperture is the required increased physical size of the lens elements, which come with heavier weight and higher cost penalties. In this case, those penalties are minor, and this lens is compact, lightweight, and affordable.

Image Stabilization

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With increasing ISO being the alternative, the noise difference IS enables for still subjects is huge, and stabilization dramatically improves video quality. The shorter the focal length, the smaller subject details (captured at the same distance) are rendered, and the less still the camera must be held to avoid subject details crossing imaging sensor pixels during an exposure, the source of motion blur. Still, image stabilization remains a valuable feature in this and most lenses.

The RF 16-28 F2.8 STM's IS system is rated for 5.5 stops of assistance, an excellent rating, and with IBIS Coordinated IS, the rating jumps to 8 stops (7.5 stops in the corners).

This lens's IS system is quiet, seemingly quieter than the R5 II's IBIS, and well-behaved, referring to the viewfinder image not jumping or fighting strongly against re-composition, providing a smooth view, including when moving the camera, including when recording video.

Another image stabilization benefit is its aid to AF precision. The camera's AF system can produce improved focus precision if the image it sees is stabilized.

Image Quality

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Canon promised superior image quality from this lens, and the theoretical MTF charts supported that expectation.

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The black lines indicate contrast (10 lines/mm), and the blue lines show resolution (30 lines/mm). The solid lines are sagittal, and the dashed lines are meridional. The higher, the better, and that comparison tells a story. The 16-28's lines are considerably higher than those of the 15-30 and in the game with the two L lenses.

The lab image quality test results show this lens producing images with excellent sharpness across most of the entire full-frame imaging sensor at f/2.8.

In the center of the frame, the f/2.8 results are extremely sharp, rivaling the best prime lenses, except at 24mm, where the sample lens produced just slightly softer results. At f/3.2, the 24mm center results become as sharp as the other focal lengths wide open. Stopping down to f/4 imparts minor, difficult to notice, center of the frame sharpness improvements, and none are needed.

As usual, this lens is not as sharp in the periphery of the frame as it is in the center. However, the difference is mostly remarkably low. The extreme 16mm corners are modestly soft, but the 20mm corner sharpness is impressive. The 24mm results from the sample lens again lag slightly behind the others, with the 28mm results looking great.

Aside from reduced peripheral shading, don't expect to see much image quality difference at narrower apertures.

Taking the testing outdoors, we next look at a series of center-of-the-frame 100% resolution crop examples. These images were captured in RAW format by a Canon EOS R5 and processed in Canon's Digital Photo Professional (DPP) using the Standard Picture Style with sharpness set to 1 on a 0-10 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.

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These results are excellent.

Next, we'll look at a series of comparisons showing 100% resolution extreme top left corner crops captured and processed identically to the above center-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.

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Count on samples taken from the outer extreme of the image circle, full-frame corners, to show a lens's weakest performance. The 16mm results show a bit of blur, but the 22 and 28mm results are great, especially for a zoom lens.

Corner sharpness does not always matter, but it often does when using the 16-28mm focal length range, especially when photographing landscapes and architecture.

Focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA), is slightly present at 16mm. The subject remains in focus at narrower apertures, so you'll not likely notice this slight rearward shift, and the longer focal lengths keep the focus plane centered on the subject.

When used on a camera that utilizes its full image circle, a lens is expected to show peripheral shading at the widest aperture settings. At f/2.8, 16mm corners are about 3 stops darker than the center. While 3 stops is noticeable, this amount is modest for this focal length and aperture combination. 28mm f/2.8 corners are about 2.5 stops darker, and the 20 and 24mm corners see about two stops of shading.

At f/4, 16-24mm corner shading is just over 2 stops, and 28mm shading drops to just over 1 stop. At f/5.6, corner shading is or is just over 1 stop. Little further clearing is seen at narrower apertures.

APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems. In this case, the strongest corner shading is just over one stop at 28mm f/2.8, which is just enough to be visible in select images, primarily those with a solid color (such as a blue sky) in the corners.

One-stop of shading is often considered the number of visibility, though subject details provide a widely varying amount of vignetting discernibility. Vignetting is correctable during post-processing, with increased noise in the brightened areas the penalty, or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.

Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii), with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.

With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.

Color misalignment can be seen in the site's image quality tool, but let's also look at a set of worst-case examples. The images below are 100% crops from the extreme top left corner of R5 II frames showing diagonal black and white lines.

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These images should only contain black and white colors, with the additional colors indicating lateral CA presence. The color separation is modest at the wide end, but the longer focal length results are quite good.

A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light are focused to different depths. Spherical aberration, along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.

In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.

The wide-open aperture examples below compare the fringing colors of the defocused specular highlights in the foreground to the background. The lens has introduced any differences from the neutrally colored subjects.

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These results are great.

Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually objectionable visual artifacts. The shape, intensity, and position of the flare and ghosting effects in an image are variable, dependent on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings. Additionally, flare and ghosting can impact AF performance.

This lens features Canon's SSC (Super Spectra Coating) to combat flare and ghosting, and it produced only minor flare effects at f/2.8 in the site's standard sun in the corner of the frame flare test. Stopping down nearly always increases the flare effects, but the test results at f/16 still show only modest effects.

Flare effects can be embraced or avoided, or removal can be attempted, though that process is sometimes challenging. Thus, this lens's high flare resistance is a welcomed trait.

Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light that can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). The coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration that is apparent in the corners.

The images below are 100% crops taken from the top-left corner of R5 II images captured at f/2.8.

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These results show tiny-rendered stars that are modestly stretched.

This lens has barrel distortion that ranges from extreme at the wide end to strong at the long end, and all images require software geometric distortion correction. Canon provides correction in the camera (EVF, LCD, JPEG & HEIF images, movies) and in DPP, regardless of the lens correction settings.

Every lens is a compromise, and the reasons for designing a lens with uncorrected geometric distortion include lower cost, smaller size, lighter weight, reduced complexity, and improved correction of aberrations that are not software-correctable. Geometric distortion can be corrected, including in-camera, using software and a correction profile, and once properly corrected, it is no longer a differentiator between lenses. However, the stretching required for correction can affect the final image quality. Base your evaluation on the corrected image quality, as shown in all tests in this review.

Due to the infinite number of variables present among available scenes, assessing the blur quality, bokeh, is challenging. Here are some f/11 (for diaphragm blade interaction) examples.

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The first three results show defocused highlights that are rather smoothly filled and relatively round in shape. The last two images show good outdoor scene performance. Note that the second 28mm result is a full image reduced in size.

Except for a small number of specialty lenses, the wide aperture bokeh in the frame's corner does not show round defocused highlights, instead showing cat's eye shapes due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame's corner, the shape is not round, and that is the shape we're looking at here.

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The corner shape truncation deep in the 16mm corners is harsh, but the longer focal length results are good.

A 9-blade diaphragm will create 18-point sunstars (diffraction spikes) from point light sources captured with a narrow aperture. Generally, the more a lens diaphragm is stopped down, the larger and better shaped the sunstars tend to be. Wide aperture lenses tend to have an advantage in this regard, and this lens can produce beautiful stars, as illustrated below.

The example above was captured at 22mm f/16. The results at 16mm and 28mm were similar.

A sunstar is an eye-catching element, adding life to even an old cornfield.

The optical design incorporates premium lenses, including four UD lenses, and two Aspherical lenses.

Overall, the Canon RF 16-28mm F2.8 IS STM Lens produces excellent image quality that is a noticeable step above general consumer-grade lenses.

Focusing

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The Canon RF 16-28mm F2.8 IS STM Lens features a leadscrew-type STM that delivers fast, quiet, and smooth internal autofocus that is advantageous for both stills and video.

This lens's low-light AF capabilities are impressive. AF slows in dark environments but still locks focus on contrast in extremely low-light scenarios, darker than I can see to navigate in when using an EOS R5 II.

As illustrated in the 100% crops below, the reviewed lens does not exhibit parfocal-like characteristics. When focused at 28mm, zooming to wider focal lengths results in modest focus blur at some focal lengths.

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Optimal is to re-establish focus after adjusting the focal length.

The RF 16-28 F2.8 STM lens has a shared, switchable AF/MF and Control ring. The knurled plastic ring is small but usable. The focus ring turns smoothly, is ideally damped, and adjusts focus smoothly.

Full-extent manual focus adjustment requires about 315-350° of focus ring rotation. Fast turning reduces that angle to 120-130°. In the field, I find the change from slow to fast happening slightly too easily.

FTM (Full Time Manual) focusing is supported in AF mode with the camera in One Shot Drive Mode and the shutter release half-pressed. Note that FTM does not work if electronic manual focusing after One Shot AF is disabled in the camera's menu. The lens's switch must be in the "MF" position and the camera meter must be on/awake for conventional manual focusing to be available. That AF/MF settings are available on a switch is advantageous.

It is normal for the scene to change size in the frame as the focus is pulled from one extent to the other. This effect is focus breathing, a change in focal length resulting from a change in focus distance. Focus breathing impacts photographers intending to use focus stacking techniques, videographers pulling focus (without movement to camouflage the effect), and anyone critically framing while adjusting focus.

This lens produces a moderate change in subject size through a full-extent (worst-case) focus distance adjustment.

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This lens is compatible with camera-controlled breathing correction (via a slight crop).

With a minimum focus distance of 7.9" (200mm), the RF 16-28 at 28mm can produce a high 0.26x magnification.

Model	Min Focus Distance		Max Magnification
Canon RF-S 10-18mm F4.5-6.3 IS STM Lens	5.5"	(140mm)	0.23x
Canon RF 10-20mm F4 L IS STM Lens	9.8"	(250mm)	0.12x
Canon RF 14-35mm F4 L IS USM Lens	7.9"	(200mm)	0.38x
Canon RF 15-30mm F4.5-6.3 IS STM Lens	5.1"	(130mm)	0.52x
Canon RF 15-35mm F2.8 L IS USM Lens	11.0"	(280mm)	0.21x
Canon RF 16-28mm F2.8 IS STM Lens	7.9"	(200mm)	0.26x
Canon RF-S 18-45mm F4.5-6.3 IS STM Lens	7.9"	(200mm)	0.26x
Canon RF 28-70mm F2.8 IS STM Lens	10.6"	(270mm)	0.24x
Sigma 16-28mm F2.8 DG DN Contemporary Lens	9.8"	(250mm)	0.18x
Sony FE 16-25mm F2.8 G Lens	7.1"	(180mm)	0.20x
Tamron 17-28mm f/2.8 Di III RXD Lens	7.5"	(190mm)	0.19x

At 16mm, a subject measuring approximately 12.5 x 8.4" (318 x 212mm) fills a full-frame imaging sensor at this lens's minimum MF distance. At 28mm, a 5.4 x 3.6" (138 x 92mm) subject does the same.

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The individual USPS love stamps measure 1.19 x 0.91" (30 x 23mm).

This lens produces super-sharp center-of-the-frame details at minimum focus distance, even with a wide-open aperture. However, the image periphery is soft due to field curvature. F/11 increases depth of field and significantly improves corner image quality, but 28mm corners remain modestly soft at f/11. This lens is not the best choice for high-magnification flat subject reproduction.

The minimum focus distance is measured from the imaging sensor plane with the balance of the camera, lens, and lens hood length taking their space out of the number to create the working distance. With a consistent 7.9" (200mm) minimum focus distance over the focal length range, the working distance primarily varies by the lens extension amount. The 16-28mm working distance is 2.9 - 3.4" (74 - 86mm) without the hood, and 1.8 - 2.1" (46 - 53mm) with it. Those numbers are short enough that the lens is likely to obstruct the subject lighting when used at its minimum focus distance.

An extension tube enables a decreased minimum focus distance, significantly increasing the maximum magnification of wide-angle focal lengths (though likely only a short tube will work). As of review time, Canon does not offer RF mount-compatible extension tubes, but third-party options are available.

This lens is not compatible with Canon extenders.

Design & Features

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The RF 16-28mm lens's design and build quality are nearly identical to the RF 28-70mm F2.8 IS STM, which is especially for a consumer-grade lens. Discerning between those two lenses in a bag requires reading the numbers.

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The external construction is engineering plastic. With smooth external dimensions and tight tolerance between parts, this lens is comfortable to hold and a pleasure to use.

The ribbed, rubberized zoom ring is large, easy to find, and smooth in function. I especially like the zoom ring being positioned behind the focus ring, and the slight diameter increase mid zoom ring makes it easier to locate tactilely.

This lens is non-functional in its fully retracted state, and the camera displays a "Set the lens to the shooting position" message to ensure you know this. Annoyingly, the camera does not permit some setting changes while the lens is in the retracted range.

A firm twist of the zoom ring extends the lens from the firmly clicked closed length to its widest usable focal length, 16mm. The lens extends by 0.8" (228mm) when zoomed to 16mm and by slightly less, 0.4" (11mm), at 70mm. A click stop at 16mm aids against inadvertent retraction beyond the usable range, and the fully retracted click stop prevents gravity extension.

When fully extended, the inner barrel has impressively little flex. The center of the composition moves slightly during zooming.

The knurled Control Ring can be configured for fast access to settings that include aperture, ISO, and exposure compensation. As mentioned, the control ring is also the focus ring when that switch setting is selected. Both cannot be used simultaneously, but there is one less ring to confuse. Note that this control ring is smooth, not clicked, as is the current default for the L variants.

The AF/CONTROL/MF and IS switches are flush-mounted and low-profile, raised just enough for easy use, even with gloves. Canon's switches snap crisply into place. Slightly extra attention is necessary to get the 3-position AF/CONTROL/MF switch into its middle setting.

Though not an L-series member, this lens features significant dust and moisture resistance. Notice that some of the switches are not fully sealed.

Unlike the RF L counterparts, the RF 16-28mm STM lens lacks dust and liquid adhesion-resistant fluorine coatings on the front and rear lens elements.

The RF 16-28 F2.8 STM's compact size and light weight are welcome advantages.

Model	Weight oz(g)		Dimensions w/o Hood "(mm)		Filter	Year
Canon RF-S 10-18mm F4.5-6.3 IS STM Lens	5.3	(150)	2.7 x 1.8	(69.0 x 44.9)	49	2023
Canon RF 10-20mm F4 L IS STM Lens	20.1	(570)	3.3 x 4.4	(83.7 x 112.0)	n/a	2023
Canon RF 14-35mm F4 L IS USM Lens	19.1	(540)	3.3 x 3.9	(84.1 x 99.8)	77	2021
Canon RF 15-30mm F4.5-6.3 IS STM Lens	13.8	(390)	3.0 x 3.5	(76.6 x 88.4)	67	2022
Canon RF 15-35mm F2.8 L IS USM Lens	29.7	(840)	3.5 x 5.0	(88.5 x 126.8)	82	2019
Canon RF 16-28mm F2.8 IS STM Lens	15.7	(445)	3.0 x 3.6	(76.5 x 91.0)	67	2025
Canon RF-S 18-45mm F4.5-6.3 IS STM Lens	4.6	(130)	2.7 x 1.7	(68.9 x 44.3)	49	2022
Canon RF 28-70mm F2.8 IS STM Lens	17.5	(495)	3.0 x 3.6	(76.5 x 92.2)	67	2024
Sigma 16-28mm F2.8 DG DN Contemporary Lens	15.9	(450)	3.0 x 4.0	(77.2 x 100.6)	72	2022
Sony FE 16-25mm F2.8 G Lens	14.4	(409)	2.9 x 3.6	(74.8 x 91.4)	67	2024
Tamron 17-28mm f/2.8 Di III RXD Lens	14.8	(420)	2.9 x 3.9	(73.0 x 99.0)	67	2019

View and compare the complete Canon RF 16-28mm F2.8 IS STM Lens Specifications in the site's lens specifications tool.

Here is a visual comparison:

Positioned above from left to right are the following lenses:

Canon RF 15-30mm F4.5-6.3 IS STM Lens
Canon RF 16-28mm F2.8 IS STM Lens
Canon RF 14-35mm F4 L IS USM Lens
Canon RF 15-35mm F2.8 L IS USM Lens

The same lenses are shown below with their hoods in place.

Use the site's product image comparison tool to visually compare the Canon RF 16-28mm F2.8 IS STM Lens to other lenses.

This lens uses modestly sized, common, and affordable 67mm filters.

A standard-thickness circular polarizer filter significantly increases peripheral shading at the widest angles, even at f/16. A slim model such as the Breakthrough Photography X4 is strongly recommended.

The Canon EW-73E is the compatible lens hood. This model was first seen on the RF 15-30mm F4.5-6.3 IS STM. Unfortunately, the hood is not included in the box. While expensive, I recommend getting and using (reversed does not count) the hood for front element protection from impact and flare-inducing bright light, and the matte interior avoids reflections.

A release button to make the hood easier to install and remove is not provided.

The Canon LP1116 Lens Case is optional.

Price, Value, Compatibility

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While it costs less than half as much as the RF 15-35mm F2.8 L IS lens, the RF 16-28mm F2.8 IS STM Lens performs at a level far above that price difference. It's a great value.

As an "RF" lens, the Canon RF 16-28mm F2.8 IS STM Lens is compatible with all Canon EOS R-series cameras, including full-frame and APS-C models. Canon USA provides a 1-year limited warranty.

The reviewed Canon RF 16-28mm F2.8 IS STM Lens was on loan from Canon USA.

Alternatives

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The perfect lens does not exist. However, the best lens for your needs does. Determining that answer requires a look at the alternatives.

Let's start with the Canon RF 15-30mm F4.5-6.3 IS STM Lens. This lens has a longer focal length range but a significantly narrower aperture. Here is that image quality comparison. As foretold by the MTF charts, the 16-28mm lens provides noticeably better image quality. The 16-28 has considerably less peripheral shading, less color blur, and less lateral CA, and it creates far nicer sunstars.

The Canon RF 16-28mm F2.8 IS STM vs. RF 15-30mm F4.5-6.3 IS STM Lens comparison shows the 15-30 slightly lighter and shorter. The 16-28 has 9 aperture blades vs. 7, a 1-stop higher IBIS coordinated rating, 8 vs. 7, and AF/MF positions on the switch. The 15-30 has a much higher 0.52x maximum magnification spec vs. 0.26x and a much lower price.

Next up for comparison is the Canon RF 14-35mm F4 L IS USM Lens, which has an extended focal length range but a 1-stop narrower max aperture. This image quality comparison shows the two lenses performing similarly. The 14-35 results are modestly sharper in the periphery at the long end. The 16-28 has less lateral CA and modestly less peripheral shading in some comparisons, and it creates better sunstars.

The Canon RF 16-28mm F2.8 IS STM vs. RF 14-35mm F4 L IS USM Lens comparison shows the 16-28 weighing and measuring modestly less. The 16-28 has smaller filter threads, 67mm vs. 77mm. The 14-35 has a higher maximum magnification (0.38x vs 0.26x), Nano USM AF vs. STM, a dedicated control ring, and L-series designation, with superior build quality, including better weather sealing. The 16-28 is modestly less expensive.

The Canon RF 15-35mm F2.8 L IS USM Lens shares the f/2.8 max aperture with an extended focal length range. The image quality comparison shows the two lenses performing similarly, with the 16-28 perhaps having a slight advantage. The 16-28 has far less peripheral shading, including at f/11, modestly less flare effects, and considerably stronger geometric distortion.

The Canon RF 16-28mm F2.8 IS STM vs. RF 15-35mm F2.8 L IS USM Lens comparison shows the 16-28 weighing just over half as much and measuring considerably less. The 16-28 has smaller filter threads, 67mm vs. 82mm, and a higher maximum magnification, 0.26x vs. 0.21x. The 15-35 has Nano USM AF vs. STM, a dedicated control ring, and L-series designation, with superior build quality, including better weather sealing. The 16-28 costs less than half as much.

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Canon USA shared RF 16-28 introductory videos:

 

 

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The Canon RF 16-28mm F2.8 IS STM Lens provides a wide f/2.8 aperture, excellent AF and IS performance, and excellent image quality throughout a solid general-purpose focal length range. These features in a lightweight, compact, and affordable package make this lens a great alternative to both entry-level models and high-end L-series lenses.

The Canon RF 16-28mm F2.8 IS STM will be another super popular lens.