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I had debated purchasing this lens for some time. At one point it was neck & neck with the Zeiss distagon 21mm, both being in the same price bracket. I eventually went for the Canon because of the excellent performance, the f1.4 maximum aperture, and the weather sealing. One of my main fields is as a wedding pro. This lens will be terrific for atmospheric shots of the Bride getting ready and the f1.4 facility will be very useful in this genre. The lens is very good at f1.4 but by f2.8 it's superb. Mine needed a small amount of MA on my 5D2. Build quality is top notch. It's by no means cheap but you get what you pay for. Look after it and you won't loose much if you come to sell it. Recommended.
Verified purchase: Yes | Condition: Pre-owned
Very nice lens! Perfect condition! +++
Verified purchase: Yes | Condition: Pre-owned
Verified purchase: No
f/1.4 = ultra large aperture 24mm = ultra wide angle To combine both is an ambitious task, yet Canon had realized for us, in the form of EF 24mm f/1.4L II USM. Such a lens uncovers creative possibilities that were never rivalled by anything, apart from its predecessor, yet it was too soft to be loved by most. The MK II however delivers reasonable sharpness. Combined with its extreme aperture, shallow depth of field in wide angle is no longer an impossibility. This will be the reason that most people will look at this lens, and have high expectation over it after seeing its price tag. However a project as ambitious as such can never be achieved without shortcomings, and the EF 24mm f/1.4L II USM features more problems than most other lens: 1. Vignetting - at f/1.4-f/2.0, its vignetting is EXTREME. Calculated as -3.3EV at corners by photozone.de, the problem does not ends at the corners. In fact the proper word to describe the effect is "underexposure", due to the fact that the image centre was also significantly darkened. Your conventional metering logic would not work on this lens at large aperture, and you would have to slow the shutter by 2/3 stops to compensate. 2. Border Quality - at f/1.4 there is almost no quality to talk about in the corners. Even though it is highly unlikely that your subject will be placed there, a compromise of detail is inevitable. 3. Coma - those hoping to use this lens for Aurora Borealis please either stay away from point lights (cities) or simply stop down to f/2.8. Otherwise all your lights will be smeared into a funny arrow shape. 4. Chromatic Abberations - this is expected and easily corrected by Photoshop. Yet as a matter of fact they exist. 5. Bokeh quality - I personally have no problem with it but some fellow photographers complained. Now then you would ask, why on earth would you buy such a lens?? Its simple. All these problems exist only at f/1.4-f/2.8. Past f/4 this will be the sharpest 24mm you have ever seen. Its centre quality is incredible, and its border follows very closely at f/5.6-11. Landscape photographers can have the peace of mind that all details will be retained, colours will be vivid and distortion will be very correctable. This is the true reason to use this lens. It does not matter how many other lens you own covers the same range, this lens will still find its place. Just bear in mind that f/1.4 is merely an option, not the primary function of the lens.Read full review
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