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  • Canon EF 14mm f/2.8L II USM Ultra-Wide Angle Lens for Canon Digital SLR Cameras
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Canon EF 14mm f/2.8L II USM Ultra-Wide Angle Lens for Canon Digital SLR Cameras

by Canon
| 7 answered questions

Price: $2,249.00 & FREE Shipping. Details
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  • Focal length is 14mm, maximum aperture is 1:2.8 and has gel filter holder at rear of lens
  • Lens construction is 14 elements in 11 groups
  • Diagonal angle of view is 114° (on full-frame cameras)
  • Dust and moisture proof built in lens hood
  • Closest focusing distance is 7.9 inches
  • Compatible with all EOS Digital SLR cameras
  • Redesigned optics including 2 high-precision Aspherical elements and 2 new UD-glass elements
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Canon EF 14mm f/2.8L II USM Ultra-Wide Angle Lens for Canon Digital SLR Cameras + Canon Battery Pack LP-E6 + AmazonBasics Backpack for SLR/DSLR Cameras and Accessories - Black
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Technical Details

  • Brand Name: Canon
  • Model: 2045B002
  • Lens Type: Wide-angle lens
  • Mounting Type: Canon Digital SLR
  • Minimum focal length: 14 millimeters
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Read about our customers' top-rated lenses and cameras on our review pages: Lenses, Digital SLR Cameras, Compact System Cameras

Compare to Similar Items


This item: Canon EF 14mm f/2.8L II USM Ultra-Wide Angle Lens for Canon Digital SLR Cameras
Customer Rating (30) (347) (113) (64)
Price $ 2249.00 $ 839.00 $ 299.00 $ 1349.00
Shipping FREE Shipping FREE Shipping FREE Shipping FREE Shipping
Sold By Amazon.com Amazon.com Amazon.com Amazon.com
Lens Wide-angle lens Zoom lens Zoom lens Zoom lens
Maximum Sensor Size Compatibility 35mm FF 35mm FF APS-C / DX 35mm FF
Maximum Aperture Range F/2.8 F4.0 F4.5 - F5.6 F4.0
Min Aperture 22 22 29 22
Photo Filter Thread Size Information not Provided 77 millimeters 67 millimeters Information not Provided
Minimum Operating Distance 0.2 meters 0.28 meters 0.22 meters 0.15 meters
Item Weight 1.42 pounds 1.1 pounds 0.53 pounds 1.19 pounds
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Product Details

  • Product Dimensions: 3.7 x 3.2 x 3.2 inches ; 1.4 pounds
  • Shipping Weight: 2 pounds (View shipping rates and policies)
  • Shipping: This item is also available for shipping to select countries outside the U.S.
  • ASIN: B000V5P94Q
  • Item model number: 2045B002
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (30 customer reviews)
  • Date first available at Amazon.com: August 19, 2007

Product Description

Product Description


Ultra-wide angle lenses have always been in demand by architectural, corporate, and other top pro photographers. This new lens features completely redesigned optics including 2 high-precision Aspherical elements and two totally new UD-glass elements. The result is superior image quality: better contrast and sharpness at the outer edges, and a reduction in chromatic aberrations that can sometimes be seen with high-resolution digital SLRs. Its diagonal angle of view is an impressive 114°-anything larger would be a Fisheye lens. It has a built-in lens hood, and has been dust- and moisture- proofed. The lens uses a rear focusing system, high-speed CPU, and a powerful ring-type USM with revised electronics for faster, more responsive AF. This lens continues the proud tradition of superior clarity optics found in L-series Canon lenses.

From the Manufacturer

Designed primarily for discerning landscape and architectural photographers, the Canon EF14mm f2.8L II USM lens is ideally suited to the EOS-1Ds Mark III's full-frame capability. Measuring 3.7 inches in length and weighing in at under 23 ounces, this ultra-wide angle L-series prime lens is well corrected for rectilinear distortion, provides a 114-degree diagonal angle of view, and delivers high-speed autofocus with higher image quality overall including superior peripheral image quality, compared to its predecessor, the stalwart EF 14mm f2.8L USM lens.

While its large diameter, high-precision aspherical and UD elements, optimized lens element positioning, and flare and ghost-reducing lens coating ensure that this lens delivers the top optical performance in its professional class, Canon has added other features photographers have been asking for--improved dust and water resistance incorporated around the mount, switch panel and focusing ring, and a round aperture that creates a nice background blur and makes it easier to recognize an out-of-focus scene in less than brightly lit conditions.

Compatible with all EOS Digital SLR cameras. Redesigned optics including 2 high-precision Aspherical elements and 2 new UD-glass elements. Built-in lens hood; dust- and moisture-proof. 11-group, 14 element design. 114∫ diagonal view

Customer Reviews

Build quality is excellent.
M. Bartelt
I highly recommend this wide angle lens for those experienced photographers who know how to use this type of lens.
Douglas B. Yarbrough
If your looking for really nice SUPER wide angle shots, this is what you need.
Chris Clifton

Most Helpful Customer Reviews

56 of 57 people found the following review helpful By T. Campbell on March 15, 2011
Verified Purchase
This is an outstanding lens. A bit pricey... but nothing else really compares to it.

This is a "rectilinear" wide angle lens. This means that horizontal and vertical lines in a photograph will remain straight, rather than curving as they would in a "curvilinear" (aka "fish-eye") lens. This is the widest rectilinear wide-angle lens made by Canon (one of the very widest on the market.) It creates stunning architectural or landscape photographs. If you want to see samples of images taken with this lens, flickr has a group dedicated to it (as they do for most lenses). Search Flickr for a group named "Canon EF 14mm f/2.8L II USM"

The lens physically has excellent build quality. The tulip-style lens hood is metal and is a permanent part of the lens body. It is not removable (and it comes with a special lens cap designed to work with the tulip hood). There are no front filter threads (such is typical of very wide angle lenses like this one.) however there is a gel-style filter holder at the rear element (products such as Rosco Cinegel.) Unfortunately this means there are certain types of filters that are commonly desired for landscape photography such as polarizing filters or gradient neutral density filters which can't really be rear-element mounted since the point of the filter is to be able to control it's placement and orientation. I have not found a solution for this problem other than to get particularly large size filters plates (from companies such as Singh-Ray or Lee filters) and hand-hold them in front of the lens.

As is common for "L" series lenses, this lens is weather-sealed against dust & drips. It also includes a Canon gray-suede soft-pouch.
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49 of 54 people found the following review helpful By Aaron Nicholas Tubbs on November 17, 2010
Verified Purchase
This is the sort of lens that you buy if you know that you want to buy this sort of lens. If you're casually thinking of buying glass, this probably isn't for you. It's the best wide prime for Canon if you're looking for something that can autofocus. The difference between the 14mm of this lens and 16mm of the 16-35 is huge. The results are impressively sharp, and then lens is far more compact than the zooms which provide your only other options. If you want a wide lens on full frame and aren't concerned about your budget, this is your choice.

I have no idea why there's only a 6-blade aperture in this thing. I think they could have done much better. It doesn't usually matter, but it makes bright point sources look ... interesting. Not necessarily bad, but interesting. The effect on bokeh is negligible, since you're not going to get much bokeh.

Minor quibbles come from the front element, which of course doesn't accept filters, though there's a gel holder in the back. Next up, the hood (permanent, can't be moved/detached) is mostly useless; stopping flare often requires hands strategically placed to block the incoming sunlight. Finally, the lens cap only barely locks onto the hood, and comes off easily when removing the lens from the bag. I don't know why they couldn't design a lens cap that's secure -- some notches in the hood into which some clips actually engage would be a huge improvement.

Build quality is up there with the best black L lenses. Handling and use is good. The issues the lens has don't really make it any less exceptional, it's a lens you're going to love despite its minor flaws.

I can't see a good argument for getting this lens if you're on a crop body; you're paying for full frame corners in this sort of glass, and it doesn't make an exceptionally interesting focal length on anything short of full frame. It might be worth considering on APS-H.
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34 of 37 people found the following review helpful By mucker on October 13, 2011
Verified Purchase
I bought this lens 2 days ago. I shoot Architecture and I'd had my eye on this thing for a while. I own a good number of L lenses at this point and I generally use either the 24mm TS-E or the 17mm TS-E for jobs such as the one I shot today. The 24 is fantastic...the 17 is less so but necessary in a pinch. I bought this lens because of the wider reach, reports of minimal barrel distortion and AF. It seemed like it might be a good option for interiors where I could square the lens to the wall and get a good wide view. Well, let me say...this thing is stunning...STUNNING!!!. Tonight I had to shoot the interior (lobby/bar area) of a large movie complex. The client (Architect) wanted beauty shots of their work with people milling around. Ordinarily I'd do this with one of my trusty TS-E lenses...set the shot up, manual focus..check it once or twice and then spend a few minutes at that spot shooting off frames before moving to the next spot. Tonight I needed to be quicker. The owner of the property had agreed to let me shoot for only about a half hour...not much time at all. So I elected to buy this in hopes that AF would speed things up...I did a few test shots at my studio before heading out. I set myself up with the camera (5d mk ii) on a medium sized tripod and this 14mm beauty...set to AF, with +/- f16 to be safe and I simply walked laps of the big space popping off shots (via pocket wizard) as people moved through the space. I occasionally stopped to make multiple exposures but mainly I was just shooting singles hoping I could patch it up in post. I never work this way...and the thoughts of using AF on an architectural shoot just seemed nuts..

In any event I got back to my studio and immediately I knew things had gone well.
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