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Selecting the best low-light lens for Canon involves numerous considerations starting with compatibility. A burst of brightness is not enough, and you need other features like the right focal length to get an option that’s good for real estate
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After trying out different lenses in various low-lighting conditions, I found that the Canon EF 16-35mm f/2.8L III is the best low-light lens for Canon. Its fast focusing and constant maximum aperture properties ensure proper exposure while reducing flare and aberration when shooting interiors and exteriors.
Below are the best lenses for Canon cameras suitable for low-light
While not having the smallest f/stop number amongst my selections, the Canon EF 16–35mm f/2.8L III packs undeniable features for superb low-light shooting. At f/2.8, it lets in adequate light to picture subjects better without being overly bright.
Although the difference may be negligible compared to the Sigma 18-35mm f/1.8, having the smallest focal length on the list matters a lot. Landscape and real estate photographers have something to give them dramatic and well-lit photos thanks to its ultrawide angle.
Added to its ability to photograph tight spaces using a wide angle, the unit also comes with image stabilization. Whenever too close to the subjects or shooting quickly-changing action, the stability and precision are commendable.
Canon doesn’t have many excellent full-frame ultrawide angle lenses, and that is why this unit is unique. Their Canon 14mm f/2.8, for instance, is expensive yet with a limited focal range, and the images are not sharp enough.
If you want something that goes beyond supporting low-light
Being the second most expensive option I picked, you might be curious to know what makes the Canon EF 24-70mm f/2.8L II special.
Its aperture distance is similar to all my low light zoom lenses for Canon apart from the Sigma 18-35mm F1.8. It is still impressive, though, letting in much light while providing fast, shorter speeds and opening up night and twilight photography.
Picture quality at f/2.8 is superb at the center, with some blurriness experienced at the corners. While f/4 offers a bit better definition on the edges than f/2.8, it still isn’t the best. f/5.8, however, is quite impressive, with much clarity seen all around the image.
The lens’s zoom ranges from 24-70mm, transcending from a vast angle to short close-ups is ideal for many usages. From architecture shots to portrait work, the lens can serve various niches in dimly lit situations.
What can hesitate your hand beside the price is the absence of image stabilization for precision in quick capturing. With its massive size and pretty hefty weight, the lack of optical stability is a letdown for handheld videography, so you may need to pair this with a video tripod.
The first thing you notice about the Canon EF-S 24mm f/2.8 is compactness and light mass.
I particularly like how at 125g, this pancake lens is the lightest and smallest lens on my list. If you want to carry two lenses without a bag, you can slide it in your pocket and have the other lens on the camera.
How is its low-light performance, though? Its maximum aperture is similar to my best option, the Canon EF 16–35mm f/2.8L. It lets in relatively the same amount of light, though much goes into the final picture quality beyond this attribute.
Pictures corners may not be so defined at f/2.8, while at f/5.6, the sharpness is quite remarkable.
It has a fixed focal length of 24mm, which is a fantastic wide-angle length. Giving you the bigger picture while not being too wide, the lens ensures you don’t lose the emphasis on the main subject.
It isn’t only a good choice for architecture and scenery shooting as it works fine as a general-purpose and walk-around lens for Canon.
Being an EF-S lens, it only fits on Canon’s less expensive APS-C cameras. If you love to get a little while spending less, this may be a great pair to suit your low-light
My biggest disappointment was the lack of image stabilization. If you like fast-paced, handheld shooting, the outcome may be less than desirable.
The Canon EF 24mm f/1.4L takes its aperture game a notch higher. At a maximum aperture of f/1.4, it ties with the Canon EF-M 85mm f/1.4 to offer the broadest maximum aperture amongst our top picks.
Besides letting in immense light amounts at f/1.4, the lens also features chromatic aberration correction for brightness and accuracy.
The sharpness at the edges may not be the best at f/1.4. Switching to f/2.8 is ideal when you need all-around sharpness in dim lighting. While unsuitable for low light, f/4 provides very sharp corners.
On a full-frame camera, 24mm is a vast angle. Your picture images may end up stretched at the edges, and the subject may recede into the picture, emphasizing your background. The length, however, offers a standard wide-angle on APS-C cameras.
Unlike the Canon EF-S 24mm f/2.8, it fits both full-frame and crop-sensor cameras. If you are a camera collector, this is a fantastic choice to carry more cameras with fewer lenses. The price is, however, pretty high.
Though you can switch it between your cameras, it is pretty heavy and tedious during extended handheld
Breaking my otherwise monotonous Canon line-up is the Sigma 18-35mm F1.8. Parked with multiple impressive specifications, the unit delivers just the right juice to knock out some top Canon contenders.
Right off the bat, the lens draws you in with the f/1.8 aperture, a first of its kind amongst zoom lenses. It may not offer the widest aperture on my list though it is my top zoom lens for Canon with the widest aperture.
The aperture is fast, letting in loads of light for low-light indoor shooting and videography applications, including time-lapse for real estate property videos. To give you some perspective, the f/1.8 lets in twice as much light as f/2.8. You can see how useful this lens is in poor lighting.
The f/1.8 aperture means you can use a much lower ISO than smaller apertures to ensure better video quality.
The 18-35mm zoom range isn’t very long, so don’t expect to shoot far off subjects. For real estate and landscape photographers, though, this wide-angle is an absolute gold mine.
Portrait shooters may also benefit, more so with the f/1.8 aperture providing you with twice as intense bokeh as the f/2.8 counterparts.
Designed for Micro Four Thirds and APS-C cameras, the Sigma 18-35mm f/1.8 presents solid attributes to mid-range spenders. You can attach it to a full-frame camera though the amount of vignetting even at 35mm is sadly unacceptable.
On an APS-C camera, the Canon EF-S 17-55mm f/2.8 may be a much more suitable selection than the Canon EF 16–35mm f/2.8L, which offers a standard wide-angle in this case.
With its zoom range being the second most extensive on my list, the unit offers more flexibility. You can fully zoom out for a wide field of view in architectural or landscape images. The 55mm range can draw in your subjects during portraiture and offer a very appealing out-of-focus background, so you won't have to add a blurred background in Lightroom.
Paired with the extensive zoom range, the f/2.8 aperture provides ample lighting for night shoots. The constant aperture of the Canon EF-S 17-55mm f/2.8 ensures you maintain impressive brightness levels as you alter the focal range.
At f/2.8, image centers are sharp as expected for most lenses. Though a bit blurred, there is nothing to complain about the edges apart from some chromatic aberration. Sharpness increases progressively as you switch to f/4 and f/5.6, though aberration remains.
Akin to lenses like the Canon EF 16–35mm f/2.8L, it includes image stabilization. Focusing on a subject is a cinch, and it eases accuracy in handheld videography.
Like the highly affordable Canon EF-S 24mm f/2.8, it can only fit APS-C cameras and therefore unsuitable for full-frame options. Although designed for a smaller sensor, the lens is pretty big and heavy, especially compared to kit lenses or smaller alternatives like Canon EF-S 24mm f/2.8.
Typical for most prime lenses apart from a few like the Canon EF 85mm f/1.4L, the Canon EF 85mm f/1.4L comes at a reasonable price. Being my second most affordable lens, consider trying it out if you are into low-cost prime lenses.
Sharing the top spot with the Canon EF 24mm f/1.4L in offering the widest aperture on my list, this 85MM lens lets in vast amounts of light. It is a highly convenient choice for nighttime
The 85mm focal length is a full-frame equivalent of 130mm, so you are getting a standard focal length with this unit. It is wide enough to capture the bigger picture while remaining tight enough for slight subject emphasis.
Although not as light as the Canon EF-S 24mm f/2.8, it still is very compact and comes in second place on my list in terms of ergonomics.
Bear in mind that the 85mm end may cause color fringing in some shots. However, you can use the Feather tool in Photoshop to fix this.
Canon is among one the most advanced high-end cameras that you can use when shooting the interiors of a real estate property. However, its performance and versatility can significantly be affected by the type of lens you pair it with.
The following features will help you invest in a high-quality lens that will allow you to exploit the full capability of your Canon camera. The following table further outlines the essential features for a better understanding.
| Lens | Aperture | Image Stabilization? | Aperture Blades |
|---|---|---|---|
| Canon 16-35mm | f/2.8 | No | 9 |
| Canon 24-70mm | f/2.8 | No | 9 |
| Canon 24mm | f/2.8 | No | 7 |
| Canon 24mm | f/1.4 | No | 8 |
| Sigma 18-35mm | f/1.8 | No | 9 |
| Canon 17-55mm | f/2.8 | Yes | 7 |
| Canon 85mm | f/1.4 | Yes | 9 |
When capturing interior images of a property, the amount of light that the lens allows to reach the camera sensor is one of the most important features to consider as a real estate photographer. Generally, when purchasing a lens, it is advisable to find out the maximum wide aperture.
The aperture is a hole that controls the amount of light that reaches the sensor. A narrow aperture has a bigger denominator, such as f/22, while a wide aperture has a smaller denominator, such as f/1.2.
If you are looking for a camera lens to use in low light conditions, consider getting a lens with a maximum wide aperture, such as the Canon EF-M 85mm f/1.4, as it can allow more light to reach the sensor than narrower-aperture lenses such as the Canon 16-35mm f/2.8 under the same working situations.
Background blur is an out-of-focus effect you can create on an image to bring the main subject in focus and the background elements out of focus. It's a useful technique that helps you get rid of distractions and attract the attention of the viewers toward the main subject.
If you want to take close-ups or portraits and avoid the hassles of removing and changing the background in the photo editing phase, you can go for a lens with a brighter aperture, such as the Sigma 18-35mm f/1.8.
Typically, a lens with a maximum wide aperture allows the production of an aesthetically appealing background blur using shallow depth of field techniques.
Usually, lenses are made of glass elements which might cause surface reflections, particularly when shooting shiny objects in harsh lighting conditions. When the light gets reflected on the surface of your lenses, it creates ghosting and flare, which affects the quality of your images.
You might need to introduce a stronger source of light and set up softbox lighting since real estate interiors lack quality
The lens comes with extreme aspherical elements and subwavelength coating that helps to suppress flares and ghosting for improved contrast and color neutrality.
The
A higher ISO means that your lens is more sensitive to light. When capturing in low-light conditions, a high ISO, in contrast to a low ISO, allows the camera to amplify the light signal.
However, this may lower the quality of the resulting picture as it adds some grains or digital noise, which you can reduce in Camera RAW. Fortunately, you can decrease the noise and improve the quality of the image using Photoshop in the post-processing phase.
A slower shutter speed for real estate photography allows sufficient light to reach the sensor in low-light situations. However, depending on the camera vibration or subject movement, it may make the resulting image blurry. You can overcome this issue by using the best tripod or getting a lens with an image stabilization system.
The aperture is an opening that regulates the amount of light striking the sensor, usually indicated by f-stop numbers. A wider aperture has a smaller denominator, such as f/1.8, compared to f/2.8.
In low light conditions, you should consider getting a lens with wide maximum apertures such as f/2.8, f/2, f/1.8, or f/1.4.
One of the major ways to sharpen your pictures in low light is by increasing the value of the camera ISO. For instance, when you increase the ISO level from 400 to 800, it will increase the ISO sensitivity of the sensor and therefore brighten your pictures. Alternatively, you can use a slower shutter speed, use a camera flash, reduce camera shake, or adjust the aperture.
Generally, both mirrorless and DSLR cameras have excellent performance in low light. However, the performance depends on the size of the aperture of the lens you are using on the cameras. Normally, a lens with a wider aperture will allow more light to get to the camera lens, offering good performance in low light.
Generally, the prime lenses have fewer moving parts which make them offer high performance in low light compared to the zoom lenses. Normally, the prime lenses come with wider apertures compared to their zoom counterparts, which helps in brightening images in low light.
The Canon EF 16–35mm f/2.8L III is my favorite choice though photographers looking for a more versatile full-frame option are better off with the Canon EF 24-70mm f/2.8L II. With the comprehensive comparisons highlighted, I believe you can still select from the rest of the options and meet your requirements.
