Canon 10-22mm f/3.5-4.5 EF-S. (APS-C coverage only, 77mm filters, 13.5 oz./383 g, 9.5"/24cm close focus, about $600). enlarge. My biggest source of support is when you use any of these links, especially this link directly to it at Adorama or directly to it at Amazon, when you get anything, regardless of the country in which you live. It helps me keep adding to this free website when you get yours through those links — but I receive nothing for my efforts if you buy elsewhere. Thanks for your support! Ken.
NEW: Canon 10-18mm IS STM A much better lens for half the price!
Canon EF-S 10-22mm. bigger.
This 10-22mm was Canon's very first ultrawide for its APS-C DSLRs.
The best thing about this lens is its metal lens mount, slightly faster optical speed and direct mechanical instant manual-focus override. Otherwise, the 10-18mm is better in every other way and half the price.
Bottom, Canon EF-S 10-22mm.
Canon calls this the Canon Zoom Lens EF-S 10-22mm f/3.5 - 4.5 USM
EF: Electronic Focus
-S: Designed only for the smaller 1.6x sensor of the 20D, 30D and Rebel.
USM: Ultra-Sonic Motor. Focuses silently.
Thirteen elements, ten groups.
One aspheric and one super UD
Canon EF-S 10-22mm at 22mm, EF diaphragm not visible.
6 rounded blades.
Stops down to f/22-29.
9.5 inches (24cm).
Angle of View
63.5º - 107.5º diagonal on APS-C DSLRs.
3.3" (83.5 mm) diameter x 3.5" (89.9 mm) long.
13.510 oz. (383.0g) measured, 2014.
13.6 oz. (385 g.). rated.
77mm, the professional standard.
Made in Japan.
The bayonet hood is optional and unnecessary, except for physical protection. I wouldn't buy it; my Nikon hoods that come standard stay home in their boxes.
$600, June 2014.
$840, November 2011.
Box, Canon EF-S 10-22mm.
The Canon 10-22mm is well made, but optically inferior to the newest 10-18mm.
Autofocus is very fast and quiet, but as fast and not silent like the 10-18mm.
Just flick the focus ring with a finger anytime for instant manual-focus override.
To lock it into manual mode, move the switch on the lens.
Bokeh, the quality of out-of-focus areas as opposed to the degree of defocus, isn't visible. There is rarely anything out of focus except at macro ranges, at which point bokeh is neutral.
The color balance of this 10-18 seems the same as my other Canon EF and EF-S lenses.
The Canon 10-18 STM has moderate barrel distortion at 10mm, and otherwise no visible distortion.
For critical use, use these values in Photoshop's Lens Distortion tool to remove the distortion. These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
© 2014 KenRockwell.com. All rights reserved.
* some waviness is visible after correction.
Canon EF-S 10-22mm.
Ergonomics are perfect. The front half of the lens is the zoom ring, and the focus and IS controls are right under your fingers.
The zoom ring includes the gold ULTRASONIC band, which keeps your hand form slipping forward off the zoom ring.
The thinner black ribbed ring at the rear is the manual focus ring. Flick it with a fingertip at any time for instant manual focus override.
Without a profile, falloff is visible wide open, and goes away by f/5.6.
In the newer DSLRs with automatic correction, be sure you have a profile loaded for this lens and the falloff becomes completely invisible (not shown here).
I've greatly exaggerated the falloff by shooting a flat gray target and presenting it against a gray background:
There's no problem with vignetting, even with thick rotating filters.
There's no need for thin filters; regular thick and rotating filters work great.
In fact, I can stack a regular Hoya rotating polarizer over a fat Tiffen Haze filter, and I get no vignetting so long as I don't zoom wider than 12mm!
Focus breathing (the image changing size as focused) is mostly of interest to cinematographers who don't want the image changing size ("breathing") as the lens is focused among different subjects.
There is only the slightest bit of breathing. If you can see anything, the image gets very slightly smaller as focussed more closely.
Shot directly into the sun at 10mm at f/10. bigger.
There's no problem with flare or ghosts.
If I go out of my way, I can get one faint green blob opposite the sun, but you have to realize that this is an extreme example shown above.
This is excellent performance, but still not quite as good as the 10-18mm.
Without an in-camera profile, there are green-magenta corner color fringes at all zoom settings.
Newer cameras with a lens profile loaded will clear these up.
The 10-18mm is much better.
Macro gets very close.
It's rated as 9.5 inches (24 cm), but that's from the image plane at the back of the camera.
I measure its close-focus distance as 8.5" (22 cm) from the image plane, which is 3-3/4" (9 cm) from the front of the lens!
Here's what you get zoomed to 22mm:
Omega Constellation at close-focus distance at 22mm at f/11.
Crop from above 10MP image at 100%. If this is 6" (15cm) on your monitor, the complete image printed at this same high magnification would be 40 x 26" (1 x 0.7 meters) at this very same sharpness.
Maximum and Minimum Apertures top
Rear, Canon EF-S 10-22mm. bigger.
The Canon 10-22mm is all plastic, except for the metal mount and identity ring.
Moisture seal at mount
No, but the rear black flare shield (seen only with lens unmounted) has a rubber bumper on it.
Laser-engraved into plastic lens barrel near mount.
See Canon Date Codes.
Noises When Shaken
Made in Japan.
Image sharpness depends more on you than your lens, and lens sharpness doesn't mean much to good photographers. It's the least skilled hobbyists who waste the most time blaming fuzzy pictures on their lenses, while real shooters know that few photos ever use all the sharpness of which their lenses are capable due to subject motion and the fact that real subjects are rarely perfectly flat.
This Canon 10-22 is sharp stopped down, and moderately soft on the sides wide-open. It almost look broken compared to the new 10-18mm.
Diffraction will dull the image at the smallest apertures.
At 10mm, the sides are soft wide open and have lateral color fringes if not corrected with a profile. It gets sharper at f/8, but the color fringes, if left uncorrected, can be distracting.
At 14mm, the corners are soft wide open and at f/5.6, and much sharper at f/8 and f/11.
At 22mm, the sides are soft wide open, and much better at f/8 and f/11, but still not that fantastic. Lateral color fringes are visible if uncorrected.
This is what I saw in 2014; I saw similar results with a different sample back around 2006. This used ot be the best you could get for a Canon APS-C camera, until the 10-18mm came out in 2014.
Canon 10-18mm sunstars at 12mm at f/10. bigger.
With its rounded 6-blade diaphragm, this Canon 10-18mm IS makes only muted sunstars at best.
Worse, if you can get any sunstars, they are silly 6-pointed stars.
The new Canon 10-18mm is optically far superior, as well as half the price. See its comparison.
If you want the best possible protective filter, the 77mm Hoya HD2 Protector is ultra multicoated, repels dirt and fingerprints and made of shatter resistant glass.
If I was working in nasty, dirty areas and don't want to spring for the HD2 filter, I'd use an uncoated 77mm Tiffen UV filter instead. Uncoated filters are much easier to clean, but more prone to ghosting.
I wouldn't use a hood.
The 10 - 22 is so wide that it will cast a shadow from the flash at the bottom of the image at 10 mm with built in flash. It's OK at 22mm. Be careful.
Tip: Turning the camera upside down will throw this shadow into the sky where you usually won't see it!
Forget this classic; get the new Canon 10-18mm instead.
This is unusual for me, but even if you already own one of these, it makes sense to sell it and buy a 10-18mm to replace it. Not only is the 10-18mm a much better lens, you'll probably wind up with cash in your pocket after the transaction!
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2011, 11 June 2014