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The distortion is a standout behavior that won’t go unnoticed: it makes the 16mm setting unusable for architecture or even landscape photography incorporating a level horizon—at least without distortion correction. Nikon’s 16-35mm behaves similarly.
Zooms in general tend to have barrel distortion at the wide end and pincushion at the long end. Ultra wide angle zooms generally have strong distortion at the wide end, though Nikon’s 14-14mm f/2.8G is a standout for relatively low distortion.
Correcting distortion in Adobe Camera Raw
At the time this was written, Adobe Camera Raw did not yet offer a lens correction profile for the 16-35mm f/4L IS, but applying the 16-35mm f/2.8L II profile does an imperfect but reasonably good job.
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