At its core is a newly developed 7K full-frame CMOS sensor paired with the DIGIC DV7 processor. Canon says the C50 is its first Cinema EOS camera to support 3:2 full-frame open gate capture, giving users more flexibility in post, especially for vertical, square, or anamorphic outputs. Dual base ISO is rated at 800 and 6400 in Canon Log 2, with support for Canon Log 3, PQ, HLG, Wide DR, and Canon 709 profiles — each with their own native base ISOs.

Watch the C50 Video Below

For a visual breakdown of the EOS C50’s key features and design philosophy, B&H has put together a concise overview video. It walks through the camera’s recording capabilities, user interface, and standout specs in under five minutes — a solid primer if you’re considering the C50 for your next project.

Pro-Grade Specs in a Portable Body

Despite its hybrid lean, the C50 isn’t stripped down. It supports 12-bit Cinema RAW Light in HQ, ST, and LT compression modes, along with XF-AVC, XF-AVC S, and XF-HEVC S codecs — all in a simplified MP4-friendly folder structure for faster handoff. Frame rates include:

• 7K Cinema RAW Light at up to 60 fps
• 4K up to 120 fps (oversampled from full 7K)
• 2K up to 180 fps (with crop)
• 3:2 Open Gate up to 30p (RAW and HEVC)

Simultaneous Crop Recording enables 4K DCI or UHD capture alongside a cropped 2K frame in vertical or square formats (9:16, 9:17, or 1:1), targeting social and advertising creators. The crop area can be adjusted in-camera for optimal framing.

Streamlined for Solo Creators and On-Set Teams

The EOS C50 features dual card slots — CFexpress Type B and SD — supporting simultaneous proxy, backup, or split-format recording. A detachable top handle adds two full-size XLR inputs, gain controls, a start/stop trigger, and a zoom rocker — ideal for ENG setups using RF power zoom lenses.

Connectivity includes a full-size HDMI output, USB-C, timecode in/out, mic/headphone jacks, a multifunction shoe, and Wi-Fi. The C50 supports:

• UVC/UAC livestreaming up to 60p over USB
• Remote IP control via XC protocol or third-party USB-C Ethernet adapters
• Canon’s Multi-Camera Control App
• Canon Content Transfer Professional (CTP) App
• Native Frame.io Camera-to-Cloud integration

Power comes from Canon LP-E6P batteries, though the LP-E6NH is also supported with some limitations. Mounting points include 1/4″-20 threads on the top, bottom, and side of the body for cage-less rigging. The user interface adapts to photo or video mode depending on the position of the dedicated switch — a carryover from the EOS R5 C.

RF85mm f/1.4 L VCM Hybrid Lens: Built for Video and Stills

Announced alongside the C50 is the new RF85mm f/1.4 L VCM Hybrid lens. Featuring fast, quiet autofocus with Canon’s VCM (Voice Coil Motor) tech and minimal focus breathing, it’s designed to serve both still shooters and filmmakers — especially those working in portrait, commercial, or hybrid workflows. Paired with the C50, it delivers a shallow depth of field and L-series optics in a form factor tuned for hybrid creators.

Firmware Updates Coming to Cinema EOS Line

Canon also confirmed that several features from the C50 will make their way to other Cinema EOS cameras via firmware later this year. The EOS C400 will gain 3:2 full-frame open gate recording, while the C80 and C400 receive improved joystick operation, assignable button customization, focus peaking enhancements, and view assist during playback.

Price and Availability

The Canon EOS C50 is expected to ship in Q4 2025 for $3,899 at retailers like B&H. The RF85mm f/1.4 L VCM Hybrid Lens is also expected later this year, with pricing to be announced. Firmware updates for the EOS C400, C80, C70, and R5C are also scheduled for release in Q4.

Whether it’s rigged out for studio work or stripped down for field shoots, the C50 signals Canon’s continued commitment to versatile, pro-grade tools — not just for filmmakers, but for the growing class of hybrid creators who work across formats and platforms.

The short version is this: it’s a rare, unique lens! In fact, currently, nobody else makes a 16mm f/2.8 prime, let alone one this compact and affordable. This is odd because 16-35mm f/2.8 zooms are very popular high-end pro lenses. So, why is 16-35mm so popular, especially when it overlaps so much with 24-70mm, (even more popular!) …and yet we haven’t seen a 16mm f/2.8 prime yet?

Indeed, for those photographers who usually use a 24-70mm, 24-105mm, or 24-200mm zoom, and only need to go wider than that every once in a while, having a compact ultra-wide prime would make a lot of sense. Also, what about the landscape or nightscape photographers who use a 16-35mm lens a lot, but almost always set it to 16mm?

Either way, this compact, lightweight Canon full-frame mirrorless ultra-wide prime lens could be perfect for you. Well, almost. It’s not an L-series lens, and I’ll tell you all about that in a bit. With that said, let’s dive in!

Canon RF 16mm f/2.8 STM Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 16mm, 108°
• LENS MOUNT(S): Canon RF (full-frame mirrorless)
• APERTURE & RANGE: f/2.8-22, 7 rounded-blade aperture
• STABILIZATION: No
• AUTOFOCUS: Stepper motor, silent
• MANUAL FOCUS: Electronically controlled, multi-function focus ring
• OPTICAL CONSTRUCTION: 9 elements in 7 groups, 1 aspherical element, Super Spectra coating
• MECHANICAL CONSTRUCTION: Metal mount, plastic barrel, no weather sealing
• MAGNIFICATION & FOCUS DISTANCE: 0.26x, 5.1″ (13 cm)
• FILTER THREADS & HOOD: 43mm filter threads, no hood included
• SIZE: 1.6 x 2.7″ (40.1 x 69.2 mm)
• WEIGHT: (5.8 oz / 165 g)
• PRICE: $279 (B&H) 

Canon RF 16mm f/2.8 STM Review | Who Should Buy It?

As a 16mm prime, this lens is definitely unique. Virtually every other lens on the market that reaches or includes 16mm is a zoom lens! Most “ultra-wide zooms” are also very large, heavy, and expensive. There are only a few ultra-wide primes and zooms that are lightweight, compact, and affordable, and most of those primes/zooms don’t get to 16mm, they’re at 17mm or 18mm. The ultra-wide zooms that do include 16mm are mostly f/4, as far as I know.

Now that I have set the stage and you understand how rare this lens is, who is it for? Well, it’s for any photographer who ever thought to themselves, “I really don’t want to spend upwards of $2,000 on a 16-35mm f/2.8 pro zoom, especially if I’m only ever going to use it from time to time, and likely always at 16mm anyways!”

So many different kinds of photographers, from wedding & portrait photographers to exotic travel photographers, to everyday casual photographers, may all fit this description. Especially if you’ve already invested a lot of money in a 24-70mm f/2.8 zoom, and you really like using it for most of the work you do. Grab this tiny little $280 lens and toss it in your camera bag for those few moments when you want a wider perspective than 24mm!

Alternatively, this lens is also a decent choice for serious landscape and astro-landscape photographers who do a lot of travel or other types of adventure such as backpacking. If you’re about to carry all your gear on your back for a week or two in the mountain wilderness, then every ounce or gram counts, and this ultralight 5.8 oz / 165 g lens could be a perfect complement to your 24-105 or 24-200mm adventure landscape photography kit. Having said that, the image quality needs to be discussed before you commit to leaving your 14-24mm or 16-35mm at home.

Last but not least, as it is such a portable, affordable lens, I should mention that it’s within reach of photographers who are starting off with one of Canon’s APSC mirrorless cameras, but who want the option to upgrade to full-frame without having to sell off all their crop-sensor lenses.

On APSC, though, this 16mm becomes roughly equivalent to 24mm and has pretty impressive image quality throughout the image frame. Therefore, you might be in for a shock if you upgrade from a Canon EOS R7 to an R8, because not only will the change in focal length give you a completely different lens, but also, the edges and corners of the full-frame under-perform a bit. More on that later.

Canon RF 16mm f/2.8 STM Review | Pros & Cons

The advantages of this lens are obvious: It’s tiny, and it’s very affordable. It’s basically a “nifty fifty”, a 50mm f/1.8, in terms of both portability and price. The disadvantage is, as such a compact lens, Canon had to make a bit of an optical compromise in order to “fit it all in”.

It is therefore hard for me to recommend this lens to serious professionals who actually need the extreme sharpness found at the edges and corners of high-end pro zooms such as a 14-24mm or 16-35mm. However, I know there is a whole world of photographers who are either never going to even glance at their images’ extreme corners. Plus, of course, some photographers are just willing to make a compromise in order to save a ton of money (and weight) for a focal length they’re not going to use very often.

Pros:

• Lightweight – By far the lightest 16mm option on the market
• Compact – Won’t take up too much space in the camera bag
• Good/Decent Image Quality – Especially when stopped down, Most of the image offers L-
• Very Affordable

Cons:

• Image Quality falls a bit short around the edges, both wide-open and stopped-down.
• No weather sealing
• No included hood (not really needed for flare protection, mostly for protecting the front element from scratches)
• AF/MF switch is actually a custom function switch

Image Quality

Okay, first, the good news: In the center, this lens is incredibly sharp. Maybe you’re doing casual everyday photography and you want that really cool up-close-and-personal viewpoint. Maybe you’re a professional wedding or portrait photographer, and you want an environmental portrait or a candid moment, and you know better than to put your subjects’ faces anywhere near the edges of a 16mm frame!

Either way, a lot of photographers could be perfectly happy with this lens’ image quality in general. Even on the 45-megapixel Canon EOS R5, the central image area is beautiful. It’s off-center that we need to nitpick.

Sharpness

Sharpness is excellent in the center at f/2.8, whether you’re focusing on stars in the night sky or a close-up macro subject.

Off-center, however, things start to fall apart by the time you get to the horizontal edges, especially the extreme corners. Sharpness is not very good at f/2.8, but also, even when stopping down to f/8 or f/11, it never really improves all the way to “excellent”.

This is perfectly fine for a traveling landscape photographer or nightscape photographer who is looking for something ultra-portable, but it’s not a “flagship” performance by any means.

Bokeh

As will be a common theme with this Canon RF 16mm f/2.8 Review, background blur is beautiful around most of the image, but at the edges/corners it gets a bit “busy”. This won’t be a problem unless you’re frequently photographing close-up subjects and your background is a lot of cluttered subjects with harsh contrast and texture.

Colors & Contrast

As with all Canon RF lenses, the vibrant color and contrast from this lens are beautiful. If you set the raw editing color profile to either “Adobe Landscape” or “Camera Landscape”, (or whatever suits your subject) …you’ll barely have to edit your photos!

Vignetting & Distortion

This is where things get really bad. Without this lens’ built-in correction profile turned on, this effectively becomes a ~16mm fisheye lens, with nearly black corners. Especially at f/2.8, vignetting is unbearable without the correction profile. Also, even without obvious straight lines anywhere in the frame, the distortion is bad enough that if you turn off the correction you’ll notice a fisheye “bulge” appear in the center of the image.

I usually leave lens correction profiles turned on, of course, but this is still a very telling metric for the true optical performance of this lens. Indeed, it’s a serious optical compromise, only made “presentable” by software.

I’m not painting a pretty picture right now, but quite honestly, in most situations, I wouldn’t care about this! I’d just leave the distortion and vignetting correction profile turned on. Again, this lens is aimed at photographers who are just looking to “goof around” with 16mm as a creative tool.

Sunstars & Flare

Flare is non-existent, thanks to Canon’s excellent optical coatings, and maybe thanks to the fact that this is just a very simple optical formula! Sunstars are also beautiful, again another Canon tradition; I don’t have a good example but I remember noticing that they looked about as good as other Canon wide-angle lenses, which is better than most.

Color Fringing, Aberration, Coma & Astigmatism

This is where things get…ugly. Again, in-camera corrections for chromatic aberration and color fringing are a useful feature to leave “on” at all times. However, even with both in-camera corrections and Adobe’s default raw conversion corrections, …aberrations are still a problem. If you’re trying to photograph a lot of high-contrast, harshly lit subjects, you might notice some faint color fringing in your corners, even when stopped down.

Also, when you’re trying to focus on stars in the night sky, you may get tack-sharp stars without aberration in most of the image area, but the corners have a prominent criss-cross (sagittal astigmatism) pattern, as well as chromatic aberration.

It’s a compromise I’d be willing to make on a long-distance backpacking trip in the mountains, but most of the time I’d rather have a professional ultra-wide zoom.

Before we move on, I want to mention that one application in which this ultralight 16mm f/2.8 lens will prove useful is in nightscape photography using a tracker such as the iOptron SkyTracker iPolar ($399). The 16mm lens will balance a lot easier on a tracking mount than any other ~16mm lens, which could make a huge difference in both portability and ease of use. (No counterbalance needed) With a tracker, of course, you can easily capture images of the night sky at f/4 or f/5.6, thus achieving much better image quality.

Macro & Close-Up Photography

This is where things get fun and exciting again. Like all of the Canon RF non-L prime lenses, this lens focuses very close! It’s a delightful perspective on the world of miniature, and again, a perfect way to put this lens to good creative use.

Design & Durability

Physically, I can’t complain about the durability or overall design of this lens. Like other Canon RF non-L prime lenses, its strength is its compactness; the metal mount and plastic barrel are going to stand the test of time just fine. There is no weather sealing on this lens, aside from the gasket at the lens mount, but that’s probably okay as long as you’re not working in a torrential downpour or a dust storm.

Ergonomics & Portability

At 5.8 oz / 165 g,  this lens’s greatest strength or selling point is its portability. I’ve already mentioned how this lens is made for those who are mostly using a 24-70mm, and only want to reach for 16mm once in a while. Slip this tiny little lens in your camera bag, and you’ll almost forget it’s even there until you need it.

Alternatively, this 16mm f/2.8 prime pairs beautifully with any of the other Canon STM compact primes. For a creative, versatile, fun photography experience, take your pick of 2-3 of any of these other compact primes, and just go take pictures!

• Canon RF 24mm f/1.8 STM
• Canon RF 35mm f/1.8 STM
• Canon RF 50mm f/1.8 STM
• Canon RF 85mm f/2 STM

Autofocus Performance

As a compact, non-L Canon lens, I was impressed by how smooth and silent this lens’ STM autofocus motor was. Having said that, it did suffer a little bit from a classic problem that highly affordable wide-angle lenses can face: It’s just slightly less consistent at nailing focus compared to a professional 24-70mm f/2.8. It has a tendency to focus just fine on a subject in the center of the frame. However, with the way depth of field behaves with this lens, that usually results in slightly blurry foregrounds and/or edges, even if they ought to be within the DOF of a 16mm lens.

Manual Focus Performance

Focusing manually is done electronically via the multi-function focus ring, which is a bit confusing. The switch on the side of the lens that you would think is an AF/MF switch is, in fact, a custom function switch.

In other words, that “AF/MF” switch actually changes the lens’ focus ring function; in one position it allows the ring to perform manual focus, and in the other position it allows the focus ring to behave like Canon’s on-lens “control ring”.

This is confusing and frustrating at times, because you may fumble to set AF/MF on the camera itself, and then wonder why the focus ring isn’t doing what you want it to do. It’s something you can get used to, but it’s definitely not optimal.

Features & Customizations

The aforementioned lack of a dedicated AF/MF switch is my biggest subject when it comes to the features of this lens. I wish Canon had simply done a better job of implementing their focus ring and “custom function” ring interface.

This is a common problem with Sony cameras& lenses too, by the way; some of their lenses just don’t have AF/MF switches at all, so you have to get used to setting that on the camera body. Then, right when you train your brain to switch AF/MF on the camera body, you might buy a lens with an AF/MF switch, and decide to re-wire your brain all over again.

Either way, it’s a compromise that I wish Canon hadn’t made, even if it had made the lens a bit more expensive. Then again, maybe they could simply re-organize the entire AF/MF interface differently via firmware alone, and that might make things a little more intuitive.

Value

The simple fact that this 16mm f/2.8 prime costs under $300, and most 16-36mm f/2.8 zooms usually cost over $1,000 or even $2,000+, I think it’s an excellent value. Your personal needs and standards will dictate whether or not the level of compromise found in its optical formula will make it “of value” to you.

Personally, because it is so affordable, I wouldn’t mind owning it for all of the reasons I’ve listed above:

As a casual photographer who mostly uses a mid-range zoom, and just wants to “play” with 16mm from time to time, this is an excellent value. Or, as a serious pro who only needs 16mm for certain subjects, such as wide-angle environmental portraits or wedding photojournalism.

Also, even as a serious astro-landscape photographer, let’s say for example I already own the Canon RF 15-35mm f/2.8 L and I use it quite a lot. I might still add this lens to my arsenal for those times when I want to travel light. I also might want to own a 2nd ultra-wide lens for time-lapse purposes, when using two cameras. (This 16mm prime lens would pair perfectly on the ultralight Canon R8 as a 6K time-lapse camera for wilderness adventure!)

Canon RF 16mm f/2.8 STM Review | Compared To The Competition

Direct competition, strictly speaking, doesn’t exist. The Canon RF 16mm f/2.8 STM is alone, no other full-frame mirrorless system offers such a prime. Having said that, there are a few options that come close, depending on what you’re looking for.

If you want a lightweight, compact, affordable ultra-wide lens, the next-closest thing is the Canon RF 15-30mm f/4.5-6.3. It’s only $499 (with instant savings) and weighs less than 1 lb (under 400g) so you should definitely consider this lens instead of the 16mm f/2.8 if you’d rather have a zoom range instead of f/2.8. (That is, landscape photographers who are going to spend most of their time at f/11 anyways.)

If you want the absolute best landscape photography lens on Canon RF mount, of course, you’ll have to step all the way up to the Canon RF 14-35mm f/4. It’s over $1,000, but still incredibly lightweight and the image quality is superb.

If you really want f/2.8, then there just aren’t many native alternatives for Canon RF, yet. Samyang/Rokinon tried to make a 14mm f/2.8 for RF, but it is currently unavailable due to (apparently) a legal dispute over autofocus protocol. (You should be able to find a manual focus 14mm f/2.8, though, especially if you’re willing to adapt DSLR lenses)

Other than that, what else is on the horizon? Well, I just recently reviewed the Sigma 16-28mm f/2.8, and as a portable, affordable ultra-wide zoom that reaches 16mm and f/2.8, I have to say that it utterly “destroys” this Canon in terms of image quality. If you’re patient and can wait a year, or maybe two or three years, then that would be a lens to watch out for as third parties inevitably gain access to the RF mount.

Canon RF 16mm f/2.8 STM Review | Conclusion

Honestly, I didn’t paint a very pretty picture of this lens but I still really love it. It isn’t perfect, but it’s a lot of fun! The size and weight just make it a delight to use, and I could imagine being very creatively inspired by this lens on a Canon EOS R8.

This lens is not for you if you’re expecting an alternative to a 16-35mm f/2.8 that gives the same results for a fraction of the cost. If you want perfection, you’ll have to save up the ~$2,300 for the Canon RF 15-35mm f/2.8 L IS, or ~$1,500 for the Canon RF 14-35mm f/4 L IS.

If you’re looking for a portable, fun, affordable way to get to 16mm, then be glad you are a Canon shooter, because this is the only place you’ll find such a prime as this! With that being said, I do highly recommend considering the Canon RF 16mm f/2.8 STM.

Check Pricing & Availability

The Canon RF 16mm f/2.8 STM is currently available for $279, although that is with a $20 instant savings so you might find it for $299 depending on what time of year you’re reading this review.

($279, B&H)

Many professional and hobbyist photographers and videographers, from influencers to commercial pros, swear by Canon “glass” as being the best in the business. And in many instances, they’re not wrong! If you’re wondering which prime lenses you should invest in first, this article is for you!  We’ll organize our list of the best canon prime lenses into the following categories:

• Best Canon Prime Lenses for Beginners
• Best Canon Prime Lenses for Pros

Best Canon Prime Lenses for Beginners

When starting out in photography, there’s so much to learn: rules of composition, the exposure triangle, how to use and modify light, how to pose a portrait subject, etc. Additionally, there’s the whole discussion of equipment that can make you go cross eyed! Learning which lenses you should buy and how you should use them can take a lot of time. Thankfully, in this post you’ll learn what prime lenses you should buy for your Canon camera when starting out.

Over the years, when many aspiring artists get started in photography, their first camera was likely a Canon Rebel DSLR with a kit lens, or in recent years, a Canon mirrorless (RF-S) rebel-like camera. While the 18-55mm kit lens that comes with many beginner cameras is very versatile, and just fine for getting started, you will quickly learn that in order to take the kinds of dreamy, eye-catching photos you see on social media, it will probably all come down to getting some better lenses.

In that mindset, I’ll start by recommending the prime lenses I think every Canon shooter should consider buying either with, or instead of, a “kit” zoom . In fact, these lenses are so great that they’ll even take you to a truly professional level if you wish, and without breaking your bank!

The Nifty 50 – Canon RF 50mm f/1.8 STM ($199)

[Related Reading: The Ultimate Portrait Kit For Canon | Must Have Lenses for Portrait Photography]

The classic Canon 50mm f/1.8 is an idea that has been around for decades. Often referred to as “the nifty 50” for a good reason, it’s the best all-around lens you can buy for such a small budget! ($199)

It takes beautiful images of almost any subject with its “normal” angle of view, and captures plenty of sharpness and enough bokeh (background blur) to make you feel like a professional photographer. Of course, the build quality isn’t that great, but you’re just getting started so I wouldn’t worry about that; just don’t drop the lens and you’ll enjoy many years of use.

If you’ve never taken photos with a prime lens that offers a significantly wider aperture than most kit zooms and their f/3.5 or even f/4.5 fastest aperture, then once you try this lens, you’re never going to go back. More light, more bokeh, more sharpness, more fun!

Unfortunately, if you ever decide to upgrade to the next-best thing, Canon’s professional RF 50mm f/1.2 is a staggeringly expensive ~$2.2K. We’ll get to it later, but here’s the bottom line: although the pro upgrade is an impressive offering, this modest 50mm f/1.8 is more than enough for almost all photographers.

Pros:

• Beautiful images, lovely bokeh (smooth background blur)
• Great price
• Ultra-lightweight
• Ultra-compact
• Quick, near-silent auto-focus

Cons:

• Not as durable as professional options
• Not as much shallow depth or brightness as the f/1.2 upgrade

Canon RF 35mm f/1.8 Macro IS STM ($599)

The Canon RF 35mm f/1.8 Macro IS STM is a very similar Canon prime lens to the 50mm, but with a little more to offer for a slightly higher price. Whereas the 50mm is a “middle of the road” focal length, this 35mm, on a full-frame mirrorless camera, offers a pleasantly wide-angle alternative. Still not in “ultra-wide” territory, the angle of view will feel natural and realistic for anyone who likes to get up-close with their subjects, or simply wants to capture a slightly bigger scene, though not necessarily a whole landscape.

On a crop-sensor camera, by the way, this 35mm lens also offers a very similar angle of view to the classic 50mm. So, for anyone who is currently using a Canon RF-S (APSC sensor) camera yet may expect to one day upgrade to a full-frame RF camera, this could be the absolute best Canon prime lens for you!

Additionally, Canon has added optical stabilization to this lens, (IS) so you can expect sharp, detailed imagery from any camera, even one without sensor-based stabilization.

Aside from the angle of view, the Canon RF 35mm f/2 lens offers one additional nifty feature that makes it extra-versatile: the ability to do close-up macro imagery! At a respectable 1:2 reproduction ratio, it’s not a true 1:1 macro lens, but it’s more than enough for almost any kind of close-up photography.

Pros:

• Very versatile focal length and other features
• Sharp enough for the highest-megapixel cameras
• Great price
• Macro for close up imagery
• Stabilization for low-light sharpness & shake-free video
• Solid build quality, for the price
• Ultra-lightweight
• Ultra-compact
• Quick, near-silent auto-focus

Cons:

• Not as “indestructibly rugged” as professional options

Canon RF 85mm f/2 Macro IS STM ($599)

[Related Reading: Top 5 Must Have Fujifilm X Lenses]

The Canon 85mm f/2 is another all-time favorite lens of many photographers. Oppositely from the 35mm, the 85mm focal length provides a nice “moderate telephoto” angle of view that is perfect for things like beautiful portraits, or any close-up photos where you want to “zoom in” on a detail. (Note of course that this is a prime lens!)

At only $599, this thing is a steal for the quality of the images it produces. It’s so good, once again we honestly believe that most photographers will never need its uber-expensive $2.6K big sibling with an f/1.2 aperture.

Also similar to the 35mm, this Canon RF 85mm offers IS stabilization and a 1:2 macro capability, making it equally versatile for many different types of photography. In fact, for those who can afford the investment, we honestly believe that pairing this 85mm with the 35mm is a highly optimal pair of Canon primes for almost any kind of photography.

Pros:

• Gorgeous bokeh, perfect for portraits of 1-3 subjects
• Very sharp!
• Great price / value
• Solid build quality, for the price
• Macro for close up imagery
• Stabilization for low-light sharpness & shake-free video
• Quick, near-silent auto-focus

Cons:

• “Only” 1.8 aperture.
• Not as “indestructibly rugged” as professional options

Canon RF 24mm f/1.8 Macro IS STM ($599)

For the photographers who are curious about landscapes, nightscapes, or any type of photography that requires a substantial wide-angle and a fast aperture, the Canon RF 24mm f/1.8 is a relatively lunique gem of a prime lens.

There is (currently) no professional version of this incredibly affordable lens, and there almost doesn’t need to be! This lens is ultra-sharp, and relatively durable. The balance of the fast aperture and compact, lightweight portability are perfectly suited to its unique specialty. In other words, you may not reach for this lens all the time, (unless you’re an astro-landscape photographer!) …but when you do, you’ll be absolutely thrilled that you brought it with you.

The 24mm angle of view is substantially wider than the Canon 35mm, and the f/1.8 aperture offers wide-open sharpness that is usually only found on professional lenses. For the nightscape photographers who are wondering: Yes, even in the corners this thing delivers excellent image quality!

Pros: 

• Excellent image quality, even in the corners and wide-open
• Truly stunning image quality when stopped down to f/2.8
• Great price / value
• Solid build quality, for the price
• Macro for close up imagery
• Quick, near-silent auto-focus

Cons: 

• Not as “indestructibly rugged” as professional options

Canon RF 16mm f/2.8 STM ($299)

If you want to go “ultrawide”, Canon has an even more unique, one-of-a-kind offering that literally no other lens maker or camera mount (presently) offers: A, ultra-compact 16mm f/2.8 prime. Shockingly, it is the exact same size as the 50mm f/1.8, yet offers an impressively ultra-wide-angle focal length and a relatively fast f/2.8 aperture. If you’re looking for a unique, eye-grabbing perspective for dramatic adventures and travels, this is the most portable, most affordable option on the market.

The image quality is a slight compromise, of course, considering how downright tiny it is compared to the professional options that offer the same focal length and aperture. If you pixel-peep the corners, you will notice a loss of image quality when using f/2.8 or f/4, both in terms of sharpness and in overall brightness. The built-in profile correction can handle things like vignetting and distortion, however, doing so comes at the expense of sharp detail in those corners. Still, for its portability we absolutely recommend considering it.

[Read our in-depth Canon RF 16mm f/2.8 review here!]

Each of these lenses would provide an excellent foundation for a burgeoning Canon photographer. But remember that a camera and lens isn’t going to create great photos for you. They’re tools, not visionaries. When I started out, I got a few affordable lenses and spent most of my money on great educational resources from SLR Lounge. To learn more about how to take and edit amazing photos, check out our educational resources.

With that being said, we have to admit that one of the main reasons why photographers and videographers alike choose Canon: their professional “glass” is truly superb. So, let’s talk about those Canon prime lenses next!

Best Canon Prime Lenses for Pros

Now, I’ll provide my recommendations for the best Canon prime lenses you should get if you’re a burgeoning professional photographer or videographer looking to create incredible imagery with some of the best lenses ever made. Simply put, Canon cameras are amazing, but it’s the lenses you attach to them that produce standout images…

Canon RF 50mm f/1.2 L ($2,199)

The Canon 50mm 1.2 L is a gold standard for professionals, and one of the first pro  prime lenses that many photographers and videographers fall in love with. Forever on lists such as the “Best Lenses for Wedding Photography,” this 50mm “normal” lens is staggeringly sharp wide open, unlike its DSLR predecessors.

It doesn’t have image stabilization, nor macro capability. What it does have though is a unique characteristic that only an f/1.2 aperture (and a ton of glass to go with it) can offer. Simply put, with the aperture wide open or even stopped down to f/2-2.8, the bokeh from this lens is sublime. The look of images taken with this lens is also really pleasing to the eye. It’s hard to describe but you can see it in photos. One of the best features of this lens is the quality of its lens flare. As you can see in the image below, it has been a Canon tradition to offer unique, beautiful results from their professional L-series 50mm primes…

Pros:

• Gorgeous bokeh
• Unique character
• Rock-solid build quality, fully weather-sealed
• Quiet autofocus
• Beautiful lens flare

Cons:

• Large & heavy
• Significantly more expensive than value-oriented options

Canon RF 85mm f/1.2 L ($2,599)

The Canon RF 85mm f/1.2 L is one of this most incredible lenses I’ve ever used. If you like bokeh, this lens is the undisputed champion of smooth, buttery, (incredibly shallow!) bokeh. Or, if you want to completely obliterate all background detail, the alternative version of this lens with a special (even softer aperture) Canon RF 85mm f/1.2 L USM DS.

I love almost every photo I’ve taken with this lens. It’s stunningly sharp wide open, and yet the plane of focus is razor-thin, and you have to be very careful to nail focus on the key details of your subject, because literally everything else will be out of focus!

The images this lens produces are also incredibly unique. For portraits, you’d be hard pressed to find a better lens. The auto focus can be a bit slow, because it is just so much glass for the AF motors to push back and forth, but again the AF speed and reliability is worlds better than this legendary Canon L lens’ predecessor.

but it’s as quiet as a whisper and very accurate. But for all the goodness of this lens, you’re going to pay a hefty price ($1899). Is it worth it? That depends what your budget is, and how badly you want the absolute best. If you can’t afford this lens, you could settle for something like the Canon EF 85 1.8, a lens I still use and love.

Pros:

• Unreal bokeh
• Sharp
• Quiet auto focus
• Unique look
• Solid build quality

Cons:

• Slow auto focus compared to other lenses
• Expensive
• Telephoto zoom alternatives much more versatile & practical (Canon RF 70-200mm f/2.8 & f/4 L IS)

Canon RF 135mm f/1.8 L IS ($2,099)

Surprisingly, this “even more ultimate” portrait lens is actually a touch more affordable than its f/1.2 siblings, despite (in my opinion) being even more exotic and uniuqe. With a 135mm focal length, it is not an all-around portrait lens like a 50mm or 85mm portrait lens. Practically, you can only expect to put this lens to good use with one or two portrait subjects, and you’ll have to be quite a distance away from them to “fit them into the frame”.

For headshots, fashion portraits, or anything where subject isolation and background compression are your goals, the 135mm prime is another long-standing legend of Canon L glass.

Pros:

• Impressive bokeh
• Impeccably sharp
• Quiet auto focus
• Truly unique appearance of bokeh & background compression
• Solid build quality

Cons:

• Relatively expensive
• Telephoto zoom alternatives much more versatile & practical (Canon RF 70-200mm f/2.8 & f/4 L IS)

Conclusion

With each of these lenses you get something different to add to your creative toolbox. If you’re getting started doing professional work, and you shoot Canon, these are the prime lenses I’d recommend starting with. Of course there are so many other options out there. If you haven’t shot with any professional prime lenses yet, I’d recommend that you rent a few and give them a whirl. The lenses I recommended above can help you open the door to creative possibilities. But of course, without the skills to unlock the potential of these lenses, they are just tools in the box. The most important thing you can do is educate yourself! For that, I shamelessly recommend the SLR Lounge Workshops.

Oh, and let’s not forget the highly unique design of the new RF 70-200mm f/2.8 L IS, which we’re almost done reviewing as well.

At first glance, the Canon  RF 15-35mm f/2.8 L IS may not seem like much of an accomplishment, because indeed we already have numerous f/2.8 wide-angle zooms that go to 15mm and even 14mm. However, this new Canon mirrorless lens doesn’t just hit 15mm, it actually does so in the form factor that the previous 16-35mm and 17-35mm f/2.8 lenses did. That is, it isn’t a monster of a lens with a bulbous front element and a fixed hood, it’s a traditional design that accepts 82mm threaded filters.

For some photographers, this is unprecedented and exciting, while for others, it may not be a very big deal at all. So, which types of photographers should get excited about this lens, and which should maybe keep saving up for something else, or just using their DSLR ultra-wide lens on an adapter?

In this review, we’ll dive into not just the pros and cons of the Canon RF 15-35mm f/2.8 L, we’ll also detail the different types of photography that this lens might be perfect for, and which it might be overkill for. Lastly, we’ll compare it against the rest of the competition, including options you might want to use on an adapter from your DSLR days.

One thing is for sure- if you already like what you see, and if you think you might be able to come up with $2300 someday, then you won’t be disappointed; this lens is basically perfect. (Spoiler!)

Canon RF 15-35mm f/2.8 L IS | Specifications

FOCAL LENGHT & ANGLE OF VIEW: 15-35mm, 110° – 63°
LENS MOUNT(S): Canon RF full-frame mirrorless
APERTURE & RANGE: f/2.8-22, 9 blades, rounded
OPTICAL CONSTRUCTION: 16 elements in 12 groups, Air-Sphere Coating, fluorine coating, 3 spherical, 2 ultra-low dispersion elements
STABILIZATION: Yes, optical, up to 5 stops
AUTOFOCUS: Nano USM, both ring-type and STM, nearly silent
MANUAL FOCUS:
MECHANICAL CONSTRUCTION: Metal, weather-sealed, additional “control ring”
MAGNIFICATION & FOCUS DISTANCE: 0.21x magnification, 0.92 ft (0.28m) focus distance
SIZE: 3.48 x 4.99″ (88.5 x 126.8mm)
WEIGHT: 1.85 lbs (840g)
FILTER THREADS & HOOD: 82mm, detachable lock-able hood
PRICE: $2,299

Canon RF 15-35mm f/2.8 L IS | Who Should Buy It?

Whether you’re a full-time professional photographer or a casual hobbyist, if you’ve owned a Canon “L” lens in the past, then you know what you’re getting: flagship build quality, high-performance functionality, and the absolute best images possible.

So, when it comes to “who should buy it”, it’s almost as simple as answering the question, “how much do you really need/want the best?” Because quite frankly, although it sounds like we’re just heaping excessive praise by calling anything “the best”, the reality is, “the absolute best” is overkill for a lot of photographers.

So, let’s be realistic, and break down who might want the Canon RF 15-35mm f/2.8 L IS, and who might be totally happy with an alternative…

Wedding Photographers

Wedding photographers don’t necessarily need perfection in a wide-angle lens, because they’re unlikely to ever place an important subject at the edges or corners of their frame. Also, they’re more likely to enjoy the artistic effect of things like natural vignetting, soft and unique flare, etc.

So, you might argue that the Canon 15-35 L is overkill for a wedding photographer. However, there are at least three main things that wedding photographers DO require, which all Canon lenses excel at: great autofocus performance, beautiful colors & bokeh etc, and of course, long-term durability. Oh, plus, it’s great if it’s not a heavy beast of a lens, because you might find yourself hand-holding it for 8+ hours a day.

Of course, the only other lens that offers all of these things on the same level as the RF 15-35 is the Canon EF 16-35mm f/2.8 L III, which costs almost the same as the RF. If you already have the EF 16-35mm f/2.8 L mk3, then, do you really need this RF mirrorless lens? Aside from the annoyance of mixing adapted lenses with native mirrorless lenses, not really. (Having said that, if you own the older, mk2 or even the mk1 generation of the Canon EF 16-35mm f/2.8 L’s, now is indeed the time to upgrade!)

In short, if you’re a wedding photographer, and you like the up-close-in-your face style of photojournalism, then this could be your new favorite low-light journalism & portraiture lens, and it would serve you well as a workhorse lens.

However, if you barely use wide-angle focal lengths, and your own creative style means you’re likely to use a 24-70mm, 70-200mm, or prime lenses for all your favorite wedding moments, then you might be better off saving your money and investing in a more affordable, portable wide-angle lens instead. We’ll talk about some of the options later.

We could mention that not all wide-angle f/2.8 zooms are stabilized, and if you’re using this on the un-stabilized EOS R at weddings, that could be a plus. Personally, though, I’d rather do weddings with the EOS R5, which allegedly has IBIS and of course dual card slots.

Portrait, Fashion, Street, & Action Sports Photographers

Let’s lump all of these other types of photography into one category, because, quite simply, you might not want to spend $2300 on a wide-angle lens. It’s a professional workhorse for those who need the unprecedented zoom range, stabilization in low light, and the rugged quality. But, how much do you shoot at 15mm, or 16mm, or any focal length wider than 35mm or 24mm?  Answer that question, and you’ll know where/how to best spend your investment in RF mirrorless.

For the most part, though, I’d wager that depending on your personal style, you once again should probably be prioritizing a good 24-70mm f/2.8 zoom before thinking about this exotic wide-angle zoom.

Vloggers & Videographers

If you’re a vlogger, this 15-35mm f2.8 zoom might be a bit on the “overkill” side. To be blunt: wouldn’t you rather wait for Canon to announce an RF 20mm f/1.8 IS, (non-L) or an RF 24mm f/1.4 L? Personally, I’d rather have either of those lenses for vlogging.

Or, if Canon doesn’t make such a lens, maybe Rokinon, Tamron, Tokina, or Sigma will have a 20mm f/2.8 or f/1.8 for Canon RF in the next year or two! Tamron already has a dinky little 20mm f/2.8 which they just released for Sony E-mount; hopefully, with a slight mount adaptation, they could suit it to RF, albeit without the Canon command ring.

For serious cinematography, however, the 15-35mm certainly makes an attractive offer: things like virtually silent autofocus for cleaner audio, and near-zero focus breathing means that it’s a great choice. (Also, if you’re shooting 4K in the EOS R or RP’s APS-C cropped mode, then you’ll need 15mm just to get to 24mm, although for dedicated 4K shooting on either of those cameras, maybe an EF-S lens on an RF adapter would be a better choice if that is even possible.)

Architecture & Real Estate Photographers

Unlike other professional lines of work where important subjects hardly ever stray from the central region of an image, real estate photographers care about having great image quality edge-to-edge. Specifically, it’s important to have minimal distortion and low vignetting, both of which are areas where the Canon 15-35 excels. Once again, this could be the lens that literally pays your bills.

Landscape Photographers

Now, we get to what is likely the happiest category of photographers when it comes to loving what a 15-35mm zoom has to offer.  In short, no other wide-angle zoom goes to 15mm, hits f/2.8, and yet still accepts 82mm filters.

So, you can toss the giant, 150mm filter system for the DSLR 15-30mm or 14-24mm lenses that you were previously using, and switch back to just a couple “tiny” 82mm circular threaded filters, and maybe a simpler square filter system if you still need graduated neutral density filters.

All in all, this lens is indeed a landscape photographer’s dream- it’s essentially flawlessly sharp, both wide-open and stopped-down, and it’s rock-solid and weather-sealed, yet it is decently portable compared to some of the competition. Oh, and did I mention that it provides the greatest zoom range of any wide-angle lens that I know of?

Of course, if you always shoot at f/8-16, and don’t care about filters, then maybe you could wait and see if Canon has something even crazier up their sleeves, like an RF 11-24mm f/4 L, or who knows, maybe an RF10-24mm f/4 L! Last but not least, you might “settle” for an RF 15-35mm f/4 L IS. But, again, no such lenses have been even hinted at, yet, not even in the current rumors. Just save up for this incredible optic, landscape photographers, you won’t regret it!

Nightscape & Astrophotographers

Indeed, if you shoot both landscapes and nightscapes, then f/2.8 becomes highly desirable, and good image quality even at f/2.8 and even in the extreme corners becomes a must. This is the genre of photography where the 15-35mm will offer photographers the most impressive performance.

We’ll get more into the image quality next, but, suffice it to say, not only is this lens extremely sharp at f/2.8, but it also has very low vignetting, virtually no color fringing or aberration, and virtually no coma/astigmatism. That’s just incredible, considering that Canon also added a little bit wider angle, too.

Canon RF 15-35mm f/2.8 L IS Review | Pros

Let’s speak plainly: this lens is incredible, with nearly perfect image quality, flagship-grade durability, and impressive overall performance. IF you’re skeptical, we’ll include as many comparisons as we can come up with, and hopefully, things will be clear: it’s essentially all good news.

Image Quality

Sharpness

There’s no debate: it’s ridiculously sharp. I would say it’s “flawlessly sharp”, but unfortunately we haven’t seen Canon’s “landscape monster” mirrorless camera body yet, with 40, 50, or …80 megapixels? Therefore, we can only say that on the 26-30 megapixel RF-mount camera bodies, the Canon EOS R and Canon EOS RP, …this lens is virtually flawless in terms of image quality, especially sharpness.

Bokeh

Bokeh is not always a deal-breaker for an ultra-wide lens, but it’s also surprisingly easy to achieve on any full-frame lenses, especially at 35mm and f/2.8. So, if you’re wondering whether or not you could use this lens at 24-35mm and f/2.8 and get smooth enough bokeh, (and shallow enough DOF) …then the answer is YES, the background blur is beautiful. It’s more than enough for most types of in-your-face journalism and portraiture. Of course, it’s no substitute for a 35mm f/1.4 lens, let alone a possible (imminent?) Canon RF 35mm f/1.2 L.

Colors & Contrast

Colors, clarity, and that overall “wow” factor are one area where Canon L lenses always seem to deliver. Simply put, when shooting with a lens like this, you edit your photos less, because they look more clear and crisp right out of the box. It’s a subtle difference between a Canon L and any third-party or competing brand, but it’s something you have to try for yourself to understand.

Vignetting & Distortion

Vignetting and distortion are both very low, even with the in-camera, baked-into-the-raw-file correction profiles turned off. With these embedded raw correction profiles turned on, the results are even more impressive. Virtually no distortion to speak of at any focal length, and vignetting is almost perfectly corrected.

NOTE: Unlike Nikon, Sony, and most other lens makers which are essentially forcing lens profiles to be applied under-the-hood, with the in-camera corrections being the only major way to control them, Canon’s RF lens profiles don’t “grey out” the Lightroom profile correction; in other words, you can still turn the correction profile off or on during raw processing. THANK YOU, Canon!

Sunstars & Flare

If you love sunstars, then you’re always in for a treat with Canon’s wide-angle zooms. Ever since the original Canon 16-35mm f/2.8 L, dagger-like starburst points have been one thing that Canon does well, and this lens is no exception.

Having said that, with each new modern generation of lens, Canon, like their competitors, tend to focus more on perfectly rounded aperture blades, for bokeh optimization, and less on starburst characteristics, so if you want ridiculously pin-point sunstars, the mk2 and mk3 Canon 16-35’s are still the all-time champion wide-angle zooms. See below for an example of what the EF 16-35 2.8 mk3 can do:

Flare is also just what we’ve come to expect from such a high-end lens, with all its advanced (and pricey) optical elements and coatings. That is, flare is a beautiful warm wash of haze when shooting wide-open and controlling light just right. Then, when stopping down and working in the harshest conditions, flare “dots” are kept to a minimum, and in many instances, there are zero flare dots! Again, that makes this a highly desirable landscape photography lens…

Color Fringing, Aberration, Coma & Astigmatism

Here’s where nightscape or astro-landscape photographers will get excited: For a lens that doesn’t have a fixed hood and an enormous, bulbous front element, the Canon 15-35 delivers stunning results in terms of all these aberrations that plague photographers in such challenging conditions.

Coma and astigmatism, in particular, are virtually nonexistent, and any color fringing or chromatic aberration is also barely present, and completely eliminated with the default Adobe Lightroom correction settings.

Macro & Close-Up Photography

Close-up, the 15-35mm doesn’t lose any sharpness, and renders that beautiful bokeh that we already talked about. You probably wouldn’t buy this lens as a dedicated macro optic, of course, but for various types of creative photography, you can trust that you’ll get great results.

Design & Durability

Okay, let’s move on to the physical performance of this lens, and talk about the things that really matter to serious photographers who are looking to get the most out of their investment. How heavy-duty is it? How are the overall ergonomics?

Weather Sealing

Canon’s L-class weather sealing is famous for keeping gear working even when nasty weather is making the human behind the camera miserable and ready to quit. (Hey, it’s type 2 fun, right? That’s what I keep telling myself…)

When paired with a weather-sealed UV filter, you can expect trouble-free shooting in even the worst weather with the RF 15-35. Keep a dry cloth handy to wipe it down after you’re done shooting, or to gently brush sand off it, and you’ll probably get a decade-plus out of a lens like this.

Metal & Plastic Construction

Although there seems to be some question as to whether these modern lenses are built as rock-solid as the “old-school” optics that were visibly all-metal, and had no externally zooming parts, I think it’s safe to say that the overall physical construction of the Canon RF 15-35mm f/2.8 L IS is flagship-grade.

We’re getting into “we won’t REALLY know until someone drops it on concrete, though” territory, which is a test we’re going to “hard pass” on if you don’t mind. Having said that, as a full-time photographer for 15+ years now, I’ve lost count of how many L lenses I’ve seen take a tumble onto rocks, pavement, etc, and let me tell you- even the most all-metal lenses can break sometimes, and yet, even the “plastic fantastic” lenses can be perfectly fine, sometimes; it is largely up to fate. Just try not to drop your gear, folks!

Autofocus Performance

Stellar autofocus might not be as crucial as on, say, a 70-200mm lens, but it’s still nice to have great, reliable AF when you’re doing journalistic portraits and candids at a wedding reception, for example.

Suffice it to say, Canon’s EOS R and EOS RP bodies have been progressing regularly in terms of firmware updates that improve the autofocus over the last ~1 year, and we can only expect even better AF performance in the future. For now, all we can say is that autofocus with the 15-35mm is impressively quick, accurate, and virtually silent.

Manual Focus Performance

Manual focus is smooth, both in terms of the physical ring, and the electronic response that actually controls the glass in the lens.

When zooming in to ~10x during live view, and trying to focus on various subjects at f/2.8, it can seem like focus is “jumping”, or in other words, the increments at which focus is performed are not infinitely fine. You would think this might be a major drawback, but in all my experience, there is always a perfect focus for any subject at any distance. So, if there are any “focusing increments”, they’re small enough.

Overall, manually focusing is a wonderful practice for things like landscape photography, and this lens delivers professional performance, despite the lack of any physical focus distance markings.

Value

The Canon RF 15-35mm f/2.8 L IS costs $2,300, so, can we really call it a good value? Yes, it is a value to hard-working professionals who actually require the full measure of performance this lens offers.

Canon RF 15-35mm f/2.8 L IS Review | Cons

Simply put, the only major drawback of this lens is that it’s pretty expensive. As a modern full-frame mirrorless lens, though, it delivers on its promise, so it’s hard to criticize it for “value”, when there’s no lens in existence that directly competes with it. The Sony FE 16-35mm f/2.8 GM comes close if you’re willing to totally switch systems, but it gives up 1mm on the wide end and is outclassed in terms of optical performance, despite costing only $100 less. ($2200)

So, that’s really it. The value itself is there, but the price point means that it may simply be out of reach of many photographers.

Aside from that, we’d have to nit-pick more than ever to find other cons. Many of them are par for the course on mirrorless

The Similarity Of The Rings

One thing about this lens that takes some getting used to, (just like the Canon RF 24-70mm f/2.8 L) is the proximity and similarity of the three rings on the lens: zoom, focus, and the “command ring” are all virtually touching each other, and although their operation and physical feel is easy to tell apart, you still do a fair amount of accidentally turning the wrong ring at first while getting used to the lens. Even after it’s become second-nature, from time to time in active shooting conditions where your eye is to the viewfinder you might find yourself spending an extra split second feeling for the right ring to turn…

The Similarity To The Canon RF 24-70mm f/2.8 L IS

Talk about minor complaints, this one is a stretch; feel free to roll your eyes at this minor complaint: When you put the RF 15-35mm and 24-70mm f/2.8’s side-by-side, they look extremely similar. If your line of work requires that you own both of them, just make sure you’re reaching for the right one!

De-Clicking Of The Command Ring

Canon’s on-lens command ring/dial is the most useful of any system, and it really is awesome to have a dial/ring dedicated to either ISO control or EV compensation. Most Nikon Z-mount lenses only have a focus ring that can be reconfigured, although the flagship zooms (such as the Nikkor Z 24-70mm f/2.8 S)  do have a third control ring that can be used for aperture control. Sony, on the other hand, only has a few primes with an aperture ring, and that ring can’t be reconfigured to do other things. (Many GM lenses do have a Fn button, though, which most Canon RF L lenses don’t have, so far.)

Either way, for video shooters who would like to use Canon’s command ring to smoothly adjust aperture with finer increments, then unlike Sony lenses which have a simple de-click switch, all Canon RF lenses require actual service (that costs something like $100) in order to be de-clicked.

I don’t think this is something that Canon can change, though, because the control/command ring is at the very front of the lens(es), and there’s nowhere to put a switch.

15mm still isn’t 14mm

Of course, last but not least, even though Canon’s wide-angle legacy has progressively improved from 17mm to 16mm, and now to 15mm, …Canon still does not have a 14-xxmm f/2.8 ultra-wide full-frame zoom. They also don’t have a modern 14mm f/2.8 prime, either, while third parties (namely Sigma and Rokinon) have produced some truly incredible fast-aperture primes and zooms in this range.

Canon RF 15-35mm f/2.8 L IS Review | Compared To The Competition

At present, the Canon ultra-wide mirrorless lens options are limited to Canon-brand lenses almost exclusively. This may change in the future, if Canon decides to “play nice” with Sigma, Tamron, and others, but in the meantime, you’re looking at Canon RF glass. Having said that, there are a lot of choices that have come out since this lens, and they all have pros and cons to them.

The first competitor to consider is the Canon RF 14-35mm f/4 L IS. It’s an excellent L-series lens, and the extra 1mm on the wide end will really make it preferable compared to this lens if you mainly find yourself using smaller apertures anyways, such as for landscape photography or real estate photography.

Also, there is the significantly more affordable Canon RF 15-30mm f/4.5-6.3 IS STM. It’s not an L lens, which means it’s a little less durable, but the image quality is still quite impressive. The value is incredible, however, with this option costing a mere $550.

If you’re willing to use a DSLR lens on an adapter, the EF 16-35mm f/2.8 L III is a champ. Honestly, if you already own one and especially if it isn’t your main lens, then you probably don’t need to upgrade. Alternatively, if you’re happy with f/4 lenses, then the existing Canon EF 16-35mm f/4 L IS is no slouch either.

Alternately, if you’re still using any of the older Canon EF lenses, or third-party DSLR lenses, then as you jump to the Canon RF mount, it’s time to upgrade! The Canon 15-35mm f/2.8 is indeed a whole new level of performance, compared to any older Canon EF zooms, or the incredibly large, heavy (yet decently sharp) third-party EF-mount lenses.

Adapted EF-Mount Third-Party Alternatives

If we’re being honest, many people probably use a third-party lens from their Canon DSLR. There are some great zooms, such as the two Tamron 15-30mm f/2.8 VC’s, and the Sigma 14-24mm f/2.8 DG HSM Art. These are incredible optics, but as I hinted above, they’re enormous and front-heavy, something that only gets worse when mounted on an adapter. Honestly, if you use these types of lenses often, it’s time to upgrade.

There are tons of great primes too, both autofocus and manual focus, including some that hit 12mm, 14mm, and 15mm at f/2.8 or even f/2.4. Simply put, all of these lenses are incredible, but all of them are still in a very different realm compared to the Canon RF 15-35mm f/2.8, of course, since none of them are zooms, none of them are stabilized, and most of them can’t match the image quality of the Canon RF.

Canon RF 15-35mm f/2.8L  Review | Conclusion

So, is it one of the best wide-angle zooms on the market today? YES, it most certainly is. However, it also costs $2300, and there are numerous options out there that are more than “good enough”, and a few that are truly stellar, too.

You could find a half-dozen other options costing hundreds less, or more than a thousand dollars less. But, in each case, you’ll have to make a compromise (or three) in terms of sharpness, zoom range, image quality. Also, in most cases, you’ll have to put up with the front-heavy, off-balance feel of a DSLR optic on an EF-to-RF adapter, which to some people will defeat the purpose of going mirrorless.

All in all, Canon has hit a home run, but it’s still the first inning, and you might not want to spend $2.3K just yet. (Then again, third-parties might not even join the game until the bottom of the 9th!)

If you’re a casual photographer looking for a wide-angle lens, there are better ways to spend your money, but if you’re a serious landscape or nightscape photographer who has already begun enjoying the EOS R, and/or is likely looking forward to the EOS R5, then this is the dream lens you’ve been waiting for.

Check Pricing & Availability of Canon RF 15-35mm f/2.8L

$2,299

It’s a great camera at a very good price; let me make that clear before I continue! I would be happy to own one! With that being said, there are quite a few drawbacks to be aware of, especially if you aspiring to get very serious about certain types of photography.

If you’re looking for a beginner-friendly camera, but are serious about capturing beautiful imagery, then the Canon EOS R8 might be right for you. Even with a lens added to your kit, you can be out capturing images on this excellent full-frame sensor for under $1,500!

Just make sure you read through this review first, and pay special attention to the types of photo/video that it is optimal for, as well as what it might not be so good for. With that said, let’s dive in!

Canon EOS R8 Specifications

• SENSOR: 24.2 Megapixel Full-Frame CMOS Sensor
• LENS MOUNT: Canon RF (mirrorless)
• STILL IMAGES: 6000×4000
• VIDEO: 4K 60p, 10-bit
• ISO: 100-102400 (50-204800 expanded range)
• AUTOFOCUS: 1053-point, Dual Pixel CMOS AF II
• SHOOTING SPEED: 40 FPS (120 frames JPG, 56 frames RAW = 3 sec JPG, 1.25 sec RAW) …6 FPS (sustained up to 1000 frames JPG / RAW)
• SHUTTER SPEEDS: 30 sec. – 1/16000 sec, bulb (programmable up to 900 sec)
• STABILIZATION: No (digital stabilizer available for video, with cropping)
• VIEWFINDER: 2.36M dot OLED, 0.7X magnification
• LCD: 3-in. 1.62M dot LCD touchscreen, articulated 
• STORAGE: (single slot) SD XC, UHS-II
• BATTERY: LP-E17, 1040 mAh
• BODY CONSTRUCTION: plastic & metal, weather sealed
• CONNECTIVITY: USB-C (PD) 3.2, microphone & headphone, micro HDMI, wifi & bluetooth
• SIZE: 5.22 x 3.39 x 2.76 in. (132.59 x 86.11 x 70.1 mm)
• WEIGHT: 1.0 lb (461g)
• PRICE: $1,299 (no lens)
  ($1,499 w/ 24-50mm lens, $1,699 w/ lens & content creator kit)

Canon EOS R8 Review | Who Should Buy It?

The Canon EOS R8 is one of the most affordable current-generation full-frame mirrorless cameras on the market. Much closer to $1,000 than $2,000, it allows aspiring photographers and videographers to also get a lens (or two) without breaking above $2,000. (See the VALUE section below!)

If you aren’t quite sure what exact type of photography you’re interested in, but you know that you want very high-quality imagery, Canon makes it as easy as possible to try a little of everything. There are excellent RF mount full-frame mirrorless lenses for everything from vlogging and everyday life, to dramatic landscapes, or even wildlife photography.

Everyday Candid Photography

When I look at all the photos I was able to capture with the Canon EOS R8 for this review, the thing that stands out to me is this: I had SO MUCH FUN carrying this camera around everywhere, and snapping beautiful pictures with some really cool lenses!

I specifically paired the R8 with a few excellent everyday, all-around lenses, and that really helped give me a generally delightful experience. I’ll talk more about lenses later, but the Canon RF 24mm f/1.8 and the Canon RF 15-30mm f/4.5-6.3 were perfect for my style of candid, environmental portraiture and general photography.

Aside from relatively short battery life and the omission of an AF point joystick, I can’t think of anything to complain about; the R8 is a great little full-frame camera.

Travel & Vacation Photography

If you are looking for the “ultimate” travel camera that delivers gorgeous images yet weighs next-to-nothing, (including lenses!) …the Canon R8 is once again an excellent choice.

Especially with at least one specialized yet affordable (non-L) Canon RF lens, such as the 15-30mm for dramatic scenery, or the 100-400mm for distant wildlife, the R8 makes an excellent travel camera for almost any subject, whether you are on a family vacation or an epic solo adventure in the wilderness.

Alternatively, I should note that Canon has one of the only 10X super-zoom lenses on the market for full-frame sensors, the Canon RF 24-240mm, ($899) and it is a truly exceptional choice for any content creator who is looking for a one-lens solution for almost all types of subjects and situations.

Vlogging & Content Creation

If you do any of the above, yet focus mainly on video more than photo, then all of my same sentiments still apply, and some of them get even better! I really like the Canon R8’s ergonomics for doing selfie-style vlog recording, and of course, whenever you’re holding a camera at arms’ length, instead of holding it to your face, weight becomes even more important!

The video features and specs are quite good, with 4K 60p 10-bit capture, and a Log 3 option for those who want to get deep into color grading with the beautiful highlight and shadow detail that are possible with the R8 sensor.

The face/eye autofocus is truly impressive, as it should be since the sensor design is “borrowed” from a semi-flagship Canon camera, the EOS R6 II.

The only thing that I can consider a drawback is, of course, the lack of IBIS, and the fact that I kind of wish Canon had both the 24mm f/1.8  IS STM, and also a 20mm f/1.8 STM. However, since the Canon 24mm f/1.8 is indeed stabilized, just like so many other affordable Canon RF lenses, it’s not a big issue.

Portrait & Wedding Photography

Considering everything I mentioned about how much I love the Canon EOS R8 for general photography, travel, and vlogging/video, I have to change my tune when it comes to professional work, especially certain types of demanding work.

Specifically, if you are photographing weddings, the EOS R8 isn’t the best investment for you; the R6 II is absolutely worth saving up for. Not only does the R8 leave you missing having the safety of dual card slots, but also, the lack of IBIS is notable, plus the tiny little battery is not able to last more than a few hours when you’re working non-stop.

Lastly, (and this was a real deal-breaker for weddings in particular) …the feature that protects the camera from overheating, a forced “cool-down” period, kicked in for a few minutes during a hot day. I wasn’t even recording video, just photos, and yet the camera was not happy about me also trying to charge the battery with a USB-PD power bank.

I could see the R8 being an acceptable backup camera for professional work, in a pinch. Maybe you already own a Canon EOS R5 or R6 series, and are looking for an affordable backup solution.

However, if you’re just starting out in portrait etc. photography and looking to buy your first full-frame mirrorless camera, keep in mind that as soon as you start consistently accepting paid work, the R8 should be retired to backup duty as soon as possible, and replaced by one of the aforementioned alternatives.

Wildlife & Action Sports Photography

If you’re a hobbyist or serious amateur, the Canon R8 is a fantastic choice, especially when paired with an affordable telephoto lens such as the Canon RF 100-400mm, or the unique super-telephoto Canon RF 600mm f/11 and 800mm f/11. These kits offer some of the most ultralight options for reaching such focal lengths as 400mm or 600mm. In fact, as far as I know, this is the only lightweight option in existence that can reach 800mm!

All in all, if any type of wildlife is your favorite subject, then the R8 really stands above all the competition in its price range, for anyone who is looking to achieve the beautiful results that a full-frame Canon sensor has to offer.

Having said that, the same thing applies if you are a serious professional: The R8 may have excellent image quality, and autofocus that nails all different types of subjects from birds and mammals to even insects, amphibians and reptiles, I do think that the body itself is, again, a bit of a “backup option” for professional work. The reasons are obvious, of course, and I’ve already mentioned them. For action sports and wildlife, I will only add that the R8’s listed burst shooting speed of 30 only lasts for, literally, approximately one second. After that, the buffer is quite slow, and sustained FPS are clocked at a meager 6…

Landscape & Nightscape Photography

Landscape photographers, whether hobbyist or professional, are a little less demanding when it comes to camera performance. Indeed, it is all about the sensor’s image quality; everything else hinges upon that!

With that being said, I can happily report that the R8’s sensor produces vibrant, gorgeous images, with excellent dynamic range. (Highlight & shadow detail, that is.)

The sensor is “only” 24 megapixels, of course, in a time when many landscape photographers are demanding 40, 50, or even 60 megapixels. Personally, I would rather have beautiful colors and good dynamic range, in an ultralight, portable package, so the R8 would suit my style of adventurous landscape photography quite well.

Time-Lapse Video / Photography

One thing in landscape & nightscape photography that I love to do is, to create a time-lapse. In addition to all of the above benefits; the R8 does make an excellent time-lapse camera, with its effective 6K sensor when capturing raw stills. The above image is a layering of 30 different images pulled from a 30-minute time-lapse on the 4th of July here in Southern California!

Last but not least, for those who might be working outdoors in harsh conditions, let alone leaving their camera outside overnight or for hours, here is some good news: weather sealing is present on the R8 as well, even though it is not as robust as a professional flagship camera.

All in all, the excellent sensor delivers beautiful image quality at extremely high ISOs, not just at its base ISO. Therefore, anyone who is looking for a good balance between landscapes, astro-landscapes, cityscapes, and time-lapse,  the R8 is a great  choice.

Canon EOS R8 Review | Pros & Cons

Basically, Canon decided to compete on price first and foremost with this camera. You are getting the Canon EOS R6 II sensor at a ~$1,000 discount, in an entry-level camera body. As I described above, that can be an advantage for some, but a deal-breaker for others.

With that in mind, let’s discuss the technical aspects of the R8’s performance.

Image Quality

Whether you are working at ISO 100 or ISO 12800, the images look beautiful. At the low ISOs, dynamic range is excellent. At the extremely high ISOs, noise levels are impressively low, and colors maintain beautiful, vibrant saturation.

Simply put, this is one of the main reasons why folks buy Canon cameras. (And lenses!) The images just look beautiful, right out of the box. Especially now with Adobe Lightroom recognizing the extra punchy in-camera profiles such as “Camera Landscape”, even less editing of raw files is now required!

Build Quality / Durability

Physically, the Canon EOS R8 does not feel like a cheap camera. It feels strong, sturdy, and almost professional in terms of its overall design. The sheer number of buttons and dials is not as many as, say, the Canon EOS R5 or R6 II. However, with my minimum requirement of at least two command dials and a few customizaable Fn buttons, I’m happy with it.

Having said that, it does have weather sealing, but it’s not as extensive as a flagship pro camera. There is some “composite plastic” (whatever that is) in the frame of the body, too. Honestly, I actually prefer these things in a camera that I want to be lightweight for travel or hiking. I think high-grade plastics tend to absorb shocks and bumps just fine compared to all-metal alloy bodies, and I’ve never had a problem with any beginner camera when there is a bit of rain or other bad weather.

Autofocus Performance

Here is one area where the Canon EOS R8 really shines. The AF is handed down from the impressive, semi-professional Canon EOS R6 II, and it is very good. There are AF modes for all different types of subjects; human face/eye detection, of course, but also body, face, and sometimes even eye AF for everything from dogs & cats to birds, insects, and even reptiles & amphibians!

As I mentioned earlier when talking about wildlife photography, the AF system just works beautifully. It’s fast, precise, and consistent. (And you need all three of those things for a good autofocus performance ranking, not just one or two!)

Overall Performance | Speed & Responsiveness

On the spec sheet, the Canon EOS R8 lists a blazing fast 40 FPS as its maximum burst rate. However, if you look more closely, that burst rate only lasts for 56 frames, (when shooting RAW) so that’s barely more than 1 second.

Then, after that, shooting speed reduces to a painfully slow 6 FPS! This is perfectly fine for many types of photography, but it’s not very competitive at all against most current-generation cameras that boast at least 10 FPS sustained FPS, and many offer 20-30 FPS.

In my honest opinion, I think this is just one of the ways Canon saved a little money making the R8; they gave it a downright tiny buffer (remember, these image files are only 24 MP!) …which basically means, if you want just a little more speed, you’ll have to step up to the Canon EOS R6 II. However, even that camera only offers 75 frames at 40 FPS, though the sustained speed is a lot more manageable at 12 FPS.

All that is to say, this is often how Canon entices users to upgrade as they get more serious about an advanced, more challenging photography subject: only the ($4999) Canon EOS R3 is truly unhindered, offering nearly unencumbered 30 FPS continuous shooting, and a burst of 195 FPS.

What this means is that the R8 is “fast enough” for any type of photography, but only if you’re doing it as a relatively casual hobbyist. Serious pros will quickly find the camera to be sub-optimal for demanding work.

Features & Customizations

All in all, the camera’s overall feature set, and customizations, make its intended purpose quite clear: This is a “content creator” camera. It is easy to operate whether you are in front of the camera or behind it.

For those who really want to customize their cameras as much as possible, the R8 thankfully offers quite extensive customization; you can easily put important settings such as ISO and AF mode/point controls where you may already be accustomed to having them on a camera.

Battery Life

Unfortunately, in order to save weight, Canon used a very tiny battery in the R8. It only has about 1,000 mAh, and that’s not nearly enough for any all-day activity, photography or videography.

You will definitely have to either buy 2-3 spare batteries and keep them with you almost everywhere except shorter, more casual outings. Alternatively, the Canon R8 does accept USB-PD power, so you can charge your camera battery (while the camera is off) during, say, an extended family vacation or hiking adventure.

NOTE: The Canon EOS R8, like some of its Canon siblings, can only operate directly from USB-PD power if you have the highest-power type of USB-PD; there are multiple levels of Power Delivery, and the R8 requires the maximum voltage. Otherwise, even with “regular” USB-PD, you can only charge the camera while it is off; you cannot operate the camera via USB power.

Ergonomics & Comfort

This is another area where I cannot say enough good things about the R8. The one other thing that Canon is known for, aside from the beautiful images, is just how user-friendly their camera ergonomics are. Both physically, and when you need to dive into the various menus, the R8 just makes for a delightful experience.

Especially as someone who does a lot of travel and hiking/backpacking, I’m a big fan of this camera, plus any of the excellent ultra-lightweight lenses Canon offers. (More on that below!)

Value

For the price, the EOS R8 offers an excellent value. Especially for all-around content creators, but most specifically, for anyone who is looking to create beautiful imagery of any sort of animal or human subject. Thanks to its professional sensor and autofocus, this camera really sets a high standard for all “beginner” (or any similarly priced) cameras.

It’s not just about the camera body itself, however. When considering value, you must also think about lens selection, and how those lenses can fit into your budget. Quite honestly, Canon is mostly known for its highly exotic and very pricey “L-series” lenses, which often range from well over $1,000 to more than $2000, or even $3,000.

So, I am very happy to add some good news to this Canon EOS R8 review: Canon’s been working very hard lately to deliver a complete range of affordable, compact, non-L lenses! The following options are still truly excellent performers with gorgeous image quality, and yet they are all under $500, and highly portable as well:

• Canon RF 50mm f/1.8 STM ($169)
• Canon RF 24mm f/1.8 Macro IS STM ($499)
• Canon RF 24-105mm f/4-7.1 IS STM ($399)
• Canon RF 35mm f/1.8 Macro IS STM ($449)
• Canon RF 15-30mm f/4.5-6.3 IS STM ($499)
• Canon RF 16mm f/2.8 STM ($249)
• Canon RF 28mm f/2.8 STM ($299)

Clearly, whether you are a “wanderlust influencer” or a hobbyist wildlife photographer, or an everyday candid portrait photographer, …you can get started creating gorgeous results on a very tight budget.

Of course, keep in mind that once you get “bit by the bug”, there is a good chance you’ll want something better. Canon is very good at doing this; getting new users “hooked” by offering an incredibly affordable option, and then eventually convincing them to upgrade to a much more expensive option.

With that in mind, just know that the R8 falls into that category: keep things fun and simple, and you’ll be thrilled with the camera and any of these lenses.

Canon EOS R8 Review | Compared To The Competition

So far, below $2,000, there aren’t many competing full-frame mirrorless cameras. The 24-megapixel Nikon Z5 is $996, but only when the “instant savings” $400 off is available. (Making its normal price $1,396, although it is likely to never cost that much again if you are just a little patient.) The Nikon Z5 has both dual card slots and sensor-based stabilization, but a much older AF system.

The Sony A7C (original; also 24 megapixels) is $1,598, and that camera is also getting a bit old, though it does have truly excellent AF. Both the Canon R8 and the Sony A7C only have a single SD card slot, however, the A7C does have IBIS.

Sony’s newer A7C II, unfortunately, saw the line’s price tag get bumped up to $2,198, making it $900 more than the R8. The Sony A7C II has an impressive 33-megapixel BSI sensor, and IBIS, and one of the best AF systems around, but again lacks dual card slots.

Simply put, in this price range around $1,000, there are a few reasons you might choose a different option, such as if you need IBIS and/or dual card slots. These things shouldn’t cause any problems for most beginners and hobbyists, but they certainly will if you have more demanding needs (action, low-light) or any professional aspirations.

There is also the drawbacks I mentioned about the battery life, USB power demands, and overheating. (By comparison, both the Nikon Z5 and Sony A7C series have full-sized, pro-series batteries that last “forever”…)

All in all, you need to actually value the things that the R8 is good for, otherwise it might not suit you very well. So, ask yourself: how important is weight savings? How important is sticking to your lenses-included budget? How important is a user-friendly, intuitive experience? Do you expect to simply “let the camera figure things out”, so that you can just create content, and not have to worry about

Otherwise, if price alone is your main priority, then it’s hard not to recommend the Nikon Z5 to aspiring portrait & wedding photographers, or the Sony A7C (original) for almost any type of serious professional aspiration.

Of course, I should say that if you are at all familiar with Canon, then the best alternative is to simply save up for a Canon EOS R6 II at $1,999. That’s with a holiday savings of $500, of course, but you can pick one up for at least a little less than its original MSRP almost all year ’round.

Canon EOS R8 Review | Conclusion

All things considered, the Canon EOS R8 delivers the imagery Canon is known for. With its semi-professional sensor and autofocus system, you’ll love the results! Also, you’ll probably love just using the camera, too, especially if you’re a beginner who does a little bit of everything.

If you have professional aspirations, however, or if you’re expecting a robust, durable, powerful camera, then the R8 might leave a lot to be desired. Personally, I would be happy to have a Canon EOS R8 and a handful of the excellent RF lenses; even if my total budget was around $2,000 or under $2,500, I could create a truly incredible kit that is ready for almost anything! I say that as a hobbyist who would want to keep things simple for the foreseeable future, though; as I mentioned, professional aspirations would dictate that I save up for the R6II, indeed. With this in mind, I highly recommend the R8.

Check Pricing & Availability

The Canon EOS R8 is available by itself for$1,299  if you already have a Canon RF lens, or an EF lens with the EF-RF adapter. Alternatively, you can pick up the R8 with the 24-50mm kit lens for just $1,499.

However, quite honestly, I prefer the much more versatile Canon RF 24-105mm f/4-7.1, ($399) or the truly impressive Canon RF 24-240mm f/4.6.3. ($899) if you want a one-lens solution.

Aside from being incredibly compact, very lightweight, and stunningly sharp, it has a few other perks, plus a few drawbacks or annoyances. The bottom line is that I wouldn’t hesitate to recommend this lens, at least for those who aren’t able to afford its f/2.8 older sibling.

With that said, let’s dive into this review!

Canon RF 70-200mm f/4 L IS Specifications

• FOCAL LENGHT: 70-200mm, (full-frame) 112-320mm (APSC)
• ANGLE OF VIEW: 34° to 12°, (full-frame) 18°-6.4° (APSC)
• LENS MOUNT(S): Canon RF (full-frame)
• APERTURE & RANGE: f/4 to f/32, 9 rounded blades
• STABILIZATION: Yes, 5 EVs compensation; up to 7.5 stops with certain Canon EOS bodies
• AUTOFOCUS: Dual Nano USM focus motors (nearly silent)
• MANUAL FOCUS: Electronically controlled
• OPTICAL CONSTRUCTION: 4 UD elements, Air Sphere & fluorine coatings
• MECHANICAL CONSTRUCTION: Metal mount & barrel, full weather-sealing
• MAGNIFICATION & FOCUS DISTANCE: 0.28x, 2 ft (60 cm)
• FILTER THREADS & HOOD: 77mm, locking hood w/ sliding filter-turning window
• SIZE: 3.3 x 4.7″ (83 x 120 mm)
• WEIGHT: 1.5 lb (695 g)
• PRICE: $1,499 (with common/frequent $100 savings)
  (B&H)

Canon RF 70-200mm f/4 L IS Review | Who Should Buy It?

This type of lens has been around for a long time, and it has always made an excellent choice for many types of photographers. Whether you are a hobbyist or a working professional, the type of photography you do is almost more important than your budget when it comes to WHY you might choose this lens.

There are certain types of photography where I will absolutely recommend saving up for the larger, heavier, and more expensive f/2.8 version. However, with the advancements in both image stabilization and sensor high ISO performance, I am seeing less and less of a truly critical need for f/2.8.

In other words, now more than ever, many types of photographers should consider this lens first and foremost before most others. With that said, let’s dive into specific categories of photography…

Portrait Photography

The Canon 70-200mm f/4 L IS makes a perfect portrait lens. Especially if you photograph a lot of active, lifestyle types of portraits, such as families, kids, or pets, then a 70-200mm zoom lens is a bread-and-butter workhorse. Some photographers literally pay their bills with this lens!

Even if you have a favorite portrait prime, such as an 85mm, 105mm, or 50mm, you’ll still want to have a lens like this for active situations. Additionally, the constant f/4 aperture has quite a few benefits, such as not needing to change any exposure settings when using flash photography, and beautiful bokeh (background blur) that will almost match the softness of an f/2.8 lens.

Wedding Photography

Wedding photographers are the one category who I would strongly encourage to think twice before going with this f/4 lens instead of its f/2.8 sibling. Even though it’s a great portrait lens with plenty of sharpness and beautifully blurry backgrounds, a single stop of light can make a big difference. If you frequently work in dim lighting conditions, such as dark churches or dark reception ballrooms, then even after 15+ years of digital camera advancements in low-light capability, we still consider f/2.8 to be a bare minimum.

Having said that, yes, there are some photographers whose business is entirely outdoors in daylight.  For example, if you are an elopement photographer who literally climbs mountains with your clients, then you’ll love how lightweight this versatile lens is!

Fashion & Editorial Photography

As I hinted at, if you value sharpness more than extremely shallow depth, you can rest assured that this lens is every bit as good as its f/2.8 counterpart. Often, fashion photography jobs require more in-focus details than blurred backgrounds. So, in other words, if you’re planning to spend all your time at f/5.6 or f/8, this lens is perfect for you.

Candid & Street Photography

Every photographer is different, and some may prefer a simple prime lens for candid & street photography, while others may find that this relatively compact, relatively fast zoom lens is perfect. It will mostly depend on what subjects you’re photographing. Are you going on a family vacation, or to a county fair, renaissance fair, etc? You might want this zoom lens.

Action Sports & Wildlife Photography

Unlike candid & street photography, action sports and wildlife are only getting started by the time you get to 200mm. Sometimes, you’ll wish you had 300mm, 400mm, or even 500-600mm at your disposal. Therefore, if you’re into these types of photography, then I would strongly recommend either opting for a lens like the Canon RF 100-400mm IS, ($649) …or if your budget can grow enough, the Canon RF 100-500mm L IS. ($2,699)

Landscape Photography

The entire category of landscape, nature, outdoor, and general adventure travel photography is where this lens truly shines. Whether you like to go for long, strenuous hikes, or you simply find yourself doing a lot of outdoor photography in rough weather, then you want a lens like this.

Again, however, depending on your style and budget, either the 100-400mm or 100-500mm that I just mentioned could possibly suit you a little better. Both of those other lenses are very sharp, HOWEVER, neither lens presents the same incredible value compared to the professional build quality.

Nightscape & Astrophotography

Believe it or not, this lens’ extreme sharpness at f/4 makes it a decent performer at astrophotography! That is, if you use an astro tracker, AKA a guided camera+lens mount, that perfectly synchronizes your camera to the earth’s rotation, thus allowing you to capture long exposures without any star trailing. Don’t believe me? See the sample images below…

Canon RF 70-200mm f/4 L IS Review | Pros & Cons

This whole Canon RF 70-200mm f/4 L review could be summed up very simply: the lens is almost perfect; all you really need to decide is whether or not you’re okay with the f/4 aperture, and/or whether or not you could possibly save up for the f/2.8 version. It’s almost that simple!

There are only a few minor caveats, which I’ll describe in greater detail now:

Image Quality

Sharpness is absolutely stunning; this is one of the sharpest 70-200mm lenses ever made, even when you count an f/2.8 version that is stopped down to f/4.

The above animation compares a 100% crop at 200mm, and apertures set to f/4, f/5.6, and f/7.1. As you can see, this lens starts off almost flawlessly sharp, and just gets shockingly sharp as you stop down.

Bokeh, Colors & Contrast

Everything else about the Canon RF 70-200mm f/4 L IS’s image quality is very impressive. As I mentioned, the background blur is so smooth, viewers will never know you used an f/4 zoom versus an f/2.8 zoom, especially the closer you get to your subjects, and the farther the background is. Honestly, the bokeh is just dreamy; Canon really did a great job of utilizing the extra freedom of their mirrorless lens mount to create a stunning piece of glass.

When using the in-camera “Picture Styles”, and matching them up in Adobe Lightroom, you’ll barely need to apply much editing at all to your raw photos. Simply throw the camera in “Landscape” or “Portrait” Picture Style according to your subject matter, and you’ll likely only have to make minor adjustments to exposure and white balance in post-production.

Vignetting & Distortion

All modern mirrorless lenses rely on a correction profile to eliminate distortion and vignetting. This is unfortunate, but also a welcome compromise in some ways. To make an optically flawless lens, it would need to be significantly larger, heavier, and more expensive!

Having said that, with the correction profile left on by default, you won’t notice any distortion, and you’ll barely notice the vignetting. This can be problematic for applications such as nightscape photography, but for this lens’ intended use, I wouldn’t worry about it.

Sunstars & Flare

Thanks to all the optical coatings. flare “dots” are minimal, indeed nonexistent in most photos. Thanks to the nine rounded aperture blades, sunstars are not as “pointy” as they could be, but are still nice and prominent when stopping down to f/11 or more.

Color Fringing, Aberration, Coma & Astigmatism

For those who really want to pixel-peep, let’s look at the most challenging use of this lens: astrophotography! The good news is that the Canon RF 70-200mm f/4 L IS performs impressively well. Not only is color fringing and chromatic aberration very minimal or nonexistent, but also, even in the extreme corners there is little to no aberration visible.

Would this be an optimal/first choice for astrophotography? No, but it presents a great opportunity for those landscape and nightscape photographers who may want to just dabble in deep-sky astro.

Macro & Close-Up Photography

Adding to this lens’ versatility, it can focus relatively close-up, although it is not a true macro lens. Indeed, while many of Canon’s non-L prime lenses are capable of 1:2 reproduction (0.5X) this 70-200mm can only reach 0.28X, which is just slightly better than the RF 70-200mm f/2.8.

Having said that, it’s more than enough for general close-up photography, and most photographers will find it adequate.

Design & Durability

This is where the Canon RF L-series lenses all pull ahead of any non-L RF lens, indeed. Physically, this lens is built rock-solid, and I would expect it to endure even the most extreme conditions.

Having said that, there is a bit of controversy over Canon’s decision to make both this lens and the f/2.8 version an “extends when it zooms” design. Some photographers prefer fully internal zooming and focusing, and they argue that any external movement is a structural compromise. In my experience, this just isn’t the case. If you drop your lens on a rock or concrete, you’re in trouble either way. If you drop your lens on grass, dirt, or carpet, you’ll be fine. But, also, just don’t drop your lens!

Ergonomics & Portability

The aforementioned controversy about this lens’ physical design has one huge advantage: when retracted to 70mm, it becomes far more portable than any other 70-200mm lens. This thing will fit vertically into a slot in your camera bag, which could be a huge deal for many photographers. It’s a bit more lightweight than its DSLR ancestor, as well, though not by a staggering amount.

Having said that, there’s one major caveat here: the lens requires 77mm filter threads, whereas most other f/4 aperture 70-200mm’s worked with 72mm filters. Also, I believe Canon re-used the same ENORMOUS lens hood, which increases the space this lens takes up in your camera bag by a massive amount. Chances are, you’ll find yourself highly inclined to leave the hood at home, which is very unfortunate. I know Canon might have had no other choice in this regard due to the optics, but it’s a blow to overall portability, indeed.

Autofocus Performance

With less glass to push back and forth plus two Nano USM focus motors, this lens is lightning fast to focus, as well as precise. and consistent. Focusing does not involve too much focus breathing, although your effective focal length will be slightly reduced when working close-up and at 200mm.

Manual Focus Performance

Electronically controlled, the manual focus with this lens is very smooth and precise. Canon is well known for very easy manual focusing, and the sharpness of this lens makes it totally obvious when you’ve acquired focus on a subject.

Features & Customizations

As I mentioned, the biggest thing that comes to mind in terms of “features” is that the RF 70-200mm’s use a rather large-diameter hood, and it’s downright unwieldy and annoying. If you don’t work in rough conditions that might put your lens’ front element at risk, I’d be inclined to just leave the hood at home and use a UV filter for minimal protection.

Another thing to note is that this lens is so light and compact, indeed downright stubby, that it does not require a tripod collar. This might feel like a drawback to certain portrait or landscape photographers who frequently rotate their camera between vertical and horizontal and appreciate the tripod collar. In general, though, it’s nice to have such a compact lens.

Value

At $1,499, this lens is over $1,000 cheaper than the f/2.8 version. Are you willing to pay that much extra for one stop of aperture? Because aside from that, the two lenses are equal performers.

I would go so far as to say that, flat-out, this f/4 lens provides a significantly better VALUE to photographers. How can I make such a bold claim against a beloved flagship, the professional 70-200mm f/2.8? Because both lenses are incredible performers, the difference in price is far bigger than the difference in performance. When you “upgrade” from the f/4 to the f/2.8, you’re not getting an extra $1,1000 in value by any metric, except for the one extra stop of light.

So, it comes down to this: If you aren’t absolutely needing f/2.8, then this lens is the hands-down winner in terms of spending your money wisely.

Canon RF 70-200mm f/4 L IS Review | Compared To The Competition

As I have mentioned, this lens’ biggest competition is very obvious: the f/2.8 version. Indeed, the Canon RF 70-200mm f/2.8 L IS is an amazing lens. It’s incredibly sharp, it’s similarly lightweight and compact compared to the DSLR ancestors, …and it also has the drawback of an obnoxiously large-diameter hood.

However, I have already explained that decision very clearly: some photographers, mostly wedding and portrait photographers, absolutely require f/2.8. There is no question; save up for that other lens!

But what about the photographers who don’t critically require f/2.8? There are a few other options. Specifically, pictured above, the Canon RF 100-400mm STM is a great candidate that you should seriously consider depending on the type of photography you do. The 70-200mm f/4 is a general-purpose telephoto zoom lens, and there are some lenses that are a little better for specialized purposes.

If you’re into wildlife or landscape photography, then, as I mentioned, check out the Canon RF 100-400mm STM, on a budget, or the Canon RF 100-500mm, if money isn’t the problem.

If you’re into portrait photography, then check out the Canon RF 85mm f/2 STM for just $499. Or, if you’re a full-time pro, then a portrait prime such as the RF 50mm f/1.2, 85mm f/1.2, or 135mm f/1.8 ought to be what you’re saving up for.

What if you already own the excellent DSLR version of this lens, the Canon EF 70-200mm f/4 L IS? That’s such a good lens that I wouldn’t recommend upgrading unless you’re keenly interested in the compactness (sans hood) of the RF version. Is the RF version also better in every way? Yes, but unless your EF version is in mint condition and you can sell it for as close to $1,500 as possible, you already own a great lens.

Last but not least, keep in mind that if budget is the main reason why you’re considering this lens, and that isn’t likely to change any time soon, then you could also wait a year or two and see what happens when Tamron and Sigma begin making RF-mount lenses. For example, both companies make a lot of excellent 100-400mm telephoto zooms for wildlife & landscape photography, and Tamron’s 70-180mm f/2.8 offers affordable, lightweight access to f/2.8 for those who need that instead.

I should also mention that, if you’re currently brand agnostic and shopping between every full-frame mirrorless lens mount, Nikon and Sony do not have current, modern 70-200mm f/4’s. Sony’s is “ancient” and significantly inferior. Panasonic makes a Lumix S Pro 70-200mm f/4 O.I.S., for $1,697, and it is an excellent lens.

Canon RF 70-200mm f/4 L IS Review | Conclusion

All in all, the Canon RF 70-200mm f/4 L IS is the best lens I’ve ever reviewed, that is, within the category of f/4-class 70-200mm zooms. So, if that’s the type of versatility and value you’re looking for, you absolutely shouldn’t hesitate to get this lens.

Having said that, there are plenty of reasons to go with something else, depending on your specific specialty/subject, your creative passion, your budget, …or all of the above.

I’m honestly interested in hearing form fellow photographers who are deciding whether or not to choose this lens, so, please leave a comment below if that’s you!

Check Pricing & Availability

The Canon RF 70-200mm f/4 L IS has an MSRP of $1,599, but is often found for $1,499 when instant savings/rebates are active. (B&H)

In this Canon RF 14-35mm f/4 L review, I will explain why this is my new top choice for landscape photography, travel, adventure, and the wanderlust lifestyle in general. This is one of the very few ultra-wide zoom lenses that reach 14mm while accepting standard threaded (77mm) filters. It is incredibly portable, yet optically superb. There are a few drawbacks, notably the f/4 aperture as opposed to f/2.8, but I believe that if you’re in the market for this type of lens, it is literally the best option.

Don’t take my word for it, though! Let’s look at some sample images, and dive in deeper to the detailed pros & cons of this lens.

Canon RF 14-35mm f/4 L IS Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 14-35MM, 114° to 63°
• LENS MOUNT(S): Canon RF (full-frame) mirrorless
• APERTURE & RANGE: f/4-f/22, 9 rounded blades
• STABILIZATION: Yes; 5.5 stops optical, up to 7 stops w/ IBIS
• AUTOFOCUS: Nano Ultrasonic AF
• MANUAL FOCUS: Electronically controlled, linear response possible depending on the camera
• OPTICAL CONSTRUCTION: 16 elements in 12 groups, 3 aspherical, 3 UD, Sub-wavelength structure coating, Air Sphere coating
• MECHANICAL CONSTRUCTION: Metal & plastic, fully weather-sealed
• MAGNIFICATION & FOCUS DISTANCE: 0.38X, 7.9″ / 20.1 cm
• FILTER THREADS & HOOD: 77mm threads, plastic locking hood
• SIZE: 3.3 x 3.9″ / 8.4 x 9.9 cm
• WEIGHT: 1.2 lb / 544 g
• PRICE: $1,499 (B&H)

Canon RF 14-35mm f/4 L IS Review | Who Should Buy It?

I have no need to beat around the bush this time: If you’re an adventurous landscape photographer who shoots Canon full-frame mirrorless, you absolutely must own this lens. If you travel, hike, or simply go on any type of outing, this is simply the best lens for you, no exaggeration.

The only real question is, what other types of photography is this lens well suited for, let alone truly optimal or the absolute best? Let’s dive into that now! Well, first, let me expand on just why this is the best lens for landscape photography, especially for adventurous people.

Landscape & Travel Photography

Here’s the bottom line: there are very few ultra-wide zooms on the market that reach 14mm, or a 114° angle of view. Most zoom lenses that do reach 14mm are likely to be enormous, expensive, and annoyingly, utilize a massive, bulbous front element.

In fact, the Canon RF 14-35mm f/4 L is, as far as I know, the second ultra-wide zoom (of three total) to reach 14mm while providing a portable package without a massive, heavy front element, and with standard threaded filters. (The only other lens is the Nikon 14-30mm f/4; more on it later.)

Previously, your options were to either settle for a 16mm or 17mm focal length if you wanted the portability of f/4 or to lug around a gigantic f/2.8 ultra-wide zoom if you didn’t want to compromise on reaching 14mm. Even more annoyingly, if you wanted to use filters with such lenses you were stuck with even more enormous, unwieldy square-shaped, clamp-on filter systems that could cost hundreds or thousands of dollars.

Therefore, as a mountain hiker and backpacker, and as someone who loves to travel in general, I am absolutely in love with this lens.

Architecture, Cityscape, & Real Estate Photography

The next-highest recommendation I can make is for real estate photographers or anyone who photographs architecture or cityscapes. There are a few caveats that I’ll get into soon, (check the distortion section below) but the bottom line is that once again, anyone who requires the 14mm focal length will love this lens.

The difference between 14mm and 15mm, 16mm, or 17mm is really quite significant (and useful) especially when you are doing real estate interiors.

Portrait & Wedding Photography

As a portrait and wedding photographer, I don’t often require 14mm. However, at the same time, when I do require it, I don’t really have a critical need for f/2.8. Therefore, for any wedding or portrait photographer who only goes wider than 35mm on rare occasions, or in decent lighting conditions, I can certainly recommend this lens for dramatic, scenic portraits. If you’re an elopement wedding & portrait photographer, and you routinely are hiking/climbing to scenic vistas, then once again this is truly a perfect lens for you!

Just be sure to not place any human subjects near the edges of the frame if you go any wider than 24mm because you’ll utterly distort faces and bodies in a rather unflattering way.

Candid & Street Photography

Another reason why this particular lens is preferable to most other lenses that reach 14mm is that, as a smaller, relatively compact lens,  it’s unassuming and unintrusive. It’s not exactly an ultra-compact f/1.8 prime, of course, and I’d recommend a lens like the Canon RF 35mm f/1.8 first before this. However, for certain candid and in-the-action situations, you might like this lens.

Nightscape & Astrophotography

Can you do nightscape and astrophotography with this lens, despite its slower f/4 aperture? Yes, absolutely. With how good high ISOs are getting these days, most nightscape scenes will be entirely photographable with the Canon RF 14-35mm f/4 L IS, especially if there is a bit of moonlight, city light pollution, or blue hour light present.

Video & Vlogging

With such a wide focal length, I found this to be an excellent lens for vlogging in situations where I really wanted to capture an environment, not just my face. While 14mm isn’t necessarily optimal for most vlogging situations, the zoom range provides excellent coverage overall. I prefer to do most vlogging clips at around 20mm or 24mm, and zoom out to ~14mm when I really want to show a location.

Canon RF 14-35mm f/4 L IS Review | Pros & Cons

The advantages and disadvantages of the Canon RF 14-35mm f/4 L IS are very straightforward. To sum them all up in a few sentences, I would say this: it’s incredibly portable for its zoom range, and the image quality is superb. The physical build quality and features are flagship class, as you would expect from any Canon “L” lens. The only potential drawback is, like many other modern mirrorless lenses these days, Canon did “cut some corners” by using a lens correction profile to hide optical distortion and help the lens produce nearly perfect images.

Image Quality

Sharpness

Sharpness is superb, indeed downright stunning, throughout most of the image frame. Even wide open at f/4, the fine detail everywhere except the extreme corners is phenomenal. (It’s clear that this lens is ready for Canon to produce a 60+ megapixel  landscape photography champ, indeed!)

Only in the extreme corners will you see a minor difference between f/4 and f/8-11. The good news is, even at f/4 the results are impressive, and by the time you get to f/6.3-8,  corner sharpness is definitely not something I would complain about.

It’s not perfect, as there is a faint bit of stretching present due to the optical formula plus how it is corrected with a lens profile. However, I would never consider it a deal-breaker that pushes me towards any other ~14mm lens that might offer a slight improvement, at the expense of immense weight and/or a significantly higher price tag.

Bokeh (Macro & Close-Up Photography)

Thankfully, this lens can focus incredibly close, and as such it almost feels like a macro lens. Even though the actual magnification isn’t true macro, (it’s just 0.38X) the focal length makes for a really up-close-and-personal feeling which I really love for nature photography.

Bokeh is beautifully soft, the characteristic Canon smoothness that portrait photographers pay so much for. Sharpness, even at the closest focusing distance, remains superb even when working wide open at f/4.

Colors & Contrast

Canon L lenses are known for their truly beautiful colors and a beautiful dimensionality to contrast and tone. This “modest” f/4 zoom is no different; images just don’t need very much post-processing in order to look perfect.

Vignetting & Distortion

This is where I see the biggest drawback of this lens, and the reason why is obvious in the above animation.

Simply put, without the lens correction profile applied, no wait, forget that, you MUST apply the lens correction profile. Either that, or you’ll be cropping a good 5-10% of your image because of the literally black vignetting effect.

Such vignetting and geometric distortion can be an issue in some extreme conditions where you are really digging deep into the shadows of your corners. If you’re warping them as well as providing 3-4 EVs of exposure compensation, then the image quality in the corners will suffer. Yes, even at f/14, there is noticeable vignetting, aside from the very corners that go to black.

This is a compromise that a lot of photographers are willing to make because they just turn on the in-camera corrections, and forget about it. Usually, this works; you can rely on your sensor’s resolution and dynamic range to provide good image quality in the corners. However, if you’re doing nightscapes at f/4 and ISO 6400, you’ll definitely want to expose as brightly as you can, and honestly just leave your corners a bit dark and shadowy…

Sunstars & Flare

As you’ll see in all of these sample images, there is almost zero flare with this lens. Sunstars are nothing special, as with most modern lenses that are optimized for smooth bokeh. However, they are definitely prominent enough that for things like cityscapes, you will indeed enjoy stopping down to f/11 or f/16.

Color Fringing, Aberration, Coma & Astigmatism

These sorts of aberrations are usually minimal with such modern optics with exotic glass coatings. They do exist, especially on such lenses as this which are intentionally a compromise that favors compactness and affordability.

Having said that, as with most other mirrorless lenses these days, if you leave the in-camera (and in Adobe Lightroom) automatic corrections turned on, then all such aberrations will be either minimal or nonexistent.

 Design & Durability

The design of the Canon RF 14-35mm f/4 L is nearly identical to the other, similarly sized Canon L-series RF-mount lenses. It looks professional, feels professional, and indeed, it should stand the test of time. Whether you’re working in such demanding conditions as harsh weather outdoors, or you’re simply using your gear heavily every day as a full-time portrait & wedding photographer, this is a durable tool you can rely on for years to come.

Ergonomics & Portability

As I’ve already mentioned, portability is one of the biggest highlights of this lens. Compared to almost all other ultra-wide zooms that reach 14mm, this one is among the few that can do so in such a lightweight, compact package, and also accept threaded filters.

Ergonomically, in general, the lens balances perfectly on a medium-large full-frame mirrorless camera body such as the Canon EOS R5. As the Canon R5 is our current top recommendation for Canon photographers who shoot landscapes and nightscapes, it’s hard to imagine a better setup.

Autofocus Performance

Even the most traditional landscape photographers will likely often use this lens for walk-around handheld photography, and the autofocus is excellent for that. Sometimes with ultra-wide lenses that reach 14mm or wider, autofocus may struggle to be perfectly precise when working wide-open, because the depth of field is so great. This is not the case with the Canon RF 14-35mm f/4 L IS,

Manual Focus Performance

As a lens that is likely to be often used with manual focus, this is an important detail to cover. If you’re a landscape or especially a nightscape photographer,  precise focus is critical! Thankfully, this Canon lens has incredibly fine manual focus control, despite being electronic.

In fact, I should say that of all the camera brands out there, including different mirrorless mounts and different third-party lens makers, I believe that Canon offers the best manual focus experience overall. It is a combination of the physical electronics and the focus ring itself, which provides incredible precision, as well as the image quality of a magnified live view display, which allows you to just see what you’re doing incredibly well. So, if you’re a landscape photographer or anyone who uses manual focus a lot, this lens and the Canon experience overall are the best.

Features & Customizations

This lens includes some of Canon’s professional features & functions, though not all. As with most Canon RF L-series lenses, it offers both a dedicated focus ring, and a customizable “command ring” that is perfect for something like ISO or aperture control, or EV compensation. (With non-L Canon lenses, often, the manual focus ring doubles as the customizable command ring, unfortunately.)

There is also an AF/MF switch and an IS on/off switch. Although the lens does extend minimally while zooming, it does not offer (nor require) a zoom locking switch.

As a wedding & portrait photographer, one of my favorite camera settings to customize to the on-lens command ring is white balance Kelvin temp. Why? Because I love being able to warm up (or cool down) my portraits with ease, instead of relying on AWB or a clumsy WB tool that only ever gives a boring, neutral, “perfect” reading. Also, unfortunately, there’s another reason why I like putting this particular setting on this dial/ring: it’s easy to accidentally bump, and I really don’t want to EVER accidentally bump my aperture or ISO by more than a third of a stop or so! WB Kelvin, of course, is a “harmless” (non-destructive) raw setting, so unless you’re shooting JPG images, it’s not the end of the world if you accidentally bump this setting.

Having said that, I do really appreciate this command ring and its subtle clicks. By comparison, Sony only offers a dedicated aperture ring on select lenses, and it can’t be customized to do any other function. Nikon does offer a customizable control ring on some of its lenses, but it is de-clicked by default and is in a position that is even easier to accidentally bump.

One feature that is hard to describe or quantify is the Canon IS (Image Stabilization) system, as a whole. Many lenses these days are stabilized, and many cameras also offer sensor-based IBIS. However, Canon is one of the only brands to offer combined optical+sensor stabilization, and the results of this are truly impressive.

100% crop, 45 megapixels, 1/4 sec shutter speed, hand-held

Canon claims that when using a camera body that offers IBIS and the combined IS+IBIS system, this lens offers up to 7 stops of stabilization. For a 14mm lens, that might technically equate to 4-8 second shutter speeds, hand-held, at least on paper. In real-world practice, I found that while I’d rather not try to hand-hold any system for 1 whole second or more, I did notice that at around 1/4 sec, sharp results were significantly more consistent than other stabilization systems.

Value

At about $1,500, the Canon 14-35mm f/4 is one of the most expensive f/4 ultra-wide full-frame lenses on the market. By comparison, the non-L Canon RF 15-30mmm f/4.5-6.3 IS is just $549. The predecessor to this L-series lens, the Canon EF 16-35mm f/4 L IS, was priced at $1,299. Last but not least, the Canon RF 15-35mm f/2.8 L IS is a whopping $2,399.

So, where do we stand? Simply put, the Canon 14-35mm f/4 L offers an excellent balance of value for its zoom range, image quality, and physical durability. Especially if you’re a landscape photographer, having access to 14mm in a professional quality lens, for just $1,500, is almost unprecedented. The fact that it is one of the most portable options also adds to this value, for those who travel, etc.

Canon RF 14-35mm f/4 L IS Review | Compared To The Competition

As I have already mentioned, there are a few alternatives, and the price range is huge. From the ~$550 Canon RF 15-30mm to the ~$2,400 Canon RF 15-35mm L, this Canon 14-35mm f/4 sits almost perfectly in the middle.

The difference between 15mm and 14mm is much greater than it seems on paper, and without a doubt, I would rather have this lens instead of either Canon RF native alternative. Having said that, I absolutely understand if you’re a hobbyist landscape photographer on a budget, and $550 is already a stretch of your budget. The even smaller aperture of the Canon 15-30mm is a drawback for handheld work, but if you’re on a tripod most of the time, you’ll be fine. Also, even the non-L Canon lenses, although they’re made of more plastic and don’t have dedicated, separate focus and control rings, at least the image quality is excellent. (Our full review of the Canon RF 15-30mm f/4.5-6.3 will be coming soon!)

If portability and affordability are your absolute top priorities, especially if you do a lot of nightscape photography in addition to daytime scenes, then also check out the Canon RF 16mm f/2.8 STM. It’s definitely a compromise, with slightly poorer image quality in the corners at f/2.8 and f/4, but for $279-299 and weighing in at just 5.8 oz, it is another unprecedented, unique offering for Canon users.

What if you don’t mind using a Canon EF-RF adapter? I would only recommend going with any EF-mount DSLR options if you already own them, or if you find an incredible bargain. Maybe you scoop up a Rokinon/Samyang 14mm f/2.8, either EF or RF mount, for a very good price, and you’re okay with the bulbous front element and fixed focal length. If you do a lot more astro-landscape photography, this might be a better option. Personally, for adventurous landscape and trave photography, I’d much rather have this zoom.

Last but not least, what if you’re currently entirely brand agnostic, and considering Sony, Nikon, and Panasonic alternatives?

The Nikon 14-30mm f/4 S ($1,346) was the first ultra-wide zoom to reach 14mm and accept (82mm) filters, and it is even more compact and lightweight, yet equally impressive in terms of its image quality. It is also a flagship-grade lens.

Panasonic also recently released an entry-level lens, the Panasonic 14-28mm f/4-5.6, which is modestly priced at $797. It’s not one of their flagship pro lenses, and I haven’t reviewed it yet, but I suspect it is also an excellent choice for those landscape photographers using the legendary Panasonic S1R.

Sony does not have an affordable, compact, ultra-wide zoom lens that reaches 14mm; their newest and closest offering is the Sony FE 16-35mm f/4 PZ. It’s an excellent lens and a great choice for landscapes and travel, but as I’ve said many times, there’s a massive difference between 16mm and 14mm, and I would rather have this 14-35mm for landscape photography.

Canon RF 14-35mm f/4 L IS Review | Conclusion

All in all, the Canon RF 14-35mm f/4 L IS is perfect, in its own right. If you’ve never zoomed out past 24mm, then you might be looking at various lenses that reach 16mm or 15mm,

Check Pricing & Availability

The Canon RF 14-35mm f/4 L IS USM is available for $1,499. We suspect it may be available from time to time with $100-200 instant rebate, depending on the time of year.

Here’s the thing about macro lenses, though: they seem to be quite easy to make! Almost every dedicated macro lens that I have reviewed in the last 15+ years has been incredibly sharp. So, if all you’re looking for is a decently sharp macro lens that offers true macro capabilities, you can buy an old autofocus DSLR lens, or even an “ancient” manual focus lens, and be very happy.

However, if you’re looking for a modern option, you’re probably concerned with things like autofocus performance, optical stabilization effectiveness, etc. That is where the Canon RF 100mm f/2.8 Macro L IS USM comes in. It offers the absolute latest technology in those regards, and that’s going to be the main focus of this review. So, let’s dive in!

Canon RF 100mm f/2.8 L Macro IS Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 100mm, 24°
• LENS MOUNT(S): Canon RF (full-frame mirrorless)
• APERTURE & RANGE: f/2.8-32, 9-blade rounded aperture, plus SA spherical aberration control” aperture ring
• STABILIZATION: Yes, Optical Image Stabilization, up to 5 stops
• AUTOFOCUS: Twin nano-USM motors
• MANUAL FOCUS: Electronically controlled
• OPTICAL CONSTRUCTION: 17 elements in 13 groups, “Super Spectra Coating”, fluorine coating
• MECHANICAL CONSTRUCTION: Metal & Plastic, full weather-sealing
• MAGNIFICATION & FOCUS DISTANCE: 1.4x, 10.2″ / 26 cm
• FILTER THREADS & HOOD: 67mm threaded filters, locking plastic hood
• SIZE: 3.2 x 5.8″ / 81.5 x 148 mm
• WEIGHT: 1.6 lb / 730 g
• PRICE: $1,199 (B&H)

Canon RF 100mm f/2.8 L Macro IS Review | Who Should Buy It?

With a price that is well above $1,000, buying this lens should be based on how interested you are in macro photography. It’s a little more complicated than that, however, because macro may only be one of the subjects you photograph. Plus, there can be different techniques involved, from still-life imagery captured using a tripod and manual focus, to more active conditions where hand-holding and using autofocus might be necessary.

With that in mind, we’ll describe the types of photography you might consider using this lens for:

Nature, Product, Food, Etc Macro Photography

First and foremost, if you’re really into macro photography, then you’ll undoubtedly have noticed how the Canon RF 100mm f/2.8 L Macro IS offers something a little bit more exciting than most: Its magnification/reproduction reaches 1.4x, as opposed to the standard 1x!

For this reason alone, I think it’s an exciting new generation for Canon’s full-frame mirrorless system.  If you’ve always wanted more magnification, without forfeiting any of the modern luxuries of the latest lens technology, then this lens is for you.

Having said that, it’s this next category which will really tempt photographers! That’s because, for static subjects such as product, food, and various type of fine art, you are often using a tripod and manual focus. If so, then you might not need to invest a whopping $1,200 in a lens like this; you can do just fine with an older lens. Or, you can do even better in terms of magnification with an alternative like the Venus Optics Laowa 90mm and 100mm. More about those lenses later.

Insect & Animal Macro Photography

If you’re photographing exciting subjects such as crawling or even flying insects, or anything else that is active, then you know just how impossible it can be to nail focus and sharpness. This is where the impressive hybrid stabilization of Canon’s higher-end RF camera bodies comes in, offering significant help.

Simply put, if you’re going to use this lens for high-magnification macro, around 1x or above, and you’re going to hand-hold some photos and/or use autofocus, then you’ll want to get this lens.

Portrait & Wedding Photography

A lot of times, a portrait and/or wedding photographer will consider a macro lens as a dual-purpose lens. It can also take great portraits, as any 100mm f/2.8 lens ought to, and the SA control feature can offer even more creamy bokeh in your background.

Having said that, I have to give the nod to Canon’s even better portrait lenses, of course. If you’re making money capturing portraits of any kind, then you ought to check out Canon’s RF L-series 85mm f/1.2. It’s expensive, but it’s worth it. Or, if you’re intrigued by the SA control optics, here’s some good news! Canon has an even more well-suited lens, the Canon RF 85mm f/1.2 DS. “DS” stands for Defocus Smoothing, a technology that creates truly buttery smooth bokeh, even capable of smoothing out “bokeh balls” in spectral highlights. The bad news is, of course, these two 85mm prime lenses are about $2.5K and $2.8K, respectively.

Alternatively, if portability and affordability are the reasons why you’re looking for a prime lens to us for casual, at-home (pet?) portraits, then the compact, non-L Canon RF 85mm f/2 Macro IS STM is one of the best on the market; offering a modest but decent 1:2 (0.5x) reproduction, plus stabilization, plus 1 extra stop of aperture.

Simply put, this 100mm f/2.8 Macro lens would work great for portraits, but I’d recommend other options first.

Wildlife & Action Sports Photography

These are areas where telephoto focal lengths are very useful, and 100mm is just not very long of a focal length for most types of wildlife or action sports subjects.

You might consider this lens if you’re a general outdoor photographer, and you want a weather-sealed, capable autofocus lens that you can use for all types of outdoor photography, including macro photography.

Landscape Photography

Landscape photographers do appreciate the sharpest lenses, of course. However, in this particular focal range, they are most likely better off with a zoom lens that provides them with “reach” to compress near and far subjects.

Similarly to wildlife, action sports, and portrait photography, the answer is this: Yes, you can use this lens for this purpose. However, there are better options both in terms of price/value, and versatility.

Canon RF 100mm f/2.8 L Macro IS Review | Pros & Cons

As I mentioned at the beginning of this review, the optical formula of making a sharp macro lens seems to be relatively easy. That is, there are innumerable lenses in the range of 90mm, 100mm, and 105mm that are just tack sharp.

Indeed, not all current macro lenses are capable of fully resolving the latest 40, 50, and 60-megapixel sensors, and the Canon is at the top of the heap. However, it will come down to the more subtle aspects of image quality for the Canon to really pull ahead of its competitors.

Either way, you’ll have to really pixel-peep to see differences in sharpness and image quality in general. Then again, macro photography is all about achieving the best-possible image quality! You may also find yourself working in challenging conditions, such as bad weather, or with active subjects that refuse to sit still.

Image Quality

As I mentioned, macro photographers are one of the categories that are highly likely to pixel-peep. So, Canon is not going to get away with just having a sharp image center and trash-soft corners! Thankfully, (spoiler alert!) the image quality is stunning for this lens.

Sharpness

I’ll let the sample images speak for themselves. This lens is incredibly sharp, and like most of the other Canon RF lenses I’ve reviewed, it seems to be ready to resolve as many megapixels as Canon can possibly cram into their sensors in the coming years!

Bokeh

Virtually every photo I captured with this lens is an excellent example of bokeh, since macro photography usually has plenty of shallow depth involved. Simply put, the bokeh of this lens is absolutely gorgeous. Background, foreground; even the busiest types of bokeh (sticks and twigs and things) are rendered very softly out of focus…

Bokeh gets even better if you dial the “SA” control ring just slightly in the negative direction, too. This causes the aperture itself to have a softer edge to the blades, smoothing out even “bokeh balls” a little bit. You’ll only sacrifice a minor amount of sharpness if you only go one or two clicks off-center, and you’ll achieve a faint but noticeable extra dreaminess in our preferred direction of negative.

Having said that, dialing too far in either direction will, of course, “destroy” your image sharpness, and leave you with a truly soft, dreamy look. See the examples below:

One final note about bokeh, shallow depth, and sharpness: When you’re working at extremely close focusing distances, depth becomes impossibly shallow. Often you will find that even using f/8 or f/11 will not bring an entire subject into focus. For this reason, many macro photographers resort to focus stacking. Luckily, the Canon EOS R5, and some other Canon RF-mount camera bodies, have a focus stacking feature. That’s a whole different article for another day. Just note how minimal the changes in DOF are, in the samples below:

Colors & Contrast

As with all modern lenses and their exotic coatings, crystal-clear glass, and of course, the world-class image sensors in Canon’s RF camera bodies, colors and contrast from this lens are gorgeous. There’s not much else to say. Honestly, if you’re not happy with the colors from most lenses these days, then you probably have a problem with your raw editing, not the lens or camera. That’s all I have to say about that!

Vignetting & Distortion

As with all mirrorless lenses, the Canon RF 100mm f/2.8 L Macro will use built-in correction software to help the raw images have extremely low vignetting and distortion. This is both a blessing and a curse. On the one hand, both are negligible, and the vignetting that is present is aesthetically pleasing; it usually draws your attention nicely toward a central subject.

Sunstars & Flare

Because this lens is specially optimized for truly smooth, soft bokeh, its ability to create pointy sunstars is diminished. Flare, on the other hand, is very well-controlled thanks to Canon’s exotic optical coatings.

Color Fringing, Aberration, Coma & Astigmatism

All of these more subtle aspects of image quality are kept either negligible or nonexistent, whether thanks to the optics themselves, or the built-in and automatic (in Lightroom) aberration removal tools.

You can notice a faint amount of color fringing at the edges of focus when using f/2.8 and photographing high-contrast edges. In most cases this is easy to remove using automatic tools. Stopping down to f/4 or f/5.6 will also eliminate the problem, and in most cases doing so will barely affect the shallowness of your DOF.

Macro VS Infinity Focusing

One final thing to note is that some (mostly older) macro lenses are actually optimized to be at their sharpest when focusing on close-up subjects. This meant that they actually suffered poor sharpness when focusing closer to infinity.

This is definitely not the case with the Canon RF 100mm f/2.8 L Macro. The incredible sharpness it offers seems to be the same at any focusing distance, whether it is at the maximum magnification of 1.4x, or a distant horizon.

Design & Durability

One of the main reasons why serious photographers opt for Canon’s L-series lenses is durability, of course. These professional lenses are made of metal, (mostly) and have full weather sealing.

What else can I say? The design, overall, is utilitarian. I like Canon’s “command ring” which you can program to control settings such as aperture, ISO, shutter speed, or EV compensation. The switches for focusing, stabilization, and the SA lock ring are all sturdy, stiff, and yet still decently easy to operate. Overall, this is an excellent, well-made lens.

Ergonomics & Portability

In-hand, the Canon RF 100mm f/2.8 L Macro IS a well-balanced, comfortable fit. It’s not “compact”, per se, but it’s also surprisingly lightweight for such a sharp, professional lens.

Autofocus Performance

Not all of Canon’s L-series mirrorless lenses have twin focus motors, but the RF 100mm Macro does. This gives it swift, snappy, accurate autofocus. This is especially useful for close-up macro subjects, and that is where this lens absolutely “destroys” the competition.

Personally, I do love photographing bugs and things, and I use autofocus a lot, and I shoot hand-held a lot. So, I would absolutely choose this lens over anything else, at least for the Canon RF mount. (The Nikon Z-mount 105mm macro lens is similarly stunning; our review of that lens is coming soon!)

Manual Focus Performance

Being electronically controlled, manual focusing offers a high level of precision. Even though the autofocus on this lens is truly incredible, I often find myself using manual focus.

PRO TIP: Are you struggling to get sharp photos at high magnification such as between 1:1 and 1.4x? Here’s avery useful tip for sharper photos: magnify your in-focus subject,  and just watch it for a few seconds. You can actually see the subject shaking, and, simply put, if it never stops shaking, due to maybe a light breeze blowing on your subject or even your tripod leg, then you’re simply not going to get sharp photos at most slower shutter speeds. See the comparison image below:

Features & Customizations

The SA control does set this lens apart from other macro lenses, even though the star of the show is undoubtedly the 1.4x magnification. There’s not much else to mention; like most all Canon RF L lenses, there are no customizable Fn buttons on the 100mm.

A tripod collar is an aftermarket accessory, but honestly, I really don’t see much of a need for it. The lens balances beautifully with a tripod foot mounted to the camera body itself.

Value

Priced at $1,200, there might be quite a few other lenses that you’d want to purchase before investing in a dedicated macro lens. Specifically, if you’re a general outdoor/nature and landscape/travel photographers, and you merely dabble in macro might find a lot more use and value in one of the best landscape photography lenses ever made, the Canon RF 14-35mm f/4 L IS, which is just a little bit more expensive at $1,500.

At the opposite end, the same type of outdoor photographers might instead invest in an affordable telephoto lens such as the Canon RF 100-400mm f/5.6-6.3 IS USM, at a mere $650.

Canon RF 100mm f/2.8 L Macro IS Review | Compared To The Competition

As I mentioned already, macro lenses are “easy” to make very sharp, and even the now aging Canon EF 100mm f/2.8 L IS, a DSLR lens from 2009, is still a rather sharp lens. So, if you already own that lens, don’t mind using an adapter, and are content with the 1:1 reproduction ratio, then you might not see that big of a need to upgrade.

Then again, that Canon EF lens still costs about $1,100. So, there’s essentially no reason to choose it instead of this modern RF full-frame mirrorless option.

By the way, just for comparison in case you’re wondering if “the grass is greener” anywhere else, I’ll say this… The Nikon Z MC full-frame mirrorless 105mm f/2.8  costs $1,046. It’s absolutely tack sharp, like the Canon, and it would be splitting hairs to differentiate between the image quality; both deliver beautiful results. The biggest difference is that the Canon offers higher magnification.

The Sony FE 90mm f/2.8 Macro G OSS costs $1,098, and is “ancient”, from 2015. It’s decently sharp, but not nearly as prepared for the challenge of high-megapixel sensors as the newest competitors. On the Sony E-mount, the best full-frame macro lens is undoubtedly the Sigma 105mm f/2.8 DG DN Art, for $799. (NOTE: adapting Sony E-mount lenses to Canon RF is, to the best of my knowledge, impossible.)

Canon RF 85mm f/2 “Macro” IS STM (Not really a macro lens!)

The Canon RF 85mm f/2 “Macro” IS STM offers 1:2 macro reproduction, which for most casual photographers is more than enough. Plus, with the 85mm focal length and faster aperture of f/2, the 85mm of course makes a fabulous general portraiture lens, Plus, it costs only $499 since it’s not an L lens.

Because Canon’s RF mirrorless mount is a closed, legally protected protocol, third-party options are scarce. You can currently purchase a Venus Optics (Laowa) 90mm, or 100mm f/2.8 Macro for RF, and it offers 2x magnification, for a mere $499. If you’re okay with all-manual lenses that not only forego autofocus but all communication with the camera whatsoever, then you’ll appreciate this lens’ magnification. Being all-manual makes it an even more highly specialized macro lens, of course.

Last but not least, you can also adapt other third-party DSLR macro lenses. Sigma, Tokina, and Irix all make excellent choices. Honestly, though, my top recommendation is simple: Save up for this lens if you are really interested in dedicated macro photography. Or, if you’re only curious about it, or simply on a very tight budget, go with either the Canon RF 85mm f/2 Macro IS STM or the Venus Laowa 100mm f/2.8 (with 2x magnification) instead.

Canon RF 100mm f/2.8 L Macro IS USM Review | Conclusion

For any photographers who are interested in serious macro photography, the Canon RF 100mm f/2.8 L Macro IS USM is a top contender. It’s one of the most impressive macro lenses I have ever reviewed, with its ability to reach a magnification of 1.4x.

It’s not a casual purchase, of course, because with a price tag of about $1,200, (when the $100 rebate is available) …there are simply better options available if you’re shopping for a more versatile, all-around lens in that modest telephoto focal range. This optic is for serious macro photographers, and for them, it will not disappoint!

Check Pricing & Availability

You can purchase the Canon RF 100mm f/2.8 L Macro IS USM for $1,199. (B&H) There is also a tripod adapter, if you need it, for $199.