THE COMPLETE GUIDE TO CANON RF LENSES

The Complete Guide to Canon RF lenses

Whether you’re already sold on upgrading to Canon’s EOS R mirrorless system, or are perhaps just flirting with the idea, one of your first questions is likely to be: “What are the lenses like?”

After all, no matter how great a body is, however many extra features like silent shooting or 6K movies it manages to cram in, none of it means a thing if the glass isn’t up to snuff. And while you can use your EF glass on RF bodies with ease and full functionality, thanks to the impressive EF to RF adapting system (see our blog for a breakdown of how this works), if you’re going to be using a system long term then you want to know what the native lens selection is like. Has Canon done a good enough job filling it out? Are they sharp enough, long enough, fast enough?

The answers to these questions will of course differ for everybody, depending on what kind of shooting they do, but we’ve had a look through the RF lens catalogue and in our considered opinion, there’s a cracking selection there for pretty much any photographer. So, we’ve put together this complete guide to native RF lenses, which we’re going to keep up to date with all the latest releases, so you can use it as a handy reference point to see whether the RF system has the lenses you need.

RF-mount

Canon’s RF-mount for its EOS R system uses a 12-pin connection system, as opposed to the 10-pin connection on EF mount. This allows for much faster communication between lens and camera, which enables all sorts of useful features. Not only is RF autofocus faster, but the image stabilisation is much more effective (up to eight stops with the right combination of lens and camera), and it also allows cameras to store and use correction profiles for the characteristics of specific lenses, making distortion a thing of the past.

Our guide to Canon RF lenses

We’ve divided our guide into zoom lenses and prime lenses, and ordered the individual entries from wide to telephoto, so it should be easy to find the type of lens you’re looking for. We may also add third-party lenses into the guide as well in the near future, but for now, let’s get started on our complete guide to Canon RF lenses!

RF Prime Lenses

Canon RF 35mm F1.8 MACRO IS STM

Canon RF 35mm F1.8 MACRO IS STM

Blending speed and 1:2 macro capability, this wide-angle prime lens is a great choice for documentary photographers and macro shooters alike. Weighing in at 305g, it’s a good choice for those who like to travel light, and a construction of nine elements in nine groups ensures that images are pin-sharp from corner to corner. The inclusion of a 5-stop image stabiliser isn’t bad either!

Best for: Architecture, documentary, macro

 

Canon RF 50mm F1.2L USM

Canon RF 50mm F1.2L USM

No one can argue with a nifty fifty! The Canon RF 50mm F1.2L USM is a shining example of this all-purpose focal length, as implied by that “L” tag, which any Canon-head knows is the mark of the firm’s best lenses. The RF 50mm F1.2L USM delivers outstanding quality and sharpness right to the edges of the frame, with a professional-grade f/1.2 aperture and USM autofocus, and that L-series build means it’s a pro-spec lens inside and out.

Best for: All-purpose street shooting, everyday professional use

 

Canon RF 85mm F1.2L USM DS

Canon RF 85mm F1.2L USM DS

A portrait lens designed for those who want the ultimate in sharpness, this large-aperture lens has been treated with Canon’s DS coating – “DS” stands for “Defocus Smoothing”, and is specifically designed to modulate out-of-focus highlights when the lens is used wide open, rendering them smoother and more pleasing. This coating is used on two elements in the lens, the overall effect being that this is one of the finest, sharpest, most aesthetically pleasing portrait lenses around.

Best for: Portrait shooters demanding uncompromising sharpness

Canon RF 85mm F1.2L USM

Canon RF 85mm F1.2L USM

The slightly stripped-back version of the DS lens, this is still a fabulous portrait optic in its own right, just without the Defocus Smoothing coating. Equipped with a wide f/1.2 aperture and a  ground aspheric lens element designed to eliminate the spherical aberrations such a wide aperture typically causes, as well as Blue Spectrum Refractive (BR) optics to deal with colour aberrations, this is a sublime portrait lens.

Best for: Portrait shooters

Canon RF 85mm F2 MACRO IS STM

Canon RF 85mm F2 MACRO IS STM

A portrait lens that’s significantly more affordable than the F1.2 optics, the Canon RF 85mm F2 MACRO IS STM also provides the added bonus of being a 1:2 macro lens. Weighing just 500g and packing an optical construction of 12 glass elements in 11 groups, the RF 85mm F2 can focus at close distances of down to 35cm, so you have real versatility in terms of subject position.

Best for: Portrait shooters on a budget; macro and close-up photographers

Canon RF 600mm F11 IS STM

Canon RF 600mm F11 IS STM

The first of a duo of new telephoto primes for RF-mount, the Canon RF 600mm F11 IS STM raised eyebrows on announcement. A fixed aperture of f/11, that you can’t go above or below?! This may seem bonkers, but it’s a choice with many practical upsides – the lens is incredibly lightweight for a super-telephoto at 930g, and the fixed aperture also allows the lens to produce perfectly circular bokeh. It’s an intriguing concept, and available at a really impressive price. 

Best for: Wildlife or sports photographers looking for a light setup

 

Canon RF 800mm F11 IS STM

Canon RF 800mm F11 IS STM

The second of the super-telephoto RF duo also sports the fixed f/11 aperture, and as such is impressively light for an 800mm lens at just 1,260g. Equipped with a four-stop image stabiliser that works with both stills and video, this is an amazing lens for bringing distant wildlife into sharp focus. 

Best for: Super-distant safari-shooting on a budget

RF Zoom Lenses

Canon RF 15-35mm F2.8L IS USM

Canon RF 15-35mm F2.8L IS USM

Fast, ultra-wide, well-stabilised and portable – this wide-angle zoom really has it all. It’s an ideal optic for when you need to shoot in cramped or difficult spaces, thanks to its slim form factor, and the nano USM motor inside means the autofocus is smooth and practically silent! Shoot wide scenes in any weather conditions with this highly capable and weather-sealed lens.

Best for: Documentary work, landscapes, architecture

 

Canon RF 24-70mm F2.8L IS USM

Canon RF 24-70mm F2.8L IS USM

Any pro worth their salt knows the value of a 24-70mm standard zoom, and Canon has come up with a great example of the genre for RF mount. The RF 24-70mm f2.8 is part of a trilogy with the aforementioned 15-35mm lens and Canon’s RF 70-200mm lens (more on which below), the idea being that almost any pro shooter with these three lenses will be covered for all situations.

Best for: Documentary, close-up work, day-to-day shooting

 

Canon RF 24-105mm f/4L IS USM

Canon RF 24-105mm f/4L IS USM

Alternatively, if you don’t fancy shelling out for a trio of lenses, this wide-ranging zoom is a good everyday all-in-one lens for the roaming photographer or videographer. More affordable than many of the flashier L series lenses, this optic is built for travel, balancing versatility with toughness. Want flexibility? This is your one-stop-shop.

Best for: Travel, single-lens setups

Canon RF 24-105mm F4-7.1 IS STM

Canon RF 24-105mm F4-7.1 IS STM

If you’re a new user to the EOS R series, this is the place to start. The most affordable lens in the catalogue, the RF 24-105mm F4-7.1 IS STM is very similar to the above 24-105mm lens, sacrificing the constant aperture and the Nano USM motor in favour of a much more friendly price tag. You still get plenty of the EOS R system features like 5-stop image stabilisation, and the handy 13cm close focusing distance really expands your shooting flexibility.

Best for: Beginners, newbies to the system, travellers on a budget

Canon RF 24-240mm F4-6.3 IS USM

Canon RF 24-240mm F4-6.3 IS USM

If 24-105mm just isn’t enough zoom range for you, why not try this on for size? Canon’s RF 24-240mm is a 10x optical zoom, the broadest-range native zoom currently available for the system. Weighing an impressively slender 750g, this is a travel photographer’s dream come true, offering sharp performance throughout the zoom range, and also has clickless aperture control, which comes in handy when shooting movies.

Best for: Travel shooting, travelling light, shooting movies on the go

 

Canon RF 28-70mm F2L USM

Canon RF 28-70mm F2L USM

Canon promises that this mid-range zoom sets new “standards” in photography (do you get it? Eh?) and while that’s a question for the historians, from our vantage point we can say this is an excellent standard zoom lens for all sorts of applications. Having f/2 opens up all sorts of possibilities, particularly in wedding photography and journalism, and with the ring-type USM motor present and correct, autofocusing is quick and quiet.

Best for: Weddings, travel, reportage

Canon RF 70-200mm F2.8L IS USM

Canon RF 70-200mm F2.8L IS USM

The standard workhorse – no lens selection would be complete without a 70-200mm! Completing the aforementioned trilogy with the 15-35mm and 24-70mm, the RF 70-200mm F2.8L IS USM forms part of a setup that practically any working pro would be more than content with! The five-stop image stabiliser really comes into its own with this type of lens, and the fact that the lens works in near-silence does wonders for the user’s professional versatility.

Best for: Everyday professional use

Canon RF 100-500mm F4.5-7.1 L IS USM

Canon RF 100-500mm F4.5-7.1 L IS USM

More and more pro photographers are discovering the wonders of 100-400mm lens for all sorts of work – see our interview with Times photographer Richard Pohle [article url tk] to discover why he rates them so highly – but Canon went one better for the RF mount and produced this amazing 100-500mm optic! With professionally-grade performance in a lightweight body, this is a superb lens for pros of all stripes.

Best for: Professional shooting, events, sports photography

EOS R Teleconverters for RF Lenses

 

Extender RF 1.4x

Extender RF 1.4x

A useful way to give your RF lenses a little extra reach, the Canon  Extender RF 1.4x is a good tool to have in your back pocket for sports and reportage photography, just in case your setup doesn’t quite get you close enough. The extender controls for curvature of field and chromatic aberration, and also uses advanced lens coatings for superior light transmission. Its exterior is even coated with the same white heat shield coating as used on the RF 100-500mm F4.5-7.1L IS USM and RF 70-200mm lenses, allowing it to be used in high temperatures.

Extender RF 2x

Extender RF 2x

Extend your reach even further with this teleconverter, which doubles your effective focal length without compromising image quality. Built just as tough as the 1.4x converter, the Extender RF 2x has also been made with the same level of care and attention to image quality, so you can shoot away at distance without worrying about your images being sub-par.

 

WHY I LOVE MY 100-400MM LENS: RICHARD POHLE

Why I love my 100-400mm lens: Richard Pohle

For news photographers, the lens is everything. You need the reach to be able to frame your subjects, you need the speed to be able to freeze the action in all conditions, you need the build that means that carrying the lens all day isn’t going to give you chronic back problems (though some are willing to compromise on that last one). Which lens you end up favouring will depend on the precise nature of your discipline – many photographers who work in all sorts of conditions will favour the workhorse 70-200mm, while those who find themselves needing pin-sharp image quality at a distance will plump for a 500 or 600mm prime.

Some, however, prefer the best of both worlds. At Fixation we’ve long rated the 100-400mm lens as the ideal jack-of-all-trades lens for a working press photographer, and someone who firmly agrees is Richard Pohle, staff photographer at The Times. Winner of the 2019 Arts and Entertainment Photographer of the Year at the UK Picture Editors’ Guild Awards, Richard is a familiar and highly respected face in the industry

Richard’s lens has covered a huge range of the news sphere, from political party conferences to state visits by foreign leaders and huge military ceremonies, and he swears by his Canon EF 100-400mm f4.5-5.6 L IS II USM Lens as the tool to get the job done in a huge number of situations. We were intrigued, so we got in touch to find out why this lens works so well for what Richard does…

EF 100-400mm ƒ/4.5-5.6L IS II USM

 

Thanks for talking to us, Richard. So how did you get started using the 100-400mm lens for press work?

I cover a lot of events – things with the royals, a lot of military ceremonies. I always used to have to carry around the 400mm f/2.8 and then also have the 70-200mm by my side. And the 400mm f/2.8 especially was always so lumbering and heavy, it was very unwieldy. I saw some of the royal-photography guys use the 100-400mm when it first came out, and I thought, “Wow, what an absolutely practical lens for the type of thing that I need to do.” 

That scope, from 100mm to 400mm in one lens, was exactly the thing that I needed – one, to cover royals, and two, to cover what I especially like doing: military ceremonies and state occasions. 

I’m one of these photographers who doesn’t always necessarily have my camera pointed at the main event – I’m always looking off to the side to see what’s happening there. And when you suddenly turn a 400mm f/2.8 lens away from the main subject to something you’ve seen on the side, you’re knocking out three photographers next to you, and getting a load of abuse for it! So the 100-400mm lens just allows me to be more flexible in where I’m pointing, and means I’m able to go from middle distance to reasonably far distance no problem.

That’s definitely evident from your portfolio – you have a real eye for the moments that are happening a little away from the main action.

When I’m doing state ceremonies or military ceremonies, I arrive early, and I walk around trying to find the moments of people getting ready, which for me always makes for a better picture than the actual event! So I like to wander around and look a bit incognito, but with a large 400mm or a 600mm lens, you can’t do that. With a 100-400mm lens, you can quite easily stand off to the side, and when you see something happening, happily shoot away. You can have it dangling on one shoulder and another camera on another shoulder

Have you seen other photographers making the jump? From the way you describe it, it sounds like a no-brainer!

It does – from the point of view of a practical news photographer, which is what I am. If you’re, say, a royal photographer, you will want to stick with your 600mm or 800mm prime lens, because they’ve got more reach. Also, while it’s less of a problem these days with digital cameras, the f/5.6 aspect of it puts some people off. It’s an incredibly sharp lens all the way through, but if there is a degradation, it would be at the f/5.6 end. For me as a news photographer, it doesn’t matter – for a magazine photographer, it might. 

It’s been a wrench to move away from the 70-200mm, absolutely, and I still find myself going to the 70-200mm when I know I’m not using it for big occasions, but the 100-400mm is the go-to lens when I’m doing state ceremonies or events like that.

What body do you use with it?

Canon EOS 5D Mark IV. 

Okay, so that’s a setup that’ll do basically anything.

Yes, if I’ve got a 100-400mm lens on one shoulder and my 24-70mm on the other – that’s it. I’m completely made up; I’ve covered everything from 24mm all the way up to 400mm in two bodies.

13th July 2008 The Queen and Donald Trump photography by Richard Pohle
Queen and Trump 13th July 2018 by Richard Pohle using the EF 100-400mm L mark II lens

Do you think about mirrorless at all? The RF mount has that nice-looking 100-500mm…

All the time. It’s the number-one source of conversation at the moment. It’s just the cost implications of moving over; you’ve got to think about these things carefully, financially speaking. But it is the future, there’s no question. The idea of being completely silent is very very appealing, especially for some of the things I have to photograph, and the tracking mechanism seems absolutely awesome. I’ve had a quick play with it and I was very, very impressed. It is the future, there’s no denying it.

Finally, is there a particular image taken on the 100-400 that you’re proudest of?

The picture that I think of as the best picture I’ve taken on the 100-400mm is when Donald Trump visited the UK and he inadvertently walked in front of the Queen. The Queen had to sidestep out from behind him because he suddenly stopped, and she nearly collided with him. I was the only photographer who got that, because I was on the 100-400mm and I could manage to get it framed and shoot it. And it’s gone on to be exhibited and things like that.

It was actually taken on a hire-in 100-400mm lens; my one was in for repair because I’d dropped it. I was so panicked about doing this event without the 100-400mm that I hired it in. And thank god I did!

Richard Pohle was talking to Jon Stapley. See more of his images at his website, www.richardpohle.com

WHY I USE CANON FLAGSHIP CAMERAS | MARK WEEKS

Why I use Canon flagship cameras | Mark Weeks

Fast, expensive and heavy. Flagship camera bodies launch into the world on a bow-wave of macho fanfare as every photography store and tech blog (Fixation included) shouts “Have you heard the new Spec?!” Promises that you will capture the action are rouseing but, in the interest of balance, we asked some Fixation customers why they choose flagship camera bodies for a wider range of subjects.

Recently we featured music and food photographer Justine Trickett on Nikon, and live theatre & performance photographer Johan Persson on using Sony.
This time corporate and hospitality photographer Mark Weeks explains how the 1D series from Canon has been the cornerstone of his business since 2005.

Hilton Mauritius by Mark Weeks

The Canon 1D series has been part of my arsenal since the very early days of my business. When I finished photo school in 2005 I knew that to compete at the top level, I’d need a top-level camera. As I had always shot with Canon, but which body and lenses to get were a bit of a minefield. As I was fresh out of school, I asked existing pros what they were using. The consensus was the 1DS series, and most had the 24-70mm and 70-200mm lenses.

Doing the research was the easy part. Buying it was a bit more of a stretch. The cost for a newly graduated student was quite steep, but I figured it was a solid investment in my business. At the time I had a landlord who was a filmmaker—he advised me to buy the best I can afford (or thereabouts) and go from there. If you’ve got the gear, you’ve got one step ahead of the competition. Around that time a friend who is a fashion photographer pulled me in to look at two prints: one shot from a 1DS and the other made with a 5D. She asked me which was which. While they were fairly close, I was able to discern a marginally better quality from one of the shots—which ended up being the 1DS shot. Whew! It was enough of a difference to convince me I’d made the right decision.

After seven years with that camera body, I moved onto the 1DX. I bought two bodies and kept the old lenses. The new camera brought some really good new features, and the quality was better than the 1DS (as it should have been!). I’d taken on a few video commissions and we did a test of the video on the 1DX and the 5D. The 1DX won hands down. Once again, I knew I’d made the right decision, as image quality for me is paramount.

I work mainly with large international businesses and hotel groups. My clients demand the best, and as I have chosen to go after this market, I need to do everything I can to ensure I deliver accordingly. The value of having the 1D series is the confidence that I have the best that Canon has to offer. I keep my gear in good knick and expect it to last a long time. While I have the confidence in the system I have, it is not without its own set of issues. Soft focus when shooting at f2.8-3.5 still gets to me. The camera says it’s focused on the eyes, but in reality it’s focused on the lapel…and of course the weight. The camera is heavy. I find a monopod most useful as the day bangs on (my own walking stick of sorts), but it works for me. The price is not for the faint of heart, but it’s well worth it. I’m planning to move onto the latest and greatest this year, the EOS 1DX mark III, and have full faith that it will serve me well for another chunk of my career.

Cabo Verde by Mark Weeks

Mark Weeks produces photography and video for international businesses and hotel groups. See more of his work at markweeks.com
Canon released its new flagship DSLR camera body the EOS 1DX mark III in January.

WHY I USE SONY FLAGSHIP CAMERAS | JOHAN PERSSON

Why I use Sony flagship cameras | Johan Persson

Flagship cameras are all about performance, they do their job and they do it well. Flagship bodies come out ahead of big sporting events. This year, with UEFA Euro 2020 and the Summer Olympics in Japan, we have seen the launch of new bodies from Canon, Nikon and Sony. However capturing sport is only one application for these incredibly versatile cameras.

Fixation is lucky enough to work with photographers in all genres. We invited some of our customers to talk about why they choose flagship camera bodies for a wide range of subjects.
Last week we featured music and food photographer Justine Trickett on Nikon. This week we have turned to Sony and invited live theatre and performance photographer Johan Persson to write about using the Sony A9 series.

THE VISIT by Kushner, , Original Play – Friedrich Dürrenmatt, The National Theatre, Olivier Theatre, 2020, Credit: Johan Persson/

Professionally I shoot a lot of live performances for theatre, opera and dance. Having the latest and best equipment is imperative for getting the best results in what is often challenging lighting and shooting scenarios. I initially chose to go with Sony because of it’s ability to shoot silently, which in my field of photography is incredibly beneficial.

Having said that, stage lighting is occasionally a challenge for mirrorless cameras causing banding in some cases. The sensor technology in flagship A9 mark 2 is the only one of it’s kind. It is the best for handling banding and now with the dual UHS-II compatible SD card slots, 10 frames a second mechanical shutter, amazing ISO and auto focus capabilities, I feel secure in knowing that I can get good results in any situation I’m faced with.

The Sony A9 mark 2 is the camera of choice for me.

The Taming of the Shrew by Shakespeare, Director – Maria Gaitanidi, Designer – Liam Bunster, Sam Wanamaker Playhouse, The Globe Theatre, 2020, Credit: Johan Persson/

Johan Persson is a photographer specialising in portraiture and promotional and production photography for live theatre. See more of his work at perssonphotography.com

WHY I USE NIKON FLAGSHIP CAMERAS | JUSTINE TRICKETT

Why I use Nikon flagship cameras | Justine Trickett

Flagship bodies are the showboats of any camera manufacturer, released among fanfare and celebration with glowing reviews from ambassadors who have worked with the major brands behind the scenes ahead of the launch. But the sport and press focus, and the price point of the cameras can make them feel somewhat exclusive.

Fixation is lucky enough to work with photographers in all genres. We invited some of our customers to talk about using Nikon, Canon and Sony flagship camera bodies for their work to cut through the hype and find out why they are the cameras of choice for a wide range of subjects.
First up, for Nikon, we have music and food photographer Justine Trickett, read her take on working with the Nikon D4s below.

Christine and the Queens performing live on stage
Christine and the Queens by Justine Trickett

I work with a Nikon D4s because I require high performance and fully manual control that isn’t compromised by gimmicks. When I was choosing the camera I wanted something that felt as close to a manual film camera as possible but with a really good digital sensor and image processing. It also needed to be sturdy for my festival work so I am glad that there is no pop-up flash or tilt screen as I would probably break these, and the weather sealing has successfully seen me through blizzards and powder paint fights.

A feature I find invaluable is the high ISO performance. A lot of my work involves conveying the mood of available light and therefore I require a camera with an image sensor which can give me a similar level of quality for low light photography as for photos shot in daylight. My commissions vary – for restaurant and art gallery clients they can be asking for photos of their guests enjoying themselves in the evenings, whereas for live music photography you want to capture outstanding split-second moments in flashing lights – but for many of my low light shoots a common theme is that I find myself pushing my camera ISO to 4000+. These photos simply wouldn’t be possible without a camera like the Nikon D4s which can handle these higher ISOs well.

I would likely stick with this camera series in the future so long as it still fits my requirements and continues to be focused on the essential needs of professional photographers.

Photography by Justine Trickett

Justine Trickett is a photographer and writer specialising in live music, festival and food photography. See more of her work at justinetrickett.com

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