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.

The best way I can describe my overall experience with the Canon RF 100-400mm is, quite simply, that it makes super-telephoto photography both fun and easy! I had a blast with it; especially on the Canon EOS R5, with eye detection for wildlife and other subject detection options, it made photos like the bird photos above just…effortless.

That is when taking pictures in broad daylight, of course. This lens has a variable aperture of f/5.6 to f/8, which means that it’s not the fastest optic around. In fact, it’s the slowest 100-400mm in terms of aperture.

Is this a deal-breaker? I would say, “read on to find out!” …but instead, I’ll just tell you right now: no, it’s not, I still love this lens, and you should definitely keep reading this review to find out why!

Canon RF 100-400mm f/5.6-8 IS USM Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 100-400mm (24° to 6° 10′ full-frame angle of view)
• LENS MOUNT(S): Canon RF (full-frame mirrorless)
• APERTURE & RANGE: f/5.6-8, f/32-45
• STABILIZATION: Yes, 5.5 stops, +0.5 stops with IBIS on certain Canon bodies
• AUTOFOCUS: Nano STM + ring-type USM AF motor
• MANUAL FOCUS: Electronically controlled on dedicated manual focus ring
• OPTICAL CONSTRUCTION: 12 elements in 9 groups (1 Aspherhical, 1 Ultra-Low Dispersion element, Super Spectra Coating)
• MECHANICAL CONSTRUCTION: Metal mount, plastic barrel body
• MAGNIFICATION & FOCUS DISTANCE: 0.41X magnification, 2.9 in (88 cm)
• FILTER THREADS & HOOD: 67mm filter threads, no hood included
• SIZE: 3.1 x 6.5 in (79.5 x 164.7 mm)
• WEIGHT: 1.4 lb (635 g)
• PRICE: $649 (B&H)

Canon RF 100-400mm Review | Who Should Buy It?

If you’re looking for a compact, portable, lightweight telephoto zoom that is still as sharp as flagship pro lenses, then look no further! Well, there are a few caveats, and they may or may not affect your decision based on the type of photography you do.

To sum up this entire section in a single paragraph: the Canon RF 100-400 has an f/8 aperture at its 400mm end, so if you do a lot of low-light telephoto work, this either isn’t the best choice for you, or you’re going to need to compromise pretty often by using a higher ISO.

Other than that, this lens is amazing! I just don’t know of a more affordable or portable way to reach 400mm, let alone with such impressively sharp results…

Action Sports Photography

This is what you’re most likely going to use this lens for, but right off the bat, I’m going to say that this is more of a lens for casual, even “daily life” types of action sports. It’s not exactly an Olympics or NFL/NBA lens, due to the aperture and overall build quality.

In other words, it’s the best replacement for all of your 70-300mm and 100-400mm DSLR lenses, with incredible sharpness and delightful portability, however, it’s definitely not a flagship pro tool overall.

It performs exceptionally well for any type of action, of course, even when using the 400mm end and the f/8 aperture. Focus is snappy and images are tack-sharp!

As I mentioned, I’m happy with the compromise of f/8, as opposed to a lot of other 300mm and 400mm-reaching zooms that are f/4-5.6. It’s frustrating at times to need ISO 1600 or even 3200 to shoot in relatively decent light, but it never ruined a shot for me. Overall, I’m really glad that Canon is making such lightweight, compact full-frame alternatives to their more exotic glass.

Wildlife Photography

For some photographers, wildlife photography may involve more low-light photography conditions than regular action sports. Your favorite wildlife may be most active at either sunrise or sunset! For others, mid-day wildlife photography might be all you ever do.

With that caveat in mind, I think the Canon RF 100-400mm is a perfect wildlife photography lens for both the casual beginner and serious hobbyist.  This lens will be especially attractive to those who want to pack light and not lug around the large, heavy, pricey Canon RF L option, the 100-500mm f/4.5-7.1.

Also, if you are a casual photographer who is mostly going to share images on a 4K display, and/or only make small prints, then cropping to 500mm or even 600mm equivalent is very easy on a camera like the Canon EOS R5, which leaves you with a respectable ~18 megapixels when cropping to 1.6x.

Landscape Photography

For those who find themselves mostly stopping down to f/8 or f/11 anyways, this lens definitely becomes even more attractive! With such incredible sharpness corner-to-corner at all focal lengths, you won’t be disappointed. The farther you are hiking to get your landscape photos, the more your back/shoulders/neck will really thank you, too.

Landscape photographers in particular may sometimes scoff at Canon’s non-L lenses, because they prefer the durable (metal, weather-sealed) options, but Canon’s RF-mount lenses all seem to be very durably made, in my experience. I wouldn’t hesitate to take this lens out in a rain or snow storm, though maybe not for hours on end.

Wedding & Portrait Photography

Now, we get to the types of photography where I have to say, if you’re thinking about using the Canon RF 100-400mm for this, you might want to think twice. First of all, being “suck” at f/5.6-8 is a bit limiting for low-light photography outdoors, and almost unusable for natural light photography indoors.

I would say that bokeh is also limited, but, honestly, it’s quite smooth with this lens. Especially at 200-400mm, you just don’t need a fast aperture to “kill” a background.

Personally? I would instead recommend checking out the Canon RF 70-200mm f/4 L IS (pictured above) if you’re more of a casual portrait photographer who maybe does the occasional wedding. If you do weddings full-time, of course, the only telephoto zoom I can recommend is the Canon RF 70-200mm f/2.8 L IS.

If either of those lenses is out of your price range, there are innumerable 70-200mm options for EF that can be adapted.

Candid & Street Photography

The previous advice applies to almost all other categories of photography, from everyday casual imagery to high-end editorial, real estate, and other types of work that just don’t usually require the telephoto zoom range from 200mm to 400mm.

You’re much better off with the faster, more compact, (without the hood) Canon RF 70-200mm f/4 L IS. It’s a lot more expensive at $1,800 instead of a mere $650, indeed, but it’s worth it to be able to achieve f/4 at 200mm.

Of course, “rules” are meant to be broken. All types of photography, including portraits and candids, get really interesting at 200-400mm. Personally, I’d just rather be pointing such a lens at birds or other wildlife!

Canon RF 100-400mm Review | Pros & Cons

Since this lens is not a Canon L lens, and since it costs over $2,000 less than its closest L sibling, I wouldn’t blame you for being skeptical at first glance. Surely this is an all-around mediocre lens, right? Well, aside from the slow aperture, (and a few other small caveats that I’ll get into now) …that sentiment couldn’t be further from the truth.

Image Quality

First of all, the image quality with the Canon RF 100-400mm f/5.6-8 IS USM is excellent. Sharpness is stunning, even wide open, throughout the entire zoom range. I suspect that this is yet another Canon RF lens that easily out-resolves the 30-45 megapixel sensors, and is ready for 60+ megapixels.

Bokeh, contrast & colors, and other more subjective aspects of image quality are also very pleasing to my eye. Remember, bokeh is not directly related to the aperture size alone, it can be softer or more “harsh” depending on the design of the optics.

I did find that bokeh is a little “busy” when working in the nastiest conditions, that is, twigs in harsh sun with both foreground and background elements. However, in most conditions, bokeh is buttery-smooth. Oh, and did I mention how ridiculously sharp this thing is?

What about vignetting and distortion? Honestly, even with Canon’s correction profiles turned off, I found both to be rather minimal. This is to be expected from a telephoto lens with such a slow aperture, I guess. Vignetting and distortion are bigger problems with fast-aperture, wide-angle lenses.

The most subtle aspects of image quality, such as flare, sunstars, and aberrations, are all about average or better. Again, Canon’s optical engineers must be loving the modern technology they have access to now, with such lightweight, compact lenses being so free of aberrations!

Honestly, the only time I ever had problems with the image quality was, of course, when I “accidentally” took pictures of active subjects at ISO 100, and got blurry images. Bumping up to ISO 400 or 800 solves this problem, though.

Design & Durability

Physically, this lens has a metal mount, but it feels like most of the rest of the lens barrel is “high-grade” plastic. I honestly like high-grade plastic, whatever that is, because in my long-term experience with many lenses, good quality plastic is excellent at absorbing lots of bumps and dings, while maintaining optical glass integrity.

No, this lens is not weather-sealed, however, I’m more than confident in its ability to survive a decent amount of abuse, both from the elements of mother nature and from (clumsy) me.

Ergonomics & Portability

Good luck finding another full-frame telephoto zoom that reaches 400mm in such a compact, lightweight package! If any do exist that I am forgetting, I bet they are nowhere near as sharp as this, either.

Whether you’re hiking up mountains or spending the afternoon photographing your kid’s baseball game, you’re going to love how little space this lens takes up in your bag, and how light it feels on your back and/or around your neck.

Autofocus Performance

For such a slow aperture, and for such an affordable lens in general, I’d expect poor autofocus performance. Maybe due to Canon skimping out on a powerful AF motor, or maybe just because the light levels reaching the sensor are restricted.

This is definitely not the case with this lens! The nano-USM linear motor is not just virtually silent, (great for video!) it is also both fast and precise. On the Canon EOS R5, I did not detect any AF performance loss when compared to using Canon’s L telephoto lenses.

Manual Focus Performance

Another area where more affordable lenses can suffer is the precision of their (electronic) manual focus. This is also not the case with the Canon RF 100-400mm; it is just as smooth and easy to focus manually like any other Canon RF lens.

I should mention that Canon’s manual focus is my favorite of all current-generation mirrorless systems; it just seems to be the easiest when it comes to nailing focus perfectly.

Features & Customizations

Here is where we get to all of the other little complaints that I have about this lens. They’re minor, but they’re annoyances that I’d like to address.

First of all, as with most or all of Canon’s non-L lenses, there is no hood included. If you want the hood that Canon recommends, it is a $55 (discounted to $45) accessory, which seems a bit excessive. I haven’t held the Canon ET-74B, but I will admit that it does look like a good quality hood. Honestly, I would rather just have a simple one-piece plastic hood, included with the lens! I’m sure you can find a generic one online for cheap.

I will admit that I’m glad this lens does offer a few other features/customizations, such as the command ring which you can program just like any of the command dials on the camera body. I find this to be very useful! Too many budget-friendly mirrorless lenses these days are completely omitting all physical switches.

There are also physical switches for AF/MF, IS stabilization, and to lock the zoom at 100mm so it doesn’t “creep”. These are all very useful! Virtually all of Canon’s lenses lack a custom function button, by the way, including their L-class 70-200mm’s, so I can’t complain about that omission here.

Some folks may want to complain about the fact that the lens extends when zooming, however, I find this to be a non-issue for me. The weight and balance of the lens are relatively insignificant as far as telephoto lenses go! The durability is fine, too.

Others may worry that this lens has no tripod collar. In this case, there isn’t even the option to add one as an accessory, I think. Again, I found this to be a non-issue because of how lightweight the lens is. Use a sturdy Arca-Swiss format tripod foot that fits your camera body well, and you’ll be fine!

Value

Priced at about $650, the value is undeniable. Most DSLR 100-400mm lenses are either a bit more expensive and not as perfectly sharp, (such as the Tamron and Sigma 100-400mm’s, which are both $800) …or they are much more expensive and truly hefty, like the Canon EF 100-400mm Mk2, which runs a whopping $2,400.

Even the (best of the bunch, there’s a variety of versions) Canon EF 70-300mm costs about $600,

Canon RF 100-400mm Review | Compared To The Competition

For Canon’s RF mount, natively, there are not many alternatives to reaching 400mm. You have the impressive Canon RF 100-500mm f/4.5-7.1 L IS, which is nearly 4.5 times more expensive at almost $2,900. Oh, and it weighs more than twice as much, too.

If you think $2,900 is a lot, keep in mind that the Canon RF 400mm f/2.8 L IS will cost you dearly at about $12,700.

Other than that, what about relatively affordable alternatives? If you’d rather have the Canon L build quality, you might be thinking of the Canon RF 70-200mm f/4 L, which is tiny and offers a constant f/4 aperture but costs about $1,800. That’s a huge leap, but the build quality and the constant f/4 aperture are impressive. If you add a Canon 2X teleconverter, you’d reach 400mm (and be at f/8) by the way.

(EDIT: Thank you to Timothy for commenting to remind me that, unfortunately, neither of Canon’s RF 70-200mm L’s is compatible with their current RF teleconverters!)

If you’re looking for something truly affordable and portable but with a good telephoto zoom range, you might consider the Canon RF 24-240mm, as it’s one of the best all-around travel, landscape, and even wildlife/action sports lenses that I have ever reviewed. (Autofocus performance is a bit unreliable at 240mm, however.)

Personally? My recommendation is, if you’re not getting this lens, then the only reason should be that you already own either the Tamron or Sigma 100-400mm for Canon EF, and you’re happy with their performance. However, since both lenses cost  $50 more than this native Canon RF lens, I can’t recommend them as alternatives to buy. They may have a slightly faster aperture, but the native mount will still offer better autofocus performance.

Canon RF Versus Sony E, Nikon Z, Panasonic/Sigma/Leica L

If you’re on the Nikon Z mount, the Sony E-mount, or the Panasonic/Sigma/Leica L mount, I’m going to cover these really quick: Panasonic’s 70-300mm is excellent at $950, however, their bodies’ AF system probably can’t Match Canon’s for high-speed subject tracking. Of course, Sony has the best AF tracking around, but their native 100-400mm is a whopping $2,500. (You’ll want to check out the Sigma 100-400mm DG DN for Sony; it’s $900-950.) Nikon Z-mount users only have one option, the Nikkor Z 100-400mm f/4.5-5.6, and it costs nearly $2,700. (Nikon FTZ adapter users, you again have some decently affordable choices from Tamron and Sigma.)

The bottom line is this: there isn’t any direct competition to the Canon RF 100-400mm f/5.6-8. There are some excellent EF-mount DSLR options, but they’re all a bit bigger, heavier, possibly not as sharp, but maybe a bit faster.

Canon RF 100-400mm Review | Conclusion

Clearly, it wouldn’t be an overstatement to call this lens unrivaled and unprecedented. Simply based on the image quality and portability alone, other lenses just aren’t in the same category. Considering the price, you’ll find the Canon RF 100-400mm to be once again incomparable to its alternatives.

So, the only question is, does this overall package sound like what you’re looking for? The most portable, affordable 100-400mm lens on the market? You’ll love this lens, I guarantee it. Bump your ISO up a stop or two, and enjoy!

Check Pricing & Availability

The exact Canon RF 100-400mm price is $649. You can also get a hood for just $15 here. (The $45 Canon one is out of stock anyways!)

If you have any questions or thoughts, please leave a comment below!

In my official Canon R5 review, I’m going to tell you the truth about this camera. How good is it? What do the images look like? Does it overheat? Is it as good as Sony or Nikon? Is it worth the $3,900 investment?

The short answer is, yes, this camera is worth it. Not only is it the best 5-series camera that Canon has ever made, but it’s also a strong competitor to the Nikon and Sony equivalents. Depending on the type of photography you do, your creative style, and what your budget is, however, I may recommend any of these main three competing options. Read on to find out more!

Canon R5 Specifications

• SENSOR: 45 megapixels, CMOS sensor, DIGIC X processor
• LENS MOUNT: Canon RF (full-frame mirrorless)
• STILL IMAGES: 8192 x 5464 pixels .CR3 raw, (lossless) cRAW (lossy compressed)
• VIDEO:
  8K: 8K RAW (8192 x 4320 @ 30p / 1,300 Mbps, MOV, H.265, Linear PCM)
  4K: (4096 x 2160 @ 120p / 1,880 Mbps, MOV, H.265, Linear PCM)
• ISO: 100-51200 (50-102400 expandable HI/LO)
• AUTOFOCUS: 1053-point, Phase-Detect Dual-Pixel on-sensor autofocus
• SHOOTING SPEED (FPS): 20 FPS electronic, 12 FPS mechanical
• SHUTTER SPEEDS: 30 sec to 1/8000 sec, Bulb, 1/200 sec flash sync
• STABILIZATION: IBIS, up to 5 stops
• VIEWFINDER: 5.76 MP EVF, 100% coverage, 0.76x magnification
• LCD: 3.2″ fully articulated TFT touchscreen LCD
• CONNECTIVITY:  USB3.2 (10Gbit, type C) HDMI, Wifi, bluetooth, headphone & microphone jacks
• STORAGE: Dual card slots; CFexpress (CFe) SD (UHS-II)
• BATTERY: LP-E6NH, USB-PD chargeable (high-speed in-camera charging)
• BODY CONSTRUCTION: Metal alloy, fully weather-sealed
• SIZE: 138 x 98 x 88 mm (5.43 x 3.84 x 3.46 in.)
• WEIGHT: 738 g (1.63 lb / 26.03 oz) (with battery)
• PRICE: $3,899 (body only) $4,999 (body w/ RF 24-105mm f/4 L)
  (B&H | Amazon | Adorama | MPB)

Canon EOS R5 VS Canon EOS R6 | Which Is Right For You?

Before we dive into the standard format sections of this review, let’s answer one big question very quickly. The Canon EOS R5 and EOS R6, outwardly, appear to be virtually identical. They also both have very impressive specs, and the only big difference seems to be that the Canon R5 has 45 megapixels, while the Canon R6 has “only” 20 megapixels.

I say “only” in quotes, because, honestly? For most types of photography, 20 megapixels has been plenty for many years now. However, yes, the short answer of which camera to get involves simply asking yourself if you need 45 megapixels. Do you make huge prints, and/or do a lot of cropping? (Or do you do 8K video/time-lapse work?) If you don’t, then you can save more than a thousand dollars by going with the ~$2,500 Canon EOS R6, and enjoy it’s flagship-level autofocus, shooting speed, and respectable 4K video.

There are a few more subtleties, however, which you should be aware of before you jump on one camera or another. At our wedding photography studio, we have actually already had extensive experience with both the R5 and the R6, and we can say unequivocally that the cameras *feel* like they’re operating on different levels. It’s hard to pinpoint exactly what the difference is, but, unfortunately, it seems like the more expensive Canon EOS R5 does, in fact, deliver slightly better autofocus performance, and slightly better overall colors and tones from the sensor.

How is this possible, if the cameras are clearly from the same generation/class in overall technology? You might expect identical “color science”… (Honestly, the word “science” really doesn’t belong here at all, since it’s a totally subjective thing in most photographers’ worlds.) Well, it has to do with the vastly different sensors themselves. Basically, the R5 does have a better sensor in ways besides just the number of pixels. The dynamic range is slightly better in general, and those extra pixels appear to make dual-pixel AF slightly better, too.

Unfortunately, we aren’t able to definitively quantify these differences, because honestly, both cameras are incredible performers, and we only sense subtle differences when we are really pushing the envelope of what is possible in highly demanding conditions such as low-light wedding photojournalism, or dynamic, harsh light wedding portraits. So, if that sounds like you, you might want to save up for the Canon R5 even if you don’t think you need 45 megapixels.

Canon R5 Review | Who Should Buy It?

As the  Canon 5-series camera that has come the closest to $4,000 after 5 generations, this is absolutely a serious investment, a high-performance tool.

Do you really need it? I don’t like to phrase the question like that, but think of it this way: The EOS R6 is an excellent camera for about $2.5K, and who knows, maybe in 6-12 months Canon will announce a Canon EOS RP mk2 for just $1,299, or a Canon EOS R5s with 60-80 megapixels for “just” $3K? Depending on the type of photography you do, the Canon R5 might not be the perfect fit for you, even though it’s a great camera.

You might have enough money to invest in the EOS R5, but as every good photographer will tell you, the lenses are even more important than a camera body! So, unless you already own literally every lens you could possibly want, I will always encourage you NOT to buy “more camera than you need”.

Wedding & Portrait Photography

Simply put, the Canon EOS R5 is the full-frame mirrorless camera that Canon portrait and wedding photographers were waiting for. Unlike the first generation Canon RF-mount camera, the EOS R, the R5 is a professional, flagship-grade camera. The image quality is a huge leap forward for Canon when it comes to challenging lighting conditions, (dynamic range) and the low-light autofocus is highly reliable.

The price tag may be a bit higher than you were used to paying for your Canon EOS 5D IV or 5D III, but this camera is just on a whole different level. The autofocus nails a subject’s eyes, the resolution is perfect for the big portraits you’ll be doing.

Pair the EOS R5 with the Canon EOS R6 as a backup or 2nd camera for extremely active wedding days, and you’ve got a perfect professional kit that you probably won’t need to upgrade for 5+ years!

Landscape & Nightscape Photography

Honestly? At first, I didn’t think the EOS R5 was a “good” landscape or nightscape camera. The 8K video feature just seemed to add unnecessarily to the price tag of the camera, and if I’m going to be photographing landscapes, I care about image quality and rugged durability more than anything else.

Ineed, the image quality is good enough for me to consider this an excellent landscape camera. Also, nature videos in 8K raw will be more popular soon, so the EOS R5 makes a perfectly versatile camera for anyone who is creating content along those lines, whether it is stock photo/video, or time-lapse projects, or just creating epic still images for print.

When you consider the truly excellent lineup of new lenses on the RF mount, namely the lightweight Canon RF  14-35mm f/4 L IS and the Canon RF 15-35mm f/2.8 L IS, both of which offer an unprecedented zoom range for their ultra-wide categories, you begin to see a highly desirable overall package.

Bottom line: sure, there might be a Canon EOS R5s with 60-80 megapixels lurking in shadows, and that might be a better choice for traditional big-print landscape shooters. However, right now, the Canon EOS R5 is by far the best camera Canon has ever made for landscape and nightscape photography.

Action Sports Photography

Is it a substitute for a 1D-style flagship camera? Absolutely not. This camera can hit 20 FPS, yes, but the buffer size/speed, and the slower SD card slot for you dual-slot shooters, dictates that this camera isn’t as much of a speed demon as its spec sheet would have you believe.

Having said that, it is important to note that the R5’s buffer still manages to *crush* the Sony A7R IV, and competes well with the Nikon Z7 II. (Stills photographers are likely seeing this advantage thanks to the throughput requirements of 8K RAW video!) In other words, this wouldn’t be my first choice, but it’s absolutely no slouch either.

Wildlife Photography

Unlike action sports photography where making giant prints is less common, wildlife photography is all about making wall art, and/or having that extra “reach” through cropping. Therefore, having both resolution and speed is a huge advantage here.

So, if you’re looking for a high-megapixel camera that has the speed to keep up with your high-burst shooting, whether it is birds in flight or sprinting mammals on your safari trip,  the Canon R5 is a respectable balance of resolution and speed, though the price is indeed steeper than the same-resolution competitors.

Candid & Street & Everyday Photography

The Canon EOS R5 isn’t just a high-speed, rugged, flagship-grade pro camera. It is also useful for everyday or casual photography of all types. The user interface is simple enough even for amateurs and hobbyists who just want to photograph their lives, and the size and weight of the camera mean that it isn’t too obscenely oversized for everyday work, or moments when you want to be incognito. Of course, it’s still a full-frame camera, and you will still attract attention by flashing it everywhere if you’re looking to keep your photography subjects at ease.

Is The Canon R5 Good Enough To Make Movies?

Last question before we move on! With 8K RAW video, every videographer is probably wondering, “is this camera good enough to make movies with?” The simple answer to this question is, of course, that yes, you can capture extremely high-quality footage with this camera. However, high-end cinema production work will involve a whole array of add-on accessories, which is standard for any movie camera. External hard drive for storage, an external monitor, heck, they even make cooling fans for this camera!

If you’re actually making movies, though, you probably want more than just the bare-bones 8K RAW specification; there are many other important details which, quite frankly, the Canon EOS R5C is much better suited for. In other words, the R5 is a hybrid camera that is made for artists who are doing a little bit of both photo and video.

Stay tuned for a full demo reel of 8K RAW video coming soon!

Canon R5 Review | Pros & Cons

Let’s dive into the advantages and disadvantages of the EOS R5. Indeed, some will be rather objective, while others are definitely subjective. Basically, this is a very well-built camera with image results that match how impressive the spec sheet is. In other words, there’s a lot to praise, and very little to complain about.

Image Quality (Stills)

This is Canon’s best sensor yet! Period. The Canon 5D IV, as well as the Canon 5DsR, just can’t match the all-around image quality of the Canon R5. It delivers extremely low noise at all “reasonable” ISOs, with smooth tones and colors. The impressive dynamic range is (finally) close to the competition from Nikon and Sony, after a decade-plus of lagging far behind!

Dynamic Range & Shadow Noise

At any camera’s lowest native (base) ISO, its sensor’s dynamic range is at its best. There are multiple different highly technical metrics that measure dynamic range, so I will leave that to them.

Here’s a practical way that I use to quickly tell whether or not a camera has “enough” dynamic range for my needs: I crank all the dynamic range sliders to the max! That’s right, Shadows and Blacks get cranked to +100, and Highlights and Whites get cranked to -100. If a (correctly exposed) raw file can withstand such an extreme edit and still show good detail in the highlights and shadows, then what more can you ask for? In my experience, if you can do this, then your camera can handle almost any HDR-type scene with a single exposure.

This is huge for Canon in general because in the past, shadow recovery came to a screeching halt as noise completely overwhelmed all detail and stopped dynamic range from broadening anymore for literally a decade-plus.

High ISO Noise & Dynamic Range

A lot of people don’t know this, but as your ISO increases on a digital sensor, not only does the noise increase, but also, the dynamic range decreases. This has actually been one area where Canon sensors have performed very well; in fact, at ISO 6400 or ISO 12800, you’ll find that the dynamic range of the EOS R5 is quite impressive, as is the overall noise.

Image Quality (Video)

With incredible stills, there is the potential for incredible video results. However, due to the way sensors are read, and scaled down for lower resolution video compared to a sensor’s full-width resolution, there is the potential for mushy video detail. Also, depending on the bitrate and other compression algorithms, there is the potential for poor dynamic range and unpleasant tonal responses. In short, most video is effectively a bunch of JPG frames, so the in-camera processing becomes far more important.

Having said that, the Canon EOS R5 offers 8K RAW video, as you already know. Raw video, if you have the ability to color grade it, will deliver truly gorgeous results in terms of colors and dynamic range. Sharpness is also excellent, thanks to both the impressive RF lenses and the way that pixel data is read off the sensor.

4K video is a bit different because you can’t shoot 4K in raw, but you can capture 4K at up to 120p which is a truly impressive frame rate. The quality of the detail and dynamic range at 4K is also impressive, although to get maximum sharpness out of your 4K footage you’ll want to use it in the cropped APSC mode, instead of using pixel-binning to read the full width of the sensor.

Canon R5 Review | The Overheating Non-Issue?

This was a hotly debated issue, no pun intended, the minute the R5 first got into the hands of eager testers. In 8K RAW, or in 4KHQ, you can’t just record until your card fills up or your battery dies. You will inevitably experience a necessary cool-down period, and it will require you to turn the camera completely off. That is, if you are using the camera “un-aided”… (And no, I’m not about to tell you to void your camera’s warranty by hacking the firmware!)

Seriously, though, the 20-40 minute overheat shutdown limitation is pretty normal for a camera that has no active cooling source. We’re in uncharted territory here with 8K RAW on a photography-oriented camera body!

The simple solution? Just use the R5 as a pro filmmaker would! That is, turn off the camera’s own LCD/EVF and use an external display/recorder such as an Atmos. Treat the camera body itself like a “rig” and, believe it or not, the overheating problems will almost completely disappear; you’ll be able to record hours of both 4K HQ and 8K RAW footage. As long as you’re not letting 100-degree sunlight directly hit the back of the camera, probably.

Once again, Canon knows what they’re doing; the 8K RAW was not just a gimmick! They did have to make the camera “foolproof” with the over-protective overheat shutoff requirements, however, you can still consider the R5 to be a viable 8K RAW option, if you are willing to work within its constraints.

Autofocus Performance

Okay, back to the camera itself! Once again, the R5 gets a “best Canon yet” stamp of approval from our team of multiple wedding photographers who have been using multiple EOS R5’s in extremely challenging conditions. (Of course, the Canon EOS R3 is undoubtedly better, but that’s a much newer, $6,500 camera.)

As wedding photographers, we’re clearly not photographing high-speed action such as race cars or runners in a 100m dash. So, we can’t speak to the sheer speed of focus tracking. However, a wedding reception dance floor is still an extremely challenging situation, where even our Canon EOS 5DIV’s would struggle to always nail focus. Unlike Canon’s first-generation cameras, the EOS R and EOS RP, the R5 has highly reliable face and eye detection, which is a good thing because Canon’s RF L lenses are all excellent performers wide open, even the ultra-shallow RF 50mm and 85mm f/1.2 L’s…

Thankfully, the same goes for video autofocus. Canon’s eye/face AF, while recording video, is now highly effective and reliable. Even without face/eye detection, the sensor’s dual-pixel AF system is great at locking onto and tracking any moving subject.

Shooting Speed & Overall Performance

Overall, the Canon EOS R5 is a reliable, smooth-operating camera. Canon’s user interface is preferred by many professionals because it is intuitive and yet highly advanced.

Also, especially compared to all previous generations of mirrorless cameras, the R5 is clearly near the cutting edge in terms of responsiveness, lag times, and speed. The EVF doesn’t have the absolute best refresh rate or resolution, however, the “view” itself is just excellent; you almost feel like you are looking at the real world when you raise the camera to your eye. Once you get used to it, (A modern electronic viewfinder, as opposed to an optical one) most photographers learn to prefer it rather quickly.

Features & Customizations

Again, Canon strikes an excellent balance of fitting features into the camera’s menus and buttons, while making things highly customizable. Unlike a Sony camera, which often ships with multiple buttons that don’t even have a dedicated operation yet, Canon’s ergonomics are intuitive, and when customized, the camera just feels like an extension of your hand.

Design & Durability

Let’s get one thing out of the way: a fully-articulated LCD screen is a professional feature now. This camera is highly durable, with professional weather sealing and a metal frame. Unlike some of the older generation mirrorless cameras, which were highly prone to literally falling apart, the R5 is rugged and built to last. There’s not much else to say besides this: you need to hold one of these things to understand what an excellent balance of portability and durability it offers.

Value

At almost $3,900, I must admit that I hesitate to call this camera an “excellent value”. On the one hand, It’s Canon’s best camera yet in quite a few ways. It out-classes even the 1D series in some ways, and it certainly is a step above the entire 5D-class DSLR generations.

So, it’s no wonder that Canon is charging so much more than their “standard” $3K. But wait! There’s more to the story. Currently, the Canon 5D IV will cost you “just” $2,699, however, if you look back to its MSRP in September 2016 when it was first announced, it was $3,499.

That puts things in perspective. Here’s the truth about “value” when it comes to Canon camera bodies: They first hit shelves at a slight premium, but eventually they come down in price within a year or two.

I would expect the R5 to eventually hit $2,999, or at least ~$3,400, however, even at $3,900 it is a good value if you plan to fully utilize the camera’s amazing sensor. (Oppositely, if you’re never going to make large prints or record 8K video, then it does stop being as much of a wise investment.)

Canon R5 Review | Compared To The Competition

Indeed, the Canon EOS R5 is a truly substantial investment. Simply put, you can get a Nikon Z7 II for “just” $2,996, or you can get a Sony A7R IV for $3,498. Also, if you’re interested in buying a slightly older camera that is almost as good as these current generation options, a used Nikon Z7 or Sony A7R III is probably down closer to $2K.

[Related: Nikon Z7 II Review: The Best Landscape Photography, Again]

[Related: Sony A7R IV Review: Better Autofocus, More Megapixels, Anything Else?]

If all you want is a high-megapixel camera, and you don’t need many bells and whistles like high-speed shooting, or the absolute best autofocus tracking, then you might be tempted to just go for the highest-resolution camera, the Sony A7R IV. If all you want is sheer resolution, then the Sony (and the lenses available for it) will definitely be impressive. If you don’t even need the latest autofocus performance, then even the older ~$2K cameras are an excellent alternative.

There is no denying that the Sony A7R IV has some of the best face/eye autofocus tracking around, with Sony’s Real-Time Tracking winning my heart long ago for low-light wedding photography; I still think it is better than anything the competition has put forth so far.

As a photography camera, pure and simple, the competition is stiff, and I would honestly recommend choosing which camera to buy based on which lenses you already own, or may be interested in buying, especially if you’re willing to consider third-party lenses.

In terms of the Canon lineup, historically, the Canon EOS R5 is worth the upgrade no matter what you’re coming from. (The same goes for Canon RF lenses, by the way!)

Then, last but not least, if you’re interested in 8K video, the R5 is one of the most affordable options available and has virtually no competition unless you are able to spend a lot more money.

Canon R5 Review | Conclusion

All in all, the Canon EOS R5 is one of the best cameras that Canon has ever made, and one of the best cameras on the market today. That is saying a lot, too, because the competition has gotten incredibly strong in recent years.

In this Canon R5 review, you should have clearly seen this camera’s strengths, weaknesses, and what types of photography those factors make it ideal for. What is the bottom line? This: the R5 is a truly impressive camera that lacks very little and performs at a very high level in almost every regard.

For the price, compared to a Canon EOS R6, you do “just” get 8K video and twice the megapixels. If you’re on a tight budget but still love Canon L lenses, the value of the R6, at $2,500, could be better for you.

Or, if you’re shopping around with every FF mirrorless system, you can save a lot of money by considering the Nikon and Sony alternatives. However, the Canon’s performance is (finally!) roughly on par, and the RF lenses are already even more legendary than EF lenses.

In conclusion, I can’t say, “you can’t go wrong, just get the Canon R5!” because you do need to consider all the options. However, if you suspect that the R5 is right for you, I can promise this: you’ll be blown away by its performance and the image results, and you’ll be very happy with your investment.

Check Pricing & Availability

The Canon EOS R5 is available from our trusted retailers; currently, the price for the body alone is $3,899 and the price with the excellent Canon RF 24-105mm f/4 L IS is $4,999.
(B&H | Amazon | Adorama | MPB)

Canon RF 28-70mm Specs

• Focal Length – 28 to 70mm
• Maximum Aperture – f/2
• Lens Mount – Canon RF
• Image Stabilization – No
• Minimum Focus Distance – 1.28′ / 39 cm
• Dimensions – 4.09 x 5.5″ / 103.8 x 139.8 mm
• Length at Maximum Extension – 6.34″ / 161 mm
• Weight – 3.15 lb / 1430 g
• Price – $2999
• Check Most Recent Pricing : B&H | Amazon | Adorama

Canon RF 28-70mm 2.0L Video Review

This is one of the first professional RF lenses to really prove to us what the new RF mount is capable of. What we’re getting are lenses that have brought the glass far closer to the actual sensor.  I’ve been shooting with this lens for several months now, ever since the release of the Canon EOS-R, and I’m pretty much set on removing every other lens from my kit. I’m actually dead serious. In fact, it’s so good that on my last few portrait sessions, 90% of my images were taken solely with this lens. Here are the primary reasons why I fell in love with the Canon RF 28-70.

Canon 28-70 Pros

Design of the Canon 28-70 F2

As with all of the new RF lenses Canon has released to date, the RF 28-70 2.0L is a gorgeous lens to look at and hold. With the same plastic matte black finish as you find on the RF 50 1.2, and the brushed metal attachment ring, you’ll be turning heads every time you whip this lens out of the bag.  Those head turns, however, might just be because this thing is huge. and heavy.  We’ll discuss the size and weight in the “cons” section of this review.

Image Quality of the Canon 28-70 F2

The RF 28-70 2.0L takes beautiful images with great color and excellent handling of barrel distortion at the wider end of the lens. These new RF professional lenses are designed to resolve incredible amounts of detail, I’m talking about 100MP and beyond.

The reason why I disliked the 24-70 so much is that I felt like it lacking in so many areas. I had to use every other component of compositional theory to make my images more interesting because the lens didn’t assist the image. The Canon 28-70, not the same story. There is so much character and depth that can be pulled from each image, regardless of the shallow DOF or not, that can be seen in each capture. The rendition of color and contrast from the RF line of lenses are remarkable. With this lens, you get that nice prime DOF with nice lens vignetting pulling you into your subject.

Sharpness of the RF 28-70 2.0L

On top of that, it’s very sharp. That should be a foreshadow of what Canon has in store for this next generation of cameras because the EOS-R and the EOS-RP can’t fully take advantage of this yet, which means we’ll be seeing some mirrorless megapixels monsters very soon. And to be honest, it’s about time they catch up to their competitors in the mirrorless market.

Wide open, at 2.0 however, you may lose some sharpness. While it’s sharp enough to create beautiful images, pixel peepers will likely find the results a bit softer than expected. However, itt’s very sharp at f/2.8, though, and extremely sharp as you close down.

The first image below is shot at f/2.0 and the second was shot at f/2.8. You can see from the cropped image in both that the image shot at f/2.0 is noticeably softer than the image shot at f/2.8. Am I being nitpicky? Well yes, but that’s my job.

That said, as the first zoom lens in the wide-mid focal range to give us an f/2.0 aperture, Canon should be commended for their innovation. It lets in a full stop more light and gives you a little bit more bokeh to work with than you’ve ever had on a zoom lens in this range before.

Versatility of the Canon 28-70 F2

The focal range of the Canon 28-70 F2 is perfect for most types of photography. At 50-70mm, we get great portraits with incredible prime-like bokeh. 28-35mm provides a great angle of view that’s able to exaggerate depth and perspective. Being able to have this range of looks packed into a single lens means less gear to carry around. Check out this scene I captured with Kiara at 3 different focal lengths: 70mm, 35mm, and 28mm.

Here are the final images edited with Visual Flow’s Pastel Preset Pack.

A wide angle lens is perfect for exaggerating length. By getting down low and angling up, you can make tall things look even taller. Or, by leaning into the camera, the wide angle exaggerates the distance between the camera and the subject.

The 28mm on this lens provides a great angle of view to capture the palm trees in this scene. With the model posing alongside the trees, we get these great shots that capture the Southern California vibe.

Depth of Field of the Canon 28-70 F2

We’re getting a variable lens range at f/2 instead of f/2.8, that alone is something worth celebrating. As a zoom lens that shoots at f/2 w/ a 9 blade aperture, you can accomplish wonderful depth and background whether shooting zoomed or wide. It gives us silky smooth bokeh at a variety of focal lengths, essentially eliminating the need for carrying around multiple prime lenses that fall into this focal length range.

In the last point, I briefly pointed out the incredible bokeh this lens produces. Let’s put it to the test as we capture depth at 70mm. I placed the model underneath a tree with good side light from just outside the shade.

Using the tree as a foreground element, I captured this series of portraits from varying distances. Notice the softness in the bokeh comparable to that of prime lenses when we’re wide open at f/2.

We stopped by another location where I demonstrated the portrait capabilities, but this time, at about 50mm. I used the pillars as a pattern in the foreground and background. With a wide open aperture, we got tack sharp focus on the model as everything else falls into a clean blur.

Bokeh of the Canon 28-70 F2

With an aperture of f/2.0, everyone is naturally going to ask about the bokeh. I’m happy to report that the bokeh on this lens is absolutely spectacular, especially at 70mm, f/2.0. Out of focus elements are creamy and smooth and bokeh balls are nice and round thanks to the rounded 9-blade diaphragm. The Canon RF 28-70 2.0L has hand-down the best bokeh of any wide-mid range lens in its class. That 2.0 aperture really delivers!

Focus Speed of the RF 28-70 2.0L

This Canon 28-70 F2 is also absolute lightning at focusing. When set to infinity, the RF 28-70 2.0L can focus on an object at the nearest focusing distance faster than I’m able to time it. It focuses throughout the full focusing range nearly immediately with very minimal hunting. It’s also whisper quiet. So you won’t have to worry about interrupting a special moment with this lens. No one will ever hear you!

Canon RF 28-70 2.0L Cons

Cost of the RF 28-70 2.0L

You can buy this lens for a whopping $3,000 dollars! Compare that to the 24-70 II equivalent for Canon cameras and you are looking at a ~$1,650 difference. You could almost buy 2 Canon 24-70’s for the price of one Canon 28-70, not to mention third-party equivalents, like Sigma and Tamron, are even cheaper. Combine that with an EOS-R or whichever Canon Mirrorless and you are looking at $5K out the door, that’s nutso! Like any piece of nice glass, if you see this as an investment, then the price tag warrants the use that the lens will get.  If this lens were $2000 I’d recommend it enthusiastically. But at $3000, I think it’s probably a niche product for those who want the absolute best wide-mid zoom lens money can buy.

Heavy Weight of the Canon 28-70 F2

Yes, I’ll say it again. It’s big and heavy. The lens’ dimensions are 4.09 x 5.50″ and it weighs a solid 3.15 lbs. That may not seem that big or heavy, but by comparison, the Canon 24-70 f/2.8L II is 3.48 x 4.45″ and weighs 1.77 lbs. And if you’ve ever used it, you’ll know it’s a big heavy lens in its own right. The RF 28-70 2.0L is over an inch longer, half an inch wider, and DOUBLE the weight. When attached to the front of the EOS R, it feels very front heavy and you almost need two hands on it at all times to keep from dropping it. So is all that extra size and weight worth it?

Lack of Image Stabilization

It still doesn’t have IS, and for $3K, I was expecting it! It would have made the lens so incredible from a cinema and video standpoint and also would have justified the high price tag.

Not Quite Wide Enough (Sometimes)

There are times where I wish so much that the Canon 28-70 F2 could zoom out to 20mm or even just 24mm, where I’m shooting a pano-stitch because 28mm just isn’t quite wide enough. But, I’m sure that would have created other monumental physics problems if it were, still though, that would have made it perfect in my book. I don’t want to have to carry around my 16-35mm just to feel secure to capture those moments when you need a bit more range in focal length.

Conclusion – Should You Buy This Lens?

Is the Canon 28-70 F2 lens worth the cost, size, and weight? That depends who you are. If you own an EOS R and absolutely don’t want to use an adapter, or if you really love using zoom lenses and want the extra stop of light, extra bokeh and you have $3000 in the budget, then I’d recommend this lens to you. It’s probably the best lens in its focal range ever created.

That said, if you use anything other than the EOS R (obviously), or have an EOS R but you want a wide-mid zoom lens that is incredibly sharp while not needing the extra stop of light of the 2.0 aperture, I’d recommend the Canon 24-70 2.8L II instead. It retails for $1699, is much lighter, a little smaller, and takes images that are just as good.

This is a great lens for wedding and landscape photographers who want the versatility of a zoom lens, but also need a fast aperture for shooting in low light or creating portraits with a shallow depth of field. Likewise, sports photographers and photojournalists will love this lens for its quick focusing speed and overall excellent image quality.

On the other hand, if you’re a street photographer or someone who needs to be a bit more inconspicuous when shooting, this probably isn’t the lens for you. Or if you’re a landscape photographer who doesn’t need the low light ability of a f/2.0 aperture, there are cheaper options out there for you.

With so many photographers working on the go, versatility becomes a bigger factor in the gear that we choose. We no longer need 5 different lenses when one can do the job. Pair it with today’s incredible camera bodies and we have a workhorse for any gig or project. Of course, that lens will vary depending on the kind of work that you do. I’m excited to see what lens will come out in the future that may top the Canon RF 28 70 f/2 as my favorite lens. What’s your favorite lens?

How?  Well I no longer use prime lenses within that range.  The 28-70mm f/2L has eliminated the 24mm prime, 35mm prime and 50mm prime from my wedding and engagement shooting kit.  Now, all I need are the following lenses:

• Canon RF 28-70mm f/2L USM Lens
• Canon RF 70-200mm f/2/8L IS USM Lens
• Canon RF 15-35mm f/2.8L IS USM Lens

Moreover, while I have yet to take enough images to get you a precise number, I would estimate that at least 80% of my images are taken on the 28-70mm lens.  The other two are necessary for specific moments and specific looks, but the 28-70 does the majority of the work.  For more information and analysis on this lens, see the article The Canon RF 28 70 F/2 and Why It’s My Favorite Lens.

The original information in the 2017  video and the article still apply if you do not own this particular lens, so we’ve included it below.

Original Video – With a Full Frame Camera (Canon 5D Mark IV)

Original Article – With a Full Frame Camera (Canon 5D Mark IV)

Which lenses should you use throughout a wedding day?

The answer, perhaps surprisingly, has more to do with the specific look and style of imagery you are trying to capture than anything else. Some lenses lend themselves more to journalistic or environmental images while others are more appropriately used to capture traditional portraits. Whatever lenses you decide to pack, it is important to choose the right ones for the job.

You will also want to consider how much weight in gear you want to carry. When covering a 14-hour wedding, the last thing you want to do is lug around gear that you will not really need or use. We suggest taking no more than 3 lenses for a couples portrait session to allow you to move efficiently and think more creatively.

If you don’t already own an arsenal of lenses and are considering which make and model of lens to buy, we recommend buying the best gear that you can afford without burying yourself in debt. As one could probably guess, we have found that high-end lenses deliver consistently sharper images, which saves time and energy in several ways:

• Fewer shots to nail focus
• Lower overall image count
• Less culling time in post

To determine which lenses we use most, we looked at over 10,000 of our very own wedding day couples portraits and this is what we discovered:

Our top 3 lenses for wedding day coverage

35mm Prime: 28% of 10,000 images

Though it is a prime lens, the 35mm is great for a wide range of shots, from wide landscapes to medium portraits. Be careful, however, not to frame subjects toward the edge, especially when closer up, to avoid distortion.

Purchase our favorites from Canon, Nikon, and Sigma.

50mm Prime: 25% of 10,000 images

The 50mm prime is another great portrait lens that also can be used for wider and closer up portraits, but again, not too close. Like the 35mm, the 50mm lens will also exaggerate facial features and any lines or objects along the edges of the frame.

Purchase our favorites from Canon, Nikon, and Sigma.

24mm Prime: 23% of 10,000 images

This environmental portrait lens works well for wide landscapes. The exaggeration of objects toward the edges of the frame can be used to turn wider images into epic landscape portraits that allow the environment to wrap around the couple, especially when shot with the aperture wide open.

Purchase our favorites from Canon, Nikon, and Sigma.

[REWIND: HOW WE SHOT IT: USING OFF-CAMERA FLASH IN THE SHOWER]

Our runner-up lenses for wedding day coverage

85mm Prime: 10% of 10,000 images

Also known as a true portrait lens, the 85mm prime offers great compression and background bokeh at wider apertures. You can also stand closer for more intimate portraits because the 85mm does not distort the image along the edges like some of the wider angle lenses.

Purchase our favorites from Canon, Nikon, and Sigma.

70-200mm Telephoto: 8% of 10,000 images

With a great zoom lens comes great versatility. The 200mm focal length works wonders for environmental compression shots, making the background appear much closer than it actually is. Shooting farther away can also be beneficial for taking candid portraits, as the photographer is physically removed from the scene and the zoom and compression still allow the viewer to feel that they are in the moment with the couple.

Purchase our favorites from Canon, Nikon, Sigma, and Tamron.

90mm Tilt-Shift: 4% of 10,000 images

Perhaps more than any other lens, the tilt aspect of the tilt-shift lens literally uses focus to direct the viewer’s attention to the subject. While a shallow depth of field from other lenses with similar focal lengths and apertures also use a limited focal plane to draw focus, the tilt effect further minimizes the sharp areas of the image, and the soft look of the image is perfect for wedding day couples portraits.

Purchase our favorites from Canon and Lensbaby.

This article relates directly to a video from our Photographing the Couple workshop, where you can learn how to pose, light, capture, and post-produce creative and inspiring couples portraits just like those that you see above. Upgrade to SLRL Premium now to enjoy full streaming access to this workshop and many others in our extensive library!

• 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 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.

When I started out in photography, my wife bought me a Canon T3 with a kit lens. While the 18-55mm kit lens that came with my T3 was very versatile and just fine for getting started, I quickly learned that in order to take the kinds of photos I was dreaming of (something with creamy bokeh, great color, and edge to edge sharpness) I’d need some better lenses. In that mindset, I’ll recommend the three prime lenses I think every Canon shooter should buy when starting out. These lenses are great to get that professional feel without breaking your bank!

The Nifty 50 – Canon 50mm 1.8

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

The Canon 50mm 1.8 is often referred to as “the nifty 50” for a good reason. It’s the best lens you can buy for $125, period. On a crop sensor it’s more like an 85mm lens on a full frame camera, but for the money you can’t beat it. It takes beautiful images with plenty of sharpness and enough bokeh to make you feel like a rockstar. The build quality isn’t that great, but you’re getting started so I wouldn’t worry about that at this point. If you’ve never taken photos with a prime lens with a wide aperture before, you’re never going to go back. More light + more bokeh = more fun! When you’re ready to upgrade, the Canon 50 1.4 is only $349 and gives you a little bit more of everything. It’s well built, gives you some extra light and beautiful bokeh.

Pros:

• Nice bokeh
• Great price
• Extra light
• Small
• Light weight

Cons:

• Not as sharp as it could be
• Not as much bokeh as it’s f/1.2 cousin (but you probably don’t need that anyway)
• A little loud when focusing
• Not the best build quality

Check Pricing and Availability Here

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Canon EF-S 35mm f2.8 Macro

The Canon EF-S 35mm 2.8 Macro is designed specifically for crop sensor cameras (which is what you most likely have). While it doesn’t have as wide open an aperture as the 50mm 1.8, it makes up for a lack of light input by providing macro capabilities. Do you like those pictures of bees really close up? That’s macro! With this lens you can get those close detail shots you’ve seen of wedding rings, flowers, or products like watches and jewelry. It also has image stabilization, so if your hands are a bit shaky or you want to shoot at lower shutter speeds, you can do it with this lens. Moreover, this lens falls rights in that middle focal range. You might call this one the goldilocks lens—it’s not too close and not too far. It’s a very versatile lens that you can use in almost any situation from street photography to portraits. While it’s not quite wide enough for most landscape work, or tight enough for headshots, it’s ideal if you’re just starting out and want to practice a little bit of everything. Finally, while it’s not as affordable as the nifty 50, at $299, it’s really reasonable. If the 50mm 1.8 wasn’t such a great lens overall, this is the prime lens that I’d recommend you get first.

Pros:

• Very versatile
• Sharp enough to cut a steak
• Great price
• Macro for close up shots
• Light weight
• Image stabilization

Cons:

• Only 2.8 aperture
• Build quality isn’t great

Check Pricing and Availability Here

Adorama | B&H | Amazon

Canon EF 85mm 1.8

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

The Canon 85 1.8 is one of my all-time favorite lenses. At only $369 this thing is a steal for the quality of the images it produces. It’s so good that I sold my much more expensive 85mm in favor of this one. I love this lens because it’s lightweight, well built for a sub-$400 lens, and takes incredible images with excellent detail and smooth bokeh. If you’re looking to get into portrait work or headshots, you won’t go wrong with this lens. It’s a bit tight on a crop sensor camera (roughly equivalent to a 135mm lens on full frame), but if you’re ready to start taking photos of subjects that are a little farther away, or want to create some mind blowing portraits, this is the lens you’ll want first.

Pros:

• Gorgeous bokeh
• Very sharp!
• Great price
• Good build quality for the price
• Quick auto-focus

Cons:

• “Only” 1.8 aperture.
• There’s not many negatives with this lens for the price.

Check Pricing and Availability Here

Adorama | B&H | Amazon

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.

Best Canon Prime Lenses for Pros

In this article I’ll provide my recommendations for the prime Canon DSLR lenses you should get if you’re a burgeoning professional photographer looking to create incredible photos with the best equipment. I’ll write another article in the future for Canon mirrorless, so if you’re wondering where the Canon RF 50 1.2 lens is in this article, don’t worry. It’ll be in a future article.

Canon EF 50mm 1.2 L

The Canon EF 50mm 1.2 L is one the first professional level prime lenses I bought and I still use it almost every day. One of the “Best Lenses for Wedding Photography,” the lens is actually not as sharp wide open as one might hope. It doesn’t have image stabilization or some other fancy feature. What it does have though is character, lots and lots of character. Wide open, 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. Stopped down to f/4 and beyond and it’s plenty sharp for mid-range portraits, landscapes, or whatever you can think  to use this lens for. One of the best features of this lens is the quality of its lens flare. As you can see in the image below, it creates gorgeous light flares right in camera.

Pros:

• Gorgeous Bokeh
• Character
• Well built
• Quiet Auto-Focus
• Beautiful lens flare
• Small compared to other pro-level prime lenses
• Weather-sealed

Cons:

• A bit too soft at wider apertures
• Auto focus could be faster

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Sigma 35 1.4 DG HSM Art

The Sigma 35 1.4 ART is the best 35mm lens I’ve used. It’s sharp, it takes gorgeous photos (character), and it’s cheap compared to the competition. At $699, its hard to beat this lens even for professional use. It also had very little distortion. So while it’s wide, you can take a portrait with this lens if you need to. You can also put your subject in the outside edges of the frame without them warping. The auto focus on the Sigma 35 is fast and extremely quiet. (While I haven’t used it yet, I’ve heard the new Tamron SP 35 1.4 is pretty incredible. Click here to read our latest review.)

Pros:

• Excellent sharpness
• Lots of character
• Quiet auto focus
• Well built
• Minimal distortion

Cons:

• No weather sealing
• Some people have complained about inconsistent auto focus (I haven’t had an issues)

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Canon EF 85mm 1.2 L II

The Canon 85 1.2 L is one of this most incredible lenses I’ve ever used. If you like bokeh, this lens is the undisputed master of bokeh. I love almost every photo I’ve taken with this lens. It’s plenty sharp wide open. 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, 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

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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.

Video: My Favorite Minimal Camera Setup: Canon RF 28 70 F2 and EOS R5

With all the gear that’s been being released in recent years, it’s hard to get excited about new cameras and lenses. However, I finally came across a camera + lens setup that I can get excited to use every time. It’s the Canon RF 28 70 F2 with the Canon EOS R5. This is a simple and minimal camera setup I can confidently take to any photoshoot. The versatility and quality this combo provides make it the perfect to-go setup for nearly any type of photograph.

Recently, I’ve been using this setup for the vast majority of my photoshoots, due to how much the quality mimics that of a prime lens, despite it being a zoom. The low light capabilities and the high-resolution sensor of the R5 make this easily my favorite camera setup. I’ll elaborate on the following reasons why I love this camera so much:

1. Aesthetics
2. Prime vs. Zoom Comparison
3. High-Resolution Sensor
4. Convenience

The Aesthetics of the Canon RF 28 70 F2

The fact that the quality of this zoom lens is comparable to that of a prime lens is absolutely mind-blowing. Although the lens comes with a high price tag, the image quality it provides is well worth the investment. If I haven’t said it enough already, I’ll say it again. I take this camera with me everywhere.

The Bokeh

Prime lenses are known for the bokeh, AKA, the blur created by the shallow depth of field.

I was blown away when I first photographed with the Canon RF 28 70 F2. With a stunning f/2 aperture, it mimics the aesthetics of a 35mm f/1.4, even with the distance from my subjects.

Prime vs. Zoom Comparison

I teach a framework called “Wide, Medium, Tight.” The idea is to capture a full story of the scene from up close to out far. In the past, I’d have to switch between lenses such as a 24mm to 50mm or a 35mm to 85mm. Now, it’s no longer the case. I can do everything with just the Canon RF 28 70 F2.

I can photograph entire sessions while carrying less gear and get all the shots that I need to get. The versatility and range of this lens are absolutely incredible.

You can also apply this technique to landscapes when there isn’t a single grand image for the scene. With this lens, you can capture a collage of images that tells a story with a variety of images and depths. Photographing this way takes the pressure off of any single image and allows each image to carry the story evenly.

High-Resolution Sensor of the EOS R5

A unique characteristic of this combination is the ability to further than 70mm without needing a different lens. This is thanks to the high-resolution sensor of the Canon EOS R5.

At 45 megapixels, the image size is massive. If I ever need to crop in an image for a tighter frame, I can do so without losing much quality if at all. See the difference above.

The ability to crop in without loss in quality essentially gives us a telephoto lens without a telephoto lens. We can reframe and create a whole image by shooting at 70mm and just cropping out what we need in post.

This isn’t to say that this can or should replace the telephoto lens entirely. It’s not good practice to crop every image down just because the ability to do so is there. Telephoto lenses such as the 70-200mm serve a very specific purpose and I only use them for a small percentage of my images. When I need telephoto images for clients, I’ll most certainly bring the telephoto with me.

The Canon RF 28 70 F2 with the high-resolution body provides an alternative for when I’m on the go. It’s incredibly versatile for when I’m traveling with my family or out with my kids. Without the extra gear, I can quickly and easily get all the images I want. All of this brings me to one final point.

Convenience of the Canon RF 28 70 F2

Let’s face it. We live in the age of convenience. The EOS R5 paired with the Canon RF 28 70 F2 is all about convenience while still retaining quality. Having a setup as versatile as this makes my workflow much easier. I can take less equipment and still get to the vision I had in mind. From engagements to editorials to landscapes, this setup does the job.

Conclusion

I hope you all enjoyed this article/video. With our own distinct styles, we all have our own go-to setups we carry with us everywhere. I encourage you to look for a combination that is efficient while still capable of capturing your vision. With the aesthetics of a prime and function of a zoom, the Canon RF 28 70 F2 with the Canon EOS R5 is that perfect combination in my view. Be sure to give the gear a try and see what your best combination is!

Don’t miss our next episode of Mastering Your Craft on Adorama’s YouTube channel next week! If you want to catch up on all the episodes, make sure you check out our playlist!