Canon has quietly set a goal: expanding its RF mount lineup to 100 native lenses in the medium term. For the wider industry, it raises the question: can Canon's tightly controlled, first-party lens strategy rival – or even surpass – the open, third ecosystem of Sony and Nikon?

Since the RF mount launched in 2018, Canon has built one of the fastest-growing first-party mirrorless lens ecosystems in the entire industry. With 64 RF lenses already available, Canon signals a sustained, high-speed commitment to the RF system.

The company has focused heavily on optical performance, advanced AF (autofocus) motors, and tight manufacturing tolerances – a strategy that has helped Canon maintain its long-standing leadership in the interchangeable-lens camera market.

Why is this impressive?

The saying "date the camera, marry the lens" still holds true. Camera bodies evolve quickly, but a strong lens ecosystem determines whether photographers and videographers commit to a system long term.

At present, Sony E-mount leads the market in sheer lens numbers, largely due to its open approach to third-party manufacturers such as Sigma, Tamron, and Samyang. Sony shooters have a selection of approx 343 lenses for the E-mount system. Nikon's Z-mount follows a similar path, balancing high-quality first-party lenses with increasing third-party support.

Canon has taken a different route.

Famous for protecting the RF mount, Canon limited third-party access from the beginning. Sigma and Tamron eventually manufactured RF mount lenses through licensing agreements with Canon, but there's limited choice – on purpose.

The RF mount remains largely closed, meaning Canon must build its lens ecosystem in-house. While this presents a challenge, it also gives Canon full control over optical design, AF motor technology, manufacturing precision, and color consistency across the system.

And while Sony and Nikon remain formidable competitors, Canon's combination of AF performance, lens motor innovation, and large-scale manufacturing capability is still widely regarded as industry-leading – particularly for sports, wildlife, and hybrid shooters.

What Canon says

Canon remains confident in its position at the top of the interchangeable-lens camera market. Asobinet shares insights from the Imaging Group Business Briefing in November 2025:

"Since introducing the R system in 2018, we will have a lineup of 64 RF lenses by 2025, eight years later. We will continue to expand at the same pace, aiming to reach 100 lenses in the medium term (...)."

"We have maintained the No. 1 market share for interchangeable lens cameras for 22 consecutive years. We have not been able to weave this history by insisting on maintaining tradition.

"We believe that we have been able to achieve this by sensing the changes of each era, continuing to evolve ourselves, and continuing to evolve our cameras. Change is evolution itself. We will continue to evolve and adapt to the changes of the times."

Canon's RF lineup – and what's missing

Most recently, Canon announced the now-backordered and incredibly popular RF 45mm f/1.2 STM in early November, unveiling it alongside the EOS R6 Mark III. As a non-L, budget-friendly f/1.2 prime, the lens immediately stood out within the RF lineup – not only for its high-speed aperture, but for signaling a shift towards making ultra-bright optics more accessible, as the lens is available for $469.99 / £479.99 / AU$ 699.

Alongside this official release, rumors continue to circulate about one of the most highly anticipated lenses in the RF ecosystem: the Canon RF 35mm f/1.2L. Often referred to as the system's long-awaited "unicorn lens," a 35mm f/1.2 would fill a conspicuous gap in Canon's high-end prime lineup.

Looking ahead, several areas of the RF lineup still appear ripe for expansion. Affordable fast primes such as 24mm or 50mm f/1.4, more compact professional zooms aimed at travel and reportage, and additional cine-photo hybrid lenses are absent.

As Canon pushed toward 100 RF lenses, addressing these gaps won't simply increase the lens count – it will meaningfully round out the system, making the RF system more compelling for a broader range of photographers and filmmakers.

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Browse the best Canon cameras.

The world of landscape photography has a new masterpiece: Lukas Trixl from Austria succeeded at the 12th International Landscape Photographer of the Year awards with his stunning image of New Zealand's Taranaki volcano – captured during a rare 30-minute window when the clouds cleared.

Trixl's photograph titled The Land Before Time is officially the new International Landscape Photograph of the Year 2025. This picture transports us to what feels like a landscape from the age of dinosaurs, with towering greenery and a perfectly reflected volcanic peak reminiscent of a scene from Jurassic Park.

And it wasn't until three years ago that he began pursuing landscape photography seriously. "I spend countless hours developing a better eye for composition (...)," Trixl recalls. He also never entered a competition before, highlighting the significance of this win. The camera Trixl used for the Photograph of the Year was the Canon EOS R5, combined with the Canon EF 70-200mm f/2.8.

The story behind the still

"On the day we arrived in the Taranaki area, the clouds began to clear, revealing a brief window of opportunity – which, in hindsight, turned out to be the last one due to constant rain over the following days.

"We quickly dropped our luggage at the accommodation and drove straight to our location and there it was: a serene lake surrounded by lush green ferns, with the majestic Taranaki rising from New Zealand's rainforest in the background.

"We had about 30 minutes to shoot before the clouds covered the peak again – those were the most sunning 30 minutes I've ever experienced. For me, the best results came from the 70-200mm lens."

The fleeting nature of the moment, combined with the prehistoric feel of the scene, makes this photograph not just a technical triumph but a journey back in time, evoking a world untouched by humans.

About the ILPOTY Awards

The International Landscape Photographer of the Year awards, now in their 12th year, celebrate the finest examples of contemporary landscape photography. This year, 3,601 entries competed, and the Top 101 photographs were selected to showcase the pinnacle of creativity, technical skill, and storytelling.

Discover the full results in the newly released International Landscape Photographer of the Year 2025 eBook, featuring the Top 101 images, expert commentary, complete scores, and the extended Top 200+ online gallery. The ebook is available now on the official ILPOTY website.

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Browse the best cameras for landscape photography, and the best lenses for landscapes.

Looking for competitions to enter? Here are 10 photo contests now open for entries from December to May.

Ever since its inception in 2018, Canon has been fully invested in the RF mount, and it now offers a range of almost 50 RF and RF-S lenses. But as comprehensive as the line-up now is, there are inevitably still some gaps, which ordinarily would be filled by third-party manufacturers like Sigma and Tamron.

However, as it stands, Canon has yet to open up the RF mount to external lens manufacturers, at least for full-frame lenses. Since 2024 Canon has licenced the RF standard for crop-sensor RF-S lenses. This will have been welcome news for owners of cameras such as the EOS R100, R50 and R10, as Canon itself currently produces only 6 native RF-S lenses, and two of those are specialist 3D optics.

In an interview at this year's CP+ with Mr. Tsuyoshi Tokura, Vice President of Canon's camera division, it was asked whether Canon intended to open up the RF mount to external manufacturers of full-frame lenses. In response, Mr. Tokura said: "Right now, I can only say that we are deciding the content of the contract in our business strategy." (translated from the original Japanese)

So while third-party full-frame RF-mount lenses could still be on the cards, Canon seems reluctant to commit to a specific timeframe of when they might appear. It's said that this may be due to there being higher profit margins on the sale of lenses versus camera bodies. It therefore makes sense for Canon to seek to maintain as large a market share on lens sales as possible.

This is in contrast to Nikon and Sony, which have both bolstered their respective mirrorless lens ranges with lenses from third parties. Sony in particular, partly by virtue of the age of the E mount standard, now supplements its own E-mount lenses with an enormous selection of compatible optics from external manufacturers. While this will inevitably steal some lens sales from Sony, it makes the format more attractive to new adopters, which will have a positive impact on Sony camera and accessory sales. It's likely Canon's position as market leader (in terms of camera sales) puts it in a unique position to continue its monopoly of full-frame RF-mount lenses.

Story credit: news.mynavi.jp

Over the years Canon has produced a number of lenses with built-in teleconverters, but so far the RF mount has been left out of Canon's plans. This looks set to change with the first credible rumors of a new Canon RF 200-500mm f/4 lens with a built-in 1.4x converter potentially in the pipeline.

Canon already has two optional RF mount teleconverters, the Extender RF 2x and Extender RF 1.4x, which can be used with the majority of Canon's pro zoom and prime lenses – at the sacrifice of 1 to 2 f-stops. But for professional sports and wildlife photographers, the ease of a built-in converter is hard to beat.

Of course, with an f/4 aperture (likely to be f/5.6 when the 1.4x teleconverter is engaged), the lens is likely to be a lot bigger than Canon's current lineup of telephoto zooms.

And, if the EF version of the Canon EF 100-400mm f/4L IS USM 1.4x Extender was any precedent, it's likely to be a lot more expensive as well. That EF lens cost a cool $11,099, which likely puts a new RF 200-500mm f/4 firmly out of reach for most photographers.

However, Canon already has a couple of great options for wildlife shooters without such deep pockets. The Canon RF 100-500mm f/4.5-7.1L IS USM has a lower aperture, especially when paired with the 1.4x Extender, but at $2,899 is a much more viable option.

If you want to forget all about teleconverters for a second then there is Canon's newest superzoom, the Canon RF 200-800mm f/6.3-9 IS USM for $1,899, which I tested this year and was taken by surprise at just how good the photos were from a lens of this price and zoom range.

Sources place the lens coming out around November 2024, which would also perfectly coincide with the launch of the Canon EOS R1, which despite being announced a few months ago is taking its time getting into stores – and these two would make perfect companions.

Find out more about the best lens for sports or the best lenses for bird photography and wildlife in our guides. Or if you need a camera, check out the best camera for sports photography.

This week saw a whole bunch of camera rumors come to fruition in the form of drones, action cameras and lenses, while Canon got seriously busy on a bunch of different fronts.

First it knocked Sony off the top spots in terms of sales, then it set its sights on DJI with a new take on gimbal cameras. For its part, DJI has its sights set on the HoverAir X1 with its new product. 

Sigma has its sights on Canon, with a new RF lens and a trinity busting pro lens that rivals Canon's groundbreaking 24-105mm f/2.8. 

And GoPro, meanwhile, is hoping that its two new Heroes will save the day. These are the top five stories of the week…

Canon resurrects its DJI-beating gimbal camera

Canon is revisiting its plans to challenge DJI with a handheld gimbal camera, designing a new product that looks eerily reminiscent of the DJI Osmo Pocket 3. 

This is not, however, Canon's first attempt to design such a product. Canon's aspirations to produce a handheld gimbal camera date back to at least 2021, which is when the first patents and designs were spotted. 

Back then, the company was working on a camera that differed in one key way to the Osmo line: rather than having a fixed lens, Canon's initial designs featured an interchangeable lens mount…

Full story:
Canon vs DJI: Canon designs ANOTHER challenger to the Osmo Pocket

DJI's new drone takes on the HoverAir

DJI has just announced the DJI Neo, which might not be much of a surprise to those closely following the rumors but still marks a significant change in style for DJI, the world leader in consumer drones.

I've had access to an early model, and have already completed my first full review of the DJI Neo (though some features aren't quite there).

For many product generations, the company has focused on delivering compact drones that folded up small and – after regulators set a 250g weight limit for unregulated consumer drones – has delivered drones at 249g. Those include some of the best beginner drones and the best camera drones without qualification. Sure, there have been some specialist FPV drones, but these have seemed like outliers…

Full story:
DJI Neo marks a generational change for world's leading drone company

Sigma drops a pair of killer f/2.8 zooms

It's been a big week for professional zoom lenses. Not only did Leica launch a new 70-200mm f/2.8 with 2x teleconverter, Sigma dropped a pair of eagerly anticipated optics – both of which promise to be world-beaters.

First is the full-frame Sigma 28-105mm f/2.8 DG DN | Art lens for E and L-Mount cameras. Yes, a 28-105mm lens with a constant f/2.8 aperture – a direct challenger to the "trinity buster" Canon RF 24-105mm f/2.8L lens. 

Speaking of Canon, Sigma also launched its second lens for the RF mount: the Sigma 10-18mm f/2.8 DC DN | Contemporary for APS-C bodies. This is "the world's smallest and lightest ultra-wide-angle zoom lens for APS-C cameras", offering an equivalent focal range of 16-28.8mm in full frame terms…

Full stories:
Canon RF shooters get a wiiiiiiiiiide angle zoom from Sigma
Sigma 28-105mm F2.8 sets what could be a new standard for standard zoom lenses

Two new Heroes come to GoPro's rescue

If, like me, you have been hoping to save money on an older GoPro model, but are sick of prices stubbornly refusing to come down, then the announcement of a new $199 / £199 GoPro will be music to your ears.

The new model, which is simply named GoPro Hero 13 (currently with no suffix or numeration) takes the classic GoPro formula of a rugged waterproof action camera and makes it more affordable – and even smaller.

Launching alongside the newly-announced GoPro Hero13 Black, will be the fourth model to be called the GoPro Hero. The first-ever GoPro model, launched in 2008 was simply called the Hero. This was followed by similarly named updates in 2010 and 2014. Inevitably, this new version will likely become known as the GoPro Hero (2024), so as to avoid confusion…

Full stories:
GoPro's new budget Hero is its smallest-ever action camera
The new GoPro Hero13 Black puts lenses front and center

Canon topples Sony from the sales charts

In a dramatic turn of events, the Sony ZV-E10 has been usurped by two Canon bodies as Japan's best-selling camera in August. 

In July the ZV-E10 took the top three spots in varying color and lens configurations, and accounted for five of the top twenty best-sellers, according to BCN Retail (which aggregates sales from approximately 50% of Japan’s retailers, which crucially includes major electronics retailers and camera dealers). 

In August however, the tables have very much turned, with the Canon EOS R10 and RF-S 18-150mm lens taking the top spot, up from number four the previous month. The EOS R50 double zoom kit secured the second and third places, in black and white colorways respectively…

Full story:
Move over Sony! Canon is back on top in Japan, with a dramatic sales recovery

You might be interested in the best camera drones, the best zoom lenses, the best GoPro cameras and the best action cameras. 

Rumors of a new Canon RF 70-200mm f/2.8 lens have been flying around for the past several months, with a lot of folks predicting its imminent release. Now, courtesy of Canon Rumors and some deft lens spotters at the Paris 2024 Olympics, we might have just got our first glimpse – but for anyone familiar with the original, this new version may not be what you had in mind.

The original Canon RF 70-200mm f/2.8L IS USM was launched back in 2019 as the R-mount's answer to the legendary EF trinity lens. However, this didn't come without controversy, with the lens being the first of its kind to ditch an internal zoom, and in a highly unusual move, was not compatible with RF teleconverters.

Easy fixes, right? But Canon doesn't seem to be going with a straight Mark II version of the lens; instead, this new 70-200mm spotted in Paris is the latest in Canon's lens lineup to get the hybrid video lens treatment – which looks to be the new norm for Canon's pro lenses. 

Since the RF 24-105mm f/2.8, Canon has launched a hybrid RF 35mm f/1.4 and plans to launch up to three more hybrid prime lenses soon.

So what can we garner from the first glimpse at this new lens? Firstly the zoom is certainly internal, as in the image you can see the lens zoomed past 135mm with no extension. However, this means that the lens also looks pretty huge compared to the current RF version. We don't know for sure that this is an f/2.8 lens; a larger max aperture would mean a bigger lens, and a constant f/1.8 could make this lens a lot more exciting.

I personally had no issue with the collapsing design of the RF 70-200mm, as it makes for a very compact lens when not in use. As a wedding and event photographer, the EF version was my go-to lens and as soon as I swapped to an RF camera I had to have the RF version. The current RF version is hopefully not going anywhere for photographers – I have used the hybrid 24-105mm f/2.8 lens from Canon and its unwieldy size is impractical for photography, so this new version looks to be set to more of an alternate for hybrid shooters.

Secondly, the lens for the first time isn't white! We have a whole explainer on why white lenses are white, which is an interesting read, but it's basically a given that Canon's L-series telephoto lenses are white – for photography, that is. The new all-black design definitely fits more with the usual black videographer lenses.

As for compatibility with teleconverters, we might have to wait until the announcement to get an answer to that question. But hopefully, with the lens being spotted in the wild, we won't have to wait too long to find out more…

For more on all things Canon, check out our guides to the best Canon camera and the best Canon RF lenses.

The Canon RF lens mount has already delivered some unprecedented lenses, but apparently we ain't seen nothing yet; according to a Canon executive, the company is working on "lenses with specifications that have never been seen before and that no one can imagine yet". 

Bold words, but not without precedent. Ever since the format launched, the best Canon RF lenses have included prestige "halo" optics that were simply not possible on any other lens mount. 

The second lens I ever used on the original Canon EOS R, back when it launched in 2018, was the mighty RF 28-70mm f/2L – a lens that no other manufacturer was able to make, either then or since.

How about the RF 600mm f/11 and RF 800mm f/11? While maybe not as exotic, they were still lenses that could only be achieved thanks to the unique properties of the RF mount. 

And then of course, there's the recent RF 24-105mm f/2.8L – a lens thought simply impossible, until Canon made it. And it's this lens that actually prompted the above quote, from one of the Imaging Business Unit staff who developed it. 

The team was interviewed by Japanese railway website Tetsudo.com (spotted by Digital Camera Info) about the groundbreaking lens, when the conversation expanded to what else Canon has in store for the future. 

"Since Canon announced the EOS R system for mirrorless cameras in 2018, we have released about 40 interchangeable lenses," said Kengo Iezuka of the IMG First Division. 

"However, there are still many lenses that have not been released to the world. I can't talk about the specifics, but there are lenses with basic specifications, and lenses with specifications that have never been seen before and that no one can imagine yet. We would like to develop these in a balanced way."

What could some of these never-before-seen lenses be? Well, I know that Canon has been working on autofocus tilt-shift lenses pretty consistently since at least 2021 – and they would definitely fit the bill for starters. 

A lot has been said about Canon's late entry to the mirrorless arena but, while everyone else has largely just made the same lenses that were already available for DSLRs, you can't argue that Canon has constantly broken boundaries with its RF glass. And it looks like this is only the beginning… 

It's not just great mirrorless glass; the best Canon lenses for DSLRs are still top of their class, and great for the best Canon cameras with or without a mirror mechanism.

It’s been an interesting week of revolutionary new technology, scandals and fashionable dumbphones. 

Panasonic has found itself in hot water after confirming that 77 cameras and lenses were marketed using images taken on other cameras. 

Phones have been making the news this week as Samsung announced a new 200MP sensor, and The Light Phone, Inc has released their new dumb phone, and it’s actually pretty cool. 

In other news, the wait is over for lens lovers, as Sigma releases its first ever RF lens for the Canon EOS R system, and getting is geared up for the Olympics, a stunning action shot of a gymnast wins the top at the World Sports Photography Awards 2024. 

The wait is over for Sigma's first Canon RF lens

Six years after the launch of the EOS R system, Sigma has finally released its first Canon RF mount lens: the Sigma 18-50mm f/2.8 DC DN | C. 

While it will physically fit any RF mount camera, the Sigma 18-50mm f/2.8 DC DN | C is specifically an RF-S lens – which means it is designed for EOS R bodies with an APS-C sensor, such as the Canon EOS R7, R10, R50 and R100, though it can be used on full-frame EOS R cameras in crop mode.

The lens has an equivalent focal length of 28.8-80mm and boasts a constant f/2.8 maximum aperture along with weather sealing, which effectively makes this a standard trinity lens – but one that, thanks to its Contemporary designation (the "C" in the name), is as portable as it is powerful.

Read more:
FINALLY! After 6 years of waiting, Sigma releases its first Canon RF lens

Naughty Panasonic...

Panasonic has confirmed that a total of 77 cameras and lenses were marketed on its website using photographs not taken by those products. 

The news comes following the scandal that erupted last month, when it was revealed that images used to promote the Panasonic Lumix S9 were in fact taken on a Nikon D810. This led to social media sleuths finding dozens of examples of Panasonic products being promoted using photographs taken on equipment from Canon, Tamron and others. 

Panasonic issued a discreet apology on its website, admitting that it had used images from stock libraries instead of photos taken on its own cameras. This did not placate consumers, however, nor shareholders – who expressed their anger at Panasonic over this, and another scandal involving fraudulent certifications from a safety organization in the US, demanding the company explain itself more thoroughly. 

Read more:
Panasonic photo scandal: 77 cameras and lenses were marketed with images taken on other equipment

Dumb phones get cool 

As technologically incredible as the best camera phones now are, there's a growing number of users who are getting fed up with how a smart phone can become so interwoven with our existence, demanding attention with its relentless pings, highly curated news and social media algorithms, and resultant data sharing concerns.

The answer to this is a more back-to-basics phone, that retains the core functionality of a mobile/cell phone - the ability to make calls and send text messages - but ditches the apps and extra frills that turn a phone into a technological addiction. A whole industry has developed to produce 'anti smart phones' - or dumbphones as they're often called - and the latest such device to be announced is the Light Phone III.

Read more:
A new dumb phone is on the scene, and it looks pretty darned cool

Samsung release a potentially unbeatable 200MP sensor 

Samsung has announced three new image sensors designed for the primary and supplementary cameras in smartphones: ISOCELL HP9, ISOCELL GNJ and ISOCELL JN5.

The most interesting sensor of the trio is the ISOCELL HP9. It's been designed as a sensor for a telephoto camera module, yet it boasts a huge 200MP resolution. This makes it the world's first 200MP telephoto sensor, with its resolution matching Samsung's ISOCELL HP1, HP2 and HP3 sensors used in numerous primary camera modules.

The new HP9 is also surprisingly large for a telephoto sensor, at 1/1.4-inch, meaning it's exactly the same size as the existing ISOCELL HP3. Consequently, a phone using the HP3 in its primary camera and the HP9 in its telephoto module could generate near-identical image quality across both cameras. At present this is rarely possible, as most telephoto cameras use a sensor that's significantly smaller than that in the neighboring wide-angle camera, resulting in inferior image quality.

Read more:
Samsung has just revolutionized smartphone telephoto cameras

Gear up for the Olympics with stunning sports photos 

Chosen as the victor from over 9,000 submitted images to the 2024 World Sports Photography Awards competition, Belgian photographer Erik T’Kindt has been declared the overall winner, for his image of 22 year old Japanese gymnast Daiki Hashimoto.

The image was taken at the 2023 Artistic Gymnastics World Championships, where Hashimoto won three gold medals. 

The youngest man in history to win all-round champion at the Olympic Games in Tokyo in 2021, Hashimoto is hoping to win a third world title in Paris next month, despite recovering from an injured finger. He told journalists last week: "I think it's looking good, but my finger still isn't 100% so I can't let my guard down.”

Read more:
Stunning action shot of world champion gymnast scoops top prize at World Sports Photography Awards 2024

Check out our guides to the best dumb phones, the best Canon RF lenses, and the best camera phones. 

Canon makes some pretty compelling APS-C cameras. The only problem is, it doesn't make any compelling lenses for them. But why? 

I recommend the Canon EOS R7 to people all the time, because it's an absolute powerhouse of a camera. But when they ask me what glass to get for it, I invariably have to recommend the oversized Canon RF lenses designed for full-frame cameras, because its APS-C optics are so utilitarian. 

And up until April, Canon's own lenses were your only choice if you wanted autofocus. But now the floodgates are open, and Sigma is making lenses for the RF mount (albeit, for now at least, only RF-S lenses). 

Having just dropped the brilliant Sigma 18-50mm f/2.8 RF-S lens, the company is about to launch five more Canon lenses this year – including four super-fast f/1.4 primes. 

And that's when it dawned on me: why would Canon bother making killer APS-C lenses for its RF mount when Sigma is more than happy do the job instead? 

Work smarter

Populating a new lens ecosystem is hard work. So, by letting Sigma do all the work when it comes to making APS-C lenses, Canon is working smarter – not harder. 

It's a marriage of convenience. Canon can focus on lenses like the RF 24-105mm f/2.8 and RF 28-70mm f/2 – the kind of optics that were previously unheard of, and are only possible thanks to the unique properties of the RF mount. 

Because let's face it; when Canon's engineers were designing the RF mount and conjuring up dream lenses, they were thinking of full-frame. They were thinking of the RF 85mm f/1.2L Defocus Smoothing lens, and the RF 800mm f/11 super telephoto.

But trinity zooms and f/1.4 primes for APS-C sensors? Those weren't Canon's dreams for the RF mount. However, they're very much the kinds of dreams that Sigma has. 

The dream is alive

The best part is, Sigma didn't even have to dream these lenses up for the RF mount – it has already made them. And now they're coming to Canon's APS-C cameras:

• Sigma 10-18mm f/2.8 DC DN | Contemporary
• Sigma 16mm f/1.4 DC DN | Contemporary
• Sigma 23mm f/1.4 DC DN | Contemporary
• Sigma 30mm f/1.4 DC DN | Contemporary
• Sigma 56mm f/1.4 DC DN | Contemporary

Think about it: with Sigma bringing all these lenses to RF-S, what else is actually necessary for Canon to make? It already produces the essentials – the kit lenses and compact workaday optics like the Canon RF-S 18-45mm and RF-S 55-210mm.

We've seen this before with the company's attitude to Canon EF-M lenses; it made a bunch of kit lenses to sell cameras (and, admittedly, made a couple of fast primes as well), but pretty much left everything else to third parties. 

Whether you think it's smart, cynical or just plain lazy, it's a playbook that works just fine for Canon. And, if the RF-S 18-50mm Contemporary is anything to go by, it's going to work just fine for Sigma and consumers as well. 

Do you have an APS-C Canon camera? Take a look at the best lenses for Canon EOS R7 and best lenses for Canon EOS R10, along with the best lenses for Canon EOS R100 and best lenses for Canon EOS R50.

Six years after the launch of the EOS R system, Sigma has finally released its first Canon RF mount lens: the Sigma 18-50mm f/2.8 DC DN | C. 

While it will physically fit any RF mount camera, the Sigma 18-50mm f/2.8 DC DN | C is specifically an RF-S lens – which means it is designed for EOS R bodies with an APS-C sensor, such as the Canon EOS R7, R10, R50 and R100, though it can be used on full-frame EOS R cameras in crop mode.

The lens has an equivalent focal length of 28.8-80mm and boasts a constant f/2.8 maximum aperture along with weather sealing, which effectively makes this a standard trinity lens – but one that, thanks to its Contemporary designation (the "C" in the name), is as portable as it is powerful.

Weighing only 300g and measuring just 69.2 x 74.5mm at the wide end (though it does extend as you move to the tele end), this unbelievably small optic pairs perfectly with compact bodies like the EOS R100 – which is one of the cameras I used for my Sigma 18-50mm f/2.8 DC DN | C review. 

It should be noted that this is not a lens designed exclusively for the RF mount, but is an existing lens that has been available since 2022 for Sony E, Fujifilm X and L-Mount cameras. 

As such it carries broadly the same specifications and optical formula, with 10 groups consisting of 13 elements including a super-low dispersion lens and a trio of aspherical lenses. 

That means it also inherits some of the existing optical foibles, such as fringing, uninspiring corner sharpness and pretty profound distortion (though the latter is corrected in-camera). 

Still, like its forebears, I found it one of the best APS-C lenses I've had the pleasure of using. "Sigma's debut on the Canon RF mount is a triumph," I wrote in my review. 

"Super light yet super fast, pint-sized yet power-packed, I keep coming back to the same key selling point: this is a standard trinity lens that fits in your pocket. What's not to love about it?"

The Sigma 18-50mm f/2.8 DC DN | C for Canon RF goes on sale July 11, priced £479 in the UK (US and Australian pricing to follow). 

Take a look at the best Canon RF lenses, along with some of the best standard zoom lenses currently on the market.

As we hurtle towards Amazon Prime Day on a yet-to-be-confirmed date in July, brands are pulling out the big guns, with new releases galore, and even a few world firsts. 

Sigma has just launched the world’s first-ever full-frame f/1.8 zoom lens, while in another industry first, Canon has released its EOS C400, with a newly developed image sensor with triple-base ISO. 

This is Canon’s first full-frame RF mount cine camera, offering 12-bit 6K 60p, triple-base ISO, Dual Pixel CMOS Autofocus II and support for 180° VR video.

In another first, Panasonic has announced the Lumix GH7, with phase-detection autofocus and potentially game-changing 32-bit float recording.

In an interesting twist, laptop manufacturer Acer has created a groundbreaking camera leading the way in stereoscopic 3D imaging. The new camera can livestream 3D video, and it's specifically designed for photographers!

Let’s get into this week's most exciting top news stories…

Sigma launches world-first full-frame f/1.8 zoom

Sigma has just revealed a ground-breaking, world-first lens: the Sigma 28-45mm f/1.8 DG DN Art, which is the first full-frame zoom lens with a constant f/1.8 aperture, for E and L-Mount. 

This is exactly the kind of optic that the mirrorless revolution promised us: with larger throats and reduced distance between lens and sensor, lenses that were previously impossible are now achievable. 

Leave it to Sigma, the self-confessed "guinea pig of the lens industry", to deliver the 28-45mm f/1.8, which sets new standards for what we can expect of zoom lenses. Previously, the family of f/2.8 professional zooms (15-35mm, 24-70mm and 70-200mm) were considered the "holy Trinity" because of their speed and coverage…

Read more:
Trinity lenses? Pfft – this world-first f/1.8 zoom is the New Testament

Canon releases the first ever TRIPLE-base ISO sensor

In a first for the industry, Canon's latest camera – the Canon EOS C400 – features a newly developed image sensor with triple-base ISO. Yes, triple. 

Canon has leapfrogged the current dual-base ISO technology, which has become standard in many video-oriented cameras. This enables the C400 to shoot with a trio of native sensitivities – ISO800, ISO3200 and ISO12,800 – to offer an unprecedented spectrum of dynamic range. 

Simply put, this is huge...

Read more:
Canon gets oversensitive with first ever TRIPLE-base ISO camera

Canon's first full-frame RF cinema camera is here

Canon has just dropped a bombshell on the world of cinema cameras with the Canon EOS C400 – its first full-frame RF mount cine camera, offering 12-bit 6K 60p, triple-base ISO (yes, really), Dual Pixel CMOS Autofocus II and support for 180° VR video.

Fascinatingly, the Canon EOS C400 was first rumored a decade ago as a new model to sit alongside the C300 Mark III and C500 Mark II. While it technically sits below the C500 series, its specs are definitely streaks ahead of its older brother.

The EOS C400 features a newly developed, back-side illuminated, full-frame 6K sensor. It's capable of RAW recording up to 6K 60p, 4K 120fps and 2K 180fps in Canon's 12-bit Cinema RAW Light format...

Read more:
WHOA! Canon's new camera is nothing short of a mic drop

Panasonic launches the long-awaited Lumix GH7

When Panasonic launched the Lumix GH6 just over two years ago, the reception was pretty overwhelmingly positive, with it quickly racking up accolades as one of the best video cameras for independent filmmakers. In our review, we gave the camera the full five stars, saying “the GH6 holds its own with cameras almost twice its price in terms of functionality and image quality and excels beyond the competition”. 

The only major complaint of the camera was its outdated contrast-detect autofocus system, but since then Panasonic has answered its critics with its much-improved phase detect auto-focus (PDAF) in the Lumix S5 II and Lumix G9 II – now PDAF is coming to the GH series with the launch of the new Panasonic Lumix GH7.

On the surface you’d be forgiven for thinking not much has changed with the Lumix GH7, as the camera shares the same body as the previous GH6 model, and as the old adage goes, if it aint broke don't fix it…

Read more:
Panasonic’s best video camera enters a new phase with the Lumix GH7

Acer reveals new stereoscopic 3D camera

The Acer SpatialLabs Eyes Stereo Camera is a new camera with two lenses positioned apart, just like eyes, to capture a stereoscopic 3D image.

The device is a straightforward 'box' design, with two eight-megapixel cameras, a weatherproof design, EIS, and a 'manual mode'.

It is designed to provide 'eyes' to Acer's existing range of 3D products – monitors and laptops which have 3D displays which don't need glasses.

Acer's SpatialLabs tech relies on a lenticular monitor, but the technology has moved on a long way from the ridged screens over static images you might remember from years ago (or the Nintendo 3DS).

Read more:
Acer's new camera can livestream 3D video and it's designed for photographers!

Check out our guides to the best cinema cameras. We've also put together a guide to the best Canon cameras, and the best Canon RF lenses on the market. 

Canon has just dropped a bombshell on the world of cinema cameras with the Canon EOS C400 – its first full-frame RF mount cine camera, offering 12-bit 6K 60p, triple-base ISO (yes, really), Dual Pixel CMOS Autofocus II and support for 180° VR video.

Fascinatingly, the Canon EOS C400 was first rumored a decade ago as a new model to sit alongside the C300 Mark III and C500 Mark II. While it technically sits below the C500 series, its specs are definitely streaks ahead of its older brother. 

Canon EOS C400 specs

The EOS C400 features a newly developed, back-side illuminated, full-frame 6K sensor. It's capable of RAW recording up to 6K 60p, 4K 120fps and 2K 180fps in Canon's 12-bit Cinema RAW Light format. 

It also offers Canon's own XF-AVC codec for uncropped 10-bit 4:2:2 capture up to 120p, oversampled from 6K, along with two new codecs: XF-AVC S and XF-HEVC S (with an "easy-to-manage naming system and folder structure, while recording in the familiar MP4 format and preserving metadata").

Recording options aside, arguably the sensor's most amazing trick is the introduction of triple-base ISO – leapfrogging the conventional dual-native ISO technology seen in other video-oriented cameras. 

This enables the C400 to shoot at base ISOs of 800, 3200 and 12800 to offer an incredible dynamic range spectrum. 

With a full-fat CFexpress Type B slot and a standard SD card slot, the C400 enables you to record in RAW to the former while offering sub-recording and proxy options to the latter.

The 12-pin connection offered by the RF mount (the EF mount only had 8 pins) enables the Canon EOS C400 to take full advantage of broadcast and Cine-Servo lenses. 

It also boasts a full-size HDMI port, mini-XLR inputs, DIN connectors (for timecode, genlock and return video), 12G-SDI and 3G-SDI monitor outputs, ethernet connection and a variety of other in and output interfaces.

The camera also features integrated Wi-Fi connectivity along with support for video and audio IP streaming via SRT. Remote control is available via Canon's RC-IP100 or RC-IP1000 controllers, the Canon Multi-Camera Control app or browser remotes. 

All this signifies the company's full weight being thrown behind the RF mount when it comes to cinema cameras, following the baby steps taken by the Super35 EOS C70 and hybrid EOS R5 C. It's a brave but necessary step, moving away from the industry standard EF mount. 

The Canon EOS C400 will be available in September for $7,999 / £7,799 / AU$13,500 . Unlike other Cinema EOS cameras, which have been offered in PL mount, a dedicated PL to RF lens adapter is going to be sold for $1,599 / AU$2,600.

You might be interested in the best Canon cameras across all categories, including some of the best DSLRs and best mirrorless cameras.

If you're a filmmaker who shoots on Canon RF-mount cameras, today is your lucky day: Canon has launched an adapter that enables you to mount Arri PL lenses on your RF body.

For those unaware, the world of cinema cameras and cine lenses is dominated by two mounts: Arri PL and Canon EF, which have become the industry standard for moviemakers across the world.

However, with Canon moving away from the old EF mount and doubling down on its new RF mount, it's important for shooters using the new generation of Cinema EOS cameras like the Canon EOS C400, EOS C70 and EOS R5 C (and, indeed, Red cameras like the Komodo 6K) to be able to natively use PL glass.

While there are already adapters available from third parties, the Canon Mount Adapter PL-RF is the first official product that meets the brief – and, crucially, it is fully compatible with Cooke's i/Technology to enable metadata communication between lenses and the camera body. 

The adapter also fulfills a second purpose for Canon's growing line of RF Cinema EOS products…

As noted, PL and EF are the de facto mounts in the cinema world – so traditionally, Canon has made its cinema cameras available in either PL or EF mount. 

With the move to RF, the clever decision has been made to release the Canon Mount Adapter PL-RF instead of offering cameras like the C400 in a PL configuration – in effect, Trojan horsing the RF mount for anyone upgrading to the latest cameras, and making sure they are part of the RF ecosystem. 

The Canon Mount Adapter PL-RF is set to arrive in September (along with the EOS C400) priced $1,599 / AU$2,600 (UK pricing TBC).

TTartisan has just launched its supertelephoto 500mm f/5.6 in Canon and Nikon lens mounts - ensuring this monster prime is now available for most cameras available.

The TTartisan 500mm f/5.6 was originally announced last year for a full range of mirrorless camera mounts - with options for Sony E-mount, Nikon Z-mount, Canon RF-mount, Fujifilm XF- and GF-mounts, and Leica L-mount cameras. But now the budget-priced full-frame lens is available for the two most popular DSLR camera mounts too.

The manual-focus lens offers a 3.3m minimum focus distance (10.8 feet), an 82mm front filter ring, and a 12-blade aperture diaphragm and weighs around 1600g (57oz). The supertelephoto lens is constructed with eight elements in five groups, including two ED glass elements. The body is made from a metal barrel, and comes supplied with a tripod collar and a lens hood. 

The long focal length makes it appealing to wildlife, action, and astro- photographers - although the lack of autofocus and image stabilization means that it will be better suited to some subjects than others.

The new lens versions are now on sale, retailing for $369 / £409 / AU$675.

Also see our guide to the best 150-600mm lenses, and the best lenses for safari photography 

There was much rejoicing last week when both Sigma and Tamron announced their first ever Canon RF lenses, following an unspoken five-year embargo on third parties launching autofocus lenses for Canon's mirrorless camera system.

However, last week's lenses from Sigma and wide-angle Tamron lens were strictly APS-C (and non-stabilized) – and Canon says that it "can't answer" whether or not third parties are allowed to release full frame lenses for the RF mount. 

Japanese outlet MyNavi contacted Canon Japan directly to find out more. It asked whether the company had licensed Sigma and Tamron to produce any kind of RF lens – such as full frame optics – or whether their agreements limited them specifically to APS-C lenses. 

"Regarding this point, I asked, 'Are there any restrictions in this contract, such as only APS-C compatible lenses that are not equipped with an image stabilization mechanism are allowed?'" wrote the site. "I can't answer," came the reply.

"Finally, I asked damemoto [a Japanese expression essentially meaning 'nothing to lose'] if there is a possibility that a full-frame compatible lens will be released from a third party, but unfortunately there was no comment."

So, reading between the lines, right now Canon RF users won't be getting full frame autofocus lenses from the likes of Sigma and Tamron. 

This is what I suspected, when I wrote my reaction to last week's announcements – though admittedly, I was completely focused on the APS-C aspect and I hadn't even noticed that the lenses didn't feature stabilization. Still, I think it's the lack of full frame lens democratization that's the big story here. 

It's extremely exciting that APS-C EOS R shooters will have the option for third party autofocus lenses – and it expands the range of smaller RF-S glass available for cameras like the Canon EOS R50 and EOS R100 – but keeping full frame lenses locked down is such a curious strategy. 

For a company that just experienced its first Q1 profit drop in four years, I would think that giving customers more reasons to buy into the EOS R system – not less – would be the wisest move to make…

Take a look at the best Canon telephoto lenses, the best Canon portrait lenses, and the best Canon superzoom lenses.

It's about bloody time. 

As an RF user since the original Canon EOS R launched, back in 2018, this is the day I've been waiting for: Canon has taken the shackles off third-party manufacturers producing autofocus RF lenses. And, in doing so, it has taken the shackles off the RF mount as a whole.

In case you missed it, the two biggest third-party brands have just announced their first RF optics: a wide-angle lens from Tamron and no fewer than six lenses from Sigma – all autofocus, all officially sanctioned by Canon. 

Some big questions still remain, but before I get to those – why is this such a big deal, and why has Canon hamstrung third-party glass makers until now? 

Canon VS third-party brands

To be clear, these are not the first third-party lenses for the RF mount – and nor are they the first autofocus lenses for it, either. They are, however, the first autofocus RF lenses that Canon has allowed to remain on the market.

Companies producing manual focus RF lenses has never been an issue. Indeed, some of the best Canon RF lenses are from the likes of Laowa, Lensbaby, Voigtländer and Zhongyi. 

The problems started when third parties started bringing out lenses with autofocus. I first noticed this in June 2021, when Samyang pulled its RF lenses from sale, followed in August 2022 by Viltrox saying, "we have been told by Canon to stop selling all RF mount products". 

The reasoning was never made clear, as nobody ever commented on the record. My assumption is that the legal reason Canon stopped them is because they were reverse-engineering the RF mount's electronics to produce their AF systems, which is a violation of Canon's technology patents. 

As for the actual reason Canon didn't want third parties making AF RF lenses? It's possible that it wanted the entire market of new EOS R investors to itself, or at least wanted to make money from licensing the RF mount to third parties. 

Personally, I suspect it was as much about protecting the integrity of the fledgling EOS R system. Canon's entire future was resting on the performance of its expensive new cameras, particularly when Dual Pixel AF II was introduced. If the performance was compromised by reverse-engineered lenses not using the proper focusing protocols, that would tarnish the reputation of EOS R bodies.

What changed? 

Whatever the reason, Canon threw down the ban hammer and no third parties were allowed to make RF lenses with autofocus. Even the big boys like Sigma and Tamron, when asked as recently as CP+ this year, had no answers for us. 

However, Tsuyoshi Tokura, head honcho of Canon's imaging unit, told Japan's MyNavi that "Canon is communicating with third-party manufacturers regarding RF mount lenses," noting that "There are no restrictions." 

Which brings us to today, where Tamron and Sigma have both announced their first RF lenses complete with autofocus – and complete with the very clear asterisk, "This product is developed, manufactured, and sold under a license agreement with Canon Inc."

So all is good, now, right? 

Well, maybe. Probably. But there is still something very conspicuous about Tamron and Sigma's announcements: they only pertain to RF-S lenses, designed for Canon's APS-C cameras.

For clarity, these RF-S lenses will work on full-frame RF cameras (such as the Canon EOS R5 and R6 Mark II) but since they don't cover the entire sensor they can only be used in crop mode. 

So, is this just a coincidence? Is Tamron simply transplanting its Tamron 11-20mm f/2.8 Di III-A RXD because it's a proven and popular APS-C lens? Is Sigma bringing out six existing APS-C lenses because it's the easiest way to get in on the act? Or is it possible that Canon is only licensing RF-S lenses, and keeping the full-frame RF lens market to itself?

Because if I'm Sigma, and I've just released a 5-star 50mm f/1.2 lens, I probably want my award-winning new lens available for the RF mount. Except that Canon already makes its own, much more expensive 50mm f/1.2 lens – and it probably doesn't want any competition for it.

Time will tell. Maybe I'm making mountains out of molehills. Either way, I'm just happy that we're finally getting RF glass from Tamron and Sigma – and the RF mount just took a major step toward usurping Sony's E mount dominance. 

Take a look at the best Canon cameras, which includes some of the best DSLRs along with the best mirrorless cameras on the market. 

Since the launch of the Canon EOS R system, Canon has been very selective with which third-party lens manufacturers can develop AF lenses for the mount. However, 2024 is set to be a year of change as Sigma will launch 6 RF-mount camera options for APS-C. This will allow photographers to use high-performance Sigma optics natively on a Canon mirrorless camera. 

Sigma has been creating some of the market's best third-party lenses for many years, and its Art, Contemporary, and Sports lines are a favorite among users. They are often chosen over native lenses due to the lower price point. Until now mirrorless Canon users have been missing out on this more affordable option, so it will be welcome news.   

• See our guide to the best Canon RF lenses

The first 6 lenses to feature the RF mount options are the Sigma 18-50mm F2.8 DC DN | Contemporary scheduled to launch in July 2024, and the Sigma 10-18mm F2.8 DC DN | Contemporary, Sigma 30mm F1.4 DC DN | Contemporary, Sigma 16mm F1.4 DC DN | Contemporary, Sigma 56mm F1.4 DC DN | Contemporary, and the Sigma 23mm F1.4 DC DN | Contemporary, the latter 5 are scheduled for Autumn 2024 onwards releases.

In a statement released by Sigma, it states "The AF drive and communication speed have been developed and optimized specifically for Canon RF Mount". It continues to state, "In addition to delivering very fast AF, the lenses also support AF-C, in-camera aberration correction, and in-camera image stabilization. The mount has a rubber seal to help protect the lens in challenging environments".

The lenses that Sigma has chosen are among some of the best Sigma lenses, offering extremely fast and varied focal length options, and will no doubt offer competition to the native Canon equivalents. 

The news that Canon is slowly opening up the RF mount to other AF lenses will be exciting to Canon users, as it provides more price points and creative options. Tamron has also just released a statement announcing the new development of an RF lens, which will also be APS-C.

There is no news as to whether the license agreement between the lens manufacturers and Canon is limited to APS-C, which may be the case, or, it may be that already established APS-C lenses are the quickest to add mount options so we are getting these first.

Either way, this is an exciting time for Canon users, with the first Sigma lens coming this summer!

You may also be interested in our guides to the best Canon cameras, the best Canon RF lenses, and the best budget lenses. 

Since the launch of the Canon EOS R system in 2018, Canon has been extremely restrictive when it comes to the development of third-party autofocus RF lenses. It appears that Canon has just loosened the stranglehold, though, as Tamron has announced the development of its first RF lens – with autofocus – and Sigma is set to follow suit later in the year. 

Tamron has revealed that its first RF lens is in development, and will be the Tamron 11-20mm f/2.8 Di III-A RXD – an ultra-wide-angle RF-S zoom lens designed for Canon's APS-C cameras such as the Canon EOS R7 and Canon EOS R50. 

Tamron's lenses have been increasing in popularity, and it is fast becoming the go-to manufacturer for lightweight third-party lenses at an affordable price. The 11-20mm f/2.8 has been on the market for Sony and Fujifilm for a couple of years, and was rated highly in our review in 2022, so it makes a great option for Tamron's first RF optic.

The decision to develop the new 11-20mm f/2.8 came after receiving "many requests from customers" for an RF-mount Tamron lens. 

The lens is fast, with a maximum constant aperture of f/2.8 across the whole focal range. Tamron states that, for a fast wide-angle zoom, it is "surprisingly compact and lightweight" in design, making it feel well-balanced when attached to a compact APS-C body.

Despite the compact form factor, no corners were cut in terms of optical performance; wide macro shooting is possible at 11mm, with a minimum focusing distance of just 0.15m (5.9in) and a maximum magnification ratio of 1:4.

The lens also has the potential to be a hybrid powerhouse, by incorporating an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that makes shooting extremely quiet.

Tamron has also made a point of highlighting features that enable the user to take the lens into challenging environmental scenarios, such as moisture-resistant construction and fluorine coating.

As the lens is technically still in development, there are no precise specifics on price and launch date. However, we can expect it to be released sometime in 2024.

See our guides for more information on the best Canon cameras, the best APS-C compact cameras, and the best mirrorless cameras. 

Canon’s big white telephoto lenses are widely respected for their quality and performance, I can’t argue with many of the world’s most demanding professional sports and wildlife photographers. The EF-mount range includes some of the best Canon lenses for DSLRs, while the growing range of RF-mount options widens the remit for the best Canon telephoto lenses for both DSLRs and EOS R-series mirrorless cameras.

The RF 400mm F2.8L IS USM is the fastest of Canon’s big guns, coupling a generous super-telephoto focal length with a fast f/2.8 aperture. This gives the double bonus of delivering a tight depth of field when you want it, and fast shutter speeds for freezing movement when you need to, even under dull lighting conditions. But we’ve been here before, as I’ll come to next.

Canon RF 400mm F2.8L IS USM: What's changed?

The short answer to ‘what’s changed’ is very little. Back in 2018, Canon announced new versions of its EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM super-telephoto primes, with a weight loss of about 25% and 20% respectively, plus some performance enhancements. The ‘new’ RF editions of the lenses are essentially the same as the EF versions with a few tweaks. Most notably, an RF mount is built into the back of the lenses, saving the use of a separate EF-EOS R mount adapter, and the RF versions are rewired for EOS R electronics, which have a much faster data transfer rate and can enhance the performance of autofocus and optical image stabilization. The focus distance scales of the EF lenses have been stripped but, apart from these changes, the new RF lenses are fundamentally the same as their EF forebears.

Canon RF 400mm F2.8L IS USM: Specifications

Canon RF 400mm F2.8L IS USM: Price & Availability

There’s no getting away from the fact that this is a very expensive lens, tagged at $11,999 / £13,119 / AU$19,999. Even so, that’s what I’d expect to pay for a lens of this type, quality, and performance and the pricing is actually identical to the older EF-mount version of the lens. Due to the price, it’s not the sort of lens you can expect to buy over the counter at small photographic retailers but is widely available from larger online stores.

Canon RF 400mm F2.8L IS USM: Design & Handling

The design and handling are everything I could hope for in a top-flight, super-telephoto prime lens. The optical path features two fluorite glass elements which reduce the overall weight and enhance optical quality. By way of comparison, the F-mount Nikon AF-S 400mm f/2.8E FL ED VR which also includes two fluorite elements is about a kilogram heavier. However, the newer Z-mount Nikon Z 400mm f/2.8 TC VR S is about the same weight as the Canon, despite also featuring a built-in 1.4x teleconverter which can be engaged or disengaged instantly.

The optical design also includes an SUD (Super Ultra-low Dispersion) element to enhance clarity and minimize color fringing. High-tech Air Sphere Coating and Canon’s more conventional Super Spectra Coating are both utilized to minimize ghosting and flare. Fluorine coatings are applied to the front and rear elements to repel moisture and grease.

Electronic enhancements over the older EF lens include faster RF processing power. There’s a dual ring-type ultrasonic autofocus system for super-speedy AF, and the effectiveness of the optical image stabilizer is boosted from 5 stops to 5.5-stops. Further bonuses include variable speed manual focus and two focus presets.

Onboard controls are identical to those of the EF lens. There’s a triple-mode image stabilizer switch for static and panning shots, as well as a third option which only applied stabilization during exposures. This makes it easier to track erratically moving subjects. Focus preset comes with an optional beep.

You can set two preset focus distances and swap between them using the ‘Playback ring’ You can also use this ring for the motorized ‘Power focus’ mode, with the option of three different speeds available via a switch, which is handy when shooting video. Focus mode and focus range limiter switches are fitted at the rear. Towards the front is a rank of customizable function buttons positioned around the circumference of the lens, typically used for AF-hold.

The most obvious difference in the RF lens compared with the EF model is that it adds a native EOS R mount. About an inch long and finished in brushed metal, it sticks out rather like a saw thumb, as the rest of the lens is coated with a white ‘heat shield’ finish. Just forward of the RF mount section is a 52mm drop-in filter holder, as in the EF lens. As I’d expect, the lens is extensively weather-sealed, and it’s supplied with exactly the same ET-155 (WIII) lens hood and LS400 lens case as the EF version.

Canon RF 400mm F2.8L IS USM: Photo Performance

Although the two fluorite elements save weight and enable a better center of gravity, the lens is still a hefty beast, at just under 2,890g (6.37lbs). Even so, I found short periods of handheld shooting perfectly viable, for which the 5.5-stop image stabilizer lives up to its billing. Autofocus is very fast, snapping onto subjects almost instantly and making the most of the advanced tracking facilities in recent EOS R-series cameras. I tested this taking photos of my grandkids and cat at play in the garden.

Naturally, if you’re going to spend the big bucks on a super-telephoto lens with a fast aperture of f/2.8, image quality is paramount when shooting wide-open. I found the lens was really impressive at f/2.8, delivering superb sharpness and contrast, along with really smooth bokeh. Performance remained excellent when I tested the lens with Canon’s Extender RF 1.4x and Extender RF 2x teleconverters, adding yet more telephoto power and versatility.

Canon RF 400mm F2.8L IS USM: Sample Images

Canon RF 400mm F2.8L IS USM: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Levels of sharpness are very good, and remarkably consistent across the whole image frame, even when shooting wide-open at f/2.8. They only drop off a little even at f/16, a little more noticeably at f/22, due to the usual problem of diffraction at very narrow apertures.

Fringing:

There’s barely any lateral chromatic aberration to be seen even at the extreme edges and corners of the image frame, throughout the entire aperture range. And that’s with automatic in-camera correction disabled.

Distortion: 0.42

There’s very little pincushion distortion which will generally go unnoticed in ‘real-world’ shooting. As with color fringing, that’s with automatic in-camera correction disabled.

Canon RF 400mm F2.8L IS USM: Verdict

The only thing wrong with this lens is that I can’t afford it. And I’m pretty sure I’m not the only one. Sure, it’s a weighty beast but the handling, image quality and all-round performance are epic. And yes, it tips the scales at just under 3kg but, considering the combination of 400mm super-telephoto length and fast f/2.8 aperture, that’s actually pretty good. I found fairly short stints of handheld shooting entirely viable, for which the 5.5-stop image stabilizer really earns its keep. Bear in mind that the directly competing Nikon F-mount rival to this lens is about a kilogram heavier. So while I can’t afford to buy one, I’d certainly earmark it for hiring when special occasions crop up.

Alternatives

The Canon EOS R5 is a hugely popular and successful mirrorless full-frame that excels in both stills and video shooting. That said, excellent though the EOS R5 is, it’s fair to say that it is arguably better at still capturing than video where its tendency to over-heat compromised its appeal.

Using the Canon EOS R5 as a starting point, Canon has packed it with video features without compromising its stills skills, although it has lost its very effective five-axis in-body image stabilizer. The most obvious physical change is the body’s left side is much deeper to allow the space to install permanent cooling fan and vents which, in theory, means the camera has the ability to shoot 8K video until the battery dies or the media is full without any overheating issues.

The EOS R5 C is the result, making it the smallest, most compact camera in Canon’s Cinema range, which includes the EOS C70 ($5,499 / £4459 body only) at the budget end of the range and the EOS C700 FF and C500 Mark II at the top end. 

In effect, the EOS R5 C is two very powerful cameras in one. For stills, you can enjoy its 45-megapixel output, high ISO performance, exceptional AF skills, and the ability to shoot full-res Raws at 20fps with the electronic shutter. 

Its headline video features include its ability to record 8K video at 30p (60p with a compatible external power supply) with three 12-bit Cinema Raw Light footage options internally but also MP4 for usable out-of-camera footage, XF-AVC with 10-bit 4:2:2 files and oversampled 4K at 120fps. 

Being equipped with the EOS RF mount means the EOS R5 C can accept a growing collection of RF lenses and a massive range of EOS EF and Cinema lenses via an adapter.

Although the EOS R5 C does not have IBIS it does have the same Advanced Five-axis Electronic IS found in the pro Cinema EOS cameras for stable, smooth hand-held footage and this facility is also available with non-stabilized Cinema lenses.

Finally, Canon released a firmware update (v1.0.61) in December 2023 with extra features including compatibility with RF Mount Cinema prime lenses and the recently introduced RF 24-105mm f/2.8. 

Canon EOS R5 C: Specifications

Canon EOS R5 C: Design & Handling

Given the EOS R5 C’s design heritage, it’s no surprise that it handles very similarly to the EOS R5 especially the right side of the body. The magnesium alloy body itself has a robust, reassuring feel and it’s weather-sealed to a pro standard. 

The contoured handgrip provides a secure and positive grip and quick access to all key controls. The three control dials are positive in use and there are no fewer than 13 assignable buttons, which means there is huge potential for setting up the EOS R5 C to your needs. In stills set-up, the number of customizable buttons drops to 12 with number 10 (the record button on the EOS R5) not having any function. It is a bit of a memory test recalling which button does what.

Continuing the tour to the left-side top plate, you can see that the EOS R5 C has a dedicated on/off switch with the option of photo and video. It is clearly marked but a better physical differentiation between the three positions would be a benefit. It was too easy to go straight from video to photo skipping the off position and I did this several times, so this needs watching if you don’t want to arrive on location with a drained battery. A more positive or lockable off setting might be better or greater travel between the three settings.

On the plus side, in Photo mode, the EOS R5 C’s menu and its contents are essentially identical to the EOS R5’s but when you switch over to video shooting, you get Canon’s Cinema EOS menu with its video-oriented workflow. A smaller font and many more options means you have to be a little more deliberate when using the video menu touchscreen, but at least with the two completely different interfaces that have been optimized for the two shooting modes there’s no chance of any confusion, so it makes sense.

The EOS R5 C’s cinematic menu is deep and complex to work through for content creators more familiar working with cameras that are more stills-focused. There are features not found on the EOS R5 including waveform, vectorscope monitors, and false colors.

We’ve already mentioned that the EOS R5 C has a much deeper body on the left side. It’s not especially elegant but it’s there for a good reason and at least we haven’t lost the really useful 3.2in vari-angle touch monitor that swings out for easy viewing from many angles including from the front.  

There are vents on both sides of the fan housing plinth and it seems air is drawn from the right vents and this takes any generated heat from the sensor and expels it through the left-side vents. When running, the fan is audible even at the low setting and it is much more obvious at the high or maximum settings. Fan levels can be set independently in standby and record modes. It did its job well in typical UK winter shooting conditions. 

For internal recording, EOS R5 C has dual card slots, one for CFexpress Type B and the other for UHS-II SD. For this test, I stuck with CFexpress Type B cards, ProGrade Gold, and Sandisk Extreme. 

Power is supplied by a single LP-E6 NH Lithium Ion battery. This provides sufficient energy to access most of the camera’s features, the exception being the ability to shoot 8K at 60p. For that, you need the optional CA-946 with the DR-E6C external power supply or a suitable power bank.

Canon EOS R5 C: Performance

For this test of the EOS R5 C, I used a selection of Canon RF prime and zooms including the RF 24-105mm f/4, 14-35mm f/4, and RF 50mm f1/8. I had also a Canon C N-E 50mm T1.3 L F lens to try on the EOS R5 C via a Canon EF to RF adaptor. The retail price of this lens is $3,950 / £3699. Canon announced a family of seven RF cinema primes last autumn and these are due reach to the shops early in 2024.

As you would expect the camera performed solidly producing fine-quality results. I thought not having IBIS would be an issue particularly when shooting stills but it wasn’t really. Most buyers of the EOS R5 C would probably have the camera on a gimbal or some other support, so it’s probably a non-issue anyway. 

With IS-equipped RF lenses, the camera gives the option of Digital IS, and the two work together for steady shooting for those who want to use it. 

Shooting 8K footage with the EOS R5 C loaded with a fully charged battery and at an ambient room temperature of around 18°C I got a recording time of 55min before the battery finally expired. However, battery capacity out on location when the temperature was around 8°C was less impressive I got about 30 minutes shooting time. 

Shooting on location or an event such as a wedding, you’ll very likely need spares and an option to consider is to buy the BG-R10 Battery Grip (current street price is $349 / £379) that takes two LP-E6 NH cells. 

In-body charging is possible via the camera’s USB-C port and if you have a suitable power bank it can run camera from it. I tried a Charmast 100W/20,000mAh PD power bank with a PD cable and the PD icon appearing on the LCD display and monitor showed that it worked fine. The freshly charged power bank kept the EOS R5 C running for three hours and was down to about 50% at the end. 

During those three hours, I had the EOS R5 C filming in different modes on my desk with the fan in its auto setting and although the handgrip and base got rather warm, the camera didn’t shut down. It is worth noting that the ambient temperature of my home office was about 18°C so I can’t vouch for how the camera and fan would perform in warmer climates.

In terms of movie formats, resolutions, and frame rates, the EOS R5 C is blessed with a great selection. The EOS R5 C’s sensor obviously shares many of the attributes for the EOS R5 but there are key differences such as Dual Gain ISO at 800 and 3200 for C-Log 3 and there’s the option of audio with 4K/120p. 

I shot MP4 and Raw format shooting in 4K and 8K with footage put through Final Cut Pro. In both file types, color reproduction looked spot on and whether you like a punchy or more natural look, the potential is there. With noise reduction and stabilization added during the edit the final results looked excellent.

The EOS R5 C’s autofocus worked well for both stills and video. There are many more AF options in stills shooting and the system has a wide choice of focus zones and subject-detect modes is the same as that found in the EOS R5. For video shooting the AF frame options are small, large, and whole frame and fine-tuning options include AF Speed that can be varied from +2 to -7 and a selection of human-based modes such as Face Detect & Tracking and Eye Detection which proved sensitive and tenacious as the subject walked at normal pace towards the camera position. Shooting indoors under typical domestic lighting was no problem either and AF was snappy and accurate.

Canon EOS R5 C: Verdict

The Canon EOS R5 C is a fine and capable camera that can deliver very effectively on two fronts, stills and video. 

For the serious content creator and video professionals, there is no denying its appeal and it is a better investment than the EOS R5. Obviously, much depends on your aims and how you like to work. The EOS R5 has better battery life and IBIS and while overheating (which I have experienced even when shooting stills) is a potential pain, but it can be managed. On the other hand, the EOS R5 C has its integral fan and a huge range of movie features but it is a chunkier camera although it is just over 30 grams heavier. 

Money-wise, on the street the EOS R5 C body costs £4149 while the EOS R5 is £3879 so the difference is just £270. The other option for serious content creators is the RF mount but smaller sensor EOS C70 which is currently around £4600 body only but this is a dedicated video camera. At this level of spend, that difference between the three cameras is unlikely to be a deciding factor so which one you go for depends on your needs. Go for the EOS R5 C body and you’re not going to be disappointed.

Canon EOS R5 C Alternatives

Cosina has announced the release of the Voigtländer Nokton 40mm f/1.2 Aspherical for Canon RF-mount cameras – offering a big aperture standard prime, for much less than Canon's own version.

Of course, Canon has still not opened up the RF lens mount for any third-party manufacturer to use Canon's autofocus, so the Nokton 40mm lens is a fully manual focus affair. As is the aperture, which is controlled by a de-clicked step-less manual aperture ring.

However, there is a silver lining, the Nokton lens does have the appropriate contacts to connect to the camera electronically, so it will be possible to use the usual focus peaking, enlarged display, and focus guide assists to help nail that tricky manual focus, especially at the super wide apertures this lens is capable of. The lens can also manually focus down to 0.3m.

The Nokon 40mm can also work in conjunction with the camera to record EXIF data, and if your Canon EOS R body has in-body image stabilization, it will also work with this Nokton lens (or any manual focus lens for that matter, but worth mentioning).

The lens configuration uses double-sided aspherical lenses for two of the eight elements in six groups, which enables the lens to produce what Cosina claims is the perfect optical performance that doesn't rely on any in-camera corrections, which is handy, as Canon restricts those to only first-party lenses anyway.

It is the second lens that Voigtländer has made for the Canon RF, with the new Nokton 40mm joining the existing Nokton 50mm f/1.0, which is already on sale.

The 40mm lens is the perfect general-purpose angle, suitable for landscapes, street scenes, and environmental portraits, and still life. The f/1.2 aperture is made up of a rounded 10-blade diaphragm and should allow the lens to achieve a very shallow depth of field, so it should make for some impressive creative shots or low-light image quality.

The lens has an all-metal construction although while durability is mentioned, there is no official mention of weather sealing. Previous Voigtländer lenses have been exceptionally nice to hold, featuring a timeless look.

The 40mm f/1.2 lens has a planned release date of January 2024, and although there is no official US or UK pricing yet, in Japan, the Voigtländer Nokton 40mm F1.2 Aspherical will cost ¥132,000, which is around $930 Stateside, which seems like a very reasonable cost considering the aperture and optical quality promised.

Read more: you can find more of the best Canon RF lenses in our guide or check out our top picks for the best Canon camera.

We've been whining for a while that there aren't any ultra-wide lenses available for Canon's APS-C line of RF cameras, but we can stop complaining now – the Canon RF-S 10-18mm f/4.5-6.3 IS STM has just been announced.

Announced next to a pair of jaw-dropping lenses – the world-first super-telephoto zoom Canon RF 200-800mm f/6.3-9 IS USM and the truly astounding Canon RF 24-105mm f/2.8L IS USM Z – the RF-S 10-18mm f/4.5-6.3 IS STM brings a much-needed wide-angle perspective to users of Canon's APS-C range of RF-mount cameras.

While it's sure to draw comparisons with the old DSLR iteration, the Canon EF-S 10-18mm f/4.5-5.6, the new RF-S 10-18mm version is better in every way. This comes, most importantly, in terms of image quality, where edge sharpness in particular has been improved thanks to the pair of larger elements situated to the back of the lens (thanks to the shorter flange distance and larger throat of the RF mount), significantly improving detail. 

The RF-S lens is also smaller and lighter than the EF-S version, at just 44.9mm in length and only 150g in weight (compared to the 72mm and 240g of its predecessor). It also eclipses the old DSLR version in terms of magnification (0.5x instead of 0.15x) and, while the optical image stabilization offers the same 4 stops of compensation, when mounted on a camera with in-body image stabilization it offers up to 6 stops. 

Unlike the recently announced Canon RF 10-20mm f/4L IS STM lens for full frame cameras, the RF-S 10-18mm does not feature the new Peripheral Correction IS system (which uses an algorithm to detect movement and reduce the Jell-O-like wobble at the edges of frame when shooting at extreme wide-angles). 

I'm impressed at how rapidly Canon has populated the lens ecosystem for its APS-C RF range. This is now the fourth RF-S lens in the lineup (alongside the Canon RF-S 18-45mm, RF-S 18-150mm and RF-S 55-210mm) and it gives me confidence that Canon is committed to APS-C when it comes to its new mirrorless system.

The Canon RF-S 10-18mm f/4.5-6.3 IS STM goes on sale in December with a retail price of $329.99 / £379.99 / AU$599.99. Check out our hands-on Canon RF-S 10-18mm f/4.5-6.3 IS STM review to read our verdict.

The 10-18mm seems a sure bet to become one of the best Canon RF lenses. Take a look at the best Canon Black Friday deals to see what's on offer, or check out the best Black Friday camera deals from all the brands.

Remember, back in 2018, when Canon told us that the RF mount was going to make impossible lenses possible? Well, if you didn't believe it before, you'd better believe it now: behold the Canon RF 24-105mm f/2.8L IS USM Z, the trinity lens to end all trinity lenses.

This "trinity buster" was announced along with two other optics – the similarly unreal Canon RF 200-800mm f/6.3-9 IS USM super telephoto and the ultra-cheap ultra-wide Canon RF-S 10-18mm f/4.5-6.3 IS STM – with Canon putting the rest of the camera industry on notice when it comes to lens development. 

Far from just upgrading a DSLR lens to a mirrorless mount, or adding a bit more bokeh to a portrait lens, what Canon has done here is achieved something hitherto believed optically impossible – increasing the range of a 24-70mm trinity lens by 50% while still retaining the f/2.8 aperture and optical performance. It's truly incredible, and something that has never been done before. 

The RF 24-105mm f/2.8L Z boasts more firsts – starting with that "Z", which signifies that this is a Power Zoom lens. By adding one of the two new modules, the PZ-E2 (with USB-C input) and the PZ-E2B (with an additional 20-pin connector), the 24-105mm f/2.8 becomes a motorized zoom lens that can be controlled locally or remotely.

And why would this lens need a Power Zoom function? Because of another first: this being the first of a series of hybrid RF lenses that bridge Canon's Cinema EOS optics (traditionally bigger and more expensive), EOS R optics (smaller, lighter, photo-centric and missing video features) and broadcast optics (designed for the unique requirements of broadcast production).

As such, the RF 24-105mm f/2.8L Z (and those that follow it) is an electronic parfocal lens that features minimal focus breathing, a dedicated stepless aperture ring (that only works in video mode, currently at least), servo control, remote control and Virtual System compatibility. Interestingly, though, unlike Canon's cine lenses, this still measures aperture in f-stops rather than T-stops (which measure the true transmission of light). 

The lens possesses 5 stops of optical stabilization, offering up to 8 stops when painted with a camera featuring in-body image stabilization. Its optical formula features four ultra low-dispersion elements and three aspherical elements, with Dual Nano USM motors to push them around, and Air Sphere, Super Spectra and fluorine coatings – all of which, Canon told me, produces optical performance on par with the Canon RF 24-70mm f/2.8L and far in excess of the Canon RF 24-105mm f/4L. 

As you might expect, this isn't a small lens – though at 88.5 x 199mm in size and 1,330g in weight, it's a lot more compact than you might have imagined. The price, however, is probably in line with what you'd expect of such a formidable lens, clocking in at $2,999 / £3,439 / AU$5,399.

Check out our hands-on Canon RF 24-105mm f/2.8L IS USM Z review to see what we thought (spoiler alert: we liked it a lot). 

The 200-800mm seems destined to join the ranks of the best Canon RF lenses. Take a look at the best Canon Black Friday deals to see what's on offer, or check out the best Black Friday camera deals from all the brands.

The Canon RF 10-20mm f/4L IS STM is the full-frame mirrorless successor to the Canon EF 11-24mm f/4L USM for DSLRs, which was launched back in 2015. 

Far from just a quick mirrorless update, the Canon RF 10-20mm F4L IS STM makes full use of the RF mount – which enables the rear element to sit much closer to the camera sensor, opening up a realm of innovation in optical engineering. Indeed, this is the world's first rectilinear zoom lens with a 10mm focal length and autofocus – making it, on paper at least, one of the best wide-angle lenses for those who work at the extreme end. 

We were able to compare our beta sample to the EF 11-24mm that it replaces, and looking at them side-by-side the new lens is considerably more compact and portable with a much neater cylindrical footprint (the older EF lens has a more awkward shape, which could be more difficult to load into a kit bag). 

Weighing just 570g it’s also considerably lighter, yet packs in new features like a Control Ring, custom button, and all-new tech like Peripheral Control Image Stabilization – impressive!

The new lens only zooms to 20mm at the long end, rather than 24mm on the prior model, though it does go slightly wider to 10mm rather than 11mm. This is a welcome tradeoff, as most people looking to buy this optic will likely have access to a 24mm focal length (with a lens like the Canon RF 24-70mm f/2.8L or Canon RF 24-105mm f/4L). Having a slightly wider focal length and cutting down on size and weight is a smart choice.

Canon RF 10-20mm f/4L IS STM: Specifications

Canon RF 10-20mm F4L IS STM: Key Features

Thanks to the advantages afforded by Canon's RF mount, it's been possible to improve the RF 10-20mm in pretty much every conceivable way over its EF predecessor. It has been made much lighter and more compact, while also being able to squeeze in the latest tech, like its 5-stop Image Stabilizer, Peripheral Control IS technology, a Control Ring and a custom button.

It's also Canon's first L-series lens to feature a stepping motor (STM), known for its smooth and quiet operation, making it ideal for recording video. In another first for Canon, it's also the company's first optic to use an STM positioning sensor. This means that the STM autofocus motor doesn't have to reset all the way, each time the camera is turned off, which makes it faster to get up and running with little delay. 

A filter holder on the rear element is featured for mounting 35 x 20mm gelatine filters, which we'll come back to later. The lens also boasts a built-in plastic hood, and comes with front and rear lens caps and a soft case for storage.

On the lens barrel you'll find the large focus ring for full-time manual focusing, a Control Ring that can be set to adjust a number of key settings, an AF/MF switch, and a custom button. There's also a switch to engage the optical Image Stabilization (IS), which offers five stops of stabilization on its own or six-stops when used with a compatible EOS R body with in-body image stabilization (IBIS).

Canon RF 10-20mm f/4L IS STM: Build & Handling

One of the most notable differences between the new lens and its predecessor is its portability and compact design. Weighing just 570g, it is 610g lighter – that’s a weight reduction of over 50%! And with dimensions of 83.7 x 111mm, it’s also about 35% smaller in footprint – an astonishing improvement!

This is a welcome change and makes it much easier to fit into a camera bag, as ultra wide-angle zooms are generally quite awkward shapes and can take up a lot of space. 

Due to the lens being a slimmer design and much better balanced (the old EF 11-24mm feels really front-heavy by comparison) we can see the RF 10-20mm being a much better choice when it comes to video, lending itself to gimbal use nicely such as on the DJI RS 3 Pro Combo. It could even be a good choice for drones (if yours is powerful enough to support a full-frame mirrorless body and a lens).

Handheld video should be impressive too, though it wasn't something we were able to extensively test in our short time with the beta model. When shooting handheld, users will be able to take advantage of the new peripheral Image Stabilization which corrects for wobble at the corners of the frame caused by the IBIS system when capturing video. In short, Canon has created an algorithm that calculates the amount of distortion occurring at the sensor level; the lens IS is then employed to compensate for it.

The autofocus stepping motor (STM) should be a boon for video use, too, as these motors are notably smoother and quieter during operation. It also means that focus whirr shouldn't be recorded by your internal or external microphone. In our testing we found the autofocus to be both very quiet and snappy.

Despite being smaller and lighter than its predecessor, the Canon RF 10-20mm squeezes in lots of new physical features. Many of these are found on the lens barrel, such as the Control Ring (for fast access to exposure settings like ISO), a custom button and a switch for the Image Stabilizer. That said, the focus distance window found on its predecessor has been omitted this time around.

The rear gelatine filter holder is a welcome addition, though it's fairly basic and limiting. While neutral density and color filters could be handy to rear-load for video use, filters like ND grads, variable NDs and polarizing filters will be more tricky.

Lee Filters make a specialist SW150 filter holder and series of filters designed for ultra-wide lenses, such as the EF 11-24mm and other ultra-wide optics like the Sigma 14mm f1.8 DG Art. While Lee has yet to announce any plans to make its SW150 system compatible with the new Canon lens, it seems likely given time. This would enable a full range of filters to be used, opening up more options for landscape photographers.

Canon RF 10-20mm: Photo Performance

When it came to autofocus the STM impressed as focusing was quick, smooth, and quiet, making it ideal for both stills photography and video. As you'd expect from one of Canon's top-flight L-series optics, all the rings on the lens barrel felt smooth and the switches clicked nicely into place – and they were also easy to find and engage when you have an eye to the viewfinder.

When it comes to image quality the Canon RF 10-20mm f/4L IS STM boasts an advanced rectilinear optical design. You'll usually find lenses with an ultra-wide focal length of 10mm (full-frame) to be a fisheye with bags of barrel distortion. 

A rectilinear design, however, makes this optic special, as vertical lines of buildings should remain straight, making it a good choice for architecture and landscape photography. Of course, you pay a premium for this, with Canon's new lens costing $2,299 compared to a lens like the 7Artisans 10mm f/2.8 manual focus fisheye which costs just $139.

While a focal range of just a 10mm difference doesn't sound all that impressive on paper, you might question if this is worth it over just a super-wide prime. However, when you can actually see the difference it makes in photos and video then it is much more apparent how big of an effect this small focal length can achieve. Below are the same images shot at 10mm and 20mm to show the full range of the lens.

One issue I did note with our sample was that there was a strong vignette present in the corners of RAW files when shooting at the widest 10mm setting, though this was corrected with the in-camera JPEGs. 

There is a lens profile to correct this in Adobe Camera Raw, Lightroom, and Canon Digital Photo Professional, so it isn't really an issue, but I think this is something that we can expect on all wide-angle lenses going forward as lenses get smaller and digital corrections get much better. In Lightroom looking at the RAW images, I could not tell that any corrections had even been applied.

I don't remember the vignetting or curvature of straight lines to be notable when I was framing up, so the in-camera software is likely correcting this to make the live view display look more like the processed JPEGs. These corrections should also hopefully be applied to any video footage.

Below you can see the RAW file from our R5 on the left and the in-camera processing in the JPEG hard at work on the right, to pull and stretch any vertical and horizontal lines to make them straight. It also pulls the most egregious vignetting found in the RAW file out of shot. 

The lens is very sharp, I tested this at the same time as the considerably cheaper Canon RF-S 10-18mm lens and the results were incredible, with the 10-20mm lens being clearly visibly superior. Unsurprising when the 10-20mm lens features sixteen elements in five groups, with three glass-molded aspherical (GMo) elements, one of which is UD, as well as a Super UD element to boot. It also boasts Super Spectra, Air Sphere (ASC), and Sub Wavelength (SWC) coatings.

How does this compare to the previous EF version of the lens though? Well, to find out I set up on a tripod and shot an identical scene at f/8 with both the Canon RF 10-20mm f/4L IS STM and the old Canon EF 11-24mm f/4L USM to see how they compared. While only a 1mm difference at the widest setting, the RF 10-20mm does squeeze significantly more into the frame.

Results at f/8 we found to actually be quite similar, although the newer RF version had a slightly better level of sharpness across the entire frame, with just better edge and corner clarity in the new RF model.

Canon RF 10-20mm f/4L IS STM: Sample Images

Canon RF 10-20mm f/4L IS STM: Video Performance

Video performance was very impressive with 4K footage shot using the Canon EOS R5 looking so sharp and clear. The autofocus throughout was also whisper quiet and very very fast, paired with Canon's excellent subject recognition and tracking algorithms I really didn't have to think much about the focus at all in the moment, and when checking through footage everything was pin sharp.

Image stabilization is especially good, even more so when combined with Canon's in-body image stabilization in the EOS R5. Only the R5 running the latest firmware will be able to make full use of the new Peripheral Control Image Stabilization function at launch. This is a clever bit of algorithmic technology that promises to eradicate the "Jell-O"-like wobble at the corners of the frame, which is often the result of using ultra-wides with in-body image stabilization systems.

Footage was smooth in panning and static shots, and even walking wasn't horrendous, although still not close to the level of a gimbal, it is better than a lot of other Canon lenses I have tried. The super wide angle of this lens also means using Canon's active image stabilization and its cropped footage is a lot more reasonable. 

Canon RF 10-20mm f/4L IS STM: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness is excellent, at all tested focal lengths, even wide open at f/4. Corner sharpness appears much softer, however ultra-wide lenses need to be positioned very close to our large, flat test chart in order to maintain correct framing. This means the corners of the chart are much further away from the lens relative to the center, causing them to fall outside the lens's focal plane, thereby reducing the corner sharpness scores.

Fringing:

Fringing is noticeable at all focal lengths and apertures, though it's not severe.

Distortion:

Canon seems to have abandoned any efforts to reduce optical distortion in its RF-mount ultrawide lenses, instead relying on in-camera firmware corrections. With this turned off, the RF 10-20mm f/4 exhibits catastrophically bad barrel distortion at 10mm, and it's still pretty awful at 12mm. Thankfully this is very effectively ironed out by enabling in-camera distortion correction - an option which really shouldn't be turned off.

Canon RF 10-20mm f/4L IS STM: Verdict

The Canon RF 10-20mm f/4L IS STM improves on the EF 11-24mm f4L USM in every way possible – and while I won't go as far as calling it affordable, but it won't cause such a big dent in your wallet either. If you were considering buying the older EF version, getting this new version is a no-brainer, and for those who are considering upgrading, it is well worth it.

While our sample did show some vignetting at the wide end throughout the aperture range in the RAW photos, Adobe Camera Raw will be able to correct this effectively and it shouldn't be an issue. This is also negligible with in-camera JPEG processing stretching it out of shot when correcting the vertical and horizontal lines. The camera can also impressively relay the corrected image in the viewfinder, so I could frame my shots perfectly.

The RF 10-20mm lens is notably sharper across the board compared to its predecessor, I tested the Canon RF-S 10-18mm at the same time as this, and it is night and day between the quality of the two, so you definitely are getting what you pay for here! Its impressive results extend into video as well, with solid image stabilization even at full width, and great 4K footage. 

If you are a pro who needs the widest angle possible, then this is the best Canon wide-angle lens so far!

While camera manufacturers are churning out camera after camera, and lens after lens to give our creativity the freedom it deserves, it always leaves a bitter taste in my mouth when I hear that delays or nuts and bolts shortages are prolonging new gear getting in the hands of photographers. 

Unfortunately, we are at this crossroads again: now it's Canon with the recently announced new RF-mount wide-angle zoom, the Canon RF 10-20mm f/4 L IS, which is already delayed in its home country.

• These are the best wide-angle lenses to squeeze more into your frame

"Currently, we have received more orders than expected for the following products, and due to the impact of global parts supply, we are experiencing delivery delays," reads the official statement from Canon Japan (machine translated). 

"We would like to once again apologize for keeping our customers waiting for a long time. We will continue to take measures to ensure a stable supply of products so that we can deliver them as soon as possible. Thank you kindly for your understanding."

This statement comes just days after the official launch of the RF 10-20mm lens. It boasts an advanced rectilinear optical design for straight vertical lines even at the edges of the frame. Another key feature of such a wide lens is the new Peripheral Control Image Stabilizer, which compensates for the "wobble" at the corners of frame caused by the in-body image stabilization system.

This lens is set to be a big game-changer in the world of photography and videography, and it is a shame that Canon Japan has issued this statement as I'm sure there are many customers waiting. 

Even though the shortage hasn't yet struck outside Japan, my advice if you see the lens available is to buy it right away – it could be a while before it becomes a consistently in-stock product.

Take a look at the best Canon RF lenses for mirrorless cameras, as well as the best Canon DSLR lenses for the old EF mount. 

Canon, once the undisputed king of award-worthy astrophotography, has been dethroned after ruling the roost for almost half a decade. An annual study has gathered data on the last six years of shortlisted images from the Astronomy Photographer of the Year contest. By analyzing a whopping 828 images, it found some pretty interesting results and trends.

The study has shown that over the past six years, the Canon EOS 6D has been the most used camera – and Canon was the most-used brand overall. However, over the past two years, it has been surpassed by Nikon and Sony, with the Sony A7 III and the Nikon Z6 II being the most successful mirrorless cameras in the competition, with a significant overall increase in mirrorless bodies being used. 

A similar study published in 2018 showed that the percentage of mirrorless camera users stood at 17%, but this year has seen that figure rise to 58% – a significant increase that replicates the movement to mirrorless observed in other fields of photography.

The information comes from the study published by Astro website Skies & Scopes, which analyzed the images entered in the Astronomy Photographer of the Year Competition operated by Royal Museums Greenwich in the UK. 

By examining the 828 shortlisted images over the past 6 years, it collated data on the all gear used – cameras, lenses, telescopes, and more have been tracked and plotted on graphs to provide useful information to other Astro enthusiasts to find the best equipment for taking photographs of space.

Full frame cameras are the most used and the most successful, the study finds, with a staggering 87% compared to APS-C at 13%. This is to be expected, as the full-frame sensor size allows for greater coverage of light, allowing it to perform more successfully in low light. This is even more evident when narrowing down the category to Landscape Astrophotography where full-frame cameras amount to 97% of the images.

Sigma leads the way in the lens category, with the Sigma 14mm f/1.8 Art and 14mm f/2.8 and lenses being the most used for landscape astrophotography. Perhaps this is another reason that Canon is losing ground in the mirrorless battle, as the RF mount is still effectively (well, selectively) closed to third parties. 

Other standout results from the article include:

• ZWO cameras lead for both planetary and deep sky imaging with the successful planetary cameras being the ZWO ASI174MM and ZWO ASI178MM.

• Celestron is the most successful telescope manufacturer overall, with the most successful planetary imaging telescopes being named Celestron C11 and C14 Schmidt-Cassegrains.

There are also results regarding the most common and successful star trackers, deep-sky telescopes, and telescope mounts.

The Astronomy Photographer of the Year provides an array of stunning images showcasing the beauty of our solar system. You can see last year's winners at an exhibition at Royal Museums Greenwich. 

Take a look at the best cameras for astrophotography, and make sure to pair them with the best lenses for astrophotography. If you're more interesting in looking than shooting, check out the best telescopes for astrophotography and the best binoculars for astronomy.

This could be big: Canon will open the RF mount to third-party lens manufacturers by the end of the year. 

That's according to a new report that could transform the current camera landscape. If true, it would mean that major lens manufacturers such as Sigma, Tamron and Samyang (Rokinon) would be able to produce RF lenses with full electronic compatibility – meaning, principally, autofocus. 

• Right now, the best Canon RF lenses are native Canon lenses

Currently, brands like Sigma and Tamron have steered clear of the RF mount entirely. There are a number of manufacturers making third-party lenses, but these have been exclusively manual focus – with the exception of Samyang, which made headlines when it was reported that Canon had requested it to pull autofocus RF lenses from sale.

It became apparent that Canon has effectively closed the RF mount to other companies, at least in terms of electronic support, meaning that only "dumb" lenses (manual-focus only, with minimal or no communication or EXIF facility) could be produced by third parties. 

Canon recently confirmed that it is considering lens applications on a case-by-case basis, with the new Voigtländer Nokton 50mm f/1 Aspherical being the first lens with full electronic communication (though, crucially, it is still a manual focus optic).

This could all be about to change, though.

"A source just told me something very interesting about Canon: apparently they will open offically their RF mount to third-party lens manufacturers," reported Mirrorless Rumors. "This will happen by the end of the year." 

The site notes that this will help Canon in the mirrorless battle against Sony, which has a long-established stranglehold thanks to the open nature of its E Mount.

"What this means is that Canon will finally catch up with Sony. Sony already did this for a very long time on the E Mount, it's also a reason why the E Mount system has so many interesting lenses… Well, this is going to change and this will play in favor of Canon, so that Sigma and Tamron and Chinese manufacturers can develop lenses that have full electronic support on your Canon RF camera."

It was also mentioned that this would put pressure on Sony and its conservative firmware strategy, which has seen consumers frustrated by the lack of meaningful updates for its cameras – something that we've literally just been complaining about here at DCW! 

Make sure you're using the right glass for whatever you're shooting, whether it's the best lens for portraits, the best lens for landscapes, the the best lens for bird photography and wildlife, the best lens for astrophotography or the best lens for street photography. 

Sigma has started a live feed to a special launch event on its YouTube channel, scheduled to start on Thursday October 05 at 08:00 EST / 12:00 GMT / 22:00 AEST. The event has led to a lot of speculation as to what could be presented, with many hoping to see new lenses for their desired cameras. 

Earlier this year the manufacturer announced two new lenses for Fujifilm's X-mount, the Sigma 23mm f/1.4 DC DN Contemporary and the Sigma 00-400mm F5-6.3 DG DN OS Contemporary – the latter being the first Sigma telephoto zoom created for the mount. This has led many Fujifilm fans to question whether this announcement will provide them with any new lenses.

Another possibility could be the launch of a Canon RF or full-frame Nikon Z-mount lens, which Sigma has yet to add to its extensive catalog. With Canon opening doors to third-party lens manufacturers for their RF system, albeit on a case-by-case basis, could we possibly see the first Sigma lens for the RF mount announced? The release of the Nokton 50mm f/1 from Cosina on the EOS R system may have opened the doors to more third-party collaborations.

Nikon mirrorless users will also have some opinions over the announcements. Sigma, at present, only offers three lenses for the Z-mount and they are only for APS-C. A full-frame Z-mount lens would be big news for Nikon users, as it could open the door to an extensive lens lineup.

I personally have used Sigma lenses for many years on my DSLR cameras, and I have loved the Art and Contemporary lines. Sigma produces quality lenses at a price point lower than that of native optics, providing more accessibility to lower f-stops and great glass. This may be why some companies are less quick in allowing Sigma to make lenses for their systems. 

On a selfish note, I would love to see Sigma contribute to the best Fujifilm GF lenses. It has yet to venture into the world of medium format and, with the increase in popularity and accessibility, more and more people would benefit from more affordable lenses.

The possibilities are endless at this point – maybe we'll even get an update on the foveon sensor camera. We will all have to tune in next week to get our answers!

Will Sigma add to the best Canon RF lenses for the first time? Maybe it will continue challenging the best Nikon Z lenses available, or tread more familiar territory by adding to the best Sony lenses and best L-Mount lenses.

UPDATE: In addition to the lens being released on Canon RF, Nikon Z and L- Mount, the TTArtisan 500mm f6.3 lens will also be released for both X-mount and G-mount!

According to TTArtisan's Facebook account, when asked in the comment section of the lens announcement about the X-mount and G-mount, TTArtisan responded "Yes, just confirmed that there will be X-mount later" and "There will be GFX mount later". No dates have been issued for this release. 

This news comes not long after Fujifilm announce a new GF 500mm f/5.6 to their road map, scheduled for next year.  

…

ORIGINAL STORY (24 Sep 2023): There is yet another new product announcement from TTArtisan, as they release details on a new TTArtisan 500mm F6.3 super-telephoto prime lens.

Set to become one of the best budget telephoto lenses of the year, the lens will be available for Sony E-mount, Nikon Z-mount, Canon RF-mount, and L-mount. The 500mm focal length is the first telephoto lens of this range that TTArtisan has released for full-frame mirrorless bodies and provides a budget-friendly alternative to the existing mirrorless telephoto market. 

With a retail price of $369 / £409, this is a powerful lens that lowers the entry point and accessibility of super-telephoto photography. With a maximum aperture of f/6.3, it provides a relatively bright image compared with some budget rivals.

It is worth noting, however, that this lens is manual focus, therefore, not a lens designed for the tracking of fast-paced subjects. Instead where this lens may shine is with landscape, astrophotography, and slower-paced wildlife photography. The manual focus element may seem like the sacrifice for focal length and aperture, but this is not an issue for photographers pre-focusing on a subject such as a branch or a moon. 

Stability is vital for a lens of this focal length and to aid in this department, a tripod mount ring is included. TTArtisan has seemed to miss an opportunity here however as the tripod mount ring is not Arca-Swiss compatible.  

The 500mm f/6.3 Telephoto lens is optically structured from 8 elements in 5 groups - and uses a conventional, rather than mirror, design. Included in this configuration are 2 extra-low dispersion (ED) glass lenses and 2 high-index glass lenses, stated to reduce chromatic aberration and contribute to decent image quality. 

Sony E-Mount users may experience some slight vignetting when used wide open, the official press release warns - but this said not to be an issue with  Z-, RF-, and L- mount versions of the lens. 

There is a real focus on astrophotography with the promotion of this lens and it is easy to see why. The 500mm focal length pierces the night sky, enabling you to 'capture distant worlds' - and will be particularly useful for photographing the moon. The ED lenses will also control and diminish comatic aberration, a common concern in this field of photography.   

Other key features include a 3.3m minimum focus distance (10.8 feet), an 82mm front filter ring, and a 12-blade aperture diaphragm. It weighs around 1600g (57oz).

The TTArtisan 500mm f/6.3 lens is available now at the price of $369 / £409 (approximately AU$775), and is supplied with a metal lens hood and the tripod foot as standard.

Canon is one of the best lens manufacturers in the world, with its prestigious red-ringed L series lenses being some of the most desired pieces of glass to put in front of your camera.

The launch of the Canon EOS R system also saw the introduction of its first four lenses in its new RF mount. And since then Canon has only stepped up its game, making some of the best camera lenses in its history. 

Three of these launch lenses were typical upgrades from the EF mount lenses that had come before, namely the Canon RF 24-105mm f/4L IS USM, the Canon RF 50mm f/1.2L USM and the Canon RF 35mm f/1.8 IS Macro STM. However, there was one very special lens announced that has never quite had the appreciation it deserved – the Canon RF 28-70mm f/2L USM.

It is not hard to understand why this lens wasn't an overnight success. Not only is this one of the largest and heaviest lenses in its focal length, but it was also eye-wateringly expensive on release – and that's if you could even find a copy to buy. I have never actually seen a copy of this lens out in the wild.

The latest rumblings from sources close to Canon Rumors suggest that Canon is working on its first Mark II version of one of its lenses. There is not much more to the rumor than that, and it would make sense for it to be one of Canon's earliest RF lenses. 

Now, it is much more obvious (and probably accurate) to suggest that this is likely to be the RF 24-105mm as it is not the strongest L-series lens optically. Or perhaps the Canon RF 70-200mm f/2.8L IS USM, improving its compatibility with Canon's teleconverters. But I personally have everything crossed from a Mark II version of the RF 28-70mm.

If Canon can correct some of the issues with the first version, making the lens smaller and lighter (and thus actually easier for professionals to work with out in the field), or if Canon can make the lens more affordable now that it has hopefully smoothed out some of the initial R&D costs of the RF mount, then it could finally find the success it deserved the first time around.

Check out our guides for our top picks for the best Canon camera and the best Canon RF lenses.

Canon has launched its first-ever cine lenses for its RF mirrorless lenses - and instead of starting with just one or two, Canon has unveiled no fewer than seven different lenses in the new series - which debut at IBC 2023 later this week.

Canon is not new to cinema lenses. It already makes seven CN-E lenses for the Canon EF SLR mount - and has a further seven lenses in its Sumire lens for the industry-standard Arri PL-mount. But now the seven primes have been reconfigured for the RF full-frame mount. This new CN-R range will be of particular interest to those using the two current RF-mount Cinema lenses in the Canon range - the EOS C70 and the EOS R5 C.

The seven lenses are a 14mm T3.1, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.3, 85mm T1.3, and a 135mm T2.2.

The lenses offer optical performance that is suitable for 8K productions, and feature geared rings for use with third-party follow focus rigs. The gear position, total length1, front diameter, filter diameter and focus rotation angle have been made consistent through the Prime Lens series to simplify the use of accessories.

All seven lenses feature 11-blade diaphragms and are said to have minimal focus breathing. The 12-pin RF-mount promotes efficient communication unlocking benefits like distortion correction in movie mode.

The first four of the lenses - the 20mm, 24mm, 35mm and 50mm - go on sale in Feburuary. With the following three arriving in the following months (see table above for exact launch dates). They are priced from $3,950 - $4,220 each.

• Pre-order the Canon CN-R Cinema Prime lenses at BHPhoto

The yearly IBC International Broadcasting Convention exhibition and conference is once again taking over the Amsterdam RAI in the Netherlands this week, hosting over 40,000 visitors from around the globe from 15-18 September.

Some of the biggest names in broadcast and imaging will be there at IBC 2023, including camera manufacturers like Arri, Blackmagic Design, Canon, Nikon, Fujifilm, Sony and Panasonic – along with software and accessory brands like Adobe, Atomos, Sigma and Toshiba. In all, IBC expects there will be 1,700 exhibitors this year from 170 different countries.

What is IBC 2023?

Billed as "the premier annual event for professionals engaged in the creation, management and delivery of entertainment", IBC is operated by a partnership of six leading international broadcast bodies: IABM, the IEEE Broadcast Technology Society,  the Institute of Engineering and Technology, the Royal Television Society, the Society for Broadcast Professionals, and SMPTE. 

In addition to its huge exhibition area, its comprehensive conference program encompasses everything from the technical side of broadcast technology to cinema screenings of the latest blockbusters. episodes with a panel by the production . In one session, Google will explore how AI can be used to improve content production and personalize audience experiences. And the keynote address, is being given Marco Tempest from NASA's Jet Propulsion Laboratory who is a thought leader in augmented reality (AR), and virtual reality (VR).

With 8K video having fast become a staple of cinematography discussion, and the rapid relevance of 5G in the broadcast and technology sector, we're expecting some very exciting things to find their way onto the show floor… 

IBC 2023 announcements & rumors

The show has not begun yet, but in the lead up, lots of major manufacturers are announcing new products that it will be unveiling to the public for the first time at IBC. These are the ones we have seen so far…

Canon

Canon is launching its first range of RF-mount cinema lenses at IBC 2023. There are seven different primes in the set - 14mm T3.1, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.3, 85mm T1.3, and a 135mm T2.2.

The focal lengths and maximum apertures are the same as those found on Canon's existing series of cine lenses for the EF and PL mounts - but the lenses have been remodelled to make them fully compatible with the full-frame RF mirrorless camera mount.
Read more...

Also new for Canon at the IBC show, is its cheapest PTZ camera to date. The indoor Canon CR-N100 offers 4K shooting and a 20x zoom range - on top of the remotely-operated pan-tilt motorized head. 

Additionally Canon is showing a PTZ control deck, that is capable of remotely controlling up to 200 PTZ cameras.
See more...

Sony

Sony is already teasing that they will be launching a new member of the CineAlta range that looks like it will be a successor or a sibling to the full-frame Sony Venice cinema camera. Called the Burano (named after one of the islands off Venice), this will be announced on September 12 at 10:00 EDT, 15:00 BST, and can be followed live  on the Sony camera YouTube channel
Read more...

Cooke Optics

Premium cine lens brand Cooke is introducing its most affordable and most lightweight range of lenses ever. At $4,500 each, they are a fraction of the price of its existing products, and are  designed to attract a new generation of cinematographers to the advantages of what has become known as The Cooke Look. The full SP3 range will include 25mm, 32mm, 50mm, 75mm, 100mm lenses - all with a maximum T2.4 iris openings, and with 9-bladed diaphragms.
Read more...

Nikon

Nikon subsidiary MRMC has already announced that it is launching its new SR-1 Camera Robot at the show. This remote-controlled pan-tilt head is designed to allow professional DSLR and mirrorless cameras to take pictures from positions they couldn't usually reach. Weighing in at just 4.7kg, it is one of the lightest robotic products that the British company has produced.
Read more...

Hollyland

Hollyland is best known for its microphones and audio products. But this year it is branching out in a new direction with the VenusLiv, a dedicated streaming camera. This has a built-in 3x optical zoom, and offers plug-and-play operation - thanks to UVC support, allowing it to be seen by your computer as a webcam, without the need for a capture card. A key selling point is the 5in touchcrreen, which can be used in vertical or horizontal format - allowing you to switch from TikTok to YouTube formats with ease.
Read more…

Fujifilm

With the Fujifilm X-Summit having just taken place in Stockholm, IBC will be one of the first places you can see its new Fujiflm GFX 100S camera, which offers 8K shooting at 30fps, and 1080P at 120fps. The 100 megapixel camera boasts 8-stop IBIS, a buffer that is twice the size of its predecessor, and a 8fps motordrive setting.
Read more...

We'll keep updating this page, adding more news and rumors as we here them in the lead-up to the show, and when the exhibition actually gets underway on September 15.

Read more:

Camera rumors: what new cameras are coming out this year?

If you recall back to Canon's first attempt at mirrorless cameras – the Canon EOS M series – one of its most lasting legacies will be that Canon managed to launch more camera bodies than lenses, with a total of only eigh lenses over 10 years!

Canon has been much more successful with its second bite at the mirrorless cherry, with the EOS R system offering up strong competition for the best mirrorless camera. But crucially Canon has also managed to not repeat the mistakes of the past, and Canon's RF glass are not only some of the best camera lenses available, but Canon has also done well to flesh out the range with some 30 lenses in just five years.

However, over its 36-year history, Canon managed to release around two-hundred different lenses for the EF and EF-S mount (and sold roughly 140 million of them). Okay, so a few of these are second generations on existing lenses, but it still gives Canon a huge target to aim for with its RF and RF-S mount.

This deficit might be closing sooner than you think, with reports from Canon Rumors suggesting that we might be treated to up to 10 new lenses for the RF and RF-S mount by the end of March 2024. Rumors suggest the first two of these lenses might be revealed as soon as this month, with the remaining lenses most likely being unveiled at the annual CP+ show in Yokohama, Japan in February 2024.

This is especially exciting news for owners of Canon's cameras with the RF-S mount, as so far, lenses specifically made to match those cameras' more diminutive sizes have been thin on the ground, but rumors point towards a few new options that are both smaller in size and price tag than more considerable RF glass. 

There are still no concrete rumors on what Canon might actually have in the pipeline, with it liking to play its cards close to its chest. But apart from some new RF-S lenses, there are a lot of places where we would be glad to see Canon expand its offerings including finally adding wide aperture L series primes or a more accessibly priced macro lens, I have even written before about my top picks for EF mount lenses I would love to see in RF mount.

You can find more Canon rumors in our hub. Or Canon's current lineup you can check out our top picks for the best Canon camera and the best Canon RF lenses.

Canon has opened up about why it’s made things so difficult for third-party manufacturers to produce RF-mount lenses. Up until recently, few existed and their absence meant Canon EOS R users were having to spend often huge amounts of money on RF glass. 

The best Canon RF lenses include the versatile Canon RF 24-70mm f/2.8L to the much more affordable Canon RF 24-105mm f/4-7.1 to the super high-quality (and very expensive) Canon RF 85mm f/1.2 USM. The one thing all these lenses have in common is they’re Canon-branded – and frustration has arisen among EOS R users as they yarn for more lens choices from other manufacturers to complement their photographic needs. 

In a recent interview with Camera Beta, Canon shed light on the ongoing issue surrounding the lack of autofocus third-party lenses. While the company acknowledges the concerns, its response leaves some room for interpretation – potentially fueling further frustration among RF shooters.

"Although it is still limited to some special companies, Canon has also opened the RF bayonet to third-party lens manufacturers through licensing," said Kazuka Yonei, director of business planning. 

"Now if we receive a request from a third-party lens company to open the mount, we will study whether to license it according to Canon's own business planning and strategy. In fact, we are now communicating with several third-party lens companies in this regard." 

Canon's approach to granting licenses seems to lack a clear, standardized set of guidelines. Each application will be reviewed on a case-by-case basis, introducing an element of uncertainty for both manufacturers and consumers. The specifics of what the licensing entails remains unclear, and there are lingering questions about the extent of support Canon will provide. 

Will manufacturers need to develop their own autofocus algorithms, or will Canon offer assistance in this regard? Additionally, the potential for ongoing firmware compatibility updates is up in the air. The possibility of tiered licensing structures adds another layer of uncertainty.

The interview offers a glimmer of hope for RF users who want more options than the current 37 lenses available – especially if it means more affordable lenses. Whether Canon really does stay true to its word and open up licensing to the third-party manufacturers is yet to be seen, but it will no doubt captivate the attention of enthusiasts and professionals alike. 

You might be interested in the best Canon cameras right now, including the EOS R range. You can also check out the best mirrorless cameras from brands like Nikon, Sony, Fujifilm and more. 

If you're like me, choosing the best lenses for the Canon EOS R7 isn't completely straightforward. That's because Canon is still building out its lens system for this APS-C EOS R camera. While there are a few lenses designed specifically for the R7’s smaller sensor, for anything else you'll need to fall back on Canon's extensive range of full-frame RF lenses.

Even so, I feel that many of these actually play to the EOS R7's strengths. Its high-speed burst shooting and sophisticated autofocus make it really well suited to wildlife and sports photography, and the crop factor of the smaller sensor means that Canon's full-frame telephotos gain a further 1.6x effective focal length, or reach. It's already one of the best Canon cameras for sports and wildlife, and we expect it to become popular for a wider range of subjects as more RF-S lenses are added to the line-up.

In my list of lenses below, I quote the equivalent focal lengths for all these lenses so that you can get an idea of their effective reach in full-frame terms, when fitted to the EOS R7. The best Canon RF lenses are not all expensive, either, and many will fit within the budgets of beginners and enthusiasts.

I quote Canon's claimed stabilization figures, where available, for these lenses, but these don't take into account the extra in-body stabilization of the EOS R7. This can further increase the stabilization effect.

Incidentally, it's easy to distinguish Canon RF lenses designed for these two different sensor formats. Full frame lenses have 'RF' in the name, while dedicated. APS-C lenses have 'RF-S' in the name.

I have included several full-frame RF lenses in our list, partly because these are already a good match for the R7, and partly because Canon seems keen to get users to upgrade to full-frame in the future, so any full-frame lenses you buy now will also work if you follow the full-frame route. So let's get to the list!

The best lenses for the EOS R7 

Best starter lens for the R7

This is the lens usually sold as a 'kit lens' with the EOS R7, but if you bought this camera body-only, it's still worth considering as an additional purchase. It makes a great extended-range standard zoom, going all the way from 29mm equivalent up to an impressive 240mm equivalent – that's medium telephoto territory. It's an extremely versatile lens, and light to carry around too.

The only downsides are a fairly limited f/6.3 maximum aperture at full zoom, a lack of weather seals and only average corner sharpness. We expect some optical compromises in a long range standard zoom, though, and the Canon RF-S 18-150mm f/3.5-6.3 IS STM performs well above the average for a lens of this type.

Read more: Canon RF-S 18-150mm f/3.5-6.3 IS STM review

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Best everyday lens for the R7

The EOS R7 is normally sold with the Canon RF-S 18-150mm f/3.5-6.3 IS STM lens above, but this Canon RF-S 18-45mm f/4.5-6.3 IS STM kit lens is a very interesting option for anyone who wants to travel light or just save some money. It jas a shorter 29-72mm effective focal range, but that's likely to be fine for most casual shooting and travel photography, say, and it makes for a very light and compact combination when fitted to the EOS R7.

There are downsides. The f/4.5-6.3 maximum aperture range is very limited for a kit lens – traditionally, these have always been around f/3.5-5.6. This lens also relies heavily on digital corrections, so while these are applied automatically for in-camera JPEGs, if you shoot raw you will need raw software with a suitable lens correction profile (Lightroom is fine). It's not a fault, just something to be aware of. Digital corrections are standard on most mirrorless lenses these days, and on many Canon RF lenses.

Read more: Canon RF-S 18-45mm f/4.5-6.3 IS STM review

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Best telephoto zoom lens for the R7

After a kit lens, most camera users look for a telephoto zoom to extend their shooting opportunities, and the Canon RF-S 55-210mm f/5-7.1 IS STM is designed specifically for Canon's APS-C EOS R cameras, and the EOS R7 is of course included in that.

It's a light, affordable and effective telephoto zoom which actually offers an impressive 336mm effective maximum focal length – this really is a pretty long range zoom. It's not weather sealed, though, and there's no lens hood (there often isn't with Canon lenses) so don't go standing too long in the rain. The f/7.1 maximum aperture is also on the slow side, though today's advances in ISO performance and noise reduction make this less of an issue than it might have been in the past.

Read more: Canon RF-S 55-210mm f/5-7.1 IS STM review

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Best super-telephoto lens for the R7

While the Canon RF-S 55-210mm f/5-7.1 IS STM is a decent 'starter' telephoto, the Canon RF 100-400mm f/5.6-8 IS USM is a much more serious proposition. It's designed to be an affordable telephoto zoom for Canon's full frame EOS R cameras, but works perfectly on the EOS R7 too, as the 1.6x crop factor gives this lens a huge 160-640mm effective focal range. It's like a 'super-telephoto' at a 'regular telephoto' price. The other advantage, of course, is that if you move up to a full frame Canon later, this lens will work fine with that too.

As is often the case with Canon lenses, though, a lens hood is a pricey extra. This lens has no weather sealing either, so if your chosen subjects mean standing outside for long periods in bad weather, you'll need to look at Canon's more expensive pro-orientated lenses.

Read more: Canon RF 100-400mm f/5.6-8 IS USM review

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Best super-telephoto prime lens for the R7

If the reach of the Canon RF 100-400mm f/5.6-8 IS USM is still not enough for you, then take a look at the rather remarkable Canon RF 600mm f/11 IS STM. Don't be put off by that small-looking fixed aperture – it's amazing what a bit of ISO boosting and the lens's built-in IS can achieve, even in poor lighting.

This lens, and the Canon Canon RF 800mm f/11 IS STM are unique as supertelephoto prime lenses within the budgets of ordinary photographers – Canon's pro supertelephoto primes cost 15x more! The stabilization is effective and the optical performance is surprisingly good. The best thing of all, though, is the 960mm effective focal length on the EOS R7. Nowhere else will you get this kind of magnification at this price.

Read more: Canon RF 600mm f/11 IS STM review

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Best standard zoom lens for the R7

The Sigma 18-50mm f/2.8 DC DN offers a constant f/2.8 aperture, unlike the competing Canon standard zoom, with a classic 3x zoom range for this class of lens. The Sigma is smaller than you’d expect given its constant maximum aperture yet the build quality is very good – and it’s weather-resistant as well.

The autofocus system is super-fast and virtually silent, and I was impressed by the quality of the images. It's very much like a 'trinity' standard zoom, downsized from full-frame to APS-C format, and very good value at the price.

Read more: Sigma 18-50mm f/2.8 DC DN | C review

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Best wide-angle lens for the R7

I waited a long time for Canon to release an RF-S wide-angle zoom, which was a big hole in the RF-S range. But at last the EOS R10 launched as an affordable wide-angle lens, ideal for shooting interiors, landscapes and buildings. If you like to film vlogs for streaming, you’ll find this a compelling option.

The lens delivers sharp, punchy photos, although it does exhibit some distortion, especially at the 10mm setting. Fortunately, this is easily addressed via in-camera corrections or some quick post-processing. The lens' narrow aperture also means you’ll have to be careful with your exposure settings as it gets dark.

Read more: Canon RF-S 10-18mm f/4.5-6.3 IS STM review

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Best standard prime lens for the R7

Canon does make some very affordable, very good prime lenses for its full frame cameras, and we've picked out a couple as being particularly interesting for EOS R7 owners. The first is the Canon RF 35mm f/1.8 Macro IS STM, which is tempting for a number of reasons.

The first is the focal length, which equates roughly to a classic 'nifty fifty' standard lens; the second is the fast f/1.8 maximum aperture, which is good at this price; the third is the built in IS (though we never get close to Canon's claimed 5-stop compensation); and the fourth thing is its 0.5x close-focusing capability. It's not a true 1x macro lens, but it focuses way closer than regular lenses. Here's another lens that's going to be just as useful if you upgrade to a full frame camera later.

Read more: Canon RF 35mm f/1.8 Macro IS STM review

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Best portrait photography lens for the R7

Designed as a 'nifty fifty' for full frame EOS R cameras, the Canon RF 50mm f/1.8 STM becomes even more interesting on the EOS R7, where the APS-C crop factor gives it an effective 75mm focal length. This, combined with the fast f/1.8 maximum aperture, makes it a near-perfect 'portrait' lens for the EOS R7.

This lens is super-cheap, but there's nothing to give that away in either its construction or its optical performance. The one thing to keep in mind is that there's no in-built stabilization – but then the EOS R7 has IBIS anyway, so that's not really a worry either.

There's no lens hood or weather sealing, as usual with Canon's lower-cost lenses, but the lens mount is metal and you still get Canon's handy focus/control ring, just as you do on its other lenses.

Read more: Canon RF 50mm f/1.8 STM review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. Levels of sharpness are generally very good, although the RF-S 55-210mm is little less impressive. The RF-S 18-45mm doesn’t perform so well for color fringing and distortion but these issues are taken care of by automatic in-camera correction, as with many lenses designed for mirrorless cameras.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.

Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel and pincushion distortion at its shortest and longest focal lengths respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

How to choose the best lens for the Canon EOS R7

How we test lenses

The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

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With the launch of the Canon EOS R – the company's first full-frame mirrorless camera and the start of its true mirrorless ambitions – Canon also brought us a brand new mount for a whole new series of lenses: the Canon RF mount. This was the biggest change for Canon in over 30 years, since it swapped from the FD to EF mount in 1987, introducing electrical contacts for a new wave of electro-mechanical photography.

With this new RF mount, Canon talked big about how the decreased flange distance and upgraded electrical contacts would unleash a wave of lens design that was never possible before. To crown this achievement, alongside the EOS R the manufacturer launched, the Canon 28-70mm f/2L USM lens – one of the most remarkable optics seen to date. Then Canon went a bit quiet.

This is not to say the manufacturer has dropped the ball with its lenses. In fact, it has released some of the best Canon RF lenses in recent years. However, none of its new optics has lived up to the original hype about the abilities of the RF mount (possibly with the exception of the very weird and very niche Canon Dual-Fisheye).

However, things might be about to change, with Canon Rumors getting reports that a new lens made to "complement" the RF 28-70mm f/2L USM is in the works over at Canon R&D. Not much else is currently known about the lens, including its focal range, but the site's sources place it for an early 2024 release.

What focal length the lens could be is anyone's guess, but with the suggestion that it would complement the 28-70mm lens, it would be an educated suggestion to say that the new lens might be a play on one of the other two lenses in the 'trinity' of professional lenses. These would usually be the RF 70-200mm f/2.8L IS USM and the RF 15-35mm f/2.8L IS USM lenses. But potentially Canon has found a way to knock these lenses' aperture down to f/2, or has some other twist up its sleeve in terms of focal length or size.

Whatever the new lens (or lenses) turns out to be, if it can capture some of what made the RF 28-70mm so exceptional then that is a very exciting prospect. Although if it costs around the same as that first lens, then it's one that sadly few of us will be able to get our hands on!

Follow along with the latest on Canon in our Canon rumors hub. You can also find out more about the best Canon cameras, the best Canon DSLR lenses, and the best Canon RF lenses in our guides.

Three new lenses could be added to the Canon RF mount lineup including an 85mm f/1.4, 75mm f/1.4 and 100mm f/1.4. A newly-filed patent shows plans for a series of fast aperture primes that will sit nicely between the super wide (and expensive) f/1.2 variants and the more standard f/1.8 or f/2.8. 

We’ve come to expect extremely high optical quality from the best Canon RF lenses and according to the patent, the same is true here. They have been described as a system that ‘provides excellent correction”, and “capable of satisfactorily correcting aberrations over a wide range of object distances” all while maintaining a compact form. 

• Check out the best Canon cameras and browse a range of APS-C bodies perfect for beginners and amateurs to professional, top-spec systems 

The 85mm f/1.4 lens should be similar to the Canon EF 85mm f/1.4 L IS USM which is an ideal lens for portraits. According to the diagram submitted with the patents, the lens will be made up of a series of negative reference and positive refractive lens groups which also will help to reduce aberrations for such a large aperture lens. 

Releasing a 75mm f/1.4 lens would be an interesting move for Canon as it isn’t a “standard” focal length, most people would either opt for an 85mm or a wider 50mm. However, this would also make a great portrait lens but in the comment section on the Digi Cam Info site where we found the patent, no one seems to be overly excited about a 75mm lens. All the talk is about 85mm and 100mm. 

You can already get hold of a Canon RF 100mm f/2.8 L IS USM Macro lens which is perfect for shooting very small things up close with a minimum shooting distance of just 26cm. There has been no mention in the patent plans of whether the new Canon 100mm f/1.4 lens will be another macro lens - but we'd assume it would not.

Nikon, Sigma and Zeiss each have their own version of a 100mm f/1.4 and with whispers, Sony could launch one soon it's no surprise Canon wants to get its foot in the door as well. 

It's still early days for these lenses, and have yet to appear on the RF lens roadmap - so there has been no mention of an official release date, price, or further specs from Canon. But if they do come to fruition, we suspect the RF 85mm f/1.4 to be particularly popular. 

Also check out the best mirrorless cameras from Canon, Nikon, Sony and more

Canon Rumors has discovered a patent that suggests Canon may be working on a new type of linear focus motor for its next generation of autofocus lenses. With the rise of hybrid cameras which are equally adept at shooting stills and video, autofocussing has to be both fast and accurate for stills, while also being smooth and as quiet as possible during video capture.

It's not as though Canon hasn't already been addressing this balance in its more recent autofocus iterations. When its STM (stepper motor) AF system was launched in 2012, it was touted as being exceptionally smooth and quiet during autofocussing. Canon developed this sill further in 2016 with the introduction of its latest AF technology, Nano USM. Nano USM AF motors use ultrasonic vibration to create linear focussing movement to move the lens focus group, with finer control over speed, and near-silent operation.

With Nano USM already setting a high standard for hybrid stills and video AF, the latest development revealed by this patent seems to be more evolution than revolution. According to the patent overview, Canon is focussing (pun alert) on improving power efficiency of the AF system and reducing the overall size of the lens barrel. The patent clarifies how this may be achieved through the use of special magnet arrays, at which point you'd need more experience with electrical engineering than I have to understand the technicalities of how the AF system works.

Given that Canon's last big autofocus development was seven years ago, designed originally for DSLR lenses, and preceding the introduction of R-series cameras by two years, the time could be right for a new AF generation that's native to RF-mount lenses.

For a more detailed insight into the history of Canon’s autofocus technologies, Canon has an interesting article on the subject.

Find out more about Canon with our guides to the best Canon cameras, the best Canon RF lenses, or all the very best Canon lenses.

It’s no secret Canon can be pretty difficult when it comes to allowing third-party lenses for RF mount cameras. Compared to other brands, very few exist and the ones that do don't feature autofocus. However,  there is hope on the horizon that Canon could be easing up on restrictions as a patent for a Tamron 17-50mm f/4 lens has emerged.

Tamron and Sigma arguably make some of the best third-party lenses for Sony, Nikon and Canon EF mount but as things stand, there isn't a single lens available for RF-mount Canon cameras from either brand.  When it comes to wide-angle lenses, there's the Canon RF-S 18-45mm f/4.5-6.3 IS STM for APS-C systems such as the Canon EOS R50 or the Canon EOS R7 but nothing even close for full-frame systems. For anyone who shoots landscapes, portraits or street photography, a 17-50mm lens would be a versatile choice and I'd hazard a guess it won’t break the bank either. 

• These are the best Canon RF lenses including a range of primes, super telephoto and standard zooms

According to Asobinet Tamron published a patent application on July 4 for a full-frame compatible 17-50mm f/4 lens with internal zoom. According to early specs, it will have a 110.7°-47.33° angle of view and dimensions of 21.6 x 134.5mm. This small compact lens, if it comes to fruition, will be one of the widest angle lenses available for Canon full-frame cameras - currently only beaten by the Canon RF 16mm f/2.8 STM which has an RRP of $249/£299/AU$479.

While Samyang, Rokinon, Laowa and Lensbaby have released several RF mount lenses including the Lensbaby Edge 35 Optic, many of these are manual focus or cine lenses that don't compete with Canon’s own RF mount lineup. It would be a welcome move for Canon to start opening up the doors to brands such as Sigma and Tamron as it means customers will not only have more choice but also access to slightly cheaper lenses - after all several of the RF mount lenses cost thousands of dollars/pounds. 

It’s still early days for this potential new lens and with no official announcement on when it may be released, how much it will cost or the lens configuration itself (other than the patent diagrams) it’s hard to judge whether it will be more or a pro or entry-level lens. But one thing is for sure, Tamron has made some pretty stellar affordable lenses that when compared in lab tests, give own brand lens a run for their money so I’m hopeful this will be the case here. 

Canon might have been in the camera game since 1933 but the now-legendary EOS range of cameras – and matching EF lenses didn't launch until March 1987. If it were a person, it'd be a millennial!

The EOS stands for Electrical Optical System, though it is not a coincidence it is also named after Eos, the goddess of dawn. The debut camera was the Canon EOS 650, which launched alongside the EF 50mm f/1.8 lens. In the 36 years since Canon has gone on to manufacture a jaw-dropping 110 million EOS cameras and 160 million EF and RF mount lenses. 

Canon cameras are renowned for being some of the best DSLRs and best mirrorless cameras in the world. From the groundbreaking Canon EOS 5D series launched in 2005 to Canon’s latest, top-spec mirrorless powerhouse, the EOS R3, Canon has always been an innovator pushing the boundaries of camera technology. From 2003 to 2022, Canon maintained the top share of digital SLR sales and, in March 2023, it produced its 110 millionth camera – a Canon EOS R6 Mark II. (The R6 II was originally released in November 2022, but is still being manufactured.)

• The best Canon RF lenses include a range of primes, telephoto, and zooms

Alongside the EOS system cameras, Canon has two lines of lenses – EF mount lenses for full frame and APS-C DSLRs and RF mount lenses for its mirrorless system. In total, Canon has an impressive 115 lenses in its EF and RF lineup including a range of telephotos, primes, wide-angles, macro lenses, and the specialist (and rather peculiar) 3D VR Canon RF 5.2mm f/2.8L Dual Fisheye lens.

There have been many stand-out moments for Canon along the way, such as the launch of the Canon EF 75-300mm f/4.5-5.6 IS USM which was one of the world’s first lenses to have image stabilization – a feature that is now standard in almost all professional lenses.

As well as image stabilization, Canon has introduced lenses with silent focussing such as the Canon RF 24-105mm f/4 L, a SSC (super-spectra) and SWC (subwavelength structure) coatings which help to reduce chromatic aberrations and lens flare plus many of Canon’s professional lenses have focus locking, different focus modes plus a zoom ring lock to stop lenses accidentally extending when in transit. 

It’s been two years since Canon launched the Canon RF 100mm f/2.8 L Macro IS USM lens and in May 2023 one of these primes became the 160 millionth EOS interchangeable lens to be made. Though they might not be quite the round numbers that 100 million cameras and 150 million lenses were, both those milestones are even further in the rear-view mirror and Canon continues to innovate, inspire and take image-making tools to the next level. 

Also check out the best Canon DSLR lenses which include a range of EF and EF-S mount lenses

An RF mount fisheye zoom is coming to the Canon lens lineup and is set to be similar to the EF version for DSLRs. Like all RF lenses, it will fit both full-frame and APS-C sensor cameras making it a worthwhile purchase for anyone, even if you’re considering upgrading your system in the near future. 

Typically, fisheye lenses are usually wide-angle prime lenses that produce a strong visual distortion so a zoom fisheye is certainly a niche product. The EF mount Canon EF 8-15mm f/4L USM was released over a decade ago and allowed users to shoot circular or full-frame images. Being a zoom lens, it was a lot more versatile than any other fisheye lenses available and for many years was the only zoom fisheye lens available (until Nikon launched the Nikkor 8-15mm AF-S f/3.5-4.5E ED lens in 2017).

• Check out the best Canon cameras from the latest mirrorless systems to older still much-loved DSLRs

Fisheye lenses are commonly used to film skate or music videos as they produce a completely different look to a standard lens giving it an artsy super-close-up twist. While some people absolutely despise them, labeling them as ‘tacky’ others swear by them for producing content that is eye-catching and creative. 

So far, Canon has said very little about the upcoming but according to Canon Rumors this niche RF lens but it’s said to have a brand new optical design and judging by other RF lenses, it will be pretty similar to the EF version in terms of focal length and speed. We reported on the patent for this planned RF fisheye back in 2020.

Currently, the only Canon-made fisheye lens available for RF cameras is one of the strangest looking lenses of all time - the Canon RF 5.2mm fisheye lens f/2.8 Dual fisheye lens but it’s aimed more at filmmaking for Virtual Reality than photography. The RF lineup is certainly missing a more creative stills lens so if the rumor is true it will sit nicely among the RF lenses already available. From independent lens manufacturers, there is also the RF-mount Laowa 4mm f2.8 Circular Fisheye.

With no news of when Canon might make the official announcement or how much it will cost we can only speculate but based on the prices of mist RF mount lenses, it won’t be a cheap investment. When the EF mount version came out it was around $1,300 and lens technology has progressed a lot since then and everything has gotten more expensive.

Why not also check out the best wide-angle lenses for when you want to shoot without distortion

Blackmagic could be set to join forces with the camera industry's all-star team to launch its next camera.

According to a video Andrea Pizzini Photography (the man behind sites like Mirrorless Rumors), a source has confirmed that the renowned cinema and broadcast camera maker has allegedly signed an agreement with Leica, Panasonic, and Sigma to join the L-Mount Alliance. 

If true this could expand the camera company's user base by providing a really afford lens mount to its popular bodies, such as the Blackmagic Pocket Cinema Camera 6K or even the Blackmagic Ursa Mini series. 

This would make Blackmagic a member of another exclusive club, as it is already part of the Micro Four Thirds (MTF) standard with the likes of Leica, Panasonic and OM System (formerly Olympus). 

Apparently, this "already signed" document means that Blackmagic will announce an L-Mount full-frame camera by the end of 2023. In addition to MTF, Blackmagic also offers two additional mount options in its professional cinema and broadcasting range: PL and Canon EF. 

Opening the gate to L-Mount lenses might be a good move from Blackmagic, as it will avoid the camera company having to pay rights fees or license other mounts in the future (such as the Canon RF mount).

Whether these rumors are true only time will tell, so they must be taken with a large grain of salt for the time being. If correct, though, it will be an interesting step from the camera giant – hopefully one that will pay off.

If this has been interesting we highly recommend taking a look at the best Blackmagic cameras, along with casting your eye over the best cinema cameras for all your filmmaking needs. And if you're thinking about documentaries and Netflix, make sure your camera is one of the best Netflix-approved cameras on the market.

It’s a sign of how quickly things change in the world of cameras that the EOS 250D (known as the EOS Rebel SL3 in North America) already seems as if it belongs to a past generation. In fact, it was released as recently as 2019, and it shares a lot of the technology of the brand-new EOS R100.

So anyone looking for the best camera for beginners right now still has a genuine choice between a modern mirrorless design and a classic DSLR. Technically, these two cameras are surprisingly close, mostly because the EOS 250D used Canon’s latest tech at the time, while the EOS R100 keeps down the cost by re-using much of it some four years later.

Both could tempt anyone looking for the best cheap camera right now, and while the EOS R100 is a little on the basic side to make our list of the best Canon cameras, we still consider the EOS Rebel 250D a strong contender, and certainly one of the best DSLRs still available.

The EOS Rebel EOS 250D does currently cost a little more than the EOS R100, but has some features and capabilities that the EOS R100 doesn’t. So let’s take a closer look at these two cameras to see which one might be best for anyone just starting out in photography.

Canon EOS R100 vs EOS Rebel SL3 / EOS 250D in 2026

1. Type

• Canon EOS R100: Mirrorless
• Canon EOS Rebel SL3 / 250D: DSLR

The Canon EOS R100 is a mirrorless camera, which means the image is captured directly on the sensor in real time and relayed directly to either its electronic viewfinder or the rear screen. The EOS Rebel SL3 is a DSLR, which means it has a mirror in the body which directs the image up into an optical viewfinder right up until the moment of exposure, though it can also be used in ‘live view’ mode with the mirror flipped up, where the rear screen shows the image being captured by the sensor. Mirrorless cameras are more popular today but both types have their advantages, and you can find out more in our guide to DSLRs vs mirrorless cameras.

2. Lens mount

• Canon EOS R100: Canon RF-S
• Canon EOS Rebel SL3 / 250D: Canon EF-S

The EOS R100 uses Canon’s latest RF lens mount, which it shares with the company’s full frame mirrorless cameras. You can use full-framen RF lenses directly on the EOS R100, though the smaller sensor means there will be a ‘crop’ factor, and to get equivalent angles of view with standard and wide-angle lenses you really need RF-S format lenses designed for the smaller sensor, and at the time of launch the choice is pretty limited. Many of the best Canon RF lenses cost more than the EOS R100 itself.

The EOS Rebel SL3 uses Canon’s EF lens mount or, to be precise an EF-S version. You can mount full frame EF lenses directly but, as with the EOS R100, you really need dedicated EF-S lenses designed for the smaller sensor for kit lenses and wide-angle lenses. The difference with the Rebel SL3 is that there’s wide-ranging support for the EF-S lens format both from Canon and third-party lens makers.

Check out the best Canon EOS Rebel SL3 lenses

3. Sensor

• Canon EOS R100: 24.1MP APS-C, DIGIC 8
• Canon EOS Rebel SL3 / 250D: 24.1MP APS-C, DIGIC 8

The sensor specifications for these two cameras are identical, both in terms of the sensor dimensions and the effective megapixels. Even the DIGIC 8 processor is the same, a sure sign that Canon is using its older tech in the EOS R100 to keep the costs down. You shouldn’t expect any difference in image quality from the cameras themselves.

4. ISO range

• Canon EOS R100: 100-12800, exp 100-25600
• Canon EOS Rebel: SL3 / 250D100-12800, exp 100-25600

The ISO range is the same for both cameras, both in the standard and extended ranges. The sensor may be a few years old now, but it’s still capable of good quality at high sensitivities. Neither camera has an advantage here.

5. Autofocus

• Canon EOS R100: Dual Pixel CMOS AF, 3975 points, Humans (Eyes/Face/Head/Body)
• Canon EOS Rebel SL3 / 250D: OVF 9-point phase-detect, live view Dual Pixel CMOS AF, 3975 points, Face detection

One of the quirks of the DSLR design is that you get two autofocus systems not one. The EOS Rebel SL3 has a basic but effective 9-point AF sensor for viewfinder shooting, with focus points in the middle area of the image rather than right the way across. In live view mode, however, it switches. to the same Dual Pixel CMOS AF system found in the EOS R100.

Some people like the AF systems of DSLRs, and the Rebel SL3 does offer more advanced, wider-coverage AF in live view. On the other hand, the EOS R100 does provide an identical AF experience in both viewfinder and live view shooting. Canon also lists a wider range of human feature recognition types for this camera.

6. Continuous shooting

• Canon EOS R100: 6.5fps, 97 JPEG, 17-C-RAW
• Canon EOS Rebel SL3 / 250D: 5fps

The EOS R100 does have a slight speed advantage over the EOS Rebel SL3 for burst shooting, but this comes with a pretty limited buffer capacity that means the camera will slow down after a few seconds. Canon doesn’t quote the buffer capacity of the Rebel SL3, but with the same sensor and processor we would expect it to be similar. Both cameras can be used for burst shooting, but neither can keep it up for long.

7. Video

• Canon EOS R100: 4K UHD 25p, FHD 60p, HFR 120p HD
• Canon EOS Rebel SL3 / 250D: 4K UHD 25p, FHD 60p

Since they share the same previous-generation sensor and processor specs, it’s no surprise that they share the same limitations. On paper, they can shoot 4K video, but in practice it’s with a heavy crop that restricts your lens’s angle of view, and Canon’s speedy Dual Pixel CMOS is not available. If you don’t mind dropping to 1080 full HD resolution, you don’t get the same restrictions. Neither camera has an advantage here, and both look a step behind the latest mirrorless models like the EOS R50 or Nikon Z30.

8. Viewfinder

• Canon EOS R100: EVF, 0.39, 2.36m dots
• Canon EOS Rebel SL3 / 250D: OVF, Pentamirror, 95% coverage

The Canon EOS R100 has a 2.36 million dot electronic viewfinder, which is perfectly good enough at this price. The EOS Rebel SL3, however, has an optical viewfinder which gives a clear, ‘naked eye’ view of the scene rather than the digitized version on the EOS R100. However, the Rebel SL3 does not have the pentaprism design of more upmarket DSLRs. Instead, it uses a smaller and cheaper ‘pentamirror’ which is a little cramped by comparison.

9. Rear screen

• Canon EOS R100: 3-inch fixed, 1.04m dots
• Canon EOS Rebel SL3 / 250D: 3-inch vari-angle, 1.04m dots

The EOS R100 and Rebel SL3 have very different viewfinder technologies, and there big differences round the back, too. They use the same 3-inch 1.04m dot display, but on the EOS R100 this is fixed in place, while the EOS Rebel SL3 has a vari-angle pivot. This makes the Rebel SL3 much more adaptable when shooting at difficult angles and especially for video, where the screen can be flipped forward for filming yourself. Even though the EOS R100 is a mirrorless camera, the older Rebel SL3 does have this advantage for video.

10. Battery life and storage

• Canon EOS R100: LP-E17, 430/340 shots
• Canon EOS Rebel SL3 / 250D: LP-E17, 320/1070 shots

Digital displays consume a lot of power, and this becomes very apparent when you compare the battery life for these two cameras – they use the same LP-E17 rechargeable battery, by the way. 

In live view mode using the rear screen the EOS R100 has a considerable advantage, offering up to 430 shots on a single charge versus 320 shots for the Rebel SL3. But if you switch to viewfinder shooting, the EOS R100 drops to 340 shots while the Rebel SL3 rockets to 1070 shots, which is a clear advantage for all-day shooting.

Both cameras have a single SD memory card slot compatible with UHS I memory cards, so there’s no difference there.

11. Size

• Canon EOS R100: 116.3 x 88.1 x 58.7mm, 356g
• Canon EOS Rebel SL3 / 250D: 122.4 x 92.6 x 69.8mm, 449g

Not surprisingly, being a DSLR, the EOS Rebel SL3 is both bigger and heavier than the EOS R100, and that’s despite the SL3 being the smallest DSLR on the market. Much of the difference is due to the extra thickness of the body to accommodate the mirror used for the optical viewing system.

12. Price

• Canon EOS R100: $599 / £669
• Canon EOS Rebel SL3 / 250D: $749 / £769

If we compare the prices of both cameras with their standard kit lenses included, the Rebel SL3 costs around $150 / £100 more than the EOS R100. The price difference may change over time, once the EOS R100 has been on sale for a while. As to whether the Rebel SL3 is worth the extra, it is if you like an optical viewfinder and you need extra lenses beyond the kit lens. It also has a vari-angle screen.

Canon EOS R100 vs EOS Rebel SL3 / EOS 250D: conclusions

Canon has done very well to get the price of the EOS R100 as low as it has while still making a serviceable and effective camera with a good sensor. it does feel like the future, while the SL3 feels like one of the last of the old DSLR range.

Even so, right now, the Rebel SL3 is a little bit more versatile thanks to its vari-angle screen and access to a far wider range of lenses. (You can use the same EF-S lenses via an adaptor with the EOS R100, but it’s more of a temporary workaround than a long term solution.)

If the day comes when the EOS R100 has as many RF-S lenses to choose from as the Rebel SL3 has EF-S lenses, that would be enough to make the EOS R100 a clear winner. But that won’t happen any time soon, and it may never happen at all, so in the meantime, the Rebel SL3 is still a very compelling alternative. The EOS R100 might be the future, but we live in the present!

Canon have built a pretty impressive lens lineup around the new RF mount in just a few short years, but as we come up to the 5th birthday of the first Canon EOS R camera in October later this year, we are taking a look at some of the Canon lenses from the DSLR era EF mount that are just calling out for an RF version.

This is not a comprehensive list, Canon made so many wonderful lenses for the EF mount that have not yet made it over to the RF mount that it would take me days to type up. I have judged these lenses on what I think people want, if there really is a need in the market, and on how likely it is Canon would ever actually make the lens.

1. Canon EF 50mm f/1.4 USM

The Canon EF 50mm f/1.4 USM is one of the most successful Canon lenses ever, and for good reason, it is incredibly small, packs in a very wide f/1.4 aperture, and has decent (although not top-notch) image quality that still holds up today with modern digital sensors. The best thing about this lens was that it didn’t cost the earth, and for that reason, you’ll find that most Canon photographers at some point had this in their kit bag. This would be the perfect lens to climb up the lens ladder between the rungs of the cheap and cheerful Canon RF f/1.8 STM and the huge expensive beast of the Canon RF f/1.2L USM lens.

It is criminal that Canon has not remade this lens for the RF mount as I am sure people would queue around the block. The lens could stand to have a bit of an optical update to better control chromatic aberrations and have sharper images, two major complaints about the existing version, but if it holds onto the charms of the small affordable wide aperture lens that came before, then I am convinced it will be a winner.

2. Canon EF 35mm f/1.4L II USM

There were a lot of L-series prime lenses to choose from for this list as that seems to be the last area Canon wants to tackle for the RF mount, especially down at the wider end of the focal range. I chose the Canon EF 35mm f/1.4L II USM as it would be my personal preference, although this could easily be substituted by many for the Canon EF 24mm f/1.4L II USM.

The EF 35mm f/1.4L is a hugely popular lens for pro Canon shooters who work in a number of areas, from travel and street photography, to fashion photography and landscapes, a 35mm focal length is incredibly versatile. And the EF 35mm f/1.4L was very good, with some incredible optical performance, and with the precedent of RF lenses so far, this is only likely to be improved with sharper images for larger megapixel sensors and new elements to decrease flaws. The only downside, judging on L-series lenses that have already made the jump to RF, we can probably expect the price to skyrocket.

3. Canon EF 100mm f/2.8 Macro USM

Canon already has a magnificent macro lens for the RF mount with the Canon RF 100mm f/2.8L Macro IS USM, however, this lens is not priced for the casual macro enthusiast. This is where the original Canon EF 100mm f/2.8 Macro USM was perfect, by taking out the image stabilization and having a slightly less clinically perfect quality, the EF 100mm managed to come in at a much more wallet-friendly price. There are a couple of RF prime lenses that offer a half-macro size (0.5x), but you really can’t beat a true 1:1 macro lens for close-up work, and currently, price conscious Canon RF shooters don’t have an option (with autofocus anyway). This is something that Canon should look to change soon.

4. Canon EF 8-15mm f/4 L USM Fisheye

Fisheye lenses can be divisive, some people love the fun effects, while others think they can look a little tacky. Wherever you stand on the debate, there is no arguing that there is a market for fisheye lenses, and so far Canon has not offered up one for its RF mount. Fisheye lenses are often left up to third-party manufacturers to make on the cheap, but with the EF 8-15mm f/4 L Fisheye USM, Canon entered a truly compelling option for anybody serious about the fisheye perspective and also image quality. A new version for the RF mount could be a really interesting proposition, especially if Canon could put a new spin on it.

Although, just any lens at the ultra-wide-angle would be very welcome from Canon, the Canon EF 11-24mm f/4 L USM also narrowly missed a title spot on this list, with the current widest focal length possible on the RF being 16mm, there is a real hole in Canon's lineup for anybody hoping to shoot extreme wide angles without having to resort to panoramic photo stitching.

5. Canon MP-E 65mm f/2.8 1-5x Macro

Okay, so two niche macro lenses on this list but only one regular prime, I don’t care, it's my list. The Canon MP-E 65mm f/2.8 1-5x Macro is such a specialist tool only for those who really care about the ultimate quality in macro photography, but that is also what makes it so great.

There are very few lenses out there like this, and for good reason, the overwhelming majority of photographers will never need this lens, but for those that do, the wondrous images that 5x macro lenses can take are just incredible. And with modern technology such as automatic focus stacking, or the new IBIS High-Resolution Shot in the Canon EOS R5 producing 400MP images, the potential for a lens of this type is really exciting and I really hope Canon makes another version of this discontinued EF gem.

Find out more about the best Canon lenses, and the best Canon cameras in our guides. If you are interested in macro photography then you can find our tips to master macro photography with your Canon camera.

The Canon RF 28mm f/2.8 STM is Canon's first ever pancake lens for the RF mount – and it's also the smallest ever RF mount lens. However, there's much more to this optic than its pocket-friendly size (and price). 

Its 28mm focal length helps flesh out the impressive range of affordable RF primes (which now comprises a 16mm, 24mm, 35mm, 50mm and 85mm), giving full frame users a useful wide-angle option for street, travel and reportage. However, with an effective 44.8mm focal length on APS-C bodies, it pairs perfectly with compact cameras like the Canon EOS R10, Canon EOS R50 and the Canon EOS R100. 

Still, beyond its appeal as a dinky little pancake lens, does the Canon RF 28mm f/2.8 STM have what it takes to rank among the best Canon RF lenses? 

Canon RF 28mm f/2.8 STM: Specifications

Mount: Canon RF
Full-frame: Yes
Autofocus: Yes
Stabilization: No
Lens construction: 8 elements (incl. 3 aspherical "Seagull") in 6 groups
Diaphragm blades: 7
Minimum aperture: f/22-32
Minimum focusing distance: 0.23m
Maximum magnification ratio: 0.17x
Filter size: 55mm
Weight: 120g

Canon RF 28mm f/2.8 STM: Key features

The headline feature of the new 28mm f/2.8 is obviously its diminutive size, measuring just 24.7mm in length and weighing 120g – making it the smallest (and, unless we're mistaken, the lightest) RF lens available. 

It boasts Canon's multi-layered Super Spectra coating to minimize ghosting and flare, which is extremely useful for a wide-angle lens without a hood. Although of course, this is only a wide-angle optic on a full frame camera; when mounted to one of Canon's APS-C bodies, its equivalent focal length makes this effectively much closer to a nifty fifty.  

Usefully, the lens also features focus breathing correction – something that's extremely helpful for its application as a vlogging lens, where it will no doubt find an eager audience. 

As with all first-party RF lenses, you'll find a customizable ring at the nose of the optic. This can be switched between its application as a standard focus ring, as well as the control ring function to change exposure parameters such as aperture, ISO and so on.

Canon RF 28mm f/2.8 STM: Build & handling

In order to facilitate the pancake-like construction of the RF 28mm, Canon has employed custom-shaped "Seagull" elements using PMo (plastic-molded) technology.

These non-circular lens elements not only enabled the engineers to produce a more compact (and affordable) design, but also afforded them great flexibility in terms of where to place the stepper motor of the autofocus system. 

In addition, Canon says that these Seagull elements (which, it seems, are making their debut in this lens) produce higher image quality in the corners – something we will see for ourselves when we conduct our full lab tests.

Despite only weighing 120g, the lens doesn't feel at all cheap or plasticky – instead it is a satisfyingly sturdy optic (though obviously it possesses no weather sealing at this price point). 

The customizable ring on the end of the lens is modified by a small selector switch on the side, toggling it between a control ring (for exposure control) and a manual focus ring. Though given how thin it is (by virtue of the pancake nature of the lens), some may find it fiddly to manipulate as a focus ring. 

Canon RF 28mm f/2.8 STM: Performance

We used the Canon RF 28mm f/2.8 primarily on the Canon EOS R100, and it honestly feels like this lens was designed for the compact APS-C bodies like it and the R50. The setup is absolutely perfect for a walkabout, everyday lens, and we can see this being a favorite of street shooters and travel photographers.

In addition, we gave it a workout on the chunkier Canon EOS R5 where it was every bit as at home – though if you're using a bigger body, obviously the advantages of the pancake size aren't quite as pronounced (so you might find the Canon RF 24mm f/1.8 Macro more appealing, with its faster aperture and close-up abilities).

Whichever body we used, the 28mm was more than capable of keeping up with the Dual Pixel focusing. It gave us snappy, responsive AF performance whether we shot static, moving, human or animal subjects. The focus breathing correction is also, as always, incredibly welcome for video shooting – and this will surely find a home as a go-to lens for vloggers and content creators on the go.

If you're not used to the uncommon 28mm focal length, we think you'll find a great deal of joy in composing your scenes on a full-frame camera. Being a little bit wider than the traditional 35mm used for street and reportage photography, we felt more inclined to incorporate areas of environmental interest than we otherwise might. It's always a joy to experiment with unfamiliar focal lengths, inviting you to "rediscover" the joy of framing. 

And of course, on an APS-C camera this is near-enough a 50mm – and it's a brilliant shoot-what-you-see optic in this regard, despite being a step slower than a traditional nifty fifty. Still, the f/2.8 aperture is more than wide enough to be effective in most lighting conditions – and can even provide pleasant subject separation with the appropriate proximity to your subjects. 

Canon RF 28mm f/2.8 STM: Verdict

We'll have to wait until we get the lens in the lab, to see if Canon's claims about things like corner sharpness are true. As it stands, though, we love the results that the Canon RF 28mm f/2.8 produces. 

We'd even go so far as to say that it's a must-have lens if you own the R50 or R100. While the RF-S zoom lenses are more "complete" in terms of versatility, this is pretty much an essential optic for those bodies – and is a great way to acclimatize to using a fixed focal length, if you've never used primes before.

Which isn't to overlook how good it is for full-frame bodies, too. As noted, the 24mm f/1.8 Macro is arguably more useful for full-framers between its wider field of view, faster aperture and close-up capabilities. However, the 28mm f/2.8 is about half the price – not to mention something like half the weight – so if you want a nice wide walkabout lens, this is a fantastic option.

For both stills and video this is an adaptable and affordable lens that deserves its place in almost every camera bag – especially if you're gearing up for a vacation.

Lens maker Meike has announced a new 85mm f/1.4 autofocus lens that will come in Sony E, Nikon Z, and Leica L mounts, and do our eyes deceive us – Canon RF mount!

The Canon has a well-documented history of blocking any third-party lens manufacturer from making autofocus lenses for the RF mount, after getting its lawyers to step in when Samyang/Rokinon and Viltrox both tried their luck. In those cases, both companies were forced to cease production of their respective RF mount lenses before they got into the hands of consumers.

• Read More: best Canon portrait lenses

Meike thinks it might have a better chance, and is claiming that its 85mm f/1.4 lens is "approved" by Canon. Canon has no official approvals labels or markings, so at the moment, we are not sure what Meike is using to back up its claim. Canon has also chosen to so far not publically comment on the Meike lens, for better or for worse. 

The only other third-party lens that Canon has publically "approved" so far is the Cosina Voigtlander Nokton 50mm f/1 Aspherical, however, this is a manual focus lens. There are other manual focus lenses from third-party brands such as Venus Optics, it's Laowa lenses have managed to skirt past Canon's legal team, although neither have they been officially endorsed by Canon.

Meike is not the most well-known lens brand, but the Hong Kong based company has been steadily releasing cine and stills lenses for cameras for the past several years, where it rose in the public consciousness with its affordable Mirco Four Thirds glass. It is not the first company you would think would get official "approval" from Canon, but maybe they believe they have less to lose by Canon scuppering their plans.

With the recent news that Sigma and Tamron are outselling first-party lens makers, there is definitely a booming market for a broader range of options for camera glass. Canon is the only major manufacturer to hold out on not allowing third-party manufacturers to make lenses for its mirrorless mount. Nikon was the latest to give in the last few months, and now a surge of new lenses has started to appear for the Z mount, it will be interesting to see how long Canon can hold out.

Canon previously let third-party manufacturers make glass for its EF DSLR mount and for its first attempt at mirrorless, the EF-M mount. It is unclear why Canon is so resistant to other companies making lenses for its RF-mount cameras. Some have suggested it is a financial strategy to protect its own lens revenues, while others have suggested that Canon is seeking to protect consumers from shoddy third-party lenses.

However, when some third-party lenses are as good or even better than first-party efforts, and camera companies like Fujifilm praising third-party lenses for improving their camera systems and pleasing customers, it is getting harder for Canon to justify its position.

Find out more about the latest from Canon with our guides to the best Canon lenses, the best Canon RF lenses, and the best Canon cameras.

Reports suggest that two new Canon tilt-shift lenses for the RF mount are out in the wild right now, being tested by a select group of photographers, suggesting that we will see an imminent release soon.

Tilt-shift lenses are a fairly niche variety of lens, typically used by professional photographers, as they can be expensive, and have a limited purpose. But they offer a unique way to create images that are not possible with other types of lens, and are becoming increasingly popular even with enthusiast photographers who want to elevate their creativity.

The two new lenses, according to a report by Canon Rumors, are the Canon TS-R 14mm f/4L and the Canon TS-R 24mm f/3.5L. These are not only the first tilt-shift lenses for the RF mount, but would also be the first ever tilt-shift lenses from any manufacturer to feature autofocus. 

A tilt-shift lens is a special type of lens that works by tilting the lens, relative to the camera's sensor. This enables the photographer to control the angle of the plane of focus, which is the area in front of the camera that is in sharpest focus. 

There are two main uses of tilt-shift lenses; the first is in architectural photography, where often taking photos of tall buildings from ground level will give an unusual perspective of the building, making it look narrower at the top than at the bottom, or like it is falling backward. By shifting the lens, the photographer can make the subject appear closer or further away, or they can use it to correct converging verticals to correct this phenomenon.

Tilt-shift lenses are also popular in miniature photography. By tilting the lens, the photographer can make the plane of focus shallower or deeper. It is typically used to create a miniature effect, where objects in the foreground and background are in focus while the middle ground is blurred.

Canon has always offered a range of pretty niche lenses, and there are some solid tilt-shift options for the EF mount that can be used with the EF-RF mount adapter. However, having a native lens for EOS R cameras that can also autofocus would be a big selling point for Canon.

There are no hints as to the pricing of these lenses, though the current Canon TS-E 17mm f/4L lens costs $2,149 / £2,349 / AU$3,499. RF lenses have typically cost more than their EF equivalents, so we would expect these new rumored lenses to come in even more costly.

Stay up to date with all the latest Canon speculation in our Canon rumors hub. You can also find our guides to the best Canon camerass and the best Canon RF lenses.

There is already no shortage of standard zoom options, although lens manufacturers keep insisting on redefining the all-purpose lens. Now if patents and rumors are to be believed, Canon might be considering throwing in another option to the mix with the world's first Canon 24-105mm f/2.8 lens.

Canon Watch has received a tip (although a low-rated one) that Canon has explored developing a new Canon 24-105mm f/2.8 lens, which on its own might not catch our eye, however, recent patents for a number of similar optical formulas from Canon match this proposed new lens. However, Canon is a prolific patenter, with the majority of lens designs never making it to production.

For any readers familiar with the Canon lens lineup, you will already be aware that Canon makes several 'standard zoom' lenses. Standard zoom lenses typically cover all the focal lengths that most general-purpose photographers need, from wide angles for landscapes and street photography up to mid-telephoto lengths for portraiture.

In the classic 24-105mm focal length, we already have the Canon RF 24-105mm f/4L IS USM, and the RF 24-105mm f/4-7.1 IS STM meeting both the professional and enthusiast ends of the spectrum. If you need a wider aperture, Canon also makes the professionals' go-to lens – the Canon RF 24-70mm f/2.8L IS USM. 

With the release of the new RF mount, Canon promised a whole new world of lens design was now possible, and kicked off with the Canon 28-70mm f/2 USM which is optically brilliant but an absolute behemoth of a lens. Since this lens was released we haven't been treated to nearly as many boundary-pushing lens designs as we'd have hoped.

A new standard zoom might be a response to third-party lens manufacturers' increasingly impressive designs such as Tamron's 35-150mm f/2-2.8 Di III VXD or 28-200mm f/2.8-5.6 Di III RXD, which have captured a lot of photographers interest who are not interested in carrying multiple lenses.

If Canon really is planning a 24-105mm lens with a constant aperture of f/2.8, it would most likely be an L series lens, which begs the question of how big will this lens be. Canon has not yet shown its ability to match L series quality with small-sized optics.

The current 24-105mm f/4 is not a particularly small lens, and with wider apertures adding additional diameter, you can expect it to become a lot larger if expanded to a constant f/2.8 aperture. Standard zoom lenses are meant to be workhorse lenses and easily carried around. 

You can check out the latest Canon rumors in our hub. You can also find our guides to the best Canon lenses and the best Canon cameras.

Has the pendulum finally swung when it comes to third-party lenses with electrical contacts being released for Canon's RF mount? 

Ever since the company released the original Canon EOS R in 2018, third-party lenses have been a point of contention. Back in August 2022, third-party RF lenses by Samyang and Viltrox were pulled from sale after the companies were told to stop by Canon. For many people waiting for cheaper optics, this news was devastating – but now it looks like the manufacturer might have had a change of heart. 

Canon has said that it is going to license specific third-party lenses on a case-by-case basis, starting with the recent Voigtlander 50mm f/1.0 lens. It will be the first third-party lens that can communicate with the body's RF mount without an adapter, and Canon is also in talks with other manufacturers about more third-party lenses. 

• They're all first-party right now, but the best Canon RF lenses are some of the industry's top optics

"It is true that we are approached by many third-party manufacturers," said Tetsuji Kiyomi, manager of Canon's Imaging Communications Business, in an interview with Photo Trend. 

"We hear their demands. However, we have no direction or policy as such on this subject. Naturally, I cannot share more details with you, but what I can say is that if this aligns with our strategy, we will take the necessary action on a case-by-case basis. I can't tell you more."

Citing the launch and approval of the new Voigtlander lens, Go Tokura , general manager of Canon's Imaging Division, added, "We are in the process [of] discussion with other lens manufacturers. This is the situation at present."

Canon isn’t the only brand to have effectively banned many third-party lenses; just recently Nikon banned third-party lenses that compete with its own Z-mount glass, but brands such as Sigma, Samyang and Tamron have found ways around it. Rather than releasing an identical lens, these lens manufacturers launch lenses with slightly different focal lengths such as the Sigma 28-70mm f/2.8 DG DN.

This comes as excellent news for anyone who invested in an EOS R camera in the hope they would be able to buy cheaper third-party lenses in the future. There’s no saying whether Canon will authorize any or many more, but this at least is a step in the right direction. 

• Check out the best Canon lenses and browse a range of RF mirrorless lenses and classic EF lenses for DSLRs

These are the best Canon cameras including a range or mirrorless systems and DSLRs to suit all budgets

Despite everyone in the industry jumping to the conclusion that it would, Canon has confirmed that it is not in fact going to kill off its EOS M series of mirrorless cameras. And the reason is simple: Canon sells too many of them. 

Ever since the launch of the original Canon EOS R and the dawn of the new RF mount in 2018, there has been speculation that the manufacturer would sunset its existing line of entry and mid-range EOS M mirrorless cameras. And when the Canon EOS R50 launched in February, looking like a direct replacement for the Canon EOS M50 Mark II, everyone figured that sunset had arrived. 

• These are the best Canon cameras, from DSLRs to EOS R and compacts to EOS M

Turns out that golden hour is going to last a while longer, because Canon says that the EOS M line is here to stay. For now, at least. 

Tetsuji Kiyomi, division manager of Imaging Communications Business in charge of Products, was asked by Photo Trend whether the R50 spelled doom for the EOS M series of cameras.

"The particularity of the R50 was that we wanted to release a compact and light product," said Kiyomi. "For its part, the EOS M range, thanks to the reduced diameter of the EF-M mount, could be even smaller and lighter.

"Thus, compactness and lightness are therefore two common points between the APS-C models of the EOS R range and those of the EOS M series.

"However, the size of the M-series enclosures is even smaller, and there is still a strong demand for this from our customers. This means that we will continue to offer the EOS M series as we need to meet this high demand."

While the EOS M line isn't at the front of the industry's consciousness in the west, with the Canon EOS M50 chiefly finding an audience among the vlogging and hybrid community, in the east it's a product line that does gigantic business. Indeed, the M50 has consistently Canon's best-selling camera in Asian territories for years.

As compact as the new R50 is, the M50 – by virtue of the best Canon EF-M lenses, which use a smaller lens mount – are even more compact, as Kiyomi says. 

Does this mean we'll actually get new EOS M cameras and lenses, though? We certainly hope so. 

If you enjoyed this article, you might like to read more about the best travel cameras and best cameras for street photography, where the EOS M line really comes into its own.