NAB Show 2026, April 18–22, Las Vegas Las Vegas opens the week with that particular convention-center energy photographers and camera people know well: long halls, bright overhead light, black drape, giant LED walls, and a constant stream of lenses, rigs, monitors, gimbals, and people trying to decide what actually matters once the show-floor glow wears off. NAB Show 2026 arrives as a media industry event on a massive scale, but from a photography and imaging perspective, what makes it interesting is not just size.

Canon U.S.A. has announced the CINE-SERVO 40-1200mm T5.0-10.8 lens alongside a broad firmware update covering the Cinema EOS C400, C80, C70, C50, and R5C — a dual announcement aimed squarely at professional cinematographers, wildlife and sports shooters, live event crews, and virtual production pipelines. CINE-SERVO 40-1200mm T5.0-10.8 The new lens extends the range established by the CINE-SERVO 50-1000mm T5.0-8.9, pushing the telephoto ceiling to 1200mm — and to 1800mm with the built-in 1.

The Canon R100 is the least expensive entry point in the RF mirrorless system, and Canon has been reasonably candid about what corners were cut to get it there. No in-body stabilization. A single card slot. A relatively modest sensor at 24 megapixels. An electronic viewfinder that experienced photographers will find cramped. And yet, mated to a used EF 85mm f/1.8 USM via the Canon EF-EOS R adapter, it becomes one of the most compelling portrait setups available for under $700 combined.

The 70-200mm f/2.8 is the most universally deployed professional zoom in photography. Wedding photographers, sports shooters, photojournalists, commercial photographers — across every discipline requiring reach and light-gathering in a single optic, some version of this lens has been on the camera. Canon’s RF version, redesigned for the mirrorless mount, is the current benchmark for the category. The RF 70-200mm f/2.8L IS USM shrinks the physical footprint of its EF predecessor significantly — the retractable design reduces the barrel length at 70mm to a degree that initially reads as implausible for an f/2.

There are lenses you respect and lenses you love. The RF 85mm f/1.2L USM belongs to both categories simultaneously, which is a rarer condition than it sounds. Mounted on the R5, this combination announces itself before you even fire a shutter. The lens is heavy — 1,195 grams — and the balance tips forward in a way that forces a deliberate grip. Canon is asking you to slow down, and the images it delivers in exchange for that patience are among the most seductive produced by any modern mirrorless system.

The EF 100mm f/2.8 Macro USM — not the L version, the original — is the overlooked sibling of Canon’s more celebrated L-series macro. At used prices around $350, it delivers 1:1 macro reproduction with optical quality that the price differential does not adequately explain. Via the Canon EF-EOS R adapter on the R50, it becomes a 160mm equivalent macro lens with full electronic communication and a use case that extends well beyond close-up work.

The arithmetic of cropped sensors and telephoto glass is one of the more useful free lunches in photography. The Canon R7 — a serious APS-C body with genuinely professional-grade autofocus and a 32.5-megapixel sensor — transforms the EF 70-200mm f/4L into a 112–320mm equivalent. A zoom range that, on full frame, would require an expensive, heavier f/2.8 lens or a dedicated super-telephoto prime. Here it arrives via a quarter-century-old zoom that trades used for well under $600.

A 28 mm lens has a very particular personality in street and travel photography. It sits in that interesting middle ground where the scene still feels natural and human, but the frame opens wide enough to capture context, architecture, and movement around the subject. The Canon EF 28 mm f/1.8 USM is one of those lenses that photographers often overlook today, partly because it belongs to the older EF generation, yet when used on modern mirrorless bodies it can deliver images that feel remarkably alive and immediate.

A pretty straightforward gear question turned into something more layered than expected. The setup was already solid: a Canon EF 85mm f/1.8 USM paired with both the Canon EOS R100 and the Canon EOS R8. The idea was to push subject separation further—get that stronger background blur, that cleaner isolation—by adding a 7Artisans 75mm f/1.4 Lens (Canon RF). On paper, it made sense. Faster aperture, slightly different focal length, native RF mount.

Honestly, the case for buying it is weak — here’s the breakdown. Where the 7Artisans Has an Edge The lens does bring some genuine advantages. It’s a native RF mount, which means no adapter and a cleaner setup on any RF body. At f/1.4 versus f/1.8, you’re picking up about ⅔ of a stop — which does matter for low-light work and adds a marginally different character to the bokeh. And the price is a fraction of Canon’s own glass.

Canon lenses don’t all focus the same way, and once you start noticing it, it’s hard to unsee. The difference isn’t just speed—it’s character. Some lenses snap into focus with authority, others glide, others feel almost damped, like there’s intention behind every millimeter of movement. Behind the acronyms on the barrel sit seven distinct motor technologies, each engineered around a different idea of what “good autofocus” actually means. Ring-Type USM is where Canon built its reputation.

There’s a persistent myth floating around photography circles that certain countries restrict or even prohibit long telephoto lenses, as if a 200–400mm suddenly turns you into a regulated category of traveler. After digging through actual field experience—especially forums where people report what really happens—the reality is much less dramatic and, in a way, more nuanced. No one is getting stopped at borders for carrying a long lens. No customs officer is measuring focal length and denying entry.

Canon’s Bold Ultra-Wide Prime for Astrophotography and Hybrid Creators Ultra-wide lenses tend to fall into two camps: either compact but optically compromised, or spectacular performers that feel like carrying a brick in the camera bag. Canon’s RF 14mm F1.4L VCM tries to sit in that narrow space between those extremes. It is designed as a fast, professional ultra-wide prime that stays relatively compact while delivering the kind of optical performance astrophotographers, landscape shooters, and video creators actually need in the field.

Canon’s RF system already has some remarkable lenses, but one category still feels oddly unfinished: the lightweight, budget-friendly telephoto zoom for full-frame photographers who want speed without carrying a massive professional lens. Right now the lineup jumps from compact consumer zooms straight to the big 70–200mm f/2.8 class. Those lenses are fantastic, but they are expensive, heavy, and simply more equipment than many photographers want to carry every day. What is missing is a practical middle ground.

Running two cameras has become my way of keeping photography practical. One body carries a wider lens, the other stays ready for reach, and suddenly the whole workflow becomes smoother. No frantic lens swapping, no heavy bag filled with glass, just two cameras that together cover the real situations photographers actually encounter. For me that pairing is the Canon R8 and the Canon R100. One full-frame body for versatility and low-light capability, one lightweight crop body for reach and mobility.

A camera setup does not have to be large, expensive, or intimidating to produce images with serious reach. Sometimes the magic comes from a combination that on paper looks modest but in practice delivers a surprisingly powerful result. Pairing the Canon RF 100–400mm F5.6–8 IS USM with the compact Canon R100 is one of those combinations. Mounted on the APS-C sensor of the R100, the lens effectively stretches into a field of view equivalent to roughly 160–640mm, turning an affordable telephoto zoom into something that suddenly feels like a serious long-range observation tool.

When the Pentax 67 200mm f/4 is mounted on the Canon R8 using a standard Pentax-67-to-RF adapter, the lens behaves exactly as it was designed: a true 200mm f/4 telephoto. The adapter does not change the focal length or the aperture. It simply positions the lens at the correct distance from the sensor so the optics can focus properly, including infinity. Because the Canon R8 uses a full-frame sensor, the entire photographic experience with this lens becomes very natural.

When it comes to choosing between two used cameras, the decision can feel like a tug-of-war between performance, features, and value. In my case, the choice is between the full-frame Canon RP, priced at $570, and the APS-C Canon R100, available for just $230. While both cameras belong to Canon’s RF ecosystem, they cater to vastly different needs, making this comparison a blend of technical trade-offs and practical considerations. The Canon RP, launched as an entry-level full-frame mirrorless camera, marked a significant moment for affordable full-frame photography.

This frame feels like a small technical miracle dressed up as a night harbor scene. What you’re looking at is a dense stack of containers aboard an MSC ship, cranes rising behind it like angular skeletons, all lit by a patchwork of industrial sodium and LED light that spills onto the water in broken gold and silver reflections. The ship’s hull cuts across the frame with real authority, that massive MSC lettering acting almost like an anchor for the eye, while below it a much smaller working vessel glides through the water, its cabin lights soft and human against the scale of global logistics towering above.

Canon has already laid the groundwork, almost teasing it, really. With the RF 16–28mm f/2.8 IS STM and the RF 28–70mm f/2.8 IS STM now on the table, the absence of a Canon RF 70–180mm f/2.8 IS STM feels less like a gap and more like an unfinished sentence. These two lenses quietly redefined what a “budget” f/2.8 zoom can be in the RF system: lighter than the L-series bricks, stabilized, STM-driven, and realistic for people who actually carry their cameras all day rather than store them in a Pelican case.

Bird photography has a reputation for being gear-hungry, almost elitist, as if meaningful images only happen beyond the 500mm mark with lenses that cost more than a small car. The Canon RF 100–400mm f/5.6–8 IS USM quietly pushes back against that idea. This image of urban parakeets after rain is a good example of what affordable reach can actually deliver when expectations are realistic and observation matters more than specs. From a respectful distance, the lens allows you to frame behavior rather than just presence, isolating the birds against a pale winter sky while keeping the scene calm and undisturbed.

At some point, every camera slips out of the catalog without asking permission. One day it’s a default option, a familiar benchmark, and the next it’s simply no longer being made. That’s where the Canon EOS R5 now sits. Officially discontinued. No ceremony, no nostalgia marketing, just a factual shift in Canon’s production reality. And yet the R5 doesn’t feel like a camera that belongs to the past tense. If anything, it still feels oddly contemporary, like a machine that exited the stage before the audience was finished looking at it.

Canon U.S.A., Inc. is clearly in a mood to remind everyone that ultra-wide is not a niche, it’s a language, and this latest RF-mount announcement leans hard into that idea. Two very different lenses arrive together, but they feel deliberately paired: one embraces distortion and spectacle without apology, the other chases purity, speed, and control at the extreme wide end. Both extend Canon’s RF ecosystem in directions that feel very deliberate if you’ve been watching how hybrid shooters, VR creators, and astro photographers are actually working right now.

There’s something almost reassuring about Canon announcing a camera like this. The EOS R6 Mark III doesn’t try to reinvent photography or introduce some wild sci-fi concept about neural exposure fusion or whatever the industry is pitching this month. Instead, it builds on something solid, familiar, and honestly very loved. The R6 line has always sat in that sweet spot for people who need a camera that works anywhere: weddings at dusk, street portraits in winter, wildlife just after sunrise, or a scrappy documentary shoot in a café with bad lighting and too much noise.

The Weight of Canon’s R-Series: From Featherlight APS-C to Full-Frame Heavyweights Weight is one of those specs that photographers often glance over—until they’re halfway through a long day of shooting and their neck strap is digging in. Canon’s R-series is fascinating because it runs the spectrum, from ultra-light beginner models to professional full-frame bodies with real heft. Looking at just the body-only weights, the differences paint a clear picture of who each camera was designed for.

When you start comparing Canon’s mirrorless lineup, one of the first technical differences you’ll notice is how the shutter works. For photographers who want silence, speed, or durability, the choice between mechanical, electronic first-curtain (EFCS), and full electronic shutter matters a great deal. Across Canon’s EOS R range, each model implements shutter technology a little differently, reflecting its market position and price point. The Canon EOS R100 is the most limited.

There is a gap in your RF lens lineup that many of us photographers feel every time we head out for a shoot. We have stunning short telephoto primes like the RF 135mm f/1.8, and we have long telephoto zooms like the RF 70–200mm f/2.8. But what’s missing is a dedicated 200mm prime lens—a compact, lightweight, and sharp RF 200mm f/2.8 that delivers the magic of prime rendering without the bulk or cost of the f/2.

When photographers discuss gear, the Canon EOS R5 and the Canon EOS R100 sit on opposite ends of the spectrum. One is a flagship full-frame mirrorless powerhouse aimed at professionals, the other is Canon’s most affordable entry-level APS-C body designed to lure beginners into the RF ecosystem. The price gap is enormous — roughly $3,000 for the R5 body compared with about $480 for the R100 with kit lens. But the real question is: how much difference do you actually see in the final images?

Canon’s decision to lock down the RF mount wasn’t a bold strategic vision—it was a slap in the face to photographers who expected choice, competition, and creativity. What Canon built wasn’t an ecosystem but a prison, where the bars are inflated lens prices and the key is withheld from third-party makers who could have made the system vibrant. The company may parade its market share numbers in 2025, but those victories rest on a foundation of sand: inertia from its DSLR past, brand loyalty stretched thin, and customers trapped rather than inspired.

Canon once enjoyed near-religious loyalty from its users. Generations of photographers swore by the red ring of L-series glass, the rugged reliability of EOS bodies, and the company’s relentless pursuit of excellence. But with the RF mount, Canon has chosen a path that insults the very people who kept it on top: its own devotees. By blocking full-frame third-party autofocus lenses, Canon has turned loyalty into captivity, forcing long-time users into a closed ecosystem that grows more suffocating with every year.

Canon’s latest telephoto zoom lens, the RF 75-300mm F4-5.6, enters the market not as a groundbreaking innovation but rather as a cautious refresh of a classic, budget-friendly design. In fact, its optical construction closely mirrors Canon’s EF 75-300mm F4-5.6 III, originally released in April 1999. More than two decades later, Canon has reintroduced this venerable lens for RF mount cameras, targeting beginner photographers and hobbyists who desire an affordable option for wildlife and sports photography without breaking the bank.

Photography is a raw, visceral dialogue between the photographer and the world, where each image is a testament to the unyielding spirit of exploration and creativity. Consider the magnetic pull of Steve McCurry’s timeless portraits or the transformative power of Annie Leibovitz’s celebrity storytelling; these legends were not simply lucky—they were innovators who dared to see the world differently and harnessed every technical nuance at their disposal. The journey toward international acclaim begins with developing a unique visual voice that resonates with diverse audiences, blending instinctive artistry with a meticulous command of the craft.

The Canon RF16-28mm F2.8 IS STM lens is an exciting addition to the lineup of Canon’s RF lenses, especially for those who enjoy travel photography. As a photographer often on the move, the appeal of a lightweight, wide-angle zoom lens with a constant f/2.8 aperture is undeniable. One of the first things you notice about this lens is just how compact it feels. The fact that it manages to pack an ultra-wide zoom range without the usual bulk of f/2.

Canon’s lineup of APS-C mirrorless cameras—the EOS R7, R10, R50, and R100—offers a spectrum of features tailored to diverse photography needs, all while delivering comparable image quality. The primary distinctions among these models lie in their ergonomic designs, control interfaces, and additional functionalities that cater to varying user preferences and shooting scenarios. The EOS R100 stands as the most basic model in this series. It’s designed for casual photographers or beginners seeking an entry point into mirrorless photography.

Choosing the right camera can be daunting, especially when comparing closely related models like the Canon R100, R50, and R10. Each model is designed to cater to different types of photographers and videographers, with unique strengths tailored to various priorities. Here’s a detailed breakdown to help you decide. The Canon R100 is equipped with an older 24.1-megapixel APS-C CMOS sensor and a DIGIC 8 image processor. While its image quality for still photography is solid, its processing capabilities lag behind newer models, limiting its performance in video recording and advanced features.

Tamron’s release of the 11-20mm f/2.8 lens for Canon RF is a welcome addition to the growing range of third-party options for the RF mount. Priced at $659, this ultra-wide-angle zoom lens offers a bright constant f/2.8 aperture, making it a versatile tool for a variety of photography styles, from landscapes to astrophotography. Its compact size and lightweight design (just 335 grams) make it a convenient choice for travel and on-the-go creators.

SIGMA Corporation of America, the U.S. subsidiary of the renowned Japanese lens manufacturer SIGMA Corporation, has made an exciting announcement for Canon EOS R system users. Starting in late 2024 and early 2025, four new prime lenses from the F1.4 DC DN | Contemporary series will join SIGMA’s growing lineup for the Canon RF mount. These lenses include the 16mm, 23mm, 30mm, and 56mm focal lengths, promising exceptional optical performance in a compact form factor tailored to the needs of APS-C mirrorless shooters.

When it comes to food photography, the choice of equipment can make all the difference in capturing the textures, colors, and essence of a dish. The combination of the Canon RF100 camera and the EF-S 10-18mm lens offers a powerful and creative setup for both amateur and professional photographers seeking to elevate their food shots. This pairing might not be the most conventional, especially with a wide-angle lens in the mix, but its unique strengths make it an excellent choice for those looking to capture more than just the food—they capture the story behind it.

Landscape photography is often a pursuit of grandeur and meticulous detail, where every element of a scene is part of a greater visual symphony. One of the most iconic spots to put your skills to the test is the Bahá’í Gardens in Haifa, Israel. The gardens, cascading down the northern slopes of Mount Carmel, provide a breathtaking view over the city and the Mediterranean Sea. With its symmetrical terraces, lush greenery, and the golden dome of the Shrine of the Báb standing as a beacon of serenity, this UNESCO World Heritage Site embodies the essence of harmony.

Photographing the Bird of Paradise flower is a dream for anyone passionate about nature and macro photography. With its flamboyant orange petals and contrasting purple-blue central structure, this flower offers a wealth of visual interest, from bold colors to intricate details. The image I captured, showcasing the vivid elegance of this tropical plant, demonstrates how a well-paired camera and lens can bring out the best in such natural beauty. For this shot, I used the Canon EOS R100 with the versatile EFS 10-18mm lens.

Wide-angle photography is often seen as an expensive pursuit, especially when aiming to capture interiors or confined spaces with an impactful perspective. However, the pairing of the Canon RF100 camera body with the Canon EF-S 10-18mm lens, using an EF-to-R adapter, presents an impressive solution for those seeking high-quality results without breaking the bank. The image above provides an excellent case study for the capabilities of this combo. The photo captures a home interior scene, which can be a challenging test for any wide-angle setup due to the constraints of space, lighting, and the need for sharp details across the frame.

For photographers looking to explore creative potential without a hefty price tag, the combination of the Canon R100 camera and the TTArtisan 50mm f/1.2 APS-C lens represents a budget-friendly entry into the world of impressive imagery. With a combined price of around $400 at BH Photo—$300 for a brand-new Canon R100 and just $100 for the TTArtisan lens—this duo provides a remarkably affordable pathway to high-quality, expressive photography. The Canon R100, with its compact, lightweight design, offers an appealing entry into Canon’s mirrorless system.

Canon R100 and EF 50mm f/1.8 Lens: An Affordable Combo for Street and Travel Photography The Canon EOS R100, paired with an adapter and the classic EF 50mm f/1.8 lens (fondly known as the “nifty-fifty”), forms a budget-friendly and effective combination for street and travel photography. The R100, being Canon’s entry-level mirrorless camera, comes equipped with a 24.1MP APS-C CMOS sensor, capable of producing high-quality images with rich details and impressive dynamic range.

The Canon EOS R100, paired with an adapter and the EF-S 10-18mm f/4.5-5.6 IS STM lens, creates an accessible and effective solution for real estate photography. The R100, Canon’s entry-level mirrorless camera, features a 24.1MP APS-C CMOS sensor, capable of producing high-resolution images that capture intricate details essential for property listings. Its compact and lightweight design enhances portability, making it an ideal choice for photographers who need to move swiftly between various locations.

Canon U.S.A., Inc., a global leader in imaging technologies, has launched three new RF L series lenses: the RF24mm F1.4 L VCM, RF50mm F1.4 L VCM, and RF70-200 F2.8 L IS USM Z. Aimed at professional photographers and videographers, these versatile lenses are designed for creators who need to easily switch between still photography and video, delivering high-quality visuals regardless of medium. This latest expansion of the RF lens lineup underscores Canon’s dedication to providing cutting-edge solutions tailored for the diverse needs of today’s visual content creators.