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.

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 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.

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.

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.