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Best Lenses for Canon EOS R

8 Best Lenses for Canon EOS R

You either already own a Canon EOS R or you’re considering purchasing one, and now you want to know which of the Canon R lenses available are the best ones for you to utilize. This article will provide you with my top 10 suggestions for lenses that are compatible with your Canon EOS R camera.

It is obvious that your particular requirements are distinct from mine, but I am confident that reading this piece will provide you with sound guidance that will enable you to make the finest decision possible and obtain the outcomes that are optimal for you.

The topic of whether or not the Canon EOS R camera requires a lens adapter is a crucial one to consider first.

There is no need for an adapter when using Canon R cameras with RF lenses because they fit directly onto the camera. EF and EF-S lenses manufactured by Canon are incompatible with the EOS R without the use of an EF-EOS R adaptor. If you use one of the adapters to attach a more compact EF-S lens to your Canon R camera, the resulting image will be cropped. The sensor is only making use of the middle 62.5% of its total area.

Best Lenses for Canon EOS R

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

$1,289.25
Amazon
Canon RF 24-105mm f/4L IS USM is the first lens for Canon R Series Mirrorless cameras. The lens is versatile and can function in numerous genres, from landscape to portrait. This lens’s mix of features is time-tested on the EF Bayonet and adored by more than one generation of amateur photographers. Let’s estimate the market for the new mirrorless version.

The “glass” we think is larger than other R-series lenses. The lens lost weight and shrank compared to the EF lens despite keeping the stabilizer and adding optical elements.

Canon RF 24-105mm F4L IS USM is a good, stable standard lens with good zoom multiplicity indicators. Optically, the glass isn’t better than the version for SLR cameras. Canon EF 24-105mm f/4L IS II USM shows somewhat higher image quality in practically all focal lengths and apertures, except 105 mm at maximum aperture. We couldn’t corroborate the manufacturer’s claim that the stabilizer improved in one step.

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Combining the greatest focal length and aperture may blur the distant plane significantly. Bokeh lacks significant blurring object outlines.

This universal zoom needs a stabilizer. Let’s investigate. Wide-angle photography at night may require a stabilizer to avoid boosting ISO or to increase the depth of field. Guided by the known rule for calculating shutter speed, with the stabilizer’s 5-step efficiency, we could shoot at shutter speed per second, which is impossible because hand movement over such a long period cannot be compensated. When testing this stabilizer for 24 mm, I arrived at 3 steps as a practical value, which corresponds to a third-second shutter time.

Conclusion

More than one generation of photographers’ favorite normal zoom successfully moved to a new bayonet. Canon RF 24-105mm F4L IS USM’s long focal length lets you capture portraits and landscapes with exceptional optical quality. The lens’s size and weight make it a perfect everyday zoom. The superb stabilizer’s low luminosity is a drawback. Canon RF 24-105mm F4L IS USM’s flaws are minor, given its market niche.

2. Canon RF 50mm F/1.2L USM

EOS R began with a limited yet interesting set of bayonet lenses. Lightweight “fifty” with ultrasonic focus motor is not cheap (but L-series lenses have never been cheap), large (nearly a kilogram! ), and even just tactile gives the sensation of quality and longevity.

Sharpness at this aperture value is difficult. Many lenses, including Canon’s, require a diaphragm cover and less light to eliminate “soap.” Chromatic aberrations are minor and easy to fix in RAW. At f/2.0, center and edge sharpness are outstanding.

Ten circular petals form the diaphragm. Why do we take “fifty”? Beautiful Bokeh, light power lets you remove unnecessary details from GRIP. Boke is also faceless: “if a person opens the diaphragm, the lens draws circles.” Although, it’s better than dull “torsion” shots. What about twisted bokeh? “Nope.”

The ring ultrasonic autofocus drive is fast, silent, and permits manual focus without switching to MF mode. Two-mode autofocus (0.4 m to “infinity” and 0.8 m to “infinity” Everything is classic and good. The camera settings control ring on RF lenses is useful: extra settings “at hand” won’t hurt. In aperture priority mode, you can regulate it with the lens’s holding arm, like with manual optics.

Canon EOS R is a nice mirrorless full-frame camera.

3. Canon RF 28-70mm F/2L USM

$3,099.00
Amazon
Khe-khe! Online store goods slow it down. From the price, weight (nearly 1.5 kg), and TV-like size. Inadvertently demands to feel that Canon’s top RF lenses compensated for bayonet size and weight.

The “glass” did what was needed. The “two” of a relative hole is a good luminous intensity for the zoom lens. The focal lengths are convenient, with a wide “end” and 70 for portraiture. Wedding photographers had to shriek like Hamsters (though, his neighbor – Toad will immediately begin to recalculate the price of the lens into the number of weddings that need to be worked out, while the lens will only pay off). Considering the nine-petal aperture, as a “portrait” and for artistic shooting, the lens is rich.

The ring USM-drive autofocuses softly in a tenth of a second. FTM, a part of this construction since the early 1990s, is more “to be” than necessary.

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Optics, including UD elements, are hard to use. Chromatic aberration requires a magnifying glass, vignetting is only noticeable at f/4, and barrel distortion disappears at 35 mm. With smooth multi-beam stars without rough lights, it’s possible to use them as a “chip” in an artistic photo.

4. Canon RF 85mm f/1.2L USM

Canon decided to demonstrate to the world the new bayonet’s capabilities without delay, targeting experts and the highest pricing sector. Canon previously introduced the 28-70mm F2L USM and 50mm F1.2L USM. Canon RF 85mm F1.2L USM is the successor to the best portrait lens.

Lens migration from bayonet to bayonet is incorrect. It’s a new lens with a different optical circuit, including refractive blue spectrum optics (BR) to reduce chromatic aberrations on the open diaphragm. The expansion from 8 to 13 elements increased weight and size. Now, 1195 g is impressive.

Canon RF 85mm F1.2L USM has considerable vignetting at f/1.2, which diminishes by f/2.80. This type of distortion benefits the portrait genre, which this lens is designed for.

Minor barrel distortions are noticeable in shots with precise geometry. Our readers know all this can be fixed in a graphics editor.

The Canon RF 85mm F1.2L USM is weak against the control light. The lens maintains contrast well, but bright light sources can cause “hares” and rainbow halos. In skilled hands, it can be creative, but it’s also a disadvantage.

Conclusion

With maximum sharpness on a wide diaphragm, excellent detail, and magical bokeh, you can survive light vignetting and distortion. In our dreams, this lens would be lighter, smaller, and cheaper, but so would any technique. Canon RF 85mm F1.2L USM is a professional tool that costs money.

5. Canon RF 35mm F/1.8 IS STM Macro

This lens lets the Hamster rest after viewing the catalog under the RF bayonet. This Canon lens’s reasonable price, size, and weight make it appealing.

This macro lens has a 17-centimeter minimum focus distance. Macro photography can be done with long shutter speeds and in an uncomfortable position thanks to a 5-stop optical stabilizer.

The photo must be corrected for chromatic aberrations. “Barrel” and “vignetting” are physical. However, this is corrected – however, if you use Lightroom, auto-correction will not be available: Adobe hasn’t “deformed” this lens’ profile. Fortunately, peripheral lighting and distortion correction are supported by the EOS R cameras, where Canon created lens profiles. Sharpness is good at f/2.8 and “in full order” until f/11 when diffraction becomes noticeable.

Stepper motor autofocus. It’s slower than USM, but nobody complains. Focusing is quiet. Given its wide field of view, this lens may appeal to video bloggers who film themselves in tight spaces (well, that is, at home on the couch). Manual focus is “virtual” – the ring is mechanically independent of optics and doesn’t work when the power is off.

Nine-petal diaphragm and bright light let you think laterally. Yes, the quality of blur is good, although a small focal length and more “sharpened” under macro photography design limit the use of the lens — say, behind the spider on the branch of the bokeh will be beautiful, and here a growth photo of the person already immediately hinted to get “half tinnik”, and even the lens “more authentic”.

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6. Canon RF 15-35mm f/2.8L IS USM

Canon RF 15-35mm F2.8L IS USM is a new lens for R-series cameras. The widest lens in the range is part of the “holy Trinity” or “professional triad” with two other f/2.8 zoom lenses. Let’s see how this glass meets the needs of pros and amateurs.

Canon RF 15-35mm F2.8L IS USM is a modern, professional-grade lens. Stop can only have a high price. The lens has excellent image quality, a wide viewing angle, and optical stabilization.

7. Canon RF 24-240mm f/4-6.3 IS USM

Canon clarifies: in the EOS R system, amateur optics will be available alongside ultrahigh-quality, expensive lenses. Other than the Canon EOS RP mirrorless? The first such lens was officially revealed today tenfold zoom Canon RF 24-240mm F4-6.3 IS USM.

This model lacks the separate control ring seen on previous mirrorless lenses. However, the manual focus ring can completely execute its functions when it is not used for its intended purpose.

Here, an optical stabilizer with 5 shutter speed stages is made. Wide-angle and telephoto focus distances are 50 and 78 cm. The lack of dust and moisture protection simplifies the design compared to peers. The characteristics don’t say.

Canon RF 24-240mm f/4-6.3 IS USM performs as expected in terms of optics, and everything else is good; the focus system is good and tidy, and stabilization is effective. It’s great to see sharp results, especially with telephoto lenses, which many people use. It’s not perfect, but it’s a long-awaited radio frequency addition.

8. Canon RF 24-70mm F/2.8L IS USM

Many photographers use a 24—70 mm zoom lens. “Standard” or “standard” zooms are versatile. On a full-frame camera, they can be a landscape and portrait wide-angle. Small zoom multiplicity allows high luminosity and image quality in one lens.

The new 24-70 should look like a classic L-lens. Tightly assembled black case, rubber focus and zoom rings, autofocus switch in a standard place, rubber bayonet skirt. Unusual and redundant zooming blocker – lens unit moves tightly and doesn’t fall out even with enough acceleration. 24-105, please. As with most new lenses, plastic is used in larger quantities here – the outer body and front trunk edge with threaded filters are made of it.

3.5 x 3.5 x 4.9 in, 0.95 lb. The kit includes a cover with a central grip, a plastic hood, and a soft “luxury” cover that is difficult to use.

Two issues plague Canon RF 24-70mm F2.8L IS USM. All medium zooms have a retractable hood. First, the hood was attached to the body to protect the moving lens block. Now, it’s attached to the trunk. After the first blow to the lens’s front edge, expensive repairs are likely.

Second, the zoom ring’s elastic band stretches over time. After several months of active use, many first-year copies began to spoil and required ring elastic bracelets.

The Canon 24-70mm is perfect otherwise. He’s on point. Even diaphragms. Compared to the first version, the corners are slightly lower quality.

Cool lens, worth the money.

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