This fine looking new lens from Canon has aspirations that cross boundaries, being pitched at stills photographers, videographers, broadcast and cinema. It has a good solid focal length range that covers most eventualities, perhaps travel, landscape, street, reportage, close range sports, portraiture, fashion and a host of other potential subject matter. In other words, a real all-rounder. So, is it a case of Jack of all trades, Master of none? Or have Canon really hit the spot and produced a lens of exquisite versatility? Armed with the new lens and the Canon R5 Mark II 45MP mirrorless body, let's venture out into the snow and rain and find out!
Canon RF 24-105mm f/2.8L IS USM Z Handling and Features
First, our usual tour of the lens. It is obviously well made, fairly heavy at 1430g and definitely large for a 24-105mm lens, measuring up at 88.5mm x 199mm. It looks long, very long, and dwarfs what we might ordinarily expect from its focal length range.
There is a provided petal lens hood that offers scant protection at the longer lengths, inevitably. It bayonets into position in a relatively fiddly way, but once the point of engagement is found it stays securely in place, aided by a retaining catch. Within the bayonet fit for the hood is a standard 82mm filter thread. A Canon 82mm Protect filter was supplied with the review lens and this was only used when actually out in the rain to reduce the amount of wiping needed on the front element itself. This front element does however have a Fluorine coating to help repel water, dust and grease.
First up is the control ring, with its light, soft click stops. This can be programmed to alter exposure compensation, ISO, aperture and even to be the manual focus ring if preferred. The click stops can be removed by a Canon Service Centre, but this is chargeable. Videographers might want to take this route to avoid recording the sound of the clicks, soft as they are.
The electronic manual focus ring is ultra-smooth in action, as we would expect, but if preferred, then this ring can be allocated the functions of the control ring. If this is done, the original control ring becomes non-functional. There are two buttons that will Stop AF whilst held down. At the same point in the barrel there are some small holes, the two side ones being for fixing the optional Power Zoom Adapter (PZ-E2 or PZ-E2B) and the underneath ones being for the Lens Holder/finger stop (LH-E1).
There is a wide zoom ring that operates smoothly but is obviously moving some internal elements. There are clear markings at 24mm, 35mm, 50mm, 70mm, 85mm and 105mm. The figures tally closely with the in-viewfinder electronic display of the focal length. The gearing on the underside of the ring is to engage with the Power Zoom Adapter.
There are more fixing holes for the Power Zoom Adapter and also at this point on the lens barrel the pad of electronic contacts for the adapter. The aperture ring has similar gearing to the zoom ring. The choices here are an A setting, (where the camera controls the aperture, which can be exited to use the actual aperture scale instead once the small locking lever is depressed) and a clickless aperture ring. There are no switchable clicks, so it's silent operation only, which is of course a benefit for videographers.
The tripod ring allows the rotation of the lens for vertical format shots, but the tripod mounting foot is not ARCA Swiss compatible. However, the tripod foot/mounting ring are very solidly made and fulfill their function accordingly.
Finally, the switches. Starting from the top, there is a focus limiter giving a choice between full range and 1m to infinity. The AF/MF switch is self explanatory. There is a Stabilizer on/off switch. The lens IS offers 5.5 stops advantage, with this increasing to 8 stops when combined with the camera IBIS. Three stabilizer modes are offered:
1: All directions, suitable for still subjects
2: Panning any direction for moving subjects
3: Panning for irregularly moving subjects
AF is precise, fast and virtually silent and provided via Dual Nano USM motors. Closest focus is 0.45m (1.48 feet) at all focal lengths, for a maximum magnification of 0.08x at 24mm and 0.29x at 105mm. Although not macro lens distances, this is very close focusing that adds a considerable amount of utility to a general purpose lens.
Optical construction is 23 elements in 18 groups, including 4 UD (Ultra Low Dispersion), 2 GMO (Glass moulded aspherical) and 1 replica Aspherical (an aspherical resin layer is bonded to a spherical glass element). The diaphragm comprises 11 blades for improved bokeh. The design is also parfocal, meaning that focus should be held when zooming. However, it is probably sensible to zoom first and then refocus for the highest precision. There is also focus breathing suppression, of particular value to videographers.
Coatings are Canon's well established ASC and SSC, in addition to the previously mentioned Fluorine coating for the front element. The lens as a whole has dust and moisture resistance and indeed it performed impeccably in the rain and snow of the review period.
Although the lens is heavy and bulky, it handles well and delivers the goods. AF is snappy and spot on. Controls are obviously of high quality and operate flawlessly. The whole gels with the R5 Mark II and it makes a powerful combination. How it would handle with the optional Power Zoom Adapter would be interesting to find out. Power Zoom does make for smoother zooming when filming, provided that the motors used are quiet enough not to be picked up by the mikes. There is much potential here and it just might have found that spot where it fulfills the quest to bridge the gap between stills, videography, broadcast and cinema.
Canon RF 24-105mm f/2.8L IS USM Z Performance
At 24mm central sharpness is very good at f/2.8, excellent from f/4 to f/11, very good at f/16 and good at f/22. The edges are fair at f/2.8, good at f/4, very good from f/5.6 to f/11, good at f/16 and fair at f/22.
At 50mm, central sharpness is very good at f/2.8 and f/4, excellent at f/5.6 and f/8, very good at f/11 and f/16 and good at f/22. The edges are good at f/2.8, very good from f/4 to f/16 and fair at f/22.
At 105mm, central sharpness is very good from f/2.8 to f/16 and good at f/22. The edges are good at f/2.8 and f/4, very good at f/5.6 and f/8, good at f/11 and f/16 and fair at f/22.
Canon RF 24-105mm f/2.8L IS USM Z MTF Charts
Previous Image Next Image
Canon RF 24 105mm F2,8L IS VCM MTF50 Graph At 24mm |
High Res
How to read our MTF charts
The blue column represents readings from the centre of the picture frame at the various apertures and the green is from the edges.
For this review, the lens was tested on a Canon R5 Mark II using Imatest. Want to know more about how we review lenses?
CA (Chromatic Aberration) is held to low levels, measurable at perhaps one half of a pixel or so on average, but in real life images there is little sign of colour fringing. If further correction is needed, then software solutions could be the answer.
Distortion is impressively low for a zoom lens, measuring +0.22% pincushion at 24mm, -0.12% barrel at 50mm and -0.45% barrel at 105mm. Having pincushion distortion at 24mm is unusual and could be a bit odd looking, but fortunately the amount is so low it comes across as being close enough to rectilinear.
Bokeh is smooth and the gradation of the out of focus areas is relaxed and even. It is not quite Bokeh Master in its rendition, but only just a notch below. It is however a very personal thing and different effects appeal in different ways to different photographers.
Canon RF 24-105mm f/2.8L IS USM Z Chromatic Aberration Charts
Previous Image Next Image
Canon RF 24 105mm F2,8L IS VCM CA Graph At 24mm |
High Res
How to read our CA charts
Chromatic aberration (CA) is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software.
Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.
For this review, the lens was tested on a Canon R5 Mark II using Imatest.
Flare is very well controlled, even with very severe lighting conditions. It is possible to generate artefacts in the most severe lighting, but the underlying image is still seeing past the light and with good contrast.
Vignetting is well under control, all across the focal length range.
Canon RF 24-105mm f/2.8L IS USM Z Sample Photos
Previous Image Next Image
Canon RF 24 105mm F2,8L IS VCM Zeiss Ikon Ikonta 524 2 Circa 1951 7 | 0.6 sec | f/16.0 | 105.0 mm | ISO 100
High Res
Canon RF 24-105mm f/2.8L IS USM Z Aperture range
Previous Image Next Image
Canon RF 24 105mm F2,8L IS VCM Bokeh At F2,8 | 1/25 sec | f/2.8 | 83.0 mm | ISO 100
High Res
You can view additional images in the Equipment Database, where you can add your own reviews, photos and product ratings.
ADVERTISEMENT
One image can change us.
A picture, a moment can change the way we feel. Change how we see ourselves. Change our understanding and change the rules. Provoke and change history.
Value For Money
The Canon RF 24-105mm f/2.8L IS USM Z lens is priced at £3089.00
There are no f/2.8 alternatives, but quite a few f/4 models to choose from:
For other marques:
That extra stop is costing quite a premium over the f/4 models, but there are also the added features as well to consider, so that does help to bridge the gap.
Canon RF 24-105mm f/2.8L IS USM Z Verdict
It's a great lens and Highly Recommended. It goes a long way towards totally fulfilling its objective as laid down at the start of this review. Considering that Canon camera bodies have been used to shoot feature films and broadcast quality TV material it is slotting into an area where there is already a demand. Whether or not this is a considerable demand must have been determined as a positive by Canon or there would be no such lens on offer now. I can tell you that a few years ago I supplied a Canon body to a Cumbrian TV company to shoot a reportage film crossing China, so I know that Canon have had an enviable videography reputation for a long time, in fact long before the term videography was in common usage.
In conclusion, we have here a truly hybrid lens that can indeed cross the boundaries of the various genres and distinct disciplines of photography, at a very high level of quality and competence. Highly Recommended.
Canon RF 24-105mm f/2.8L IS USM Z Pros
- Very Good to Excellent sharpness
- Fast f/2.8 constant aperture
- Well controlled CA
- Very low distortion
- Good flare resistance
- Dust and moisture resistance
- Low vignetting
- Close focusing to 0.29x
- Excellent AF performance
- Optional Power Zoom
- Fast, virtually silent and accurate AF
- Excellent IS and IBIS
Canon RF 24-105mm f/2.8L IS USM Z Cons
- Heavy and bulky
- Expensive
- Tripod foot not ARCA Swiss
- Lens hood fiddly to fit
- Not compatible with extenders