Marelux has released its underwater housing for the new Canon EOS R5 Mark II. The second-gen pro-level full-frame mirrorless camera features a back-illuminated, stacked 45MP sensor, shoots up to 30fps using its electronic shutter, and records 8K/60p RAW video internally.
Aiming to take full advantage of the R5II’s capabilities, Marelux’s anodized aluminum alloy housing features an ergonomic design with controls arranged around the built-in handles. A quick-release baseplate allows the camera to be easily inserted with precision and removed again. Dual locking levers ensure the housing is safely closed, while ports and extension rings are secured in place using another locking lever. The housing ships with a vacuum detection and moisture alarm system.
The housing is compatible with various novel accessories, including the Flashfuel FF2100, which combines a flash trigger and a power bank (for charging the camera as well as powering the flash trigger); and the Remote Shutter Module, which allows you to control the shutter remotely using the Marelux Artemis 4500 RMT video light.
The MX-R5II housing has an MSRP of $3,398 and can be ordered directly from the Marelux website.
PRODUCT INFORMATION
MX-R5II Housing for Canon EOS R5II Mirrorless Digital Camera
INTRODUCTION
Marelux housing has the industry leading design that’s not only more compact than other brands but also more simplified in mechanical structure to make it easy to assemble. With 125mm port diameter, the biggest in the market, users can easily install and uninstall cameras with large lens through the housing.
Marelux housing is built using uniquely anodized aluminum alloy which provides superb scratch resistance, sea water erosion durability as well as the attractive options of various surface colors. The housings maintain a perfect balance between sturdy body and lightweight. It has the best-in-class ergonomics with all the camera controls readily available at your fingertips including AF-ON and Q Menu.
Marelux housing can be connected to other innovative products made by Marelux, such as 180-degree Smart Viewfinder etc., making diving and underwater photography easier, safer and more enjoyable.
FEATURES
Flashfuel FF2100 (Manual Flash Trigger + 2100mAh Power Bank Combo)
Patented Design: Tailored for underwater photography and high-speed shooting, combining flash triggering and camera power supply in a single compact device.
Ultra-durable Trigger Performance: Powered by a single CR123A 3V lithium battery, it can handle up to 300,000 flash triggers before replacement.
Robust USB-C Power Output: Integrates a 2100mAh rechargeable battery, offering up to 30W output (5–20V), capable of powering your camera directly.
Remote Shutter Module
With an invention patent, the Remote Shutter Module is designed to enhance underwater photography by providing remote control capabilities to remotely control the camera shutter release via Marelux’s Artemis 4500 RMT Light (42703). It features an effective receiving distance of 10 meters and an optical signal receiving angle of 140 degrees, allowing for flexible positioning and reliable performance.
Dual Locking System
Requires little effort to lock it in place, while making it almost impossible to be unlocked by accident, and it will take only a second to open if needed for a battery change.
Manual Flash Trigger
The flash trigger can translate the electric signal from the camera into light signal, with an extremely long battery life of 10,000 triggers on only two CR2032 batteries.
Built-in Lock
Extension ring and port can be safely locked in place with the built-in locking system on the housing with one simple click.
Sturdy Baseplate
A 50kg force is applied to secure the camera with the design of the quick release baseplate, while being extremely convenient to operate.
Aquatica has announced its housing for the Canon EOS R5 Mark II. The second incarnation of the pro-level full-framer sports a new back-illuminated, stacked 45MP sensor, promising much greater readout speeds. The new hardware allows the camera to shoot full-resolution RAW images with AF at 30fps using its electronic shutter as well as record 8K/60p RAW video internally.
Hewn from aluminum, anodized and baked with tough powder coat paint, Aquatica’s housing features integrated handles, stainless steel push buttons, and compatibility with both native RF and legacy EF lenses (using a mount adapter and extension ring). The housing has a large-bore M24 port supporting HDMI 2.0 output to a recorder/monitor like the Atomos Ninja V+.
The housing can be ordered in four configurations: (i) with dual Nikonos bulkheads, (ii) with dual optical bulkheads and an LED trigger, (iii) with a single Ikelite bulkhead, and (iv) with Ikelite TTL capability (which requires the separate purchase of Ikelite’s DL5 Canon TTL converter). All versions include Aquatica’s Surveyor vacuum circuitry (pump, valve and sensor) as standard.
The housing is available for pre-order from retailers such as Backscatter at an MSRP of at $3,400.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRODUCT INFORMATION
Aquatica AR5 II: 20099
Price includes your choice of strobe connectors & our complete vacuum, sensor & pump system:
Double Nikonos
Single Ikelite-Manual
Dual Optical-Flash trigger included
Ikelite TTL capability
*Ikelite DL5 external converter required #46074
We are proud to present one of our latest housings: The AR5II for the Canon EOS R5 MKII Mirrorless camera! Continuing in Aquatica’s reputation for offering premium quality and at affordable prices, the AR5II housing has the finest ergonomics and control accessibility combined with the famed ruggedness of our all aluminum construction and distinctive hard coating.
THE CAMERA
The EOS R5 Mark II Mirrorless Camera is the multimedia professional’s solution for versatility, image quality, and intelligence. Features:
45MP Full-Frame Stacked BSI CMOS Sensor
DIGIC Accelerator Processing
Dual Pixel Intelligent AF, Eye Control
8K 60 Raw/4K 60 SRAW/4K 120 10-Bit Video
Up to 30 fps, Pre-Continuous Shoot Mode
76m-Dot EVF with OVF Sim. View Assist
2″ Vari-Angle Touchscreen LCD
In-Camera Upscaling to 179MP
CFexpress & SD UHS-II Memory Card Slots
Wi-Fi 6E / Wi-Fi 6 Support
ABOUT THE HOUSING
As to be expected with all Aquatica housings, it is CNC machined from 6061 T6 Aluminum with a MIL-A-8625 anodized coating and added on top a baked on, extra tough powder coat paint. All control shafts and push buttons are made from T304 stainless steel. This, as for all our housings, will take a licking and keep going!
The AR5II housing supports not only the new RF mount lenses but also the EF mount by simply using our new adaptor extension ring #48474. This new adapter can easily be installed and will enable the AR5 housing to function with any previous Canon EF lens and its corresponding extension ring.
Surveyor monitoring system INCLUDED
What was previously an optional accessory, we are now including our field proven Surveyor Vacuum System (Pump, valve and sensor) as standard.
VIEWFINDERS
The Aquatica AR5 II housing is supplied with our Galileo type eye piece. This high quality and coated optical finder gives a bright and full view of the view finder. For those seeking the ultimate in viewing for still image, the optional Aqua View Finder, available in straight and 45 degrees version, are among the best of the industry, they can easily be installed in a matter of a few minutes by the user. The enlarged and enhanced image provided by the Aqua View Finder (#20054 & 20059) is second to none in clarity; it provides the photographer with tack sharp corner to corner viewing of the camera view finder for composing and critical focusing.
SPECIFICATIONS
Part Number:
20099-NK-VC: with double Nikonos bulkheads & complete Surveyor vacuum circuitry
20099-KM-VC: with single Ikelite bulkhead & complete Surveyor vacuum circuitry
20099-OPT-VC: with dual optical bulkheads, LED trigger & complete Surveyor vacuum circuitry
20099-KTTL-VC: with Ikelite TTL capability & complete Surveyor vacccum circuitry
*Ikelite DL5 External converter required #46074. Purchased separately from Ikelite.
Composition: Aerospace grade 6061 T6 Aluminum with MIL-A-8625 Anodized Coating then finished with a baked on, super tough, abrasion resistant powder coat paint. Control shafts and all push buttons are T304 Stainless Steel
HDMI: Large 23.75mm (.950 inch) HDMI Bulkhead Opening
Depth Rating: 90m ~ 300 ft. Can be upgraded to 130m, ~ 450 ft with our deep spring kit
Weight: 6.5 lb (2.94kg)
Dimensions: 9.50” x 7.10” x 5.96” (W x H x D) (241mm x 180mm x 151mm)
Port System: Compatible with all Aquatica DSLR sized Bayonet Mount Ports
SUPPORTED ACCESSORIES
Aqua View and Aqua View 45 & 180 viewfinders
Full line of the Delta 3 Arm System
5HD Monitor
Aquatica Close Up Kit
Aquatica Housing Lanyard K
RETAIL PRICE AT ONLY $3,399.00
For more information, please contact: info@aquatica.ca or call 514-737-9481
The R5 Mark II has arrived! It is a good camera but very similar to the old R5 which came out in 2020. I’ve had the original R5 since it came out in October 2020 and the question I want answered is should I buy the new R5 Mark II?
In this post I will strive to answer this question with an honest comparison of these two great cameras.
Taken with the R5.
The old R5 has already been marked down by $1,000 on most websites. Previous generations always get reduced in price prior to the next gen camera’s but it still seems like a bit of a low price for a high quality camera like the R5. It looks like market demand for the R5 has tailed off substantially, and that is true for the R3 and R5C as well. That is why Canon is going for a relatively quick refresh of the R5 after almost exactly 4 years they’re upping the ante with a new R5, the R5 Mark II.
The main thing I want to know is this, is the old R5 at it’s reduced price a good purchase? Below are some stats to help you make sense of this puzzle.
Canon claims that the R5 Mark II is using a stacked sensor with Sony’s BSI technology. Stacked sensors are supposed to be able to “read out” the sensor much faster than the “old technology”. However, when it comes to video rolling shutter, the R5 Mark II performs exactly the same as the original R5. Perhaps the original R5 had a stacked sensor even though it wasn’t marketed as such? Or, maybe Sony’s sensor technology just isn’t that great.
Resolution
The R5 Mark II has the exact same resolution as the current R5.
Readout Speed / Rolling Shutter
The R5 Mark II has faster read out speed when using electronic shutter for still photos only. When using the fully electronic shutter for stills, the new R5 Mark II is more than twice as fast as the original R5 which makes the new R5 a lot better if you like to use electronic shutter… but it still isn’t anywhere close to as fast as a mechanical shutter.
The R5 Mark II’s readout speed remains the same as the R5 for video with a maximum speed around 13 milliseconds. However, the R5 Mark II now adds in 8k 60fps shooting at 13 milliseconds readout speed. This results in a similar readout performance to the original R5 which shot 4k 120fps at its maximum. 4k 120 is equal to 8k 60 in terms of readout performance as 4k 120 is done line skipped in the original R5. Reading half the lines at 120fps is obviously the same speed as reading them all out at 60fps. This type of readout is called “line skipped” readout. The new R5 Mark II, unfortunately, also does 4k 120fps as line skipped, limiting its maximum readout speed to the same as the original R5 for video purposes.
Video Improvements
The R5 Mark II now has 8k 60fps resolution which goes above the original R5’s 8k 30fps video resolution.
The R5 Mark II has also improved upon the dreaded overheating issues the original R5 had, even without the new external cooling battery grip available only for the R5 Mark II.
AF improvements
The R5 Mark II has the same AF system as the original R5 just with more firmware updates. There are no new features other than supposedly better tracking AF. Despite initial reports, I doubt the R5 Mark II will be as good as the R1 when it comes to subject tracking.
Faster CPU
There is no indication that the R5 Mark II has a different CPU when compared to the current R5.
Dynamic Range
According to online review sites, the new R5 Mark II has no dynamic range improvements in stills from 100 ISO to 6400 ISO. In fact, it appears to have slightly less dynamic range than the original R5. It is not known if the new R5 Mark II uses a dual gain sensor like the R5 used, but if it does use a dual gain sensor, it no longer switches to another gain circuit at 400 ISO, instead, this appears to be done at a much higher ISO past 1600.
The R5 has no problem picking up all the details in this scene of a white building with a gigantic white dome.
The 100% view crops below show that there are very few details missing in this shot taken in bright midday sun.
The basic point is, if the R5 isn’t adding more dynamic range then how is it going to make an image like this substantially better?
Well, for video at least, the R5 Mark II is going to add a couple features that some people will want to buy. It appears to have slightly more accurate colors out of camera which is great for people who want a faster workflow. I think the R5’s colors are close enough most of the time but it does require some color grading to look normal.
The R5 Mark II is also supposed to have a lot more dynamic range in video mode when shooting in LOG formats. Camera’s like the R5 C have a lot of dynamic range in LOG getting all the way up to 14 stops, but, the R5 Mark II is supposed to have 16+ stops when shooting LOG. That puts the R5 Mark II less than a stop below the latest and greatest cinema cameras… I know a lot of video people will be interested in that capability.
Ergonomics Updates
The R5 Mark II has slightly changed ergonomics and physical design. The power switch has been moved to the right side of the camera and there is now a fan included in the battery grip which modestly increases recording times for video. There is also a new flash hot shoe which allows the camera to work with Canon’s new lineup of super high-performance flashes.
Bottom Line
The new R5 Mark II is a great camera, which makes sense, since it is nearly the same as the original R5, but now with a few performance updates. Because of all the updates it is now $4,299. And at this price the fully electronic shutter is now competitive with the Nikon Z9, the Canon R3, and the Canon R1. In stills mode the electronic shutter can readout in about 6.3 milliseconds, whereas the original R5 is set to read out in about 16.8 milliseconds for a still photo. Unfortunately, the video readout speeds are just about the same between the two cameras. Because the new R5 Mark II still has overheating as an issue when shooting high resolution video, the sensor is intentionally slowed down to about the same speed as the original R5 to help increase shooting times. On a brighter note, the new R5 Mark II has 16+ stops of dynamic range when shooting in video LOG formats. Since there is no log format for stills, the dynamic range there is just about identical to the original R5. But, getting 16+ stops of dynamic range for 8k 60fps video means the R5 Mark II can definitely deliver some high quality video if called upon to do so.
If you shoot video the new R5 Mark II appears to be an upgrade over the original. However, if you shoot stills, the original R5 doesn’t give up a whole lot compared to the new one. True, you can shoot with the new electronic shutter, but, the good old mechanical shutter is still superior to every camera’s electronic shutter. Yes, the MECHANICAL SHUTTER IS STILL #1. Basically, there’s no point to an electronic shutter just yet, even though random dip shits will say ITS SOOO IMPORTANT. Well, it really isn’t GOOD ENOUGH. If electronic isn’t better than the mechanical shutter then it really isn’t a replacement for the mechanical shutter, is it?
If you really need maximum electronic shutter performance, the R5 Mark II still isn’t good enough in my opinion. It reads out in 6.3 milliseconds which is still quite slow. While it’s not exactly the same, it’s still only as fast to scan as a 1/160th shutter speed. And that means it’s more than 3 times slower than the R1 which reads out in 2 milliseconds. That disparity is partially explained by the lower resolution sensor (24mp vs 45mp), but it isn’t entirely explained by that. All things being equal the R5 should be able to read out in about 3-4 milliseconds.
Ok, the bottom line is this, the new R5 Mark II is a solid camera, but it’s more of a video-oriented camera. If you shoot video, it appears to be better than the original R5, but not really better than the R5 C which doesn’t overheat. For video, the R5 Mark II kind of makes sense if you want 8k 60fps right now, but it overheats even with the fancy battery grip. However, if you don’t need the highest resolution settings, you can enjoy 16+ stops of DR when shooting in LOG. Previously, the only Canon camera with that amount of dynamic range was the C300 Mark III.
For stills shooters the R5 and R5 Mark II are a little close for comfort. Aside from the electronic shutter being improved and the supposed AF improvements, there’s not a lot to get excited about. With the R5 now being about $1,500 cheaper it seems like the better option if you’re a landscape photographer or the like. It remains to be seen how much the R5 Mark II can really improve on its predecessor.
Nauticam has unveiled its latest housing, the NA-CV1, designed to accommodate Canon’s new point-and-shoot, the PowerShot V1, released in February 2025. The compact (aka vlogging) camera features a 22.3-megapixel 1.4-inch sensor (which is similar in size to Micro four Thirds, but with a 3:2 aspect ratio), a DIGIC X image processor, and a fixed zoom lens with a focal length range equivalent to 16–50mm f/2.8–4.5. Boasting Canon’s Dual Pixel AF II autofocus system, the PowerShot V1 can record uncropped 4K/30p video oversampled from 5.7K and achieves 15fps burst shooting with its mechanical shutter.
For the NA-CV1, Nauticam has opted to use their N50 port system but ship the housing with the N50 3.5-inch acrylic dome port, which allows the full 16–50mm zoom range out of the box. Switching to their N50 Short Port 25 gives users the opportunity to mount various Nauticam water-contact optics, such as the WWL-C (FOV: 130°–71°), WWL-1B (FOV: 130–80º) and SMC/CMC (via Nauticam’s bayonet mount adaptor). Like Nauticam’s other housings for compact cameras, users have the option of adding a tray and handles, an LCD magnifier, and a vacuum valve (via the housing’s M16 port)—the vacuum monitoring and leak detection system is pre-installed.
The NA-CV1 housing is priced at $2,000 and is available now from retailers such as Backscatter.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRODUCT INFORMATION
INTRODUCING NA-CV1 FOR CANON POWERSHOT V1 DIGITAL CAMERA
The Canon PowerShot V1 Camera
Key Camera Specifications
22.3MP 1.4″ CMOS Sensor
16–50mm Equivalent f/2.8–4.5 Lens
Full-Width 4K 30p; 4K 60p with 1.4x Crop
10-bit Recording; Canon Log 3
Dual Pixel AF II for PowerShot
Optical Stabilization; 3-Stop ND Filter
Active Cooling Extends Shooting Times
The Nauticam NA-CV1 Housing
NA-CV1 is the latest iteration in a lineup of advanced housings for very capable compact cameras supported by Nauticam. Many features found on professional DSLR systems have been integrated into this system, and the result is an underwater housing that allows the user to harness the full potential of this advanced compact camera in the water.
The basic functions and ergonomic enhancements that Nauticam users have grown to know and love are incorporated in NA-CV1. The housing is machined from a solid block of aluminum, then hard anodized to seal out corrosive salt water. It is closed via a simple, yet secure locking rotary latch. The right side of the housing is sculpted to fit the palm of the user’s hand, and Nauticam’s two-stage shutter release lever provides clear differentiation between the half press and full press shutter release positions. All functions are clearly labeled.
The Nauticam leak alarm and vacuum monitoring system is installed as standard equipment. This system provides an audible and visual alert to any water entry in the housing, and when combined with an optional accessory M16 Vacuum Valve II (25625) the watertight integrity of the system can be tested before ever entering the water and monitored during every dive.
Expert product design, modern manufacturing techniques, top quality materials backed by a two-year warranty, and a critical focus on the user experience combine to produce the premier system for Canon Powershot V1.
The N50 Port System
The NA-CV1 ships with the N50 3.5″ Acrylic Dome Port that allows the full 16–50mm zoom range, but other ports are available from the N50 system. When combined with the 38703 N50 Short Port 25, you can add on the 83203 WWL-C for a converted FOV of 130 degrees to 71 degrees.
What’s in the Box?
NA-CV1 housing
N50 3.5″ Acrylic Port
Spare main housing O-ring (90131)
O-ring remover
CR2032 battery (for moisture alarm)
Lubricant
Set of Allen keys
Padded Housing Bag
Set of handle brackets with shutter release trigger
Recommended Accessories
25625 M16 Vacuum Valve II (Pushbutton Release)
25131 LCD Magnifier attachment Rails
25106 LCD Magnifier with Dioptric Adjustment
71206 Easitray II with left handle (with 2pcs 1/4” screws)
71207 Flexitray II with left handle (with 2pcs 1/4” screws)
71208 Adjustable right handle II (for Easitray II & Flexitray II)
38703 N50 Short Port with Bayonet Mount (To use with WWL-C or WWL-1B)
Camera conspiracy theorists unite: Both Sony and Canon are teasing camera releases on March 26th with mysterious clues.
Starting off with Sony, the company released a teaser-trailer-style clip of a veiled new camera model. There’s not much to go on, but eagle-eyed viewers have spied a button labeled “5” as well as a 3.5mm jack.
Combined with the “Go small, shoot big” catch phrase, speculation centers on the announcement of a new cinema-style camera—something similar to the Sony FX6. Other guesses in the video comment section include a long-awaited update to the Sony a6700.
For its part, Canon is also contributing to the rumor wheel with an Instagram post glimpse at two new camera models. Shrouded in shadow and only labeled with “V,” it seems likely that the cameras will fall into Canon’s new Powershot V1 “vlogging” compact cameras.
Canon recently debuted the Powershot V1 at the CP+ show in Japan to much buzz. It’s a pivot in the company’s compact lineup with trendy vloggers in mind—featuring a 16–50mm equivalent f/2.8–4.5 lens and 4K/60p shooting mode.
By Joe Tepper, March 24, 2025 @ 04:00 PM (EST) Source: PetaPixel
Canon is working on a new technology that utilizes their CMOS Dual Pixel sensors to seamlessly generate 3D images, according to PetaPixel.com.
The project is coded as “3D photo technology” and aims to transform current tech familiar to Canon shooters: Dual Pixel. In essence, the sensor divides each sensor into two photodiodes (traditionally used to simultaneously achieve autofocus and image capture).
In the case of this new tech, the Dual Pixel sensors capture two of the same images from slightly different positions. Combined with Canon’s current RAW software and upcoming 3D photo tech, users can view an almost VR photo map of an entire scene—all from a single shot.
There are some kinks to workout—apparently, mirrored surfaces and transparent objects present challenges—but check out the impressive demonstration from the recent CP+ show as shared with PetaPixel.
Canon is offering up some holiday treats as we head into winter. The company has announced two new full-frame RF lenses, one APS-C RF lens, a Power Zoom Adapter, and firmware updates for the EOS C70 and EOS R5 C cameras. The three new lenses cover everything from wide-angle to ultra-telephoto, offering a bit of something for everyone. They include the RF-S10-18mm F4.5-6.3 IS STM, the RF24-105mm F2.8 L IS USM Z, and the RF200-800mm F6.3-9 IS USM. There’s lots to unpack here, so let’s get into it.
We are especially excited to see the RF24-105mm F2.8 L IS USM Z. This lens is the world’s first 24-105mm focal length lens with a consistent f/2.8 maximum aperture. Canon designed the RF24-105mm as a hybrid lens, tailoring it to high-level video content creators and video production individuals or firms. It did specify that this is not a cinema lens but does approach that category with new features.
Though it offers many video-centric features, it should also be a superb still photography lens. The 24-70mm has long been the workhorse lens for many photographers, but we could see this extended range becoming the new go-to for many. The fast and constant f/2.8 aperture will offer excellent low-light performance, adding to its versatility. It will be ideal for a vast number of applications, including portraits, weddings and events, fashion, photojournalism, sports, wildlife, and more.
RF24-105mm F2.8 L IS USM Z build & design features
Canon’s RF24-105mm offers a constant overall length when zooming and focusing, which is a big advantage for videographers. It also offers a stepless manual aperture ring for video use. Canon optimized the optical design for high-end video, with excellent focus breathing performance and superb image quality. The image stabilization results in 5.5 stops of optical IS or eight stops of coordinated IS.
The lens can focus as close as 1.5 feet at all focal lengths and offers a maximum magnification of 0.29x at 105mm. Two Nano USM focus motors drive the autofocus system, resulting in fast and accurate focusing abilities. Its 11 aperture blades provide beautifully smooth bokeh.
The RF24-105mm weighs 2.9 pounds and is 7.8 inches long. It offers an 82mm filter thread.
Power Zoom Adapters
For videographers, one of the most exciting aspects of this new lens is the option to use a newly developed Power Zoom Adapter. This new optional accessory will connect to the side of the RF24-105mm without any tools required. It enables super-smooth zoom control when recording video. Zooming will look more natural, and it will make control easier for solo creators.
Canon is making two different versions of the Power Zoom Adapter. You can opt for a standard version (PZ-E2) with only a USB port or a 20-pin port version (PZ-E2B) to support zoom and focus demands. It’s important to note that, as of now, the Power Zoom Adapter is only compatible with the RF24-105mm.
Pricing & availability
The Canon RF24-105mm F2.8 L IS USM Z will be available in December, though is available for pre-order now for $2,999.00.
Both versions of the Power Zoom Adapter won’t be available until the spring of 2024, but you can already pre-order both. The standard version (PZ-E2) is priced at $999.00, while the 20-pin port version (PZ-E2B) is $1,299.00.
Canon
Canon RF200-800mm F6.3-9 IS USM
For those who need ultimate telephoto reach, the RF200-800 F6.3-9 IS USM should fit the bill. This lens is impressive for many reasons, most notably the range it offers. There are not many zoom lenses that offer a maximum focal length of 800mm, with most topping out at 600mm. And at $1,899, it’s very reasonably priced for what it provides. For context, Nikon’s new NIKKOR Z 180-600mm f/5.6-6.3 VR lens is $1,696.95, so you’ll get 200mm more reach for roughly $200 more.
Its long reach makes it perfect for photojournalism, wildlife, outdoor sports, and dramatic landscapes. Should you need even more zoom power, it’s compatible with the Canon RF 1.4x and 2x tele extenders, which will get you up to a whopping 1600mm.
The maximum aperture varies from f/6.3 at the wide end to f/9 when zoomed in, so its low-light capabilities are slightly limited. But as we would expect on such a lens, it offers image stabilization to assist with obtaining sharp images even when handholding the lens. You’ll get 5.5 stops of correction at 800mm, and 7.5 stops at 200mm. It also offers automatic panning detection.
RF200-800mm F6.3-9 IS USM design & features
The RF200-800mm uses an extending lens design, meaning it gets longer when you zoom in. Even though this lens isn’t in Canon’s pro-level L-series, it did apply weather sealing, meaning it is still durable and protected against the elements despite the extending design. The lens is surprisingly lightweight for what it is, weighing just 4.5 pounds. It should be feasible to shoot handheld for at least short durations. A rotating tripod mount on the lens makes it easy to attach to a tripod as well.
Canon pointed out that even though the lens RF200-800m is white, it is not the IR reflective surface found on the latest L-series lenses. A single, compact Nano USM motor drives the autofocus system, which is fast and quiet. It is a varifocal lens, meaning it won’t stay in focus as you zoom in. But Canon promised superb image quality thanks to an optimized optical design.
Pricing & availability
The Canon RF200-800mm F6.3-9 IS USM will be available in December, but you can pre-order it now for $1,899.00.
Canon
Canon RF-S10-18mm F4.5-6.3 IS STM
The third lens of the new trio is a beginner-friendly APS-C lens. And at just $329, it is extremely budget-friendly as well. The RF-S10-18mm F4.5-6.3 IS STM lens offers a full-frame equivalent view of 16-29mm. Canon designed this lens for video and vlog creators as well as amateur photographers. The wide-angle perspective is ideal for selfie videos, travel videos, and landscape, travel, or architectural photography. For many, this could be the only lens they use on their camera because of its versatility and size. It would pair well with cameras like the R100, R50, or R7.
RF-S10-18mm F4.5-6.3 IS STM design & features
Canon created an entirely new optical design lens for the RF-S10-18mm, one that isn’t based on any current Canon lenses. It is absolutely tiny, weighing only 5.3 ounces. It utilizes a collapsible design to maximize its compact size for travel, meaning you’ll need to extend it out in order to start shooting. But when collapsed down, it is a measly 1.8 inches.
Surprisingly, Canon included image stabilization on the RF-S10-18mm. You’ll get four stops of optical IS and six stops of coordinated IS with your camera’s in-body image stabilization. For video users, this can also be combined with Movie Digital IS for added stability, but that will result in a crop. Canon also mentioned that the focus breathing is very well handled with this lens. There is some present, but it is minimal, and some cameras offer focus breathing correction in-camera to improve it even more.
A stepping motor drives the autofocus, and it offers close focusing abilities of 5.5 inches with autofocus at all focal lengths or 3.4 inches at 10mm with manual focus. Unsurprisingly for such a compact, budget-friendly lens, there is no focus switch on the lens, so you’ll need to change between manual focus and autofocus in your camera’s menus.
Pricing & availability
As with the other two lenses, the Canon RF-S10-18mm F4.5-6.3 IS STM lens will be available in December (just in time for you to pick it up as a Christmas gift for a photographer in your life) and is available for pre-order now for $329.00.
In this post I’ll be reviewing the new Canon RF 10-20mm f/4 L IS STM made for Canon RF mount cameras like the EOS R5 that I’ll be using to test the lens with.
Overall, this is a great little lens. I really enjoyed shooting with it so read on to see my impressions including (just a couple) of the negatives…
Physical Aspects
Physically this lens is much smaller and lighter than past FULL FRAME ultra-wide-angle lenses with an f/4 aperture.
Here is chart showing the physical size and weight of this new RF lens compared to older EF equivalents.
Canon RF 10-20mm f/4 L IS STM
Sigma 12-24mm f/4 Art
Canon EF 11-24mm f/4 L USM
Weight
.57 kg
1.15 kg
1.18 kg
Length
11.2 cm
13.2 cm
13.2 cm
Width
8.4 cm
10.2 cm
10.8 cm
Stabilization
YES
NO
NO
Clearly, the new Canon RF 10-20mm f/4 L is saving a lot of weight which is going to make it a lot nicer to carry around on hikes or to keep in your bag in case you need an ultra-wide lens.
Handling & Usage
Being relatively light means that carrying and using this lens is pretty painless. It balances well on the camera and would be a good option for someone who has wrist pain who still wants to shoot full frame with a lens like this.
The lens is easy to use although the focus ring and the control ring are a little too close together. It’s very easy to accidentally turn one by accident when trying to turn the other. The zoom ring is smooth and easy to turn. All the rings are tightly fitted with no play in them.
One downside of this lens is that it won’t take a front filter. This isn’t a huge problem, but it does mean being more careful with the lens and keeping a dust cloth handy to do spot cleans here and there. Instead of a front filter there is a slot in the back where a rear filter can be inserted.
Speaking of cleaning the lens, it is one of the most difficult to clean lenses I have used as the front element is a bit of a dust magnet. And it’s necessary to keep the lens sparkling clean to achieve maximum image quality from the lens as it is very sensitive to oil and dust.
This lens has a unique lens cap which fully covers the lens hood and locks in using threads on the inside of the built-in lens hood. While the lens hood is nice and has a design which works better than some other lenses with large front elements like this, it is still an odd lens cap because it is more than an inch thick which is a big difference from most lens caps which are less than a quarter of an inch thick. It’s minor but it makes sticking the lens cap in a pants pocket pretty annoying.
There is also a button on the lens that can be assigned a specific function. I don’t know if that is camera body specific or if the lens keeps the assigned function from body to body.
Optical Image Stabilization
The RF 10-20mm f/4 L IS STM also has built in optical image stabilization.
The stabilization for stills is good but not quite exceptional on my R5. I have found that around a 1/4th of a second I have to take 3-5 shots to get a sharp one. But that was with mechanical shutter. With electronic shutter it seemed like I was getting sharp photos in 1-3 shots. The problem for me is that on the R5 the electronic shutter is limited to a max time of 1/2 a second. Shooting with a 1/2 second exposure is still impressive though and makes handheld shooting in almost total darkness a possibility.
Shooting video, the stabilization is pretty solid but if you want really smooth footage a gimbal or camera cage with handles is still necessary. This is probably the best I have used for just straight up handheld video though. I think it might even be slightly better than the RF 24-240mm which is tripod like at 24mm.
Zoom Range
The zoom range of this lens is 10-20mm, which may be limiting to some users who want to be able to shoot ultra-wide and zoom in to 24mm or even 35mm. It is truly an “ultra-wide zoom”.
Even though it may seem limiting to be stuck with just 10-20mm, the resolution at 20mm is high enough that cropping is not an issue. And the center of frame performance should make this lens a great performer on APS-C.
Bottom line, if you absolutely must have more magnification then using this lens on an APS-C will give you that. It’s not the perfect solution but it’s worth considering as APS-C cameras are getting better and better.
Focusing
Focusing is ok with this lens. It’s fast enough for most stills and quieter than most lenses too. It is reliable but does seem to just barely pull focus a lot especially when focusing center of frame. I did not extensively test tracking AF on my R5 but it is able to pick out a human subject even when at 10mm. The focus is not as snappy as most USM lenses, so it is a little slow to rack focus. I noticed a couple of times it focused behind a moving subject when I was using face tracking. Video shooters won’t care as much about snappy focus pulls so this lens should meet their expectations.
Distortion
Optically the lens is a good performer with some caveats. The first being that it has a lot of distortion at 10mm. To be fair, its less distortion, and more just not fully covering the sensor. This means the lens has to have digital corrections enabled for the image to be full 35mm frame size. Again, it’s one of those things that they have sacrificed to make the lens smaller, lighter, and probably, the price that it is. The good news is that the lens only exhibits barrel distortion, so the distortion correction is going to be simpler since there is no crossover from barrel into pincushion as many zoom lenses tend to have.
Below is an interactive example showing only the distortion correction at 10mm.
As you can see, the distortion correction is pretty substantial. Sharpness is visibly affected by the stretching required but only large prints will show obvious losses in resolution.
If you are shooting video the distortion correction will always be activated.
The reality is that despite the corrections this lens still manages to hang with the old EF 11-24mm f/4 L for about $700 less money.
Sharpness
I noticed some very slight sharpness inconsistency across the frame on the R5. To be fair, if I got lucky with focus the sharpness is good everywhere, but if the focus is ever so slightly off, I did notice some areas of softness here and there in the frame.
The problem with this is it’s very, very hard to see the focus is slightly off by looking through the viewfinder. What I found is that I typically want to focus to the left side of the frame rather than the center of the frame. I don’t know why that is, it could be how I hold the camera or how I tend to move when pressing the shutter button.
At higher shutter speeds it does seem to look sharper across the frame, so I think this is probably more of a stabilization issue.
Conclusion
This is a good lens that performs well and is lightweight. It is not that expensive for what it can do in the form factor that it has. Remember, this is a full frame lens that is similar in size to many APS-C lenses of the same type. Overall image quality is good but not flawless. It’s a nice lens to own if you’re willing to plunk down the money for it. Videographers in the market for an ultra-wide for Canon should like this one. It performed well for that purpose in the testing I did.
Did you just get a new R5 or R5 mk II? Here are 5 helpful settings that can help you get more out of your R5 mk II.
Tip #1: Make sure IBIS (In Body Image Stabilization) is turned on.
Both version of the R5 have IBIS. Make sure IBIS is on so you can get more sharp pictures with less camera shake.
Tip #2: Turn your EVF and rear display up to the max!
Set your display to use 120 hz pro motion for the best result. When looking at your screens it will look smoother and better, especially when there’s things moving.
On the same menu you’ll see a setting called “Suppress lower frame rate”. To maximize performance, turn this off as well.
Please enjoy the use of your camera.
Tip #3: “Lower” the image quality to get more on your cards.
The EOS R5 mk II can record with a variety of different file formats and compression algorithms to help you fit more data onto your memory card. This can be especially useful for 4k video and higher resolutions.
Tip #4: You can use EF lenses on your R5 mk II with an EF to RF adapter.
Canon was very nice to design an adapter that will let you use an EF lens with your RF camera. Simply buy Canon’s adapter and attach it to the back of your EF lens, then you can attach the lens to your R5 mk II just like any other RF lens. By do this, you can save money and still have a Canon lens. (Very nice.)
Tip #5: Use the joystick to control your focus point.
The R5 mk II has a joystick on the back of it that you can use to move your focus point around. By using the joystick, you can easily select where you want your camera to focus on the frame.
