If college students know anything, it is how to find products that give you a bang for your buck. Everything is an investment that takes serious consideration, and when it comes to cameras, you don’t want to take any chances. In my case, this comes in the form of finding lenses that are high-performing, versatile, and reliable.
A little background
I am a film production undergrad student at Chapman University, on track to pursue cinematography as my major emphasis. I didn’t always know I wanted to pursue film, but photography was a central part of my upbringing, and once I hit high school, I naturally became “the camera friend”.
Chapman University film student (and Sigma Ambassador) Sophia Chew
Shooting in your dorm room is an essential part of the film student experience.
Outside of photography, I’ve directed and DP’d a handful of shorts and video projects, but some of the ones I’m proudest of are fan projects. Specifically, two films inspired by songs from Taylor Swift’s album Folklore – August (2024), and Betty (2023). Much of my work is inspired by books, music, and films I love, and I think my obsessions and phases add a personal touch to my work!
As a film student, your creative possibilities can feel limitless, but they can also feel intimidating. There are so many new things to learn, and it can be overwhelming. Thankfully, the safety net and supportive culture of my school program have offered a lot, and my Sigma lenses have been dependable additions to my kit and frequent topics of conversation on my sets.
My go-to gear
Student films and fan projects often operate on strict and fast schedules, which leads me to reach for my zoom lenses more often in order to optimize time. My favorite lenses (at the moment) are the Sigma 28-70mm F2.8 DG DN | Contemporary and the 28-105mm F2.8 DG DN | Art.
28-70mm F2.8 DG DN | Contemporary
The 28-70mm F2.8 DG DN | Contemporary has been perfect for photography and video shoots on location. As one of most compact full-frame zoom lenses available, the small size makes it perfect to travel with, and the light weight allows for fast setups and efficient shot execution. I feel confident with my close-ups and my portraits. I put a Pro Mist diffusion filter on the end, and love the freedom to construct the look of my images off Sigma’s clean lens builds.
28-105mm F2.8 DG DN | Art
The addition of the 28-105mm F2.8 DG DN | Art to my kit has been game-changing. I recently shot a short film for one of my director friends on the Sony FX6. We shot a simple dialogue scene in an small bedroom. It was a tight fit and I needed a solid range to cover all the shots we needed. The 28mm focal length was ideal for the establishing shot, and as we get closer to the characters in the scene, the 80-105mm range was ideal for capturing their emotions and progressing dynamics. I threw in a few handheld shots when both characters started stressing about their parents coming home. One of them dives under the bed and hides, and this lens could capture all of it!
This location was tiny, cramped, and dim – but the Sigma 28-105mm was able to handle every shot.
When I show the lens to my peers, an unexpected part that stands out is the aperture ring. The satisfying manual addition to the lens makes the relationship between the user to the camera more personal, which is something I’m finding to be important to me when operating cameras.
A manual aperture ring is a nice addition for filmmaking. All Sigma’s latest Art line lenses, as well as the all-metal I series primes, have this feature.
Recommendations
Both lenses quickly became essential for me. As a student photographer and filmmaker, my visual style continues to evolve, and I’ve found these lenses can keep up with my pace. My love for the 28-70mm was part of how I became an ambassador, even before I got the invitation to join the Sigma team.
Whether you’re a starting photographer or an experienced camera user, I can’t recommend these two lenses enough, and I’m excited to use them in my projects next semester!
Hollywood is rarely short of ambitious ideas, and the historical drama / full-fledged musical The Testament of Ann Lee, starring Amanda Seyfried, is one of the latest to roar past “passion project” and into the mainstream. Telling the story of Ann Lee, the founding leader of the 18th-century Shaker movement, the film blends gritty period piece with lavish choreography, with visuals led by Director of Photography William Rexer.
Rexer frequently uses Sigma Cine lenses in his work, and The Testament of Ann Lee was no exception. We caught up with Will after the film made its debut at the Venice Film Festival in September 2025 to learn more.
Q&A with Director of Photography William Rexer
Sigma:
Did you shoot with only the T1.5 High Speed Prime lenses, or were you able to use the new T1.3 Aizu Prime lenses at all? Any focal lengths in particular?
Rexer:
We primarily used the T1.5 primes and the Classics occasionally for their flares. The 28mm, 40mm and 65mm were our go-to lenses. The Aizu Primes came out after we were finished with principal photography, but we used them for two scenes and flashbacks. We used the 27mm, 32mm, and the gorgeous 75mm.
Cinematographer William Rexer on setOne of Rexer’s many Sigma Cine lenses – an 18-35mm T2.0 High Speed Zoom – mounted to an ARRICAM LT film camera
Sigma:
Were there any specific artistic or logistical reasons for choosing your camera and lens combination?
Rexer:
We tested eight sets of lenses, all spherical. One consideration was how much candlelight we would be using, and the desire for a consistent, pleasing bokeh. Some of the other lenses tested created inconsistent bokeh or star patterns with our candles in the frame. Other considerations included separation, chromatic aberration, consistency through the set regarding color, speed (we were shooting in very low light situations) and size. The film has a lot of dance and handheld camera work. In a blind test, shooting our cast in various situations, the Sigmas won. Director Mona Fastvold and I picked them, and it was a very clear choice.
Low light situations were frequent in The Testament of Ann Lee, and the Sigma Cine High Speed FF prime lenses were very useful for these scenes.
Sigma:
Can you share your overall experience working on the film and how you felt the Sigma lenses performed?
Rexer:
The lenses performed beautifully. We shot in tough conditions, on ships at sea in Sweden, in the heat and dust of an unusually warm Hungarian summer, and in rain and snow. These lenses were chosen because they look great, but they also held up. Functionality is important. I have used my Sigma Cine set on multiple films and series, and have found them incredibly reliable. They have not let me down yet.
Sigma Cine lenses were used in a variety of challenging locations, in this case, at sea with the 28mm T1.5 FF.
Sigma:
Is there any moment or scene in the film that you are particularly proud of, or you would like audiences to notice or special attention to?
Rexer:
The film has many moments that I am proud of. We wanted to stay away from the ordinary, and we ask the audience to come on this journey. Caravaggio was our reference. The old masters were our inspiration.
Screengrab from The Testament of Ann LeeLighting and composition was often influenced by Baroque-era artists such as Caravaggio.
The sequence leading up to and including the song “Hunger and Thirst” is a moment I am extremely proud of. Amanda is in a dark prison cell and the sun slowly rises, striking the ground and eventually her. The scene plays with darkness and shadow and lens flares demonstrating the ability of these lenses to retain contrast and character in very extreme lighting conditions. Sam Ellison, my A-operator and second Unit DP, did an extraordinary work in this sequence; it’s an intimate dance he does with Amanda Seyfried, discovering each gesture for the audience. Daniel’s score, Sam Bader’s set, both perfect. It’s beautiful.
William Rexer overseeing an outdoor shot on the set of The Testament of Ann Lee
Sigma:
What is something you hope people take away from your work on this film?
Rexer:
I love what I do. I love working with talented directors and going all out. Mona Fastvold is truly special. Daniel Blumberg, our composer, is a genius; Celia Rowlson-Hall’s choreography is stunning; Amanda is one of a kind. Making a film is making yourself incredibly vulnerable. We, as a team, made a decision to shoot on film, to light environmentally, to use daylight and candles as our main sources (or justification for lighting) and to keep a small crew that could work collaboratively. Mona created an artistic family and we, like the Shakers, worked because we were inspired. This was a unique experience.
I hope people get transported. I did not want this film to look like what people see everyday. My goal was to give them something very old and at the same time new.
The Testament of Ann Lee
Director: Mona Fastvold Producers include: Mona Fastvold, Brady Corbet, Andrew Morrison DP: William Rexer, ASC A operator/2nd Unit DP: Sam Ellison AC: György Horváth
Filmmaker Xander Ferreira on location with the Sigma 135mm T2, one of several Sigma Cine prime lenses used in this project.
One of the greatest decisions you’ll ever make as a filmmaker heading into the field is choosing your camera rig. It’s not just about gear — it’s about committing to a creative mindset, a visual language. Like a warrior sharpening their blade before battle, your lens choice prepares you to engage with what lies ahead. And in the world of documentary filmmaking, where unpredictability is your constant companion, your gear needs to be as resilient and refined as your vision.
Recently, I had the privilege of joining the visionary Japanese brand, The Inoue Brothers, on a two-week odyssey across Ghana and South Africa. Our mission: to discover artisans whose ancient crafts would form the heart of a socially impactful new collection. It was a journey into the tactile, the sacred, and the raw — the very essence of storytelling through image.
Satoru and Kiyoshi Inoue being filmed with the Sigma Cine 24mm T1.5 FF
From the sprawling, chaotic arteries of Accra’s Kantamanto Market to the humid, emerald depths of South Africa’s Limpopo rainforests and savannas, we were chasing moments — those ephemeral truths that live between hands that weave, eyes that sculpt, and communities that create. Joining me on this extraordinary journey? A carefully curated set of four Sigma Cine prime lenses.
Into the Labyrinth: Kantamanto Market, Accra
The hustle of Ghana’s street markets called for a relatively wide lens — but which one to choose?
Our journey began in Ghana, inside the living organism that is Kantamanto — the largest secondhand clothing market in the world. Tens of thousands of people flowed like rivers through a dense labyrinth of textile and trade. I initially leaned into my favorite lens, the Sigma Cine 35mm T1.5 FF, which to me is the storytelling workhorse. If I had to shoot an entire feature film on one lens, this would be it. It’s intimate, true, versatile, and cinematic.
My favorite overall Sigma CIne lens, the 35mm T1.5 FF.
But Katamanto demanded something wider. The sheer scale of humanity and chaos unfolding before us called for a broader perspective. That’s when the Sigma Cine 24mm T1.5 FF became indispensable. It allowed me to glide through crowds, to duck into alleyways and stalls, and to capture the scale and intensity of human movement. With it, I could place the viewer right there in the midst of the fray — smelling the smoke, hearing the barter, seeing the faces.
The 24mm T1.5 FF allows a filmmaker to compose big scenes in tight spaces, mirroring the feeling of actually being present in those locations.
One particular moment remains etched in my mind: standing on a rooftop, gazing out across Katamanto’s sprawling chaos. I wanted to tell the story from above — of scale, of movement, of patterns. The Sigma Cine 135mm T2 FF was perfect here. It allowed me to follow individuals threading their way through the maze, painting a canvas of human navigation from a distance.
A long lens for long stories.
From the vivid rhythms of Accra, our journey carried us northward to the Tamale region, where the air grew dense with heat and time seemed to slow. We crossed wide rivers by canoe, venturing deeper into a land where centuries of tradition breathed through cloth and ceremony in a place where it felt that time had stood still. In a remote village known for its indigo and kente, we were received with quiet caution by the elders. But as trust and mutual reverence took root, the elders opened a sacred portal — revealing a world where each gesture, color, and woven thread felt guided by an unseen, divine hand. It was as if the very landscape had conspired to show us beauty in its purest, most deliberate form.
The beautiful details of hand-woven textiles are also nicely captured with a longer lens like the 135mm T2 FF.
Into the Trees: Limpopo’s Afro-Montane Forests
Heading further from the cities, we encountered exquisite natural beauty, for which I used a variety of focal lengths including the 85mm T1.5 FF.
We journeyed south into the haunting beauty of the Limpopo province in South Africa. The rainforests here feel ancient and watchful, while the savannas are bountiful with wildlife. Truly the closest thing you could experience from the visceral natural worlds of The Jungle Book and The Lion King. In the ancient afro-montane rainforest, trees towered like cathedrals and mist curled through the canopy like whispers. We met artisans working in the bush — carvers whose hands moved like dancers, beaders stringing stories into color with heartfelt tales of how the project they formed a part of changed their lives.
My kit of Sigma Cine High Speed FF prime lenses accompanied me from the dense city to remote villages.
For these intimate moments, I turned to the Sigma Cine 85mm T1.5 FF. It’s the poet of the kit — rendering shallow depth-of-field closeups with such sensitivity that the viewer could feel the texture of wood being carved, the rhythm of a needle pulling thread. It revealed the sacred in the everyday.
The texture and character of handcrafted tools and materials is depicted perfectly with the 85mm T1.5 FF.
Minimal Rig, Maximum Impact
Given the nature of this shoot — remote locations, constant travel, unpredictable conditions — my rig had to be agile. I ran with a skeleton crew and no focus puller, which meant everything had to be hand-operated. The Sigma Cine High Speed Prime lenses, with their robust build and smooth, long barrel rotation, were ideal. Pulling focus manually felt less like a compromise and more like returning to the purest form of filmmaking — intuitive, reactive, human.
The compact Sigma Cine High Speed Prime line was ideal no matter the location, from dim, cramped interiors to bright, wide-open outdoor settings.
I considered using the Sigma Cine Classic series for their vintage character, but in the end, opted for diffusion filters to get the soft glow I wanted. The T1.5 and T2 primes, with their lighter build and compact size, were the real heroes — easy to pack into a backpack and carry up mountains, yet still delivering uncompromised cinematic quality.
These lenses braved extreme heat, stifling humidity, dust storms, and even sudden rainforest downpours. They never flinched. And that’s the kind of reliability you need when your story demands that you move — fast, light, and with reverence.
No location was off-limits with the Sigma Cine High Speed Prime lenses in my kit. They withstood every environment with no drama whatsoever.
Tools as Philosophy
There’s something deeply philosophical about limiting yourself to a few tools. It forces you to think, to adapt, to find poetry in constraints. Each focal length became a way of seeing — a relationship with the environment and with the people we met. In our search for artisans, we found not just collaborators, but storytellers in their own right. Carvers, blacksmiths, weavers, embroiderers — their craft is their lens on the world. Through Sigma’s High Speed FF Cine Primes, I hoped to do justice to the depth and dignity of their work.
Meeting artists in both bustling and pastoral locations was a journey worth taking, and these lenses were the ideal tools to bring their stories to life.
In the end, this journey wasn’t just about creating content — it was about connection, legacy, and purpose. The Inoue Brothers’ commitment to ethical fashion and social design aligned with a deeper narrative we were there to capture. The Sigma Cine High Speed Prime lenses didn’t just help tell this story — they became part of the story through Sigma’s own commitment to social impact and the support of craftsmanship in the region of Tohoku, Japan.
If you’re a filmmaker drawn to wild locations, intimate human stories, and visceral visual language, there are few companions as dependable, poetic, and robust as these lenses. Trust your tools. Trust your vision. Prepare meticulously and then succumb to intuition.
Drew Ferguson shooting with the 65mm T1.3 Aizu Prime
Three weeks. Long hours under the California sun. Relentless days behind the lens. The Dallas Cowboys’ creative team, led by Drew Ferguson, put the new Aizu Primes through a true test of endurance at their 2025 training camp in Oxnard, CA.
Here’s what Drew and his team had to say after pushing the Aizu Primes to the max.
Alexis Flores (Cinematographer, Dallas Cowboys) handheld with the 25mm T1.3 Aizu Prime
Compactness and Handling
Sigma:
The Aizu Primes all maintain 5″ barrels (PL mount) and weigh just a hair over 3.5 pounds (1.7 kg). Did the size and/or weight of the lenses influence the way you worked during spring training?
Ferguson:
They were a great size, honestly. We run the DZO Arles for a majority of our shoots, and these are pretty comparable in terms of size and weight. So, we were pretty comfortable working with these like we do with our other cine glass.
The 25mm T1.3 Aizu Prime covering a press conference
Durability
Sigma:
The Aizu Primes feature full metal construction. Is durability a consideration in your line of work, and did the lens’s build meet your expectations in demanding shooting conditions?
Ferguson:
Our gear takes a beating. With over 500 shoots a year, some stuff is bound to break, so we’re always factoring in durability of a product before purchasing. The lens’s build met the expectations for our line of work, for sure.
Conor McMahon (Manager of Creative Video, Dallas Cowboys) handheld with the 65mm Aizu Prime.
Fast Aperture
Sigma:
The Aizu Primes have a consistent T1.3 aperture value throughout their entire range. Has the speed of these lenses influenced your approach to shooting in different lighting situations on or off the field?
Ferguson:
For sure. Having a super speed lens like this gives us a ton of flexibility when we’re having to shoot in dark environments like our tunnels. We don’t have to factor in as much lighting as we use to when we run around with these lenses.
McMahon with the 65mm Aizu Prime
Bokeh and Depth of Field
Sigma:
After spending time with the Aizu Primes, how would your team describe the qualities of the lens’s bokeh or its ability to separate subjects from the background?
Ferguson:
Honestly, it’s some of the best I’ve ever used. The separation is so smooth and the character you get out of opening up wide is pretty unique.
Flores covering a scrimmage with the 25mm Aizu Prime wide open at T1.3
Versatility
Sigma:
Did the lenses perform consistently when switching between handheld, gimbal, or tripod setups?
Ferguson:
We didn’t do any gimbal work, but it was consistent across handheld, high hats, and tripods for use. It was consistent across all the cameras we used, too, which was really nice, since we don’t always get that consistency when swapping between camera bodies.
Ferguson operating the 65mm T1.3 Aizu Prime during drills.
Overall Shooting Experience
Sigma:
Did you find certain shots or scenarios where these lenses were particularly well-suited (or challenging) to use?
Ferguson:
Interviews were where these really shined for us because we could control the composition and environment, and get exactly what we needed out of the lenses. But, honestly they were still pretty versatile with run-and-gun. There really weren’t many shots where I felt like I missed focused, even when wide open.
McMahon focusing the 65mm T1.3 Aizu Prime mounted to a hi-hat
Cine, Meet Football
Sigma:
You and your team have expressed a keen interest in pairing the world of cinema lenses with the world of sports in ways many teams haven’t explored. Did the large 46.3mm image circle influence your shooting choices, and did you experiment with pairing the lens with large format cameras or sensors to achieve a particular look or workflow?
Ferguson:
We actually didn’t get a chance to test a ton of footage out on the Fujifilm Eterna like we wanted. But, we definitely are interested in pairing it with our Pyxis 12Ks when they arrive in this coming quarter!
Aizu Prime 25mm T1.3 paired with the new Fujifilm GFX Eterna Prototype
Introducing the Sigma Aizu Prime line of cinema lenses – designed from the ground up to provide speed, sharpness, and subtle character.
As an ICG Local 600 Director of Photography working on everything from scripted to comedic stage shows to wildlife to true crime, I ask a lot out of the technology I film my projects with.
As a Sigma Ambassador, I have also been immersed in all things Sigma since 2017, and I’ve used dozens of different focal lengths and different types of zooms as I’ve bounced from project to project. The Full-Frame High Speed Primes in particular have been a staple for me with their consistent sharp look and gorgeous bokeh (especially that 105mm). Lately, I’ve been finding a home for Art line lenses as well, such as the 28-105mm F2.8 DG DN | Art and 28-45mm F1.8 DG DN | Art on my various Sony E-mount documentary rigs.
The new Aizu Primes are something special — the result of over two years of work by engineers in at the Sigma factory in… you guessed it… Aizu, Japan! Unlike the High Speed prime lenses, which were based on the beloved Art line of photo lenses, the Aizu Primes are entirely new — though the rugged engineering will feel comfortably familiar to fans of Sigma’s existing cine lenses.
Our factory in Aizu, Japan is the pride of the company, which is why we named our most premium line of lenses after the region.
Some quick specs: 95mm front diameter, 3.6 pounds average weight, 0.8 pitch gears (with a uniform placement from focal length to focal length) and a luminous paint job on all markings (helpful for dark sound stages) make these primes camera department approved. We can move fast when switching matte boxes and follow focuses, and that means a lot as camera teams everywhere have been asked to deliver more with less. I’m also happy that the set includes both a 27mm and a 32mm — two focal lengths that I’ve often wished more manufacturers embraced.
These twelve lenses (8 at launch, 4 more coming in 2026) are the world’s first T1.3 primes covering large-format camera sensors (especially Alexa Mini LF in Open Gate). But being first for the sake of being first means nothing if the lenses don’t perform optically. And, perform they do.
The initial 8 Aizu Primes shipping in mid-202527mm T1.3 Aizu Prime attached to ARRI ALEXA Mini LF
I was lucky enough to receive a few Aizu focal lengths for testing on a recent shoot for NBC’s Wild Kingdom as well as a commercial shoot, and I immediately threw them into the mix. There is indeed an organic feel to their look, but it is the three-dimensional nature of their look that first stood out to me. Lens nerds of all kinds call this feel different things — for example, this look could be called “pop” or “separation” too.
Utilizing the Sigma Aizu Primes (pre-production) in the field showed me how versatile this lens line can be, with a look that works in so many situations.
In short, there is a beautiful three-dimensional feel that separates the in-focus foreground subject and the background. I love it, and it’s one of my favorite things about the Aizu Primes. Pair that with a modern and flattering level of sharpness that your on-camera talent will love, and you have a look that isn’t too aggressive but sharp enough to bring out the details in any situation.
The close focus performance with this set is also extraordinary, with the 25mm close focus landing at just 1 foot (31cm), for example. That’s not measured from the front of the lens — that’s 1 foot from the sensor of the camera. This simply means you are reaching for your macro lens less.
Close focusing ranges from just 1 foot (31cm) with the 25mm lens, to 2.5 feet (73cm) with the 75mm lens.
With the Aizu Primes, there can be some subtle flare from light sources, but that too isn’t overwhelming. If you want a flare in your scene you can make it happen, but you don’t need to be afraid that every light source will lead to a flare that may distract from the performance of your subject. The flare handling is a great balance.
Flare is handled nicely, resulting in a look that is neither too sterile nor too far into “vintage” territory.
Oftentimes, we associate different looks with different genres (for better or for worse) — for example, the current in-vogue look in true crime tends to be cooler, darker and sharper. Rom Coms tend to be more warm and saturated. The Sigma Aizu Primes work in both worlds and a wide spectrum in between, and that also means, for me, they are safer choices to own. Simply put, they work in more circumstances and thus the investment makes more sense to me as an owner/op or from a rental house perspective.
The Zeiss eXtended Data port based on Cooke’s i/Technology protocol also future proofs the Aizu Prime line for owners and users. You may or may not work with post VFX teams currently, but the post team will love access to lens characteristics data to help their environments feel more real. All you need is a 4-pin LEMO cable going from the lens to your favorite camera body with a compatible port. Again, you may not need it on every project, but you’ll be surprised how quickly this functionality becomes “mandatory” for a variety of different departments.
LEMO connector port for Zeiss eXtended Data functionality
We don’t talk about this enough, but I also know that Sigma has my back from a service perspective. Having worked in military planes and even on the side of F1 tracks in Austria, I know that stuff happens and there is a level of comfort knowing that if I need a repair I can make that happen quickly and keep on filming.
The Aizu Prime line of lenses checks a lot of boxes for cinematographers, especially those who want consistency and unwavering quality. Of course, if you’re looking for more versatility, Sigma’s upcoming AF Cine Line — which includes the aforementioned 28-45mm and 28-105mm lenses, revamped for cine applications — is going to be another impressive addition. As an avid E-mount user, I’m going to keep my eyes open for more news there.
The Aizu Prime line represents the best of Sigma’s optical production capability, and we hope it finds a home in cinematographers’ kits all over the world.
It isn’t lost on me that there is a lot of choice in the cinema lens market. For me, beyond the gorgeous look of the Aizu Primes, it comes down to trust. Having worked with Sigma lenses for years now, I know I can take these new lenses into the snow, jungle and desert with confidence.
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.
