Canon has added the RF 70-200mm f4L IS and RF 50mm f1.8 STM lenses to their growing RF lens range. These two popular lenses pair lightweight portability with the exceptional lens making craft we expect from the manufacturer.
The Canon RF lens range already covers these focal lengths with an f/2.8 70-200mm zoom and an f/1.2 50mm prime however the new releases are significantly smaller and lighter due to their reduced maximum aperture. The DSLR compatible EF 70-200mm f4L IS has been praised by our Canon technicians as an exceptionally sharp lens, and the reputation of the 50mm f/1.8 the “nifty-fifty” is also well established. Canon has improved both lenses optically for their Mirrorless cameras in both their construction and ergonomics thanks to technology available with the wider RF lens mount. These smaller aperture lenses will also be lighter on the wallet compared with their larger counterparts in the RF lens range.
To place an order, contact our sales team on 0207 582 3294 or email us at sales@fixationuk.com
Canon RF 50mm f1.8 STM
Canon RF 50mm f1.8 STM lens
Designed to allow photographers to capture with comfort, the RF 50mm F1.8 STM introduces a novel combined focus and lens control ring. If you are focusing manually the focus ring drives the brand new optical system within the lens. If you are using autofocus the focus ring can be configured to control another camera setting like the custom control ring found on a variety of RF lenses and the EOS-R to EF control ring mount adaptor.
Focus closer with a minimum focus distance of 30cm, a 5cm improvement on the EF 50mm f1.8. The 7 blade rounded aperture is the same as used in the EF version so you can expect to see the same smooth background blur and bokeh from out of focus highlights.
Canon RF 50mm f1.8 STM Key Features:
STM Motor
Wide f/1.8 aperture
Aspheric lens element
RF mount
Super Spectra Coating
Focus / lens control ring
Canon RF 70-200mm f4L IS USM
Canon RF 70-200mm f4L USM Lens
The RF 70-200mm f4L IS USM features a retractable design like its f/2.8 RF counterpart. This is the most compact and lightweight canon 70-200mm lens to date, and the design re-affirms the manufacturer’s commitment to offer full creative potential with a lighter weight kitbag. The image below shows the lens with the hood removed, proportion more often seen on 24-70mm lenses!
Canon has added 5-stop optical image stabilization to keep your shots steady with the EOS R, Ra and RP. If used with the new EOS R5 and EOS R6 camera bodies then the in-body image stabilization and the lens’ optical IS combine to provide 7.5 stop stabilisation. Expect rock-steady sharpness when shooting handheld. At the very front of the lens is a new lens control ring, programmable to let you change settings without moving your hand from a shooting position. In the RF 70-200mm f4L IS the lens control ring is separate to the focus and zoom rings for independent control of three settings.
Canon RF 70-200mm f4L IS USM lens without hood.
Canon RF 70-200mm f4L IS USM key features
f/4 constant maximum aperture
Dual Nano USM focusing motor
L-series lens
UD elements and ASC element coatings
5-stop Optical Image Stabilizer (7.5-stop combination IS when used with the EOS R5 and EOS R6)
Dust and water-resistant seals
Lens Control Ring
To place an order, contact our sales team on 0207 582 3294 or email us at sales@fixationuk.com
Now that optical technology is improving and lenses like the 100-400mm are getting lighter and lighter, carrying a broad-range telephoto zoom lens is starting to make more sense than carrying around multiple lenses.
Many news and sports photographers swear by their 100-400mm lenses – we recently spoke to Times photographer Richard Pohle to get the lowdown on why he loves his so much – which is why we’ve put together this guide to the various 100-400mm lenses that are available for different systems.
Each lens has its own characteristics and strengths, which are worth being aware of before you jump in with both feet. In our guide, we’ve included the best of the best for all the major pro systems – Canon EF, Nikon F, Sony FE, Fujifilm X and Canon RF – as well as a few third-party options for those who are looking to pick up a great lens on a budget.
Canon EF
Canon EF 100-400mm f/4.5-5.6L IS II USM
Canon EF 100-400mm f4.5-5.6 L IS II USM
Construction: 21 elements in 16 groups Image stabilisation: 4-stop Optical Stabiliser Minimum focusing distance: 0.98m Weather-sealing: Yes Weight: 1,640g
Refining and perfecting a formula that was already pretty darn great to begin with, the Canon EF 100-400mm f/4.5-5.6L IS II USM is the second version of the firm’s 100-400mm lens for EF mount, and it’s a professional-grade optic for the working photographer.
Exceptionally sharp thanks to its sophisticated optical construction, the EF 100-400mm f/4.5-5.6L IS II USM uses a rotating zoom mechanism, rather than the push-pull design of previous models, making it easier and more intuitive to operate. This rotation incorporates a Zoom Touch Adjustment Ring, which can be customised to suit the user’s preferred feel of zoom control. Image quality is outstanding, autofocus is zip-fast thanks to the USM motor, and Canon also includes its 4-stop Optical Stabiliser, making the lens even more useful when shooting handheld.
Weather-sealed for outdoor shooting, the Canon EF 100-400mm f/4.5-5.6L IS II USM is an exceptional tool for any Canon-shooting pro who needs reach, quality and flexibility.
Nikon F
Nikon AF-S 80-400mm f/4.5-5.6G ED VR
Nikon 80-400mm AF-S Nikkor f4.5-5.6G ED VR
Construction: 20 elements in 12 groups Image stabilisation: 4-stop Vibration Reduction Minimum focusing distance: 1.5m Weather-sealing: No Weight: 1,570g
The Nikon AF-S 80-400mm f/4.5-5.6G ED VR gives you slightly more latitude to play with, with a focal range that starts at 80mm rather than the more common 100mm. Designed for use with the firm’s FX-format SLRs, it’s very much a professional lens for the serious user, boasting such features as Vibration Reduction (VR) system for minimising camera-shake, and the Silent Wave Motor (SWM) that enables fast and accurate autofocus.
Nikon has included 4 ED (Extra-low Dispersion) glass elements and one Super ED glass element in the optical construction of the lens in order to ensure top-notch sharpness, while the inclusion of Nano Crystal Coat helps to minimise flare and ghosting, even when you’re shooting into the light.
Sony E
Sony FE 100-400mm f/4.5-5.6 G Master OSS
Sony FE 100-400mm f4.5-5.6 G Master OSS
Construction: 22 elements in 16 groups Image stabilisation: Optical SteadyShot Minimum focusing distance: 0.98m Weather-sealing: Yes Weight: 1,395g
Sony’s G Master lenses are some of the finest optics around, and the FE 100-400mm f/4.5-5.6 G Master OSS is an exceptionally good lens for anyone lucky enough to be using a full-frame Sony E-mount camera. Its impressively innovative autofocusing system combines floating focus with a double linear motor and a Direct Drive SSM system, making for super-fast and accurate autofocus.
The inclusion of Sony Nano AR coating eliminates flare and ghosting in images, while the lightweight magnesium-alloy construction means it’s lighter to carry than both the Canon and Nikon optics above. Creating super-silky background bokeh is a cinch thanks to the nine-bladed aperture and ED glass elements, making it an ideal lens for wildlife portraiture or sports shooting.
Professional grade, powerful and portable, the Sony FE 100-400mm f/4.5-5.6 G Master OSS really is one of the best 100-400mm lenses around.
Fujifilm X
Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR
Fujifilm XF 100-400mm f4.5-5.6 R LM OIS
Construction: 21 elements in 14 groups Image stabilisation: 5-stop image stabilisation Minimum focusing distance: 1.75m Weather-sealing: Yes Weight: 1,375g
As the Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR works with Fujifilm X cameras, which have APS-C sensors, its “true” focal length is actually 152-609mm, giving you a little extra telephoto reach that’s useful for wildlife photography. The lens is thoroughly kitted out for outdoor photography, with a construction that features 13 water- and dust-resistant seals at 12 points, and can operate in temperatures as low as -10°C.
Lightweight and speedy, with a five-stop stabilisation system, the lens is great for picking out fast-moving targets and producing images full of vibrant details and contrast. Also, thanks to the maximum magnification of 0.19x, the lens can be used as a telephoto macro, opening up plenty of interesting possibilities.
A super-telephoto made with the attention to detail and quality that Fujifilm are known for, the Fujifilm XF 100-400mm f/4.5-5.6 R LM OIS WR lets you push the X system even further.
Canon RF
Canon RF 100-500mm f4.5-7.1 L IS USM Lens
Canon RF 100-500mm f4.5-7.1 L IS USM
Construction: 20 elements in 14 groups Image stabilisation: 5-stop image stabiliser Minimum focusing distance: 0.9m Weather-sealing: Yes Weight: 1,530g
The first super-telephoto zoom for the RF system, Canon actually gives range-hungry shooters an extra bit of focal length to play with, as this lens runs from 100mm to an impressive 500mm.
If you’re planning to shoot sports of wildlife images then you’re pretty much set for life here. The Canon RF 100-500mm f4.5-7.1 L IS USM’s construction incorporates Super UD and UD elements for a superior image free from distortion, while ASC coatings control for unwanted reflections. It’s easy to control functions with the customisable control ring, while the body is also sealed to dust and water, with an additional heat shield coating. If you need to push the focal length still further, it’s also compatible with Canon’s RF 1.4x and 2x extenders.
The next generation of optics looks to be in good hands, with the Canon RF 100-500mm f4.5-7.1 L IS USM Lens representing an exciting new frontier of imaging.
Third-party 100-400mm lenses
Tamron 100-400mm f/4.5-6.3 Di VC USD
Tamron 100-400mm F4.5-6.3 Di VC USD
Available for: Canon EF, Nikon F
Construction: 17 elements in 11 groups Image stabilisation: 4-stop Vibration Compensation Minimum focusing distance: 1.5m Weather-sealing: Yes Weight: 1,120g
A budget alternative for those who don’t want to pay the premium for Canon or Nikon’s own 100-400mm lenses, this Tamron optic ticks a huge number of boxes for a lens of its price. As well as including features like four-stop Vibration Compensation and a minimum focusing distance, it’s also sealed against dust and moisture.
Autofocus performance is quick and accurate thanks to the USD (Ultrasonic Silent Drive) and Dual MPU (Micro-Processing Unit) control system, while three LD (Low Dispersion) lens elements help to reduce aberration and distortion. The lens also sports an eBAND coating to reduce unwanted reflections, for clean and crisp images.
Despite its budget price, this is a seriously impressive lens, and any Canon or Nikon user looking to save some cash should definitely consider it.
Sigma 100-400mm f5-6.3 DG OS HSM Contemporary
Sigma 100-400mm f5-6.3 DG OS HSM Contemporary
Available for: Canon EF, Nikon F, Sigma
Construction: 21 elements in 15 groups Image stabilisation: Optical stabiliser Minimum focusing distance: 0.16m Weather-sealing: No Weight: 1,160g
Another budget-friendly lens that’s definitely worth considering for Canon and Nikon users, the Sigma 100-400mm f5-6.3 DG OS HSM Contemporary Lens is designed around providing the user with as much shooting flexibility as possible. This means that as well as that generous focal range, you also get a choice between a twist or push-pull zooming action, an algorithm-based optical stabiliser, and an impressively short minimum focusing distance of just 160cm, which puts close-up shooting in play. And with a maximum magnification ratio of 1:3.8, this lens is very much capable of macro imagery.
The Hypersonic Motor provides quick and quiet autofocus,and the incorporation of four Special Low Dispersion (SLD) elements reduces colour fringing and chromatic aberrations for a final image that’s clear, sharp and full of contrast.
The value for money you get with the Sigma 100-400mm f5-6.3 DG OS HSM Contemporary is truly fantastic, and makes it pound-for-pound one of the most enticing 100-400mm lenses around.
Sigma 100-400mm f/5-6.3 DG DN OS
Sigma 100-400mm f5-6.3 Contemporary DG DN OS
Available for: Sony E, L-mount
Construction: 22 elements in 16 groups Image stabilisation: Optical stabiliser Minimum focusing distance: 1.12m Weather-sealing: Yes Weight: 1,135g
This lightweight 100-400mm lens is basically the rough equivalent of Sigma’s other Contemporary lens, but this one for mirrorless shooting. It comes in Sony E and L-mount fits, and is much lighter than a typical lens of its type, weighing in at just 1,135g. Despite its impressively budget price, the lens packs in plenty of upscale features: there’s the stepping motor autofocus system that’s fast and practically silent, there’s the electronically coupled manual focus ring, there’s the choice between push-pull or twist-action zoom.
We could go on. And we will – the Sigma 100-400mm f/5-6.3 DG DN OS also sports an optical stabiliser that’ll give you about four stops of compensation, and an impressive optical construction that ensures the lens punches well above its weight in terms of image quality.
This is an excellent telephoto zoom, and at a bargain price to boot.
Whether you’re already sold on upgrading to Canon’s EOS R mirrorless system, or are perhaps just flirting with the idea, one of your first questions is likely to be: “What are the lenses like?”
After all, no matter how great a body is, however many extra features like silent shooting or 6K movies it manages to cram in, none of it means a thing if the glass isn’t up to snuff. And while you can use your EF glass on RF bodies with ease and full functionality, thanks to the impressive EF to RF adapting system (see our blog for a breakdown of how this works), if you’re going to be using a system long term then you want to know what the native lens selection is like. Has Canon done a good enough job filling it out? Are they sharp enough, long enough, fast enough?
The answers to these questions will of course differ for everybody, depending on what kind of shooting they do, but we’ve had a look through the RF lens catalogue and in our considered opinion, there’s a cracking selection there for pretty much any photographer. So, we’ve put together this complete guide to native RF lenses, which we’re going to keep up to date with all the latest releases, so you can use it as a handy reference point to see whether the RF system has the lenses you need.
RF-mount
Canon’s RF-mount for its EOS R system uses a 12-pin connection system, as opposed to the 10-pin connection on EF mount. This allows for much faster communication between lens and camera, which enables all sorts of useful features. Not only is RF autofocus faster, but the image stabilisation is much more effective (up to eight stops with the right combination of lens and camera), and it also allows cameras to store and use correction profiles for the characteristics of specific lenses, making distortion a thing of the past.
Our guide to Canon RF lenses
We’ve divided our guide into zoom lenses and prime lenses, and ordered the individual entries from wide to telephoto, so it should be easy to find the type of lens you’re looking for. We may also add third-party lenses into the guide as well in the near future, but for now, let’s get started on our complete guide to Canon RF lenses!
RF Prime Lenses
Canon RF 35mm F1.8 MACRO IS STM
Canon RF 35mm F1.8 MACRO IS STM
Blending speed and 1:2 macro capability, this wide-angle prime lens is a great choice for documentary photographers and macro shooters alike. Weighing in at 305g, it’s a good choice for those who like to travel light, and a construction of nine elements in nine groups ensures that images are pin-sharp from corner to corner. The inclusion of a 5-stop image stabiliser isn’t bad either!
Best for: Architecture, documentary, macro
Canon RF 50mm F1.2L USM
Canon RF 50mm F1.2L USM
No one can argue with a nifty fifty! The Canon RF 50mm F1.2L USM is a shining example of this all-purpose focal length, as implied by that “L” tag, which any Canon-head knows is the mark of the firm’s best lenses. The RF 50mm F1.2L USM delivers outstanding quality and sharpness right to the edges of the frame, with a professional-grade f/1.2 aperture and USM autofocus, and that L-series build means it’s a pro-spec lens inside and out.
Best for: All-purpose street shooting, everyday professional use
Canon RF 85mm F1.2L USM DS
Canon RF 85mm F1.2L USM DS
A portrait lens designed for those who want the ultimate in sharpness, this large-aperture lens has been treated with Canon’s DS coating – “DS” stands for “Defocus Smoothing”, and is specifically designed to modulate out-of-focus highlights when the lens is used wide open, rendering them smoother and more pleasing. This coating is used on two elements in the lens, the overall effect being that this is one of the finest, sharpest, most aesthetically pleasing portrait lenses around.
Best for: Portrait shooters demanding uncompromising sharpness
Canon RF 85mm F1.2L USM
Canon RF 85mm F1.2L USM
The slightly stripped-back version of the DS lens, this is still a fabulous portrait optic in its own right, just without the Defocus Smoothing coating. Equipped with a wide f/1.2 aperture and a ground aspheric lens element designed to eliminate the spherical aberrations such a wide aperture typically causes, as well as Blue Spectrum Refractive (BR) optics to deal with colour aberrations, this is a sublime portrait lens.
Best for: Portrait shooters
Canon RF 85mm F2 MACRO IS STM
Canon RF 85mm F2 MACRO IS STM
A portrait lens that’s significantly more affordable than the F1.2 optics, the Canon RF 85mm F2 MACRO IS STM also provides the added bonus of being a 1:2 macro lens. Weighing just 500g and packing an optical construction of 12 glass elements in 11 groups, the RF 85mm F2 can focus at close distances of down to 35cm, so you have real versatility in terms of subject position.
Best for: Portrait shooters on a budget; macro and close-up photographers
Canon RF 600mm F11 IS STM
Canon RF 600mm F11 IS STM
The first of a duo of new telephoto primes for RF-mount, the Canon RF 600mm F11 IS STM raised eyebrows on announcement. A fixed aperture of f/11, that you can’t go above or below?! This may seem bonkers, but it’s a choice with many practical upsides – the lens is incredibly lightweight for a super-telephoto at 930g, and the fixed aperture also allows the lens to produce perfectly circular bokeh. It’s an intriguing concept, and available at a really impressive price.
Best for: Wildlife or sports photographers looking for a light setup
Canon RF 800mm F11 IS STM
Canon RF 800mm F11 IS STM
The second of the super-telephoto RF duo also sports the fixed f/11 aperture, and as such is impressively light for an 800mm lens at just 1,260g. Equipped with a four-stop image stabiliser that works with both stills and video, this is an amazing lens for bringing distant wildlife into sharp focus.
Best for: Super-distant safari-shooting on a budget
RF Zoom Lenses
Canon RF 15-35mm F2.8L IS USM
Canon RF 15-35mm F2.8L IS USM
Fast, ultra-wide, well-stabilised and portable – this wide-angle zoom really has it all. It’s an ideal optic for when you need to shoot in cramped or difficult spaces, thanks to its slim form factor, and the nano USM motor inside means the autofocus is smooth and practically silent! Shoot wide scenes in any weather conditions with this highly capable and weather-sealed lens.
Best for: Documentary work, landscapes, architecture
Canon RF 24-70mm F2.8L IS USM
Canon RF 24-70mm F2.8L IS USM
Any pro worth their salt knows the value of a 24-70mm standard zoom, and Canon has come up with a great example of the genre for RF mount. The RF 24-70mm f2.8 is part of a trilogy with the aforementioned 15-35mm lens and Canon’s RF 70-200mm lens (more on which below), the idea being that almost any pro shooter with these three lenses will be covered for all situations.
Best for: Documentary, close-up work, day-to-day shooting
Canon RF 24-105mm f/4L IS USM
Canon RF 24-105mm f/4L IS USM
Alternatively, if you don’t fancy shelling out for a trio of lenses, this wide-ranging zoom is a good everyday all-in-one lens for the roaming photographer or videographer. More affordable than many of the flashier L series lenses, this optic is built for travel, balancing versatility with toughness. Want flexibility? This is your one-stop-shop.
Best for: Travel, single-lens setups
Canon RF 24-105mm F4-7.1 IS STM
Canon RF 24-105mm F4-7.1 IS STM
If you’re a new user to the EOS R series, this is the place to start. The most affordable lens in the catalogue, the RF 24-105mm F4-7.1 IS STM is very similar to the above 24-105mm lens, sacrificing the constant aperture and the Nano USM motor in favour of a much more friendly price tag. You still get plenty of the EOS R system features like 5-stop image stabilisation, and the handy 13cm close focusing distance really expands your shooting flexibility.
Best for: Beginners, newbies to the system, travellers on a budget
Canon RF 24-240mm F4-6.3 IS USM
Canon RF 24-240mm F4-6.3 IS USM
If 24-105mm just isn’t enough zoom range for you, why not try this on for size? Canon’s RF 24-240mm is a 10x optical zoom, the broadest-range native zoom currently available for the system. Weighing an impressively slender 750g, this is a travel photographer’s dream come true, offering sharp performance throughout the zoom range, and also has clickless aperture control, which comes in handy when shooting movies.
Best for: Travel shooting, travelling light, shooting movies on the go
Canon RF 28-70mm F2L USM
Canon RF 28-70mm F2L USM
Canon promises that this mid-range zoom sets new “standards” in photography (do you get it? Eh?) and while that’s a question for the historians, from our vantage point we can say this is an excellent standard zoom lens for all sorts of applications. Having f/2 opens up all sorts of possibilities, particularly in wedding photography and journalism, and with the ring-type USM motor present and correct, autofocusing is quick and quiet.
Best for: Weddings, travel, reportage
Canon RF 70-200mm F2.8L IS USM
Canon RF 70-200mm F2.8L IS USM
The standard workhorse – no lens selection would be complete without a 70-200mm! Completing the aforementioned trilogy with the 15-35mm and 24-70mm, the RF 70-200mm F2.8L IS USM forms part of a setup that practically any working pro would be more than content with! The five-stop image stabiliser really comes into its own with this type of lens, and the fact that the lens works in near-silence does wonders for the user’s professional versatility.
Best for: Everyday professional use
Canon RF 100-500mm F4.5-7.1 L IS USM
Canon RF 100-500mm F4.5-7.1 L IS USM
More and more pro photographers are discovering the wonders of 100-400mm lens for all sorts of work – see our interview with Times photographer Richard Pohle [article url tk] to discover why he rates them so highly – but Canon went one better for the RF mount and produced this amazing 100-500mm optic! With professionally-grade performance in a lightweight body, this is a superb lens for pros of all stripes.
Best for: Professional shooting, events, sports photography
EOS R Teleconverters for RF Lenses
Extender RF 1.4x
Extender RF 1.4x
A useful way to give your RF lenses a little extra reach, the Canon Extender RF 1.4x is a good tool to have in your back pocket for sports and reportage photography, just in case your setup doesn’t quite get you close enough. The extender controls for curvature of field and chromatic aberration, and also uses advanced lens coatings for superior light transmission. Its exterior is even coated with the same white heat shield coating as used on the RF 100-500mm F4.5-7.1L IS USM and RF 70-200mm lenses, allowing it to be used in high temperatures.
Extender RF 2x
Extender RF 2x
Extend your reach even further with this teleconverter, which doubles your effective focal length without compromising image quality. Built just as tough as the 1.4x converter, the Extender RF 2x has also been made with the same level of care and attention to image quality, so you can shoot away at distance without worrying about your images being sub-par.
For news photographers, the lens is everything. You need the reach to be able to frame your subjects, you need the speed to be able to freeze the action in all conditions, you need the build that means that carrying the lens all day isn’t going to give you chronic back problems (though some are willing to compromise on that last one). Which lens you end up favouring will depend on the precise nature of your discipline – many photographers who work in all sorts of conditions will favour the workhorse 70-200mm, while those who find themselves needing pin-sharp image quality at a distance will plump for a 500 or 600mm prime.
Some, however, prefer the best of both worlds. At Fixation we’ve long rated the 100-400mm lens as the ideal jack-of-all-trades lens for a working press photographer, and someone who firmly agrees is Richard Pohle, staff photographer at The Times. Winner of the 2019 Arts and Entertainment Photographer of the Year at the UK Picture Editors’ Guild Awards, Richard is a familiar and highly respected face in the industry
Richard’s lens has covered a huge range of the news sphere, from political party conferences to state visits by foreign leaders and huge military ceremonies, and he swears by his Canon EF 100-400mm f4.5-5.6 L IS II USM Lens as the tool to get the job done in a huge number of situations. We were intrigued, so we got in touch to find out why this lens works so well for what Richard does…
Thanks for talking to us, Richard. So how did you get started using the 100-400mm lens for press work?
I cover a lot of events – things with the royals, a lot of military ceremonies. I always used to have to carry around the 400mm f/2.8 and then also have the 70-200mm by my side. And the 400mm f/2.8 especially was always so lumbering and heavy, it was very unwieldy. I saw some of the royal-photography guys use the 100-400mm when it first came out, and I thought, “Wow, what an absolutely practical lens for the type of thing that I need to do.”
That scope, from 100mm to 400mm in one lens, was exactly the thing that I needed – one, to cover royals, and two, to cover what I especially like doing: military ceremonies and state occasions.
I’m one of these photographers who doesn’t always necessarily have my camera pointed at the main event – I’m always looking off to the side to see what’s happening there. And when you suddenly turn a 400mm f/2.8 lens away from the main subject to something you’ve seen on the side, you’re knocking out three photographers next to you, and getting a load of abuse for it! So the 100-400mm lens just allows me to be more flexible in where I’m pointing, and means I’m able to go from middle distance to reasonably far distance no problem.
That’s definitely evident from your portfolio – you have a real eye for the moments that are happening a little away from the main action.
When I’m doing state ceremonies or military ceremonies, I arrive early, and I walk around trying to find the moments of people getting ready, which for me always makes for a better picture than the actual event! So I like to wander around and look a bit incognito, but with a large 400mm or a 600mm lens, you can’t do that. With a 100-400mm lens, you can quite easily stand off to the side, and when you see something happening, happily shoot away. You can have it dangling on one shoulder and another camera on another shoulder
Have you seen other photographers making the jump? From the way you describe it, it sounds like a no-brainer!
It does – from the point of view of a practical news photographer, which is what I am. If you’re, say, a royal photographer, you will want to stick with your 600mm or 800mm prime lens, because they’ve got more reach. Also, while it’s less of a problem these days with digital cameras, the f/5.6 aspect of it puts some people off. It’s an incredibly sharp lens all the way through, but if there is a degradation, it would be at the f/5.6 end. For me as a news photographer, it doesn’t matter – for a magazine photographer, it might.
It’s been a wrench to move away from the 70-200mm, absolutely, and I still find myself going to the 70-200mm when I know I’m not using it for big occasions, but the 100-400mm is the go-to lens when I’m doing state ceremonies or events like that.
What body do you use with it?
Canon EOS 5D Mark IV.
Okay, so that’s a setup that’ll do basically anything.
Yes, if I’ve got a 100-400mm lens on one shoulder and my 24-70mm on the other – that’s it. I’m completely made up; I’ve covered everything from 24mm all the way up to 400mm in two bodies.
Queen and Trump 13th July 2018 by Richard Pohle using the EF 100-400mm L mark II lens
Do you think about mirrorless at all? The RF mount has that nice-looking 100-500mm…
All the time. It’s the number-one source of conversation at the moment. It’s just the cost implications of moving over; you’ve got to think about these things carefully, financially speaking. But it is the future, there’s no question. The idea of being completely silent is very very appealing, especially for some of the things I have to photograph, and the tracking mechanism seems absolutely awesome. I’ve had a quick play with it and I was very, very impressed. It is the future, there’s no denying it.
Finally, is there a particular image taken on the 100-400 that you’re proudest of?
The picture that I think of as the best picture I’ve taken on the 100-400mm is when Donald Trump visited the UK and he inadvertently walked in front of the Queen. The Queen had to sidestep out from behind him because he suddenly stopped, and she nearly collided with him. I was the only photographer who got that, because I was on the 100-400mm and I could manage to get it framed and shoot it. And it’s gone on to be exhibited and things like that.
It was actually taken on a hire-in 100-400mm lens; my one was in for repair because I’d dropped it. I was so panicked about doing this event without the 100-400mm that I hired it in. And thank god I did!
Richard Pohle was talking to Jon Stapley. See more of his images at his website, www.richardpohle.com
With the R5 and R6 Canon announced its biggest update to the mirrorless EOS R system to date. Two new full frame bodies: The 45 megapixel EOS R5 and the 20 megapixel EOS R6. Alongside the camera bodies Canon also announced four new RF mount lenses, and two teleconverters.
Both cameras are compatible with the Canon RF mount converters so you can use your stable of EF lenses with these new bodies.
[gdlr_stunning_text background_color=”#f3f3f3″ button=”Contact us” button_link=”/contact-us/” button_background=”#009bc1″ button_text_color=”#ffffff” button_border_color=”#009bc1″ title=”£200 Trade in Bonus” title_color=”#009bc1″ caption_color=”#a0a0a0″]Save on a new Canon EOS R5 or R6 when you trade-in any working interchangeable lens camera. Canon are offering a £200 trade-in bonus on top of the value of your traded in kit. Contact our sales team for a free quote. Offer ends 14/07/2021 [/gdlr_stunning_text]
To speak to the sales team about how these cameras can work for you, or to place an order, call our sales team on 0207 582 3294 or email sales@fixationuk.com
Full release info on the two camera bodies below. Read our article on the new Canon RF lenses.
Canon EOS R5: Photography without compromise
Launch Price: £4199
The Canon EOS R5 is a high resolution full-frame mirrorless camera body with high speed AF tracking technology pioneered in the EOS 1DX mark III. The EOS R5 is not only a stills machine, it can record up to 8k DCI video, and offers 4K recording up to 120fps for cinematic slow-motion footage. The camera is built around a magnesium alloy body, built to withstand heavy professional use. The Canon EOS R5 is built without compromise.
Canon EOS R5 key features
45 megapixel full-frame CMOS sensor : Capture extraordinary detail, right up to ISO 51,200
20 fps : Silent electronic shutter. Shoot faster and capture the perfect moment.
Full Frame 8K RAW video : Superb resolution and dynamic range
4K video up to 120fps : For outstanding slow motion effects
Up to 8 stop Image Stabilisation : Shoot handheld with very long shutter speeds
Wi-Fi and Bluetooth built in : For wireless LAN image transfer
Magnesium Alloy body and chassis
Canon EOS R6: High speed for every story
Launch Price: £2499
The Canon EOS R6 is a lower resolution body, with a higher sensitivity range. Ideal for low light photography and video. The in-body image stabilisation system works with Canon Image Stabilisation lenses to offer up to 8 stop stabilising power for smooth footage, and pin sharp images. The EOS R6 is compatible with the Canon RF lens range and the wider EF range (with a Canon mount adaptor) which makes up to 68 current full-frame optics available for limitless creative expression.
Canon EOS R6 key features
20 Megapixel full-frame CMOS sensor : ISO up to 102,400 for superior low light images
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