Camera Gear Review News (Page 13)

The Canon EOS R7 is here, and it is time to set up this camera for use. Following are the 48 steps taken to prepare an out-of-the-box EOS R7 for use.

1. Record serial number and add camera to insurance policy
2. Open the box, find the battery, place it in the charger, and plug it in.
3. While the battery is charging, unpack the other items you want from the box.
4. Not required, but consider downloading and installing the latest Canon imaging software to get support for the latest camera model(s). Canon Digital Photo Pro (DPP), EOS Utility, and Lens Registration Utility are the options I manually include in the install.
5. Attach the neck strap (if using).
6. Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
7. The date, time, and time zone setup screen will show at the first startup. Use the rear control dial and set button to update this information.
8. Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options).
9. Scroll through all of the menu tabs to configure the camera as follows:
10. Shooting Menu, Tab 1: Image quality: Use the top control dial to set RAW to "RAW", and use the rear control dial to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
11. Shooting Menu, Tab 2: Auto Lighting Optimizer: Off
12. Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
13. Shooting Menu, Tab 4: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
14. Shooting Menu, Tab 5: Lens Aberration Correction: All options "OFF" (I suggest that most photographers enable Chromatic Aberration correction)
15. Shooting Menu, Tab 5: High ISO speed NR: Low (noise reduction is destructive to images details - I prefer to add noise reduction sparingly during post-processing)
16. Shooting Menu, Tab 7: Release shutter without card: OFF (only in a retail store would you want to press the shutter release without saving the image file)
17. Shooting Menu, Tab 8: Auto Level: Enable (rotates the sensor to keep the image level, disable this feature to enable H+ and H continuous shooting modes along with electronic 1st-curtain)
18. Shooting Menu, Tab 8: Image review: Review duration: 4 sec. (the Viewfinder review option is disabled by default, speeding the shooting process)
19. Shooting Menu, Tab 9: Shooting info. disp.: Screen info. settings: Enable 1, 2, 3, and 4; edit screen 2 to show only: Basic shooting info and Electronic level; edit screen 3 to show only: Basic shooting info, Histogram, and Electronic level
20. Shooting Menu, Tab 9: Shooting info. disp.: VF info/toggle setting: Enable 1, 2, and 3 (default); edit screen 2 to show only: Electronic level; edit screen 3 to show only: Histogram and Electronic level
21. Shooting Menu, Tab 9: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
22. Shooting Menu, Tab 9: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
23. Shooting Menu, Tab 9: Disp performance: * select Smooth if shooting fast action and battery life is not a concern. Select Power saving otherwise.
24. AF Menu, Tab 1: Subject to detect: Select People, Animals, or No priority as makes sense for your current shooting scenario
25. AF Menu, Tab 4: Touch & drag AF settings: Touch & drag AF: Enable (allows the thumb drag across the rear LCD to quickly move the AF point while looking through the electronic viewfinder)
26. AF Menu, Tab 4: Limit AF methods: enable Spot AF, 1-point AF, Whole area AF
27. AF Menu, Tab 4: Orientation linked AF point: Separate AF pts: Pt only (instructs the camera to individually save the selected AF points for vertical and horizontal orientation)
28. AF Menu, Tab 5: MF peaking settings: Peaking: On
29. AF Menu, Tab 6: RF lens MF focus ring sensitivity: Linked to rotation degree
30. Playback Menu, Tab 5: Magnify (apx): 10x (allows one button press during playback to zoom deeply into the image)
31. Playback Menu, Tab 6: Playback information display: 1, 2, and 3 only; change view 2 histogram to RGB
32. Playback Menu, Tab 6: Highlight Alert: Enable (overexposed pixels will blink during image review)
33. Wireless Menu, Tab 1: Airplane mode: On (turn off wireless when not in use)
34. Tools Menu, Tab 1: Format card (always format a memory card in-camera before using it - all data on the card will be lost)
35. Tools Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
36. Tools Menu, Tab 2: Mode guide: Disable
37. Tools Menu, Tab 3: Beep: Disable (probably no one wants to hear your camera's beep)
38. Tools Menu, Tab 6: Custom shooting mode (C1, C2, C3): Auto update set: Enable (see Configuring Custom Shooting Modes)
39. Tools Menu, Tab 6: Copyright information: enter as desired
40. Custom Functions Menu, Tab 1: Bracketing auto cancel: OFF (I want to control when AEB (Auto Exposure Bracketing) is enabled and disabled)
41. Custom Functions Menu, Tab 1: Bracketing sequence: -0+ (if images are captured in brightness sequence, they are easier to work with during post-processing. Capturing the darkest image first means quickly getting the first frame)
42. Custom Functions Menu, Tab 3: Customize buttons: M-Fn: Dial Function settings (press Info): turn off ISO (there is a dedicated button), turn off white balance, turn off flash exposure compensation, enable exposure compensation, enable AF area
43. Custom Functions Menu, Tab 3: Customize dials: Control ring: OFF (consider using this dial for a function logical for your needs)
44. Custom Functions Menu, Tab 4: Default erase option: [Erase] selected (less safe, but one less button press required to delete an image)
45. Custom Functions Menu, Tab 4: Retract lens on power off: OFF (prevents a carefully-selected focus distance from resetting when the camera auto powers off)
46. My Menu: Add My Menu 1; Register the following options: Expo.comp./AEB, IS (Image Stabilizer) mode, Display simulation, Subject to detect, Format card, Date/Time/Zone (great for monitoring the time); reorder menu items as desired
47. My Menu: Add My Menu 2; Register the following options: Anti-flicker shoot., Focus bracketing, Shutter mode, Disp. performance, Sensor cleaning, Number of bracketed shots, reorder menu items as desired
48. With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp

I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.

To copy this configuration means you intend to shoot as I do - including in RAW-only format. While this setup works great for me, you should adjust the setup to your needs.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when being serviced or when acquiring an additional camera, you will be ready to create your setup quickly, while ensuring that an important setting is not omitted. If you purchase another same or similar camera, setup will be fast and identical.

More Information

Canon EOS R7

Order the Canon EOS R7 at B&H | Adorama | Canon | Amazon | WEX.

Rent the Canon EOS R7 from Lensrentals.

Canon just introduced some outstanding new gear:

Canon EOS R7 Hands-On Review (mostly completed, more to come)

Canon EOS R10 Hands-On Review (mostly completed, more to come)

Canon RF-S 18-45mm F4.5-6.3 IS STM Lens (specs and product images)

Canon RF-S 18-150mm F3.5-6.3 IS STM Lens (specs and product images)

Notes

• The RF-S 18-45mm features a new optical design.
• The RF-S 18-150mm shares the optical design of the Canon EF-M 18-150mm f/3.5-6.3 IS STM, a high performing lens.
• The EOS M series remains highly popular and is not discontinued — the R10 is not a replacement for the M6 II.
• The R10 and R7 do not have battery grips available or the bottom positioning hole provisions for one.
• The RF mount and all of its benefits transfer to the new cameras and lenses.
• Full-frame R series cameras function normally (in crop mode) when RF-S lenses are mounted.

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Just posted: Sigma 18-50mm F2.8 DC DN Contemporary Lens Review

This lens is available in Sony E and Leica L mounts.

Order the Sigma 18-50mm F2.8 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 18-50mm F2.8 DC DN Contemporary Lens from Lensrentals.

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Just posted: Sigma 16mm F1.4 DC DN Contemporary Lens Review

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion.

Order the Sigma 16mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 16mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Just posted: Sigma 30mm F1.4 DC DN Contemporary Lens Review

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Take advantage of the $75.00 instant savings available on this already great value lens (Fujifilm X mount excluded).

Order the Sigma 30mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 30mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Just posted: MindShift Gear Filter Nest Mini Review.

The next step in bettering the kit.

The MindShift Gear Filter Nest Mini has been backordered everywhere, but it just showed up in stock at B&H

Watch for the Filter Nest Mini to arrive at Think Tank Photo | Adorama | WEX

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Just posted: Pelican 1615 Air Wheeled Hard Case Review.

This case is nearly the same as the Pelican 1637 Air Wheeled Hard Case, with one significant exception — the dimensions.

Order the Pelican 1615 Air Wheeled Hard Case from B&H | Adorama | Amazon USA | WEX

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Time to start planning: a total supermoon lunar eclipse is coming on May 15-16, 2022 and, barring clouds, will be visible to a significant population, including most of the USA.

From EarthSky.org:

People in the Americas, Europe and Africa will see the total lunar eclipse during the night of May 15-16, 2022. Plus, on this night, the moon is close: a supermoon.

Penumbral eclipse begins at 1:32 UTC on May 16 (9:32 p.m. EDT on May 15).

Partial eclipse begins at 2:27 UTC on May 16 (10:27 p.m. EDT on May 15).

Totality begins (moon engulfed in Earth’s shadow) begins at 3:29 UTC on May 16 (11:29 p.m. EDT on May 15).

Totality ends at 4:53 UTC on May 16 (12:53 a.m. EDT).

Partial eclipse ends at 5:55 UTC on May 16 (1:55 a.m. EDT).

Penumbral eclipse ends at 6:50 UTC on May 16 (2:50 a.m. EDT).

Maximum eclipse is at 4:12 UTC on May 16 (12:12 a.m. EDT).

Duration of totality: About 85 minutes.

Note: This total eclipse is central. That means the moon passes centrally through the axis of Earth’s dark (umbral) shadow. The moon is in a near part of its orbit – close to Earth – during the eclipse. It’s a supermoon.

Because they are so deep, such eclipses typically have the longest total phases. In this case, the duration of totality lasts almost an hour and a half: 84.9 minutes!

Get the complete lunar eclipse details at EarthSky.org

Plan to participate in this event. Order your long telephoto lens now from B&H to ensure the ability to capture the lunar details in high resolution. You might want to also pick up a tracking mount.

Here is the story behind the Super Wolf Blood Moon Lunar Eclipse 2019 Progression Composite Image.

Use your favorite night sky app (such as Photo Ephemeris) to determine moon's elevation. You need to ensure that the shooting location does not have obstructions that will not block the view during the shooting period.

Many of us will find the moon high in the sky when the eclipse begins and will be shooting nearly straight up during totality. The How to Shoot Upward with a Large Lens While Using a Gimbal Tripod Head article may be helpful.

Just posted: Cartoni Focus 8 Fluid Video Head Review.

The Focus 8 is entry level into the high-performing Cartoni Focus series.

Order the Cartoni Focus 8 Fluid Video Head from B&H or Adorama.

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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 18-50mm F2.8 DC DN Contemporary Lens page.

This lens is available in Sony E and Leica L mounts. Order the Sigma 18-50mm F2.8 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 18-50mm F2.8 DC DN Contemporary Lens from Lensrentals.

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Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 16mm F1.4 DC DN Contemporary Lens page.

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 16mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 16mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Image quality, vignetting, flare, and distortion test results along with specs and measurements are now available on the Sigma 30mm F1.4 DC DN Contemporary Lens page.

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 30mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 30mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Image quality test results are available on the Sigma 56mm F1.4 DC DN Contemporary Lens page.

This is a sharp lens that is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 56mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 56mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Expectations and additional information are now available on the Sony FE PZ 16-35mm F4 G Lens page.

B&H is indicating that June 24th is the estimated ship date.

Order the Sony FE PZ 16-35mm F4 G Lens from B&H | Adorama | Amazon | WEX

A considerable amount of information is now available on the Sony FE 24-70mm F2.8 GM II Lens page.

The version I and version II lens MTF comparison is especially interesting.

From a specifications perspective, here is the Sony FE 24-70mm F2.8 GM II Lens compared to the Sony FE 24-70mm F2.8 GM Lens.

Preorders begin at 10:00 AM ET on Thu, Apr 28th. I expect this lens to be hard to get for a long time and recommend preordering immediately at that time.

Support this site by ordering the Sony FE 24-70mm F2.8 GM II Lens from B&H | Adorama | Amazon USA | WEX

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I spent part of last week cleaning up the currently available vs. out of stock and discontinued status of the lenses on the site, saying farewell to an especially large number of Canon EF lenses. While some of those lenses should have been discontinued a long time ago, it was sad and nostalgic to let others go.

The bottom line is that, as I said recently, it is time to make the move to mirrorless.

With the EF lineup significantly impacted, I thought it would be interesting to again sort out Canon's 10 oldest lenses. What has changed since the over-4-year-old and over-6-year-old lists?

Here is the bottom 10 list in oldest to youngest sequence.

Model	Year Introduced
Canon TS-E 90mm f/2.8 Tilt-Shift Lens	1991	B&H | Adorama | Amazon
Canon EF 85mm f/1.8 USM Lens	1992	B&H | Adorama | Amazon
Canon EF 50mm f/1.4 USM Lens	1993	B&H | Adorama | Amazon
Canon EF 135mm f/2L USM Lens	1996	B&H | Adorama | Amazon
Canon MP-E 65mm Macro Lens	1999	B&H | Adorama | Amazon
Canon EF 75-300mm f/4-5.6 III USM Lens	1999	B&H | Adorama | Amazon
Canon EF 17-40mm f/4L USM Lens	2003	B&H | Adorama | Amazon
Canon EF-S 17-85mm f/4-5.6 IS USM Lens	2004	B&H | Adorama | Amazon
Canon EF-S 10-22mm f/3.5-4.5 USM Lens	2004	B&H | Adorama | Amazon
Canon EF 28-300mm f/3.5-5.6L IS USM Lens	2004	B&H | Adorama | Amazon

Perhaps my biggest surprise in the above list is that the Canon TS-E 90mm f/2.8 Tilt-Shift Lens is still on the shelf. The Canon TS-E 90mm f/2.8L Tilt-Shift Macro Lens has a feature superset and optical performance far surpassing the old lens. While the L lens's price also far surpasses the old TS-E 90, the 30-year-old lens that won't go away is still rather expensive.

The Canon EF 85mm f/1.8 USM Lens has long been a great value portrait lens, offering good build and image quality and quick USM AF for a low price. 85mm image quality has come a long way since this lens's inception.

While the Canon EF 50mm f/1.4 USM Lens produces soft image quality at wide apertures, it is a small and affordable lens. For years, this was the best Canon lens available in this favorite focal length.

The Canon EF 135mm f/2L USM Lens's ultra-wide aperture and fast AF made it a first choice for its low light and background blur performance. L-grade build quality combined with a relatively low price added to this lens's appeal. This lens's image quality was greatly loved but now surpassed.

The Canon MP-E 65mm Macro Lens is a unique, fun lens that has relatively low popularity.

The Canon EF 75-300mm f/4-5.6 III USM Lens is a great (cheap) option for the manufacturer to add to a camera kit to make the buyer thinks they are getting a better deal.

We loved the Canon EF 17-40mm f/4L USM Lens when it arrived. Eventually, the Canon EF 16-35mm f/4L IS USM Lens arrived with dramatically better image quality. The 17-40 should have been retired many years ago from an image quality perspective. However, it offers an ultra-wide-angle L-zoom lens option to the budget-constrained photographer.

Since its inception, the Canon EF-S 17-85mm f/4-5.6 IS USM Lens has been a good general-purpose lens option for the APS-C kit. This lens features good image quality, a great range of focal lengths, decent build quality, image stabilization, and USM AF.

The Canon EF-S 10-22mm f/3.5-4.5 USM Lens was Canon's first APS-C lens to offer ultra-wide angles of view to the APS-C cameras. It remains beside the EF-S 10-18mm IS STM Lens in the EF-S lineup.

There is no Canon equivalent to the EF 28-300mm f/3.5-5.6L IS USM Lens. While this lens has L-series goodness, a size, weight, and image quality penalty is paid for the long focal length range.

That concludes the 2022 roundup of the oldest Canon lenses.

What was the newest Canon lens to be discontinued? That would be the Canon EF 24-105mm f/3.5-5.6 IS STM Lens, formerly the optimal budget full-frame DSLR kit lens.

Just posted: Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod Review.

This is an impressively rigid tripod.

Order the Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod from B&H.

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Just posted: Cartoni Focus 10 Fluid Video Head Review.

This head costs substantially more than the recently reviewed Manfrotto 608 Nitrotech Fluid Video Head, but the Cartoni's fluid motion is better.

This head in the with-tripod kits is on sale at B&H – save $308.00 - $500.00.

Order the Cartoni Focus 10 Fluid Video Head from B&H | Adorama

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Overall, Canon and Sony offer outstanding camera and lens line-ups. It is hard to go wrong with either choice, and with no unanimous winner declared, neither Canon nor Sony will be referencing this article. However, making Canon or Sony happy is not my job — advising you is — and advantages exist between the brands.

While my kit is primarily based on Canon gear, I maintain a full complement of Sony cameras and lenses to use during evaluations. Having a solid basis from both brands permits a best-of-breed approach.

Aside from a Canon EOS 1Ds Mark III utilized to capture the site's standard lens product images in the studio, the kit is all mirrorless (I know, I should sell that last camera and process R5 images to the 1Ds III pixel dimensions). Most of the best cameras and lenses are mirrorless models; those starting out should opt for a mirrorless kit, and those interested in bettering their kits should begin the migration to mirrorless.

The Canon side of the kit foundation is built on a pair of EOS R5 bodies. The R5 is an outstanding performer, featuring general-purpose utility, outstanding AF performance, and excellent image quality, including high resolution.

A Sony Alpha 1 and a Sony Alpha 7R IV represent sony in the kit. The a1 is Sony's flagship model, featuring up to 30 fps continuous shooting with no viewfinder blackout, 50 MP resolution, and best-available specs and features throughout. The a7R IV's only advantage over the a1 is higher resolution. It would only take a moment of weakness to upgrade the a7R IV to a second a1.

Listing the cameras was easy, and most often, the which camera decision is answered by the lens needed.

Let's look at the lenses, starting with the zoom lenses and following with the prime lens options. The sort within those two categories will be the widest focal length and then the widest aperture.

Sony FE 12-24mm F2.8 GM Lens

Although it does not go to 11mm, this phenomenal zoom lens is smaller and lighter, has a 2x wider aperture, is at least as sharp wide-open as the Canon EF 11-24mm f/4L USM Lens, and has the same price. That Canon lens is another great option.

I primarily use this lens for landscapes, nightscapes, and interior architecture. Note that the Sony cannot utilize front filters, a detraction for certain needs, primarily those requiring a circular polarizer filter. The Canon lens has the same problem; however, the Drop-In Canon Mount Adapter adds full filter capabilities to this lens.

Canon RF 15-35mm F2.8 L IS USM Lens
Sony FE 16-35mm F2.8 GM Lens

The RF 15-35 is my go-to landscape lens, and it works well for other needs, including capturing the big view at events, etc. Because this focal length range is so important to me, I also have the most equivalent lens on the Sony side, the Sony FE 16-35mm F2.8 GM Lens. If a Sony camera is under evaluation, I'll take the Sony option without hesitation.

Canon RF 24-70mm F2.8 L IS USM Lens
Canon RF 24-105mm F4 L IS USM Lens
Canon RF 28-70mm F2 L USM Lens

The general-purpose focal length range tends to get a lot of use, and there are currently three superb-performing options in the kit. Initially, only the RF 24-70mm F2.8 had membership, and the results from this lens never disappoint. However, a wider aperture or lighter, more compact option was often needed.

The RF 28-70 F2 had been on the want list since it first arrived, but I waited long enough to ensure the high cost was justified. As it turns out, I waited too long, and this lens was still back ordered when a large indoor music festival assignment hit the calendar, providing the incentive to order. Unfortunately, the lens arrived about a month after the concert. Still, other needs for the f/2 lens are steadily arriving, especially the event coverage it is perfectly suited for.

While the RF 24-70 F2.8 is not a large or heavy lens, a modestly lighter option can make a big difference when hiking long distances, and the RF 24-105mm F4 recently joined the kit to facilitate some hiking needs later this year.

A phenomenal general-purpose zoom lens is arguably Sony's biggest opportunity.

Canon RF 70-200mm F2.8 L IS USM Lens
Canon RF 70-200mm F4 L IS USM Lens

My uses for the 70-200mm focal length range include portraits, events, landscapes, and product images. Until recently, the relatively compact and lightweight F2.8 lens was the kit's solo 70-200mm option, but some distance hiking needs justified the F4 variant's entry into the kit.

The Sony FE 70-200mm F2.8 GM OSS II Lens is an outstanding option for those with a sony kit, and this lens addition would help round out the Sony kit shared here.

Canon RF 100-500mm F4.5-7.1 L IS USM Lens
Sony FE 100-400mm F4.5-5.6 GM OSS Lens

The RF 100-500 goes almost everywhere with me. This lens is an outstanding choice for landscapes, wildlife, portraits, daytime field sports, and more.

The FE lens fills this important role when working with a Sony camera.

Those with Sony-based kits should also consider the Sony FE 200-600mm F5.6-6.3 G OSS Lens. This lens shifts the focal length range to the long direction, which noticeably increases the size and weight of the lens. Because I most often have a 600mm f/4 lens complementing the long telephoto zoom, I opted for the more compact and wider-angle lens option.

Now we look at the primes, starting with a combined discussion of the widest three lenses.

Sony FE 14mm F1.8 GM Lens
Sony FE 20mm F1.8 G Lens
Sony FE 24mm F1.4 GM Lens

These three lenses will outperform all others matching their focal length, and the ultra-wide apertures make them the ultimate astrophotography lenses. These three lenses are in the pack if I'm photographing the night sky.

Sony FE 35mm F1.4 GM Lens

A 35mm prime lens most often joins the pack when portraits are scheduled. The strong background blur and low-light capabilities of the f/1.4 aperture are extremely attractive features, with the 35mm angle of view facilitating a great perspective for full-body portraits.

Canon's EF 35mm f/1.4L II USM is an outstanding lens, both optically and physically. However, the Sony lens is smaller, lighter, and less expensive. I purchased the Sony lens to review and kept it.

Canon RF 50mm F1.2 L USM Lens

When this lens arrived in the Canon USA refurbished inventory, I couldn't resist adding it to the kit. Reviewing the RF 50mm F1.2 revealed it the incredible-performing 50mm lens we had long waited for.

The focal length and aperture make the RF 50mm F1.2 an ideal portraiture and event lens.

Later, Sony introduced the FE 50mm F1.2 GM Lens. It is also an outstanding choice, slightly smaller and less expensive. In this decision, select the lens that matches your camera.

Especially with the RF 85mm F1.2 and RF 28-70 later joining the kit, my 50mm prime lenses do not see much use. Thus, I don't own models from both brands, and the RF 50mm lens is at the top of the consideration to sell list.

Canon RF 85mm F1.2 L USM Lens

This lens joined the most wanted list immediately upon providing the image quality test results, where it showed a stunning improvement over its EF predecessor. This lens is so optically high-performing that it is currently used for image quality testing of Canon EOS R-series cameras.

If portrait photography is on your list, the RF 85mm F1.2 lens is an outstanding choice, one that makes low light a non-issue.

Canon EF 100mm f/2.8L IS USM Macro Lens

The only non-mirrorless lens in this list, the adapted EF 100mm L macro is an outstanding performer. I may upgrade to the Canon RF 100mm F2.8 L Macro IS USM Lens someday, but I'm not yet over the RF lens's focus shift issue.

Sony FE 135mm F1.8 GM Lens

Similar to the RF 85 F1.2 to the Canon system is the FE 135mm F1.8 to the Sony system. The 135mm focal length is superb for portraits (and products), and the extremely high optical quality is the reason this lens is used for Sony Alpha camera image quality testing.

Canon RF 400mm F2.8 L IS USM Lens

Periodically, I decide that I could get along without a 400mm f/2.8 lens in the kit. Then life happens, and I realize how important this lens is to the needs coming in. A 400mm f/2.8 lens is used primarily for sports and wildlife photography, but it gets called upon for portraits since it is already in the kit. This lens delivers differentiating results in all its uses, with the background blur strength surpassing nearly all other options.

Sony-based kits should opt for the also-superb FE 400mm F2.8 GM OSS Lens. I like the Canon option very slightly better, with better image stabilization performance being the biggest differentiator.

Canon RF 600mm F4 L IS USM Lens
Sony FE 600mm F4 GM OSS Lens

Wildlife and sports are among my primary photographic pursuits, the 600mm f/4 is the best option for those needs, and this option for both brands is covered in the kit.

The Canon lens's image stabilization system is better, but I'll pick the Sony option for a sharpness advantage if extenders/teleconverters are needed.

Canon RF 1.4x Extender
Canon RF 2x Extender
Sony FE 1.4x Teleconverter
Sony FE 2x Teleconverter

I like carrying and using the RF 1.4 with the RF 400 F2.8, and I like using the FE 2x with the FE 600 F4 when photographing the sun and moon. Otherwise, getting closer is usually better than using extenders, and in this kit, extenders and teleconverters are most frequently used for lens image quality testing.

Which lens will be added to the kit next? It probably has not been announced yet.

Sony astrophotography lens recommendations are now available on the Sony Lens Recommendations page.

While creating the Sony list was easy, the Canon line-up has more room for improvement. New to the Best Canon Lenses page:

Best Canon Astrophotography Lens (Mirrorless)
Best Canon Astrophotography Lens (DSLR)