The Canon RF 70-200mm F2.8 L IS USM Z Lens has been announced and is expected to ship on Nov 14, 2024. This review will be completed as a high priority when the lens arrives, but in the meantime, here is information about the lens, along with my expectations.
A 70-200mm f/2.8 lens is practically a requirement for any professional or serious amateur photography kit, and these best-selling lenses are often among the most frequently used. Thus, having more than one 70-200mm f/2.8 lens option in the Canon RF line-up is justifiable.
In this case, the Canon RF 70-200mm F2.8 L IS USM Lens (no "Z") is that other lens. It was, and still is, a game-changer. This remarkably lightweight and compact lens produces incredible image quality — it is one of the sharpest zoom lenses ever made.
So, to justify its existence, the Canon RF 70-200mm F2.8 L IS USM Z Lens has a high hurdle to clear.
Not so long before this lens's announcement, Canon introduced the first "Z" lens, the nearly identical Canon RF 24-105mm F2.8 L IS USM Z Lens. What is the "Z" is for? This letter designates compatibility with and provides attachment points and contacts for the Canon Power Zoom Adapter PZ-E2 and PZ-E2B. These devices provide motorized control of the Z lens's conventional zoom ring. A manual aperture ring adds to the "Hybrid" stills and video designation and purpose of these lenses.
Another big advantage the 70-200 F2.8 Z lens holds over the non-Z lens is compatibility with the Canon RF 1.4x Extender and Canon RF 2x Extender, the primary (only?) complaint I've heard about the non-Z lens.
The "Z" lens gets 2 additional aperture blades, 11 vs. 9, a higher maximum magnification capability, 0.30x vs. an already respectable 0.23x, and an extra 0.5 stops of IS, 5.5 stops vs. 5.0 (both share a 7.5 stops IBIS rating). While the "Z" lens is a couple of inches longer than the retracted non-Z, it is modestly shorter than the fully extended non-Z. Despite its fixed size, the "Z" lens weighs only 1.3 oz (37 g) more than the non-Z.
Oh, the "Z" also gives you a choice of colors, black or white. I know, that decision will cost you some brain processing cycles. You can get both.
As with the RF 24-105mm F2.8, the Canon RF 70-200mm F2.8 L IS USM Z Lens's designers targeted professional video content creators, video production individuals and firms, and serious enthusiasts for portraiture, events and weddings, photojournalism, and high-end YouTube and in-house productions. The RF 70-200mm F2.8 L IS USM Z is a high-end, mid-sized, fixed-size lens that is expected to reliably deliver outstanding overall performance, including impressive image quality, fast and quiet Dual Nano USM AF, and image stabilization. As part of the elite L-series, the RF 70-200 Z lens is extremely well-built and ready for the rigors of daily professional use.
Most photographers find a telephoto zoom lens to be an essential part of their kit, and the 70-200mm range is a top choice to fill that role.
Portrait photography is at the top of the 70-200mm focal length lens favorite uses list. Containing a superset of the classic 85-135mm portrait focal length range, a 70-200mm lens is ideal for capturing pleasing perspectives of people.
This lens invites subject framing ranging from full-body portraits at 70mm to tight headshots at 200mm. These mid-telephoto focal lengths naturally push the focus distances to a comfortable working distance that avoids perspective distortion yet retains easy communication with the subject.
"Portrait photography" is a broad designation that covers a wide range of potential still and video uses at a wide variety of potential venues, including both indoors (home, church, school, etc.) and outdoors (yard, beach, park, parade, playground, etc.). Portrait subjects can range from infants to seniors, from individuals to large groups (if adequate working distance is available). Engagements, weddings, parties, events, theater, stage performances including concerts and recitals, speakers, kids' events, families, small groups, senior adults, graduating seniors, fashion, documentary, lifestyle ... all are great uses for the 70-200mm focal lengths. There is often adequate space in even a small studio for portraiture with the focal length range provided by this lens. Use this lens to cover entire portrait shoots.
That portrait photography can be revenue-producing helps justify the acquisition cost of this lens (you cannot buy stock photos of most people), and you likely noticed the paid applications in the just-shared list of portrait uses.
People are also frequently photographed participating in sporting and other action scenarios using this focal length range. While the 200mm focal length will likely be found too wide for large field sports photography, it works great for closer action such as that found at track and field meets and on the basketball court. Basketball is typically played indoors, and with the f/2.8 aperture (more on this soon) availed, indoor action sports are within this lens's capabilities.
I'll talk more about background blur in the aperture section next, but the long focal lengths and wide aperture combination enables the background of 70-200mm images to be diffusely blurred. That attribute is especially great for portraits captured where the background cannot be adequately controlled, including at sporting events and performances captured from a seat in the audience.
While portrait photography generally refers to photographing people, certain types of wildlife photos are regarded as portraits. These images typically include the animal substantially filling the frame, and for that task, this focal length range often falls short of the need unless the wildlife subject is large or close. If capturing environmental wildlife portraits or captive wildlife, the 70-200mm focal length range may be perfect. This focal length range is great for photographing pets, including dogs and cats.
A 70-200mm lens is a great studio lens, working especially well for product images and many other general studio applications. A significant percentage of the product images on this site were captured within this focal length range, and this range works well for more substantial products, including vehicles — car portraits.
When mentioning landscape photography, many photographers immediately think of wide-angle lenses. However, telephoto focal lengths are an essential part of a landscape kit. Telephoto focal lengths can create excellent landscape images, especially when there is a distant subject, such as a mountain, to be emphasized, rendered significant in the frame. It is so easy to take great telephoto landscape images that it sometimes feels like cheating.
Another excellent landscape photography use of a telephoto lens is focusing on closer details and allowing a strong background blur to artistically isolate those. This focal length range is especially optimal for capturing clouds and sunsets/sunrises, allowing the frame to be filled with color from even a modest sky show.
Cityscapes are essentially landscape images with cities in them, and this focal length range is often a great choice for the more distant city scenes. Street photography is usually done in cities, and the 70-200mm range is optimal for this pursuit.
Here are focal length comparisons (captured with different lenses).
On an APS-C imaging sensor format camera (1.6x), this 70-200mm lens has an increased angle of view equal to that of a 112-320mm lens on a full-frame camera. While the narrower angle of view does not significantly change the uses list for this lens, these angles of view make wide-framed portraits less ideal, and most will prefer this angle of view range for sports and wildlife pursuits.
This lens has a wide f/2.8 max aperture over the entire focal length range.
What are the advantages of a wide aperture? More light reaches the imaging sensor, allowing motion (both subject and camera) to be stopped in lower light levels via a faster shutter speed and permitting the use of lower, less noisy ISO settings. Also, a wide aperture enables the creation of a shallower, better-subject-isolating depth of field.
While those photographing landscapes with this lens may not find the wide f/2.8 aperture mandatory, those capturing portraits or photographing low-light events, including sporting events, will love the faster shutter speeds and lower ISO settings enabled by the additional light. F/2.8 remains the narrowest aperture I want to use when photographing many indoor activities. In addition to stopping action in low light, the wide aperture invites handholding the camera in dim light.
I often talk about the compositional advantages of a clean border, and one way to achieve such is to blur the background. This lens has that feature. Zoom to 200mm, open the aperture wide to f/2.8, move close to your subject, and watch the distracting background melt away.
The extra light a wide aperture provides enhances a camera's AF system performance.
What are the disadvantages of a wide aperture? Increased size, weight, and price accompany this attribute. Usually, including in this case, the advantages outweigh the disadvantages, and the penalties imposed by this lens are not big (it is considerably lighter than the EF III).
Driving the popularity of 70-200mm f/2.8 lenses is that focal lengths longer than 200mm featuring f/2.8 are only available in considerably larger, much heavier, and far more expensive lenses. The 70-200mm f/2.8 lens models often represent the upper tolerance levels in those regards for many photographers.
As part of the "Hybrid" designation, the RF 70-200 F2.8 Z has a smoothly integrated step-less manual aperture ring, a feature especially desired by videographers. With the ring in the A (Auto) position, the camera controls the aperture setting, and all other settings force the aperture to the selected opening. A spring-loaded Iris Lock switch holds the aperture ring in the A setting, avoiding inadvertent changes or in the manual range, locking out the A option.
Note that an EOS R-series camera model introduced in 2024 or later is required to use the aperture ring for stills.
Image stabilization is another great feature of this lens. This IS system is rated for 5.5 stops of assistance, and with IBIS Coordinated IS, the rating jumps to 7.5 stops (7.0 stops in the periphery).
Expect the RF 70-200 F2.8 Z's IS system to be quiet, only heard by an ear nearly against the lens, and well-behaved, providing a smooth view, including when moving the camera.
Three stabilization modes are provided. Mode 1 (general-purpose), Mode 2 (for panning with a subject, one axis of stabilization is provided), and Mode 3. Mode 3 is useful for tracking erratic action. In this mode, image stabilization is active and ready for use the moment the shutter releases, but actual stabilization is not in effect until that precise time. As a result, the view seen through the viewfinder is not stabilized, which allows a moving subject to be tracked without fighting against IS trying to stabilize the view. Mode 3 is designed to detect panning motion, and when detected, the lens will only apply stabilization at right angles to the direction of the detected movement (like Mode 2).
With an increased ISO setting being the alternative, the noise difference IS enables for still subjects is huge, and stabilization dramatically improves video quality.
The Canon RF 70-200mm F2.8 L IS USM Lens produces super-high image quality, and few would be satisfied with lesser results from the Canon RF 70-200mm F2.8 L IS USM Z Lens. Based on the MTF charts, we will be happy with the Z's optical performance.
The black lines indicate contrast (10 lines/mm), and the blue lines show resolution (30 lines/mm). The solid lines are sagittal, and the dashed lines are meridional. The higher, the better, and that comparison tells a story.
This lens features 2 Super UD lenses, 1 UD aspheric lens, 1 GMo aspheric lens, and 1 replica aspheric lens in its design.
As with the RF 24-105mm F2.8 L IS USM Z Lens, Dual Nano USM powers the RF 70-200mm F2.8 L IS USM Z Lens's AF. Expect this system to be fast, quiet (only a light shuffling heard), internal, and smooth.
Note that this lens features enhanced AF tracking during zooming when used on an EOS R1 or R5 Mark II (and presumably later high-end cameras).
With the f/2.8 aperture, low-light AF performance will be excellent. Expect this lens to focus on strong contrast in light levels too dark to navigate in.
FTM (Full Time Manual) focusing is supported in AF mode with the camera in One Shot Drive Mode, but the shutter release must be half-pressed for the focus ring to become active. Note that FTM does not work if electronic manual focusing after One Shot AF is disabled in the camera's menu. The lens's switch must be in the "MF" position and the camera meter must be on/awake for conventional manual focusing to be available.
This lens has a two-position focus distance range limit switch that, in addition to enabling the full focus distance range, allows distance selection to be limited to 8.2' (2.5m) - ∞, with the narrower range potentially decreasing focus lock times.
Two Lens Function buttons are provided at convenient positions for horizontal and vertical orientation use. By default, the buttons provide the AF stop function, locking focus at the currently selected distance, permitting a focus and recompose technique. However, they can be programmed for numerous other functions.
Here is a partial list of functions assignable to the Lens Function buttons:
Non-cinema lenses usually require refocusing after a focal length change. However, this one is promised to be near parfocal.
The large, rubber-ribbed, manual focusing ring is optimally positioned toward the front of the lens.
Expect this ring to turn smoothly and be ideally damped.
This lens has a minimum focus distance of 19.3" (490mm), and at 200mm, it generates a remarkably high 0.30x maximum magnification spec.
Model | Min Focus Distance | Max Magnification | |
---|---|---|---|
Canon RF 24-105mm F2.8 L IS USM Z Lens | 17.7" | (450mm) | 0.29x |
Canon RF 70-200mm F2.8 L IS USM Z Lens | 19.3" | (490mm) | 0.30x |
Canon RF 70-200mm F2.8 L IS USM Lens | 27.6" | (700mm) | 0.23x |
Canon EF 70-200mm f/2.8L IS III USM Lens | 47.2" | (1200mm) | 0.21x |
Canon RF 70-200mm F4 L IS USM Lens | 23.6" | (600mm) | 0.28x |
Canon RF 100-300mm F2.8 L IS USM Lens | 70.9" | (1800mm) | 0.16x |
Sigma 70-200mm F2.8 DG DN OS Sports Lens | 25.6" | (650mm) | 0.19x |
Sony FE 70-200mm F2.8 GM OSS II Lens | 15.7" | (400mm) | 0.30x |
An extension tube enables a decreased minimum focus distance, moderately increasing the lens's maximum magnification. As of review time, Canon does not offer RF mount-compatible extension tubes, but third-party options are available.
This lens is compatible with Canon extenders.
Unlike its similarly-specced sibling model, the Canon RF 70-200mm F2.8 L IS USM Z Lens is compatible with the Canon RF 1.4x Extender and the Canon RF 2x Extender.
With the 1.4x behind it, this lens becomes a 98-280mm f/4 IS lens. With the 2x mounted, it becomes a 140-400mm f/5.6 IS lens. Having 70-200mm f/2.8, 98-280mm f/4, and 140-400mm f/5.6 IS lenses available with a quick extender change is extremely valuable, adding greatly to this lens's versatility.
Weather sealing and, as hinted, image stabilization remain included and effective. Also, the lens's native minimum focusing distance is retained with extenders in use, and that means the maximum magnification value is multiplied by the extender's factor, which is a significant improvement on an already high spec.
Magnifying a lens's image circle always has an impact on image quality. The question is, how significant is the difference?
Expectations: With the promised outstanding image quality of this lens, optical quality degradation should be minimal. With the RF 1.4x behind the RF 70-200 L Z and a wide-open aperture selected, image sharpness should be only slightly impacted. The RF 1.4x adds a slight amount of barrel distortion. This amount usually offsets the slight pincushion distortion in similar lenses at 200mm, but the extender should not notably affect lateral CA.
The image sharpness hit with the 2x extender is always stronger than with the 1.4x. Still, I expect this combination to be usable. The 2x typically increases lateral CA noticeably and barrel distortion slightly.
The exterior of the Canon RF 70-200mm F2.8 L IS USM Z Lens is nearly identical to that of the RF 24-105mm F2.8 L IS USM Z.
These lenses look great, and the L-series designation means they are built for the rigors of professional use.
This lens has a mostly consistent exterior diameter. A small width increase starting in the middle of the zoom ring makes it easy to locate tactilely.
The conventional mechanically geared zoom ring is large.
This lens does not change size, aiding in a stable balance across the available focal lengths.
The knurled control ring, located near the front of the lens, is configurable for fast access to camera settings, including aperture, ISO, and exposure compensation. Note that the control ring is clicked by default. Expect this ring's clicks to be audible in camera-based audio recordings. Alternatively, Canon offers a click stop removal service (at a cost).
The four switches feature Canon's current standard flush-mount design, with sufficient raised area for use with gloves. The two IS-related switches are on a slightly raised area of the lens. All switches firmly click into position, but the short throw on the IS mode switch makes selecting the center position slightly challenging.
This lens design features dust and moisture resistance, including seals at the Power Zoom Adapter contacts and connection points.
The front lens element has a fluorine coating applied to repel fingerprints, dust, water, oil, and other contaminants and make cleaning considerably easier.
The RF 70-200 F2.8 Z is relatively large and heavy. However, it is the same size as the EF 70-200mm F2.8 lenses that, for years, many of us used for hours at a time, and the Z weighs considerably less.
Model | Weight oz(g) | Dimensions w/o Hood "(mm) | Filter | Year | ||
---|---|---|---|---|---|---|
Canon RF 24-105mm F2.8 L IS USM Z Lens | 46.9 | (1330) | 3.5 x 7.8 | (88.5 x 199.0) | 82 | 2023 |
Canon RF 70-200mm F2.8 L IS USM Z Lens | 39.1 | (1107) | 3.5 x 7.8 | (88.5 x 199.0) | 82 | 2024 |
Canon RF 70-200mm F2.8 L IS USM Lens | 37.8 | (1070) | 3.5 x 5.7 | (89.9 x 146.0) | 77 | 2019 |
Canon EF 70-200mm f/2.8L IS III USM Lens | 52.2 | (1480) | 3.5 x 7.8 | (88.8 x 199.0) | 77 | 2018 |
Canon RF 70-200mm F4 L IS USM Lens | 24.5 | (695) | 3.3 x 4.7 | (83.5 x 119.0) | 77 | 2020 |
Sigma 70-200mm F2.8 DG DN OS Sports Lens | 47.1 | (1335) | 3.6 x 8.1 | (90.6 x 207.0) | 77 | 2023 |
Sony FE 70-200mm F2.8 GM OSS II Lens | 36.9 | (1045) | 3.5 x 7.9 | (88.0 x 200.0) | 77 | 2021 |
View the complete Canon RF 70-200mm F2.8 L IS USM Z Lens Specifications using the site's lens specifications tool for many more comparisons.
This lens accommodates 82mm filters. While 82mm filters are not small or inexpensive, 82mm is a common filter size, making effects filters shareable with many lenses, including the RF 24-105 F2.8 Z.
The included tripod ring helps balance this lens's size and weight and avoids camera strain and sag (and tripod tipping). The collar also permits easy camera rotation.
Migrated from the 24-105 Z, the RF 70-200 F2.8 Z's tripod ring will be among Canon's best RF implementations. This ring is solidly constructed, and the rotation and lock knob are smooth. There are no 90° click stops, but small groves on the collar align with a small grove on top of the lens barrel to aid locking in these often-useful positions.
The RF 24-105 F2.8's tripod ring is not removable, but it integrates smoothly into the lens's external dimensions.
The tripod foot section can be removed by loosening the mount knob and holding the button in while sliding the foot forward.
The foot has standard 1/4" and 3/8" threaded inserts, along with an alignment hole.
While a lens plate with anti-twist nubs, such as the Wimberley P30 Lens Plate, sufficiently locks onto this foot, another option is to utilize a dual bolt plate, such as the Wimberley P40. In that case, a 3/8"-16 to 1/4"-20 Reducer Bushing will be needed in the larger threaded insert. A great choice is the Really Right Stuff 40mm Sliding Multi-Purpose Rail plate that features an anti-twist pin that locks into the alignment hole.
The round-shaped Canon ET-88C Lens Hood is included in the box. This large hood adds important front element protection from impact and flare-inducing light. The WIII or B hood version matching the lens color will be included.
Which color lens do you want? I don't remember that choice ever before offered for a Canon professional-grade lens. Your choices are Canon's L-series version III white or black.
Until now, the RF 24-105mm F2.8 L IS USM Z was Canon's largest black RF L-series lens. Now, it shares that title with the RF 70-200mm F2.8 L IS USM Z. Alternatively, get it in white.
While more conspicuous, white stays cooler in direct sunlight. Interesting is that the white lens weighs 0.01 lbs more, 2.44 vs. 2.45 lbs (1110g vs. 1115g).
Canon includes a case with their L-series lenses, and this one is the nice dual-zippered, padded nylon Canon LZ1328 Lens Case, the same case included with the Canon RF 100-500mm F4.5-7.1 L IS USM Lens. It seems that the RF 24-105 Z's LZ1326B Lens Case would have been the choice since the two lenses are matched in size.
Back to the "Z" designation. This lens has a standard mechanical zoom ring, but alignment holes, threaded inserts, and electrical contacts are provided for solid attachment of the Canon Power Zoom Adapter PZ-E2 and PZ-E2B (PZA).
When used on supported cameras, a gear inside the adapter drives a small-geared portion of the zoom ring at a selectable rate. Expect a relatively light resistance on the zoom ring resistance to reduce the motor's power requirements. Manual zoom can be selected while the PZA is attached.
Buttons on the outside of the adapter smoothly zoom the lens for operability approaching a cinema lens, easing the job of a single-person operator.
The PZA can be powered by the camera or externally via the USB port PD, which also provides faster zooming on some camera models. Remote control is available through the Camera Connect and EOS Utility apps.
The "B" version of the PZA includes a 20-pin connection, enabling control from other devices.
The PZAs are light, weighing about 5.5 and 5.8 oz (155 and 165g).
Another video-optimized accessory for this lens is the optional Lens Holder LH-E1 that mounts on the lens to provide balanced support in rigs, etc.
While the Canon RF 70-200mm F2.8 L IS USM Z Lens is expensive, its features and performance make it a great value for serious amateur and professional photographers and videographers. The Power Zoom compatibility alone may be worth the cost of this lens to the latter group. I said the same for the 24-105 sister lens, and these two are outstanding.
As an "RF" lens, the Canon RF 70-200mm F2.8 L IS USM Z Lens is compatible with all Canon EOS R-series cameras, including full-frame and APS-C models. Canon USA provides a 1-year limited warranty.
The perfect lens does not exist. However, the best lens for your needs does. Determining that answer requires a look at the alternatives. The first alternative I wanted to explore is the sibling Canon RF 70-200mm F2.8 L IS USM Lens
Based on Canon's MTF charts, I expect the Z lens to produce slightly better image quality than the outstanding results from the non-Z lens.
The Canon RF 70-200mm F2.8 L IS USM Z vs. RF 70-200mm F2.8 L IS USM Lens comparison shows the non-Z lens immaterially lighter and considerably smaller when retracted. When fully extended, the non-Z lens is slightly longer, but the fixed-size Z lens requires a larger space in the case. The non-Z lens uses 77mm filters vs. 82, and which size is better often depends on the filter sizes of the other lenses in your kit. The Z lens has a higher maximum magnification, 0.30x vs. 0.23x, and 11 aperture blades vs 9 for improved bokeh, especially when stopped down significantly. The Z also has Lens Function buttons, 5.5-stop IS vs. 5.0, extender and PZA compatibility, and a modestly higher list price.
The Z has a more conventional design for this lens class, and Canon's prior such model is the EF 70-200mm f/2.8L IS III USM Lens. The RF lens will have considerably better image quality.
The Canon RF 70-200mm F2.8 L IS USM Z vs. EF 70-200mm f/2.8L IS III USM Lens comparison shows the two lenses having the same dimensions, but the RF lens, with 5 fewer lens elements, is dramatically lighter. Also, the EF lens requires the extra size and weight of a Canon Mount Adapter EF-EOS R for use on an R-series camera. The RF lens has 11 aperture blades vs. 8, uses 82mm filters vs. 77mm, and has a 0.30x maximum magnification vs. 0.21x. The RF lens features Dual Nano USM AF vs. Ring USM (great in its day), a 5.5 stop IS system vs. 3.5, Lens Function buttons, a control ring, and PZA compatibility. The EF lens has a focus distance window, and its street price is considerably lower.
Let's cross over to the Sony platform. The Sony FE 70-200mm F2.8 GM OSS II Lens is not much older, and it is a stellar performer.
I expect the image quality produced by these two lenses to be comparable — both outstanding.
The Canon RF 70-200mm F2.8 L IS USM Z vs. Sony FE 70-200mm F2.8 GM OSS II Lens comparison shows near equality. The Sony lens is 2.1 oz (72g) lighter and slightly less expensive. The Canon lens has PZA compatibility.
Use the site's tools to create additional comparisons.
The older RF 70-200mm F2.8 L IS USM Lens has been an outstanding telephoto zoom lens choice, but now serious amateur and professional photographers have a choice. The 70-200 Z does not break new focal length range ground, but it has features that set it apart, especially for hybrid use.
The Canon RF 70-200mm F2.8 L IS USM Z is an extremely useful, high-end, mid-sized, fixed-size lens that will reliably deliver outstanding overall performance, including excellent image quality, fast and quiet Dual Nano USM AF, and 5.5-stop IS (7.5 stops with Coordinated IBIS).
Bringing you this site is my full-time job (typically 60-80 hours per week). Thus, I depend solely on the commissions received from you using the links on this site to make any purchase. I am grateful for your support! - Bryan