For the most part in the lens world, we have an increasing buffet of options for most lens mounts. An autofocus anamorphic lens has even entered the chat. We’ve got more options than ever with one glaring exception: the Canon RF mount. Until recently, Canon RF users have been restricted to either purchase  lenses from Canon’s own rather expensive RF line or convert their EF glass to use on RF mounts. Then, in 2024, Sigma and Tamron jumped into the RF circle with APS-C RF-mount lenses. Neither have shared their goals or timelines to create full frame glass. 

The Canon RF lens line is expensive, yes, but gorgeous. The Canon 24-70mm F2.8 L (L for Luxury! No, really!) was the most popular lens rented by Lens Rentals in 2024. It was an immediate work horse from the moment it was released. The Canon 28-70mm F2.0 L was the fifth most most popular lens rented by Lens Rentals in 2024, and its most popular lens rented in 2023. Colloquially, it is the lens I see most often in Instagram’s impressive array of wedding and engagement photographers. Both lenses are heavy hitters, but they are also heavy in weight and heavily priced: the 28-70mm F2.0 L comes in at $2,799 and the 24-70mm F2.8 L at $2,099.

So, what is someone interested in a lightweight full frame zoom RF lens to do? What if you like the look of the Canon R cameras, and you want to be able to travel comfortably with your RF lens?

Two follow up questions when it comes to the lens buffet: Do you know what you want in focus? And are you ok with a side of onion rings? If the answer is yes to both questions, the new Canon 28-70 RF F2.8, at $1099, is your new go-to-lens for going-to-places.

We ask a lot of questions when we head out to restaurants. We try to determine where we might spend our hard earned money and spend our finite resource of time. And not all restaurants are the same nor do they serve the same purpose. Some are luxury. Some are functional. Some are somewhere in between. Some are expensive. And some are worth the money. So let’s find out more the cuisine de Canon.

Cocktails: With a Twist

Some of the new Canon lenses have a “twist to engage” function which allows the lens to compress further than its shortest distance in order to be ultra compact. While at first this might seem different or alarming, it does allow for the lens to be extra small. In order to operate the lens you need to “set the lens to the shooting position.” 

Appetizers: The Onion Rings

Onion rings take something a little bitter and to some, unpleasing, and add a fried element to make them delicious and palatable. They turn into a treat. Onion bokeh, on the other hand, is the opposite: mere perfect circles, the treat, look layered and to some, unpleasing, upon blowing up the image. Something delicious and palatable can look not-so-tasty when you zoom in. For the most part, on YouTube and mobile devices, these rings are not as identifiable. In addition, the onion bokeh seem to be restricted to certain sources, such as Christmas lights in my case, and when the bokeh bubbles are large and visible. They are, I confess, not an element I’ve noticed in the 24-70 F2.8 RF version though. So, we eat the appetizer, because it’s there on the table and we accept it. Does it count as a vegetable?

Entree: Know What You Want For Dinner

Speaking of being spoiled with things like lens buffets, autofocus has come a long way. Back-focusing in video mode seems like a bygone mistake of the past. This lens has a quiet and fast AF function, a huge win for Canon. However, outside of human beings and animals, especially when you’re operating wide open and at 70mm, this lens will continue to search for what you want. Even if you use the R8’s touch screen to decide for the camera on what to focus on, it will continue to search, particularly when the elements are small. Unfortunately, a camera is not a mindreader. And it doesn’t have a listening mode either, which would have come in handy: In the raw footage captured for this review, you can hear me say “Come on man!” when the unit couldn’t grab onto a statue and “You need to be changed, oh my goodness” when I switched it from AF to MF to control what’s in focus (more on that button in On The Side). With moving flames in the dark, it understandably shifted around. It will not find what you’re looking for, a little like U2.  With racking, you’ll notice had to re-select the back bushes to ensure it grabbed them before coming back. 

Now, of course, the camera also plays a role in this. I used a Canon R8, a creator-focused camera marketed as Canon’s “lightest Full Frame” model. I think it is most similar to those who may buy and use this lens: travel videographers and photographers. With this combination, I was constantly selecting focus for the lens and hoping it stayed put. Or, I was placing the lens in MF to decide for fir the camera. With this pairing, you have to be ready to know what you want. So will you be having steak, chicken, or tofu tonight? 

On the Side: 

No literally – on the side. Halfway through my meal, I mean, my review, I realized that the AF and MF button on the side, traditionally indicated by two markers, actually has three on this lens: AF, Control, and MF. If you, like me, constantly switch between AF and MF, and expect there to be two slots there and change by feel with those satisfying clicks, you’ll need to hear two sounds instead of one.

According to the Canon UK site, changing the slot to “Control” turns the focus ring into a control ring so you can “quickly adjust your favourite settings.” Again, knowing exactly what you want to capture and how you want to capture it, dictating your own meal and menu if you will, is key to successful usage of this lens. Accidentally changing a setting instead of your focus is not helpful. But knowing if that’s appealing to you, and incorporating that into your filming practice, is. 

Speaking of elements on the side, I made a mistake and completely forgot to turn on the Stabilizer and the R8 does not stabilize internally… so the good news is the shaky video in the example is as bad as its going to get!

Lighter Fare:

The lens is impressively small, so small that it could be mistaken for a kit lens in stature (which, it is not, by any shape of the imagination). If you’ve lugged around the 28-70mm F2.0, or your daily workhorse is the 24-70 F2.8, this lens will feel as light as a feather.  It’s an unassuming but a powerful little package. And because it is lighter, if you ever felt the need to vlog or take a selfie, you can still do so at 28mm with little difficulty should you want to do that. And speaking of light, sunlight this time, the lens delivers pleasant and sharp sunbursts at all focal lengths. 

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Dessert: Finding the sweet spot between art, beauty, and functionality. 

At the most basic level, I think creators desire lenses that beautifully render the world, are reliable, and deliver a consistently eloquent look. The next step beyond that is originality, character and flair. We might choose something to drive a story forward and offer a unique vision. But those come at a price; you’re going for a prime or you’re going for an artsy lens and each are at a cost. A compact zoom at F2.8 offers functionality and beauty, but maybe not art. And that’s delicious and sweet for most creators. 

The Final Bill:

Would I replace the Canon 24-70mm F2.8 L with this lens? That isn’t the right question. The right question is, if I was building out an Canon R-based kit right now, not in a year, not in a few months, but right now, would I get this for travel video vlogging and on-the-move content creation? And that answer is absolutely. It is a nice, quick run and gun scenario for travel filming. Would the cost give me pause? At first glance, maybe, but upon comparison, it wouldn’t stop me.

A look at the numbers: Sigma’s Contemporary 28-70mm F2.8 lens for Sony E is $709 and it does not offer any stabilization. Both Sigma’s lens and this lens have nine blades. Sigma’s 24-70mm F2.8 ART lens for Sony and L Mount is $1,099.00, the same price as the lens reviewed.

Sigma’s 18-50mm F2.8 RF is an APS-C lens which would be the most direct comparison (“Full-frame equivalent zoom range of 27-75mm”). You would have to use it in APS-C mode on R full frame models. It does not have stabilization and it is considered a budget lens at $489. Tamron’s 11-20mm F2.8 for RF (also an APS-C lens, full frame equivalent of 17.6-32mm) is $659 and it also does not have stabilization. So at $1099, the Canon 28-70mm RF F2.8, which is a full frame lens with stabilization seems like a fair cost all things considered.

You could wait and see what Sigma and Tamron do, but they don’t currently have any full frame lenses announced. For $1099, right now, you could already be creating the content you want with a light weight full frame travel friendly lens. We don’t make decisions based on guessing games. We make decisions based on the information we currently have in front of us. So right now, this is lovely and functional lens for those that need it. It’s a little easier to see the world as you want to with the Canon 28-70 F2.8 as long as you know what your vision is. It can elevate your work quickly especially as you travel. 

If you want a compact zoom that is RF glass and is full frame, this is currently your only option. And it is a nice one at that. If you know what you want in terms of your look and focus, and you’re ok with both the onion bokeh and the price, and you’re on the move, this compact and light lens will never leave your camera when you travel. It may be many an R users’ solution for their travel videography and photography especially those who want an RF lens right now, not later. And that may be worth any price.