Following the announcement that Canon would allow Sigma and Tamron to release lenses for its APS-C cameras, Sigma is bringing the 10-18mm f/2.8 DC DN Contemporary lens to Canon's mirrorless system on September 26, 2024.
Last week, Canon clarified that while the aperture control rings on its 24-105mm f/2.8L Z and 35mm f/1.4L VCM don't work in photo mode with its existing cameras, that will change with any camera announced after June 2024. That's really weird.
Canon announced the 35mm f/1.4L VCM prime lens which is designed to work equally well for both video production and photo capture. Canon says it is the first in a series of new primes that are meant to appeal to both types of content creators.
While preparing PetaPixel's coverage of Canon's impending Cinema EOS launch this week -- which included a corner of an unknown RF-mount cinema camera -- I realized just how little support the line has gotten since the launch of RF mount.
Canon teased an impending announcement on June 5 for a Cinema EOS product and while it didn't disclose exactly what it might be, it did include the partial photo of a camera.
While it would prefer that filmmakers remember the advantages of RF-mount, speaking exclusively to PetaPixel, Canon is looking on the bright side of Nikon's acquisition of RED Cinema,
Less than a week after Nikon closed its acquisition of RED, the company tells PetaPixel that it has begun moves to advance its position in cinema and leverage its new partner.
Cosina is further adding to its RF line of lenses by bringing its Voigtlander Nokton 75mm f/1.5 Aspherical lens to Canon's mirrorless mount in April.
For decades, professional photographers have been using the pairing of a 70-200mm f/2.8 and a 300mm f/2.8 to achieve their telephoto goals. Canon introduced the RF 100-300mm f/2.8 L IS USM recently and it just about covers the range of both those lenses. But is it as good?
Canon is well aware of the requests to see third-party lenses that are equipped with autofocus, like those made by Sigma or Tamron, on its mirrorless RF mount, and while nothing is set in stone yet, the company is in active discussions to make it a reality.
Canon doesn't currently like anyone making autofocus-equipped lenses for its RF mount, but Yongnyo keeps doing it. The latest is a 35mm f/2 lens that is finding its way onto store shelves internationally.
Zhongyi Optic's latest lens is the Chuichi Kogaku Speedmaster 20mm f/0.95, an ultra-fast, manual focus, mirrorless lens designed for Nikon, Canon, Sony, and Fujifilm APS-C cameras that suspiciously shares a lot in common with its 20mm T1.0 Mitakon lens.
Friday, Cosina announced the Voigtlander Nokton 40mm f/1.2 Aspherical lens for Canon RF mount. Coming in January, it will be the second lens it has produced for the mirrorless mount and only the second third-party lens officially authorized by Canon.
The Fotodiox EF to RF TLT ROKR is a new adapter for Canon RF cameras that adds the ability to tilt and shift any attached Canon EF lens.
Alongside the RF 200-800mm telephoto zoom lens, Canon has announced the RF 24-105mm f/2.8 L IS USM Z, the world's first 24-105mm zoom lens with a constant f/2.8 maximum aperture.
During the DSLR era, Canon built a reputation for its quality tilt-shift lenses. It seems as though just porting over those designs to mirrorless isn't enough, however, as the company has an idea of making what was manual tilt and shift operation instead fully electronic.
Canon executives have definitively stated that the company has no intention of releasing lens roadmaps, stating that it instead prefers to surprise customers.
Canon has announced compatibility with the Ueleret remote camera gimbal that allows photographers to have real-time access to their camera from a remote position of up to 500 meters away.
Venus Optics had a big hit with the original Laowa 24mm f/14 probe lens. What first garnered snickers and jokes, proved to be a unique video lens and the peri-probe lens with a 90-degree rotating end soon followed. Now Laowa has some serious competition from a company with a name I struggle to pronounce.
7Artisans has announced a new 24mm f/1.4 wide-angle prime lens for six APS-C camera mounts that is extremely cheap, but it doesn't have autofocus.
Following up on its 28mm f/13 macro probe lens from 2022, AstrHori has announced a new 18mm f/8 2x Macro Probe Lens designed for APS-C cameras and available in Sony E, Nikon Z, Fujifilm X, Canon RF, Canon EF, and Micro Four Thirds.
In addition to the new R100 mirrorless camera, Canon today is also debuting a new pancake-style prime for the RF-mount, the 28mm f/2.8 STM.
Canon has announced the EOS R100, a compact APS-C mirrorless camera that is designed to appeal to first-time photographers or those who currently enjoy its Rebel DSLRs or EOS M cameras but want to move to the RF mount.
Canon's newly announced RF100-300mm f/2.8 L IS USM lens is going to be an exceedingly rare optic for a while: the company doesn't expect to be able to deliver lenses this year, even to those who already ordered.
Canon has announced a new RF 100-300mm f/2.8 L IS USM lens which it says is designed to support professional users with a specific emphasis on photojournalists.
The Canon R5 II was originally speculated to arrive this year, but a new report claims that isn't happening. In lieu of a new camera body, Canon will instead be bringing new functionality to the original R5 via a "major" firmware update.
Canon’s EOS R6 Mark II is a major yet, in some ways, a subtle upgrade over the original R6. The new R6 Mark II is faster and more capable than the R6 in most regards, and it addresses several of the limitations found in the original model.
Canon’s new RF 135mm f/1.8 L IS USM is an essential lens in the company’s mirrorless system, not only because the focal length is a staple choice of portrait, wedding, and corporate photography, but because Canon's latest prime is truly exceptional.
Pergear has announced a 14mm f/2.8 manual focus ultra-wide rectilinear lens for full-frame Sony, Nikon, Canon, and Leica mirrorless cameras.
The Meyer Optik Görlitz 35mm f/2.8 Trioplan II is a unique lens that performs its best when the bokeh is specifically integrated into a shot and not just a coincidence of the defocus area. That means it's not for everyone, but it has its place.