As we begin to wrap up the year, we’d like to look back at some of our favorite product launches and moments in the photo industry. Canon has had a somewhat quite, yet surprisingly productive year. From content creation focused cameras to lenses with dramatic perspectives, Canon has had yet another stellar year with releases aimed at both still photographers and video shooters.
EOS R8 Mark II
In a world where mirrorless cameras seem to keep getting bigger, Canon remembered why the tech was so popular in the first place. Size. The EOS R8 Mark II is technically the third camera in this ultra small line of mirrorless cameras, following the EOS R8 and the oft forgotten EOS RP.
Geared toward aspiring photographers and those looking to shoot with a smaller footprint, the EOS R8 Mark II stands out among the crowd, delivering full-frame results in a compact, lightweight body. Though this time, it’s received a bit of a facelift. Most notably is the body of the camera, which has a much more angular design when compared to the smooth, rounded shapes of previous Canon models.
What makes this new iteration stand out even more is the addition of a multi-controller joystick and in-body image stabilization, both of which were lacking in previous models. Now, the entry point to Canons mirrorless full frame system can hold its own even in some of the most challenging shooting conditions.
EOS R6 V
Over the past few years, Canon has developed and grown their V series. These are cameras focused on creators no matter their goals. From social media content to hybrid still and video work, creators are always looking for powerful, yet portable tools to get the job done, and earlier this year, Canon may have just released one of the most compelling offerings. The EOS R6 V is the latest addition to this line and the first to feature Canon’s full frame 32.5MP sensor, the same found in the R6 Mark III. However, for those familiar with that camera, the V won’t look all that familiar.
Externally, this camera has a slimmed down appearance with no EVF and a larger 3” vary-angle touchscreen LCD. In place of the traditional shutter button is a record button identified by the red circle icon on it. If you’re running this camera on an elaborate rig or in a cage, there’s an additional record button on the front of the camera.
Internally, the R6 V really shines. The camera adopts many features from its namesake, the R6 Mark III, such as 40 fps still shooting with pre-capture and of course, that 32.5MP imaging sensor. That said, still frame continuous shooting speeds aren’t why users are flocking to the R6 V. They’re coming for its video specs. We’re not going to pretend that we can sum this up quickly, so let’s just put it all out there.
- 6960 x 4640 (3:2) open gate RAW recording up to 29.97 fps
- 6960 x 3672 (17:9) DCI RAW Light recording up to 59.94 fps
- 4096 x 2160 (17:9) and 3840 x 2160 (16:9) oversampled video up to 59.94 fps
- 4096 x 2160 (17:9) and 3840 x 2160 (16:9) video up to 120 fps
- 2048 x 1080 (17:9) and 1920 x 1080 (16:9) video up to 180 fps with 1.13x crop
- 12-bit RAW, 10-bit XF-HEVC S/H.265, and 8/10-bit XF-AVC S/H.264 formats
That’s a lot of technical terminology, but what an impressive set of features for such a small and relatively affordable camera. It’s crazy to think how accessible 4K, let alone 7K and even 8K have become. Just a few short years ago, 4K was the pinnacle of what many early mirrorless and SLR cameras could do. If you wanted any more, you needed to be ready to spend anywhere from $15k to $30k at least. As Phil Swift once so eloquently put it, now that’s a lot of damage.
RF 20-50mm f/4L IS USM PZ
Launched alongside the EOS R6 V, the RF 20-50mm f/4L IS USM PZ was designed with creators in mind. While it can deliver excellent results for both still and video shooters, video is where its heart is. In fact, its focal range and power zoom function alone showcase how this video-optimized lens was intended to be used, but for those unfamiliar with the world of content creation, we’re here to help.
First up, the zoom range. Standard zooms typically start at 24mm, which is just a bit too tight for traditional handheld selfie type shooting conditions. While 24mm and 20mm may seem close on paper, these two focal lengths couldn’t be more different. Additionally, this lens offers six stops of image stabilization, so users can shoot with confidence no matter the body they have it paired with.
Now, the power zoom feature should speak for itself. If there’s anyone who benefits from smooth, consistent focusing, it’s video shooters. Photographers don’t care how silky-smooth the acquisition of focus is, just so long as it happens in a timely fashion. Videographers need quite literally the exact opposite, and this lens delivers.
RF 7-14mm f/2.8-3.5L Fisheye STM
When photographers and content creators think of fisheye lenses, the first thing that comes to mind is probably some sick skateboarding footage. When the RF 7-14mm f/2.8-3.5L Fisheye STM lens was announced, the very first sample image supplied by Canon was of, you guessed it, a skateboarder. It’s like fisheye law. We don’t make the rules, we just go with the punches.
Luckily, this lens is capable of far more than just skating content. As the first fisheye lens for the RF mount, this lens was met with some pretty sizeable expectations, and did it deliver. The RF 7-14mm covers a class-leading 190º angle of view and the wide end, producing images with dramatic distortions and unconventional perspectives, especially when shot at its minimum focusing distance of just 5.9”.
To prevent any vignetting, the lens does have a removable lens hood. That said, the front element is bulbous, meaning any filter will need to be used via the rear drop in filter holder. That’s right, this lens makes use of a feature traditionally reserved for super-telephoto primes.
If you want a less distorted view, simply zoom in for a traditional, yet still impressive ultra-wide look. Additionally, the lens is dust and weather resistant, and weighs just 1.1 lbs., making it a compelling choice for photographers and creators of all calibers.
RF 14mm f/1.4L VCM
For those fascinated by the dramatic field of view of the 7-14mm, but hesitant to jump into the fisheye world, Canon has you covered. Optimized for hybrid workflows, the RF 14mm f/1.4L has much to offer. It is Canon’s brightest ultra-wide ever and features a Voice Coil Motor-powered focusing mechanism to deliver fast, accurate, and silent autofocus.
The ultra-wide focal length does mean the front element is bulbous. The built-in lens hood does a great job at protecting the lens, but filter fans will need to make use of the rear filter slot for any gels or NDs they might want to use. Additionally, while ultra-wide, this lens can still deliver some striking isolation. This is due in part to its fast f/1.4 aperture, but also thanks to the inclusion of an 11-blade aperture which creates a smooth, visually pleasing backgrounds.
For hybrid shooters, the 14mm is a compelling choice, as it provides stunning results for both still and video use-cases. It’s an especially great choice for gimbal shooters, as it joins an ever-growing line-up of content creator friendly VCM lenses from Canon, all of which are similar in size and weight, making it easier to swap on the fly.
What’s Next?
What’s next for Canon? We don’t know. What we do know us that Canan has once again delivered some stellar products this year. From a stellar new compact full frame camera to some dramatically wide-angle lenses. We can only imagine what stellar new image making tools they’ll unveil in 2027, but in the meantime, there’s plenty to play with currently.
We hope you enjoyed hearing about their best releases of the year. If you’d like to learn more about any of these stellar Canon products, be sure to check out the detailed product pages. For similar articles and informational pieces, be sure to check out the B&H Explora Blog.
