Last month Canon announced the EOS R50 V alongside a new type of lens in the RF-S 14-30mm f/4-6.3 IS STM PZ. The "PZ" meaning the lens has a bult-in Power Zoom function.

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Were you ever captivated by the engineering prowess of the Zeiss 40mm F0.33? What about the Zeiss 50mm f/0.7 used by Kubric in the 1975 film, Barry Lyndon? Then stick around as we go behind Canon’s patent application for a glimpse at the RF 24mm f/0.7 lens Canon’s been working on.

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It looks like Canon has announced an RF 75-300mm f/4-5.6 lens, but it isn't being announced in the USA for the moment. This is obviously a surprise to us, but we don't get a lot of information about entry level lenses ahead of time, and that's cool.

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One of the most requested lenses from Canon shooters has been a fast ultra wide angle prime, especially for astrophotography. The sort of lens has been long rumored, and we have seen plenty of optical designs in the past.

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The RF 20mm f/1.4L VCM is Canon's widest current L-series prime for the RF mount, and Canon's first new 20mm lens in 33 years.

For many people interested in this lens, a choice will need to be made between the 20/1.4 and its slightly older fraternal twin, the RF 24mm f/1.4L VCM. The two lenses differ by only 4mm in focal length and are very similar in IQ and size/weight, though the 20/1.4 is slightly more expensive. Personally, I suspect I would have chosen the 20/1.4 if I hadn't bought the 24/1.4 before this lens was announced. As it is, it seems a shame to sell a lens I bought just a few months ago, so I'll keep both and see which gets more use.

A 'first impressions' mini review follows, the TL;DR is that it's a great lens, good IQ, handles very well.

The 20/1.4 VCM feels solid, virtually identical to the 24/1.4 (and presumably the other VCM lenses that I don't have). The included hood is shallower than that for the 24/1.4. The lens exhibits the same 'clunk' as the other VCM lenses when moved.

DxO does not yet have a lens module for the 20/1.4. They have one for the 24/1.4, but to keep the playing field level, for the comparisons and most of the shots below I am showing in-camera JPGs (reduced to 2000 pixels wide) for both lenses. Side note: I've previously mentioned that I loathe DPP, but I also neglected to set the camera to shoot RAW+JPG so instead I used in-camera RAW conversion to generate the JPGs. It was my first (and maybe my last) time using the feature and annoyingly (to me, at least) converted JPGs are given new, sequential image names (i.e., converting a batch of 30 RAWs, the file name of the first JPG is incremented up from the last RAW on the card). That means that the JPG file name does not match the RAW file name. I'm sure Canon in their infinite wisdom has a reason for this but...UGH.

The first few shots I took with the lens were just out in the yard.

"PJM Rhododendron 1" – 20/1.4 @ f/1.4"

EOS R1, RF 20mm f/1.4L VCM, 1/4000 s, f/1.4, ISO 100

"PJM Rhododendron 2" – 20/1.4 @ f/5.6"

EOS R1, RF 20mm f/1.4L VCM, 1/250 s, f/1.4, ISO 100

"PJM Rhododendron 3" – 24/1.4 @ f/1.4"

EOS R1, RF 24mm f/1.4L VCM, 1/5000 s, f/1.4, ISO 100

"PJM Rhododendron 4" – 24/1.4 @ f/5.6"

EOS R1, RF 24mm f/1.4L VCM, 1/320 s, f/1.4, ISO 100

For above series camera was on a tripod and in Av mode (technically Fv with shutter speed and ISO on Auto), and the camera metered the exposure at 1/3-stop brighter for the 24/1.4.

Later in the day, I made a brief stop at a local cemetery.

"Freemason"

EOS R1, RF 20mm f/1.4L VCM, 1/4000 s, f/1.4, ISO 100

"Clover Headstone HDR"

EOS R1, RF 20mm f/1.4L VCM, 1/80 - 1/6400 s, f/4, ISO 100 (this one was a 5-shot HDR spanning 6.3 stops, which 40 fps makes quite easy to do handheld, oh my how times have changed).

"Sunstar"

EOS R1, RF 20mm f/1.4L VCM, 1/800 s, f/16, ISO 100

The 11-bladed aperture produces very nice sunstars, I really like the alternating long and short rays. Flare is present but not bad.

While I'll leave the majority of the technical characteristics to the actual reviews, I was curious about the vignetting so I did a quick blue-sky test. Below is a composite of upper left quadrants, showing RAW files exported from DxO with no corrections.



As I expected, the 20/1.4 'forces' distortion correction in-camera because the image does not quite fill the frame, as is the case with the 24/1.4. What I did not expect is that the vignetting of the 20/1.4 is actually noticeably better than the 24/1.4. Wide open there is less mechanical and optical vignetting with the wider lens, and both types of vignetting improve more when the 20/1.4 is stopped down (in particular, the 24/1.4's mechanical vignetting improves somewhat down to f/4, then gets worse again to f/8).

I was surprised enough that I triple-checked the EXIF data to make sure I hadn't mixed up the lenses. Obviously mechanical vignetting on both lenses will go away with distortion correction, but the lower optical vignetting with the 20/1.4 is a nice surprise.

I will have the gear during 4/30 to 5/7 2025
My objectives:

1. Check if `R8` viewfinder is good enough
2. Check if `R7` viewfinder is good
3. Normal lens of R8 rf24-50
4. Normal lens of R7 rf-s 10-18 (instead of RF-S 14-30mm f/4-6.3 IS STM PZ)
5. Check if `R6` viewfinder is worth it
6. See if rf24mm1.8 is good in R7

I came from 6D, which have large optical viewfinder.
I am after of fun using it (referring to large viewfinder) over image quality, since IQ is overkill for smart phone viewing.
I am after of compact vs walking around holding a bulky camera with long protruding lens.

My intended use, family group picture against holiday sceneries street shots.
I am looking for wide angle, don't need background separation.
When candid, I like to get background separation.

I will post my feedback.
And let me know if you guys have particular comparison you wanted to find out.

Canon has released their first quarter of 2025 financials results, and the business seems to be doing quite well. The imaging division saw a 20% increase of net sales, helped by a 30% jump in network camera sales.

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On FW 1.0.3.
Sometimes, not always, after switching R52 the camera off - it shuts down, flashes the red LED on backside, and makes the "shutdown noise" as it should - I guess it is the dust removal etc.
But then it keeps doing this over and over again in a loop.
This happens with various RF lenses mounted, so I do not think it is a lens that confuses the R52.

Removing battery in and out is the only thing that stops this.

I cannot recall that this was an issue earlier.

When photographing birds in flight (continuous focus, tracking, burst mode), the sensor will occasionally jump, and make a 'clunk' sound. Any images in this part of the sequence are blurred (shutter speed below 1/1000) or the subject is massively displaced in the image.
Has anyone heard of this issue before?

seems to have not bothered anyone here.....

I bought a 200mm f1.8 about a year ago. And as I've been shooting for a Loudoun United, a USL Championship pro soccer team, it's become my favorite pre/post match lens. Here are some samples.

The 2025 TIPA World Awards were handed out, and Canon won a few awards in various segments. Yes, the Tipa awards are pretty much for fun, but it’s recognition anyway.

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Canon recently released their annual report for 2024, and there are a few interesting things Canon mentions in the report. One of the biggest takeaways is Canon has moved in automated production lines for cameras and lenses. This likely makes Canon unique among all of the manufacturers.

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The long Easter Weekend seemed a good time to switch Canon Rumors to new servers. Barring anything found today, the domain will be moved to the new server tomorrow.

If all is well, part 2 will be an entirely new site design that will be implemented before the end of April.

I'm very happy about this, I no longer have to do anything with servers or development.

The annual World Press Photo Contest has awarded the best photojournalism and documentary photography of last year.
The overall winner of the 68th annual World Press Photo Contest is Samar Abu Elouf, Palestine, for The New York Times.
The photo shows Mahmoud Ajjour, aged nine, who was injured during an attack on Gaza City.

For me, this is a fiery plea against war, whatever the cause, against violence against civilians and children in particular.
It will not end any war or conflict. Ukraine, Israel, Sudan, ... where do I end.
But the victims are always the civilians, families and children.

Leaders of the world: Stop it now!

View the other winners and galleries

By the way - as if it matters here - gear: Canon EOS R5

Well, the hits keep on coming during the current economic fun. We already know that Canon USA will be increasing prices by 7-8% on their entire line-up of cameras and lenses. There may also be some inventory issues in the near-term.

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Canon Japan has updated their camera and lens end of service dates. This is great information to have if you’re using current EF or EF-M gear. If you’re buying older gear on the used market, it’s good to know when Canon will officially stop servicing cameras and lenses.

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Canon Germany has launched a new cashback promotion:
Buy a Canon EOS R1 or R5 Mark II plus your favourite lens between 15.04. and 30.06.2025 - and receive up to €1,500 cashback.
Cashback depends on the lens, not the body.

Buy a big white RF like the RF 100-300mm F2.8 L IS USM or bigger, and you'll get the max. of €1,500.

For more details see here:

The images found in the link speak for themselves...and enable comparison of Wide-field Infrared Survey Explorer images with those obtained from the Webb telescope.

GAS!

It looks like Sony is going to announce a lens a lot of people in these parts have wanted to see Canon announce. They're going to be announcing an FE 50-150mm f/2 GM lens likely on April 23, 2025.

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It looks like we may see Canon USA increasing prices across the board in response to the current trade-war between the USA and China. While the USA has paused the 24% reciprocal tariff on Japan, there is still a 10% tariff in place.

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The RF 200-500mm f/4L IS USM has been rumored for ages, and we know that prototypes were out there, but where is it? We have reported and blown possible announcement dates. Apologies for that.

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Fujifilm seems to be nearing an announcement for is being called a “half-frame” fixed lens digital camera. How the half-frame will work is still a bit of a mystery. It makes sense with 35mm film cameras or something like the Pentax 17 to get more images onto a roll of film, but how is this going to work for digital?

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First impression when I took it out of the box, it's a chunky little thing but the size is manageable. Very solid feel. The grip is small but the textured surface is fairly 'sticky' so it doesn't feel like it will slip out of my hand.

I wasn't surprised that the LC-E17 wall-wart charger was not included, but only because I had already perused the manual.

For those needing an Arca-Swiss compatible plate, the Hejnar Photo D052 (for the G5X/G7X) fits perfectly – the battery/card door opens fully, anti-twist nubs engage properly and the alignment mark is on the optical axis.

The hole for the wrist strap on the right side of the camera is very small (there's a much larger lug on the left side for a neck strap, though one is not included). The supplied wrist strap stayed in the box, a Peak Design anchor loop fit through the hole on the right side, but getting it in was a very tight fit. Now I can use the PD wrist strap when needed, I share it across the R8, M6II and M6, all of which have a PD anchor on them.

In terms of cases, the V1 is a perfect fit in my little Lowepro Dashpoint 20.

Control layout is not great, but that's the norm for a P&S camera. The control ring at the base of the lens is not very deep and is very close to the body (not that Canon had other options). I find it a bit difficult to turn because I end up with half of my finger(s) on the thin, fixed portion of the lens barrel distal to the control ring. Small adjustments are actually easier with the middle finger of my right hand that's wrapped around the front of the body. The ring is clickless, which makes sense given the video-focused intent of the camera, but is not ideal for stills. The control dial on the back is not conveniently located, but it's in the typical place for a P&S.

The menus will be familiar to anyone using a Canon ILC. There are a few control customizations, which is nice. It's possible to set up back button focus with the * button, though like the rear dial that's not a comfortable reach for the my thumb. I wish Canon had allowed the movie record button (next to the shutter button) to start AF in stills mode, but in their infinite wisdom only the * button can do that (in addition to the shutter half press, of course). It was a little funny to me that Canon lets you set the shutter button to only metering start without assigning AF to the * button. I guess they figure if you aren't in A+ mode and you manage to leave your camera with no way to focus, that's on you. I suppose MF could be assigned to the control ring, too old-school for me. I do like that there are three C# modes available.

In terms of performance, it's quite capable from first impressions. Power up is pretty quick, focus is snappy like you'd expect from current DFAP sensors. I haven't tried tracking moving subjects, but on the pretty simple test of setting focus on an object or myself in a mirror then rapidly moving the camera around to change the framing, the subject lock-on is very good. I haven't really looked at image quality, but with modern sensors that's proportional to sensor size so I know what to expect. It will 'improve' once DxO supports it (which I assume they will, I'll shoot RAW + JPG in the meantime).

I bought the V1 for two reasons: a walkaround camera and for occasional video shooting. The advantage as a walkaround camera is obvious, the V1 in the Dashpoint 20 case is small enough for a large pocket or to stay in my work satchel with my laptop. To drive the point home, here are possible walkaround combos in my kit (V1, M6II + M22/2, R8 + RF 28/2.8).



The V1 is the most compact overall (though the body itself is bulkier than the M6II). In terms of video, I typically use the Canon Vixia HF G60 camcorder for that. But in some venues that's not permitted, and for low light use where I don't need to zoom in too much the larger sensor of the V1 (vs. the 1" sensor in the G60) will have a bit less noise.

Ok...enough talk, on to some sample images. I was in Boston today, so I took a quick walk around the Fan Pier area of the Seaport District. Actual focal lengths are indicated, keep in mind the FFeq range of 16-50mm is actually 8.2-25.6mm.

"Rowes Wharf Wide"

PowerShot V1, 8.2mm, 1/400 s, f/5.6, ISO 100

"Rowes Wharf Tele"

PowerShot V1, 25.6mm, 1/400 s, f/5.6, ISO 125

"Seaport Condos"

PowerShot V1, 15.3mm, 1/400 s, f/5.6, ISO 100

"Boston Cruise"

PowerShot V1, 25.6mm, 1/400 s, f/5.6, ISO 100

"Spring Forsythia"

PowerShot V1, 25.6mm, 1/400 s, f/4.5, ISO 100

One last one near home, I was curious about the sunstars from the 9-bladed aperture. I was surprised that the narrowest aperture available is f/11 (throughout the zoom range), though of course diffraction is going to be an issue at that point.

"Sunstar"

PowerShot V1, 25.6mm, 1/400 s, f/11, ISO 1600

Overall, I'm impressed with the camera and looking forward to using it more frequently.