A Canon RF 70-135mm f/2L USM gets a mention [CR1]

filmmakerken

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I own the 28-70 f/2 and love the images it produces. Yes, it's heavy. I can't use its for video without a tripod and it's too heavy for a gimbal. But for still photos... it is like having a series of primes. I would expect the same from the RF 70-135/2L. Most prime lens packages (at least in film production) have a 70mm, 75mm or 85mm and then jump to a 105mm or 135mm. Having all those options in a single, quality lens is appealing....especially when the R5 comes out. Keep in mind that Canon doesn't offer Cinema Primes in the RF mount nor are they currently licensing the RF mount to other lens manufacturers like Zeiss and Cooke.
 
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usern4cr

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Well, the 85mm has a permanent home, but you are right. I have no need for the R5 and I am done with the 70-200 focal length. I'd be more interested in an R Mark II with IBIS.

My 28-70 is all about shallow DOF and bokeh for me. I almost always use flash. Low light, yes, when shooting the grandson indoors. That's about it. I see vignetting as a benefit. Focus shift (breathing?) doesn't bother me.
Very nice picture! Since you are into big beautiful bokeh and portraits and have the 85 f1.2, have you ever tried the DS version of it? I'm just curious. I know the DS bokeh has a unique smooth edge falloff but has a smaller wide open average blur diameter(about half), which quickly becomes the same as the non-DS version when stopped down. If you have suggestions regarding the two it'd be interesting to hear for those that might buy one of them in the future.
 
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justaCanonuser

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I could think of many ways to use this.
I use my ol' EF 500mm F/4.5 as a club, if I get with that gear in trouble somewhere out in the wilderness. A large mass in your hand can sometimes be a decisive advantage, if you get attacked...
 
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Ozarker

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Very nice picture! Since you are into big beautiful bokeh and portraits and have the 85 f1.2, have you ever tried the DS version of it? I'm just curious. I know the DS bokeh has a unique smooth edge falloff but has a smaller wide open average blur diameter(about half), which quickly becomes the same as the non-DS version when stopped down. If you have suggestions regarding the two it'd be interesting to hear for those that might buy one of them in the future.
I've not tried the DS and am not interested in it. I thought I might regret getting the non-DS once the DS came out, but no. The effect, from what I understand, disappears as one stops down. I prefer the hard edge on bokeh light balls on the rare occasion they are in the background.
 
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jolyonralph

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Form what I gathered the white was originally so they stood out against the Nikon lenses when Nikon was king. And speaking of Nikon super tele lenses are taken to the same extremes without white paint. I am sure there is something to keeping the lenses cooler in direct sunlight, but I think it is marketing thing like that distinctive red ring.

I did speak once to an ex war photojournalist who said that white lenses were far preferred because they were less likely to be mistaken for some kind of weapon. But again, I don't think that's primary reason.
 
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SteveC

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I did speak once to an ex war photojournalist who said that white lenses were far preferred because they were less likely to be mistaken for some kind of weapon. But again, I don't think that's primary reason.

OK, so weapons manufacturers will now start painting them white so they'll be mistaken for fancy camera lenses. Check.
 
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joestopper

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Feb 4, 2020
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The EF 200mm f/2.8 is black.

So, white still starts at 200 and not below (or for zooms: longest focal length at least 200). Does not exclude 200 f/2.8 being black.


White vs black is not a style decision by Canon, it's a technical decision based on reducing heating of lenses used in strong daylight.

There are many myths why big lenses are white. And, BTW, many aren't white. Look at Sigma, for example. Certainly Canon uses those myths to keep the glory of their early big white lenses even though it is technically not necessary. The RF 70-200 is such a case.

So, it will be white if it needs to be for heat dissipation reasons, and black if not. Generally this means more complex lenses with a longer reach, but there's nothing stopping Canon putting an ultrawide lens in a white shell if they feel it's the best way to reduce heat buildup.

A lens is not dissipating any heat. If it were about dissipating, it would need a heat sink and not white color.
It is about light reflection where white color helps.
 
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joestopper

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I own the 28-70 f/2 and love the images it produces. Yes, it's heavy. I can't use its for video without a tripod and it's too heavy for a gimbal. But for still photos... it is like having a series of primes. I would expect the same from the RF 70-135/2L. Most prime lens packages (at least in film production) have a 70mm, 75mm or 85mm and then jump to a 105mm or 135mm. Having all those options in a single, quality lens is appealing....especially when the R5 comes out. Keep in mind that Canon doesn't offer Cinema Primes in the RF mount nor are they currently licensing the RF mount to other lens manufacturers like Zeiss and Cooke.

"But for still photos... it is like having a series of primes."

It does not have the quality of a prime: The color rendering, for example, of the RF 50 1.2 is far better than RF 28-70
 
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SecureGSM

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"But for still photos... it is like having a series of primes."

It does not have the quality of a prime: The color rendering, for example, of the RF 50 1.2 is far better than RF 28-70
Spot on. 28-70/2 distortion level @28mm is: barrel, around 3.6%. Good to Soft mid frame and corners wide open. Much better at F2.8.
 
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Del Paso

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Form what I gathered the white was originally so they stood out against the Nikon lenses when Nikon was king. And speaking of Nikon super tele lenses are taken to the same extremes without white paint. I am sure there is something to keeping the lenses cooler in direct sunlight, but I think it is marketing thing like that distinctive red ring.
NO!
It happened when Canon started using fluorite lenses, which are far more sensitive to heat.
Additionally, when exposed to sunshine in hot environments, you'd need gloves to handhold a heavy black lens.
That's why I never understood Nikon, and jumped aboard the Canon ship.
Even the bayonet- hammer-crippled Soni tele-lenses are white, and certainly not to make them look like Canons.
PS: the front lens of my Leica Apo Telyt 180mm cracked in Death Valley, the lens was so hot I could no longer focus it...
PPS: In winter time, in snowy countries, canons (the real ones), are often camouflaged using white paint, so you'd better not put a "big white" on display...
 
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SecureGSM

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I am interested too in seeing the examples. Or even a link. Thank you.
I do believe the prime will be better but want to see the real-life examples, difference. :)

please read in its entirety.. there are images that demonstrate some points joestopper have made.
Personally I have a limited experience with the RF 85/1.2 and 28-70/2. just about 30 min each. however, my opinion is that 85/1.2 is an amazing tool.
at F2.0 sharpness, CA levels, distortions, bokeh quality, focus to out of focus transitions, contrast, colours and overall rendition is s.u.p.e.r.b full stop.. just out of this world. amazing lens.

I am going to own this tools when opportunity presented itself.
on the other hand, 28-70/2 while is a unique lens.. I was not convinced enough there.. anyway...
all of the above is only my personal point of view.
 
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