Canon RF 70-200mm f/2.8L IS USM Z
Essentially Instantaneous Autofocus (2024~today)
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
R1 R3 R5 II R5 R5C R6 III R6 II R6 R R8 RP R7 R10 R50 R50V R100
Bodies Compared RF Lenses EF Lenses Flash
Canon RF 70-200mm f/2.8L IS USM Z (82mm filters, 42.6 oz./1,208g with tripod foot as shown, 39.1 oz./1,109g without foot, 2.2'~1.6'/0.68m~0.49m close focus, 0.30× macro ratio, $2,999 in black and $2,999 in white). bigger.
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally approved sources I've used myself for way over 100 combined years when you get anything, regardless of the country in which you live. Canon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, non-USA, store demo or used lens — and all of my personally approved sources allow for 100% cash-back returns for at least 30 days if you don't love your new lens. I've used many of these sources since the 1970s because I can try it in my own hands and return it if I don't love it, and because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I've used myself for decades for the best prices, service, return policies and selection.
January 2025 Better Pictures Canon Reviews Mirrorless RF Lenses EF Lenses Flash All Reviews
RF 70-200mm f/2.8L IS USM (2019-today)
Sample Images top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
More samples throughout this review at Bokeh, Falloff, Macro, Sharpness, Spherochromatism and Sunstars.
These are just snapshots; my real work is in my Gallery.
These are all shot hand-held as 
AI-Controlled Porsche 917 Rounding Turn 10 at Watkin's Glen, 11:13 AM, Saturday, 04 January 2025. EOS R5 II, 320EX flash, RF 70-200mm f/2.8L IS USM Z at 178mm at f/5 at 1/250 at Auto ISO 100 (LV 12.6), Radiant Photo software. bigger.
Sunset, Solana Beach, California, 4:43 PM, Monday, 06 January 2025. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 70mm at f/10 at 1/800 at Auto ISO 100 (LV 16¼), Radiant Photo software. bigger.
Exploding Waves, Sunset, Solana Beach, California, 4:49 PM, Monday, 06 January 2025. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 200mm at f/8 at 1/1,000 at Auto ISO 100 (LV 16.0), Radiant Photo software. bigger.
Lifeguard Laundry, Chalcedony Street Beach, Pacific Beach, California, 3:39 PM, Tuesday, 10 December 2024. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 200mm at f/5.6 at 1/800 at Auto ISO 100 (LV 14.6), Radiant Photo software. bigger.
Canon RF 70-200mm f/2.8L IS USM Z on an EOS R1. bigger.
Introduction top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
I buy only from these approved sources. I can't vouch for ads below. |
I love this lens! Of course it's ultrasharp, but what I wasn't expecting is how it zooms smoothly and immediately with but the gentle glide of a single fingertip, and autofocuses instantly between near and far. This internally-zoomed lens isn't much more expensive than the older non-Z RF 70-200mm f/2.8L IS USM, which can be shorter but is a pumper zoom that changes size. They weigh about the same. Bravo!
This new lens works brilliantly with either the RF 2× Extender or RF 1.4× Extender teleconverters, but only one at a time. The older non-Z RF 70-200mm f/2.8L IS USM doesn't work with any converters.
This is a "hybrid" lens, with additional gear teeth on its aperture and zoom rings for use with video rigs. I love this lens much more than the cheezier and five-years-older RF 70-200mm f/2.8L IS USM (2019-today) because this new lens zooms internally, requiring no more than the gentle stroke of a fingertip to zoom, while the older lens is a "pumper" that pumps in and out as you zoom. It's a dream to shoot with this new lens as obviously we are zooming all the time and the zoom ring glides back and forth easily, while the older lens has to be cranked in and out. The older lens was the only Canon f/2.8 tele I can recall that wasn't an internal zoom. The older lens was shorter for carrying when set to 70mm, while I greatly prefer shooting with this lens.
The "Z" means there's an optional power zoom adapter available.
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
New intro top
Canon's first internally-zoomed 70-200mm for their mirrorless system.
Good intro top
Instantaneous autofocus.
Super smooth internal zooming (no pumping) with a real mechanical zoom ring.
Superb optics:
Ultra Sharp.
No distortion as-shot.
Superb bokeh.
Negligeable focus breathing.
Negligible flare and ghosting when shot into the sun.
Very close focussing.
Programmable focus lock buttons
Two programmable control rings, usually one is manual focus and the other set to aperture or exposure compensation or etc.
Magnificent ergonomics; zooms with just a gentle glide of a fingertip.
AF/MF switch.
Stabilizer switch.
Excellent Image Stabilization gives four stops or more of real-world improvement.
Made domestically in Japan.
100% U.S.A.-based high-quality technical support at (800) OK-CANON.
Bad intro top
Plastic filter threads and plastic exterior.
Tripod collar doesn't come off (but the foot does).
Missing intro top
Aperture ring doesn't work for still shooting with older cameras.
Aperture ring has no clicks.
Specifications top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
See also Canon's Own Specifications.
Name specifications top
Canon calls this the RF70-200mm F2.8 L IS Z:
RF: Works only on Canon's EOS-R Mirrorless cameras.
L: Expensive as L.
IS: Image Stabilization.
Z: Gear teeth in the mechanical zoom ring for power zoom with either the PZ-E2 or PZ-E2B Power Zoom Adapters for cine use.
Optics specifications top
Internal Optical Construction. Regular Optical Glass, Super UD, Aspherical and UD Aspherical elements. IS section. Dashes show Air-Sphere coatings.
18 elements in 15 groups.
2 Super UD extra-low dispersion elements, which help reduce secondary axial chromatic aberration.
2 Aspherical elements and a third UD Aspherical element.
Internal focusing: nothing moves externally as focused.
Internal zoom: nothing moves externally except the zoom ring as zoomed.
Super Spectra multicoating.
Air Sphere variable-refractive index coating (ASC).
Fluorine coating to resist dirt and smudges.
Diaphragm specifications top
Canon RF 70-200mm f/2.8L IS USM Z. bigger.
11 rounded blades.
Electronically actuated.
Stops down to f/22.
Filters specifications top
Plastic 82mm filter thread.
Coverage specifications top
Full-Frame (24 × 36mm).
Also works great on APS-C (16 × 24mm).
Focal Length specifications top
70~200mm.
When used on an APS-C camera, it sees the same angle of view as a 115~325mm lens sees when used on a full-frame or 35mm camera.
See also Crop Factor.
Angle of View (full frame) specifications top
34º ～ 12º diagonal.
29º ～ 10º horizontal.
19½º ～ 7º vertical.
Autofocus specifications top
No external movement as focussed, so no air or dust is sucked in.
Focus Scale specifications top
No.
Not on lens, but may be displayed in-camera.
Infinity Focus Stop specifications top
No.
You have to focus somehow to get precise focus at infinity, just like at every other distance.
Depth of Field Scale specifications top
No.
Not on lens, but may be displayed in-camera.
Infrared Focus Index specifications top
No.
Close Focus (distance from subject to image plane) specifications top
70mm: 1.6 feet (0.49 meters).
200mm: 2.2 feet (0.68 meters).
Maximum Reproduction Ratios specifications top
200mm: 1:3⅓ (0.30 ×).
70mm: 1:5.0 (0.20 ×).
Minimum Subject Fields specifications top
70mm: 180 mm × 120 mm (7.1" × 4.7")
200mm: 120 mm × 80 mm (4.7" × 3.1").
Image Stabilizer specifications top
Rated 5½ stops improvement optical, in the center.
Rated 7½ or 7 stops improvement in the center or corners when used with an internally-stabilized camera.
Caps specifications top
82mm Front Cap E-82II and RF Rear Cap (p/n 2962C001) included.
Hood specifications top
Canon ET-88C (W III) Hood for RF 70-200mm f/2.8L IS USM Z. bigger.
The included ET-88C (W III) Hood has both a locking pawl as well as a peek-a-boo port so we can rotate our polarizer and grad filters.
The black version comes with the ET-88C (B) Black Hood.
Case specifications top
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Canon LZ1328 padded, zippered nylon case, included.
The RF 100-500mm L IS USM comes with the same case.
Tripod Collar specifications top
The tripod collar has both ¼″ × 20" TPI and ⅜″ × 16" TPI metal inserts:
Canon RF 70-200mm f/2.8L IS USM Z. bigger.
The foot slides off, while the collar doesn't come off:
Canon RF 70-200mm f/2.8L IS USM Z. bigger.
Size specifications top
3.48" ø maximum diameter × 7.83" extension from flange.
88.5 mm ø maximum diameter × 199 mm extension from flange.
Weight specifications top
White: 42.615 oz. (1,208.1 g) actual measured weight with tripod foot.
White: 39.115 oz. (1,108.9 g) actual measured weight without tripod foot.
Tripod foot alone: 3.500 oz. (99.2g) actual measured weight.
White rated 39.33 oz. (1,115 g) without tripod foot.
Black rated 39.15 oz. (1,110 g) without tripod foot.
Quality specifications top
Made in Japan.
Announced specifications top
30 October 2024.
Promised for & Shipped specifications top
14 November 2024.
Included specifications top
Lens and Tripod Collar (in black or in white)
ET-88C (W III) White Hood (the black version comes with the ET-88C (B) Black Hood).
RF Rear Cap (p/n 2962C001).
LZ1328 padded, zippered nylon case.
Packaging specifications top
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Box. bigger. |
Box End. bigger. |
Microcorrugated cardboard box, varnished finish.
Polypropylene top and bottom cradles to hold the padded case, inside of which rests the lens.
Model Numbers specifications top
White
Model number: RF70-20028LISZWH.
Product code: 6594C002 (6594C001 in Japan).
JAN code: 4549292-240597.
Black
Model number: RF70-20028LISZBK.
Product code: 6593C002 (6593C001 in Japan).
JAN code: 4549292-240603.
Price, U. S. A. specifications top
January 2025
$2,999 in black and $2,999 in white at B&H, at Adorama in black, at Adorama in white, at Amazon in black and at Crutchfield in black.
495,000 yen in Japan.
I don't see that any have sold used yet.
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Optional Accessories top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
PZ-E2 Power Zoom Adapter, also at Adorama.
PZ-E2B Power Zoom Adapter w/20-pin remote connector, also at Adorama.
LH-E1 Rig Mount, also at Adorama.
Getting a Legal U. S. A. Version top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
This section applies in the U. S. A. only.
Canon USA Warranty Card. bigger.
Your lens must include a printed U. S. A. warranty card like the one shown above from Canon U.S.A., Inc. It should be on top inside your box as you open it. The serial number on the card must match the serial number on the bottom of your lens.
If you have no card or the serial number doesn't match, you got ripped off with a gray market version intended to be sold in another country. This is why I never buy from any place other than my personally approved sources. You just can't take the chance of buying elsewhere, especially at any retail store where strangers have probably opened your completely unsealed box and played with your camera, because non-U. S. A. versions have no warranty in the U. S. A., and you probably won't be able to get firmware or service for it — even if you're willing to pay out-of-pocket for it when you need it!
Shifty dealers may include color copies of a card from a legitimate U. S. A. product in a gray-market box, hoping you won't check serial numbers and catch their fraud. A card with the wrong serial number means nothing other than that you have no warranty coverage.
The serial number on the box doesn't have to match, but it should. It will be hidden someplace on the sticker with all the bar codes. If not, it means a shady dealer took things out of boxes and was too sloppy to put them back correctly — and it means you got a used lens if anyone other than you took it out of the box.
If a gray market version saves you $600 the risk might be worth it, but for $200 or less I wouldn't risk having no warranty or support.
Always be sure to check yours while you can still return it, or just don't buy from unapproved sources and never at retail so you'll be able to have your camera serviced and get free updated firmware as needed. Get yours from the same places I do and you won't have a problem.
Performance top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
Overall Autofocus Manual Focus Breathing
Distance Recording Bokeh Distortion Ergonomics
Falloff Filters Flare & Ghosts Lateral Color Fringes
Lens Corrections Macro Mechanics Sharpness
Spherochromatism Stabilization Sunstars
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
Overall performance top
Of course its optics are flawless, but so are the optics of just about every other EF and RF f/2.8L telephoto zoom made since the 1990s.
The real reason I love this lens is because it feels so good, and when you shoot every day, feeling and ergonomics are everything.
It zooms smoothly and effortlessly, far better than the pumper zooms like the RF 70-200mm f/2.8L IS USM, RF 70-200mm f/4L IS USM, RF 100-400mm IS USM, RF 100-500mm L IS USM or RF 200-800mm IS L USM.
It's Heaven being able to zoom with the gentle glide of a fingertip all day rather than having to pump half the lens in and out for every shot.
Autofocus performance top
Autofocus is essentially instantaneous, as well as silent.
It simply pops between near and far faster than my own eyes can.
Bravo!
Manual Focus performance top
Manual focus is the usual on Canon.
You may need to set some menus in some cameras to get manual-focus override, and no matter what you do, in SERVO AF mode all Canon EOS-R cameras, at least as of January 2025, will continue to autofocus as soon as you stop turning the manual focus ring. Sadly only Nikon has this all figured out today.
Focus Breathing performance top
Focus breathing is the image changing size (growing and shrinking slightly) as focused in and out. It's important to cinematographers that the image not breathe (change size) as focus gets pulled back and forth between different actors as they speak. The image is said to breathe because it expands and contracts as the focus follows the dialog back and forth.
The image from this lens grows only slightly as focused more closely. I doubt anyone will ever see it, unless shooting at f/22 where so much more is in focus.
Focus Distance Recording performance top
The focused distance is recorded in the EXIF data.
I read this in the lower left of my screen in Photoshop's lens correction filter.
Bokeh performance top
Bokeh, the feel, character or quality of out-of-focus areas as opposed to how far out of focus they are, is excellent. It's smooth and neutral, bravo!
Here are photos from headshot distance wide-open. I'm focused on the DAVIS logo:
At 70mm
Made-in-U. S. A. Davis 6357 Vantage Vue Wireless Sensor Suite (use with WeatherLink console), 11:04 AM Thursday, 09 January 2025. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 70mm at f/2.8 at 1/3,200 at Auto ISO 100 (LV 14.6), Radiant Photo software. bigger or camera-original 45 MP © 2.2 MB JPG Quality 1 file.
At 200mm
Made-in-U. S. A. Davis 6357 Vantage Vue Wireless Sensor Suite (use with WeatherLink console), 12:25 PM, Monday, 25 November 2024. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 200mm at f/2.8 at 1/1,600 at Auto ISO 100 (LV 13.6), Radiant Photo software. bigger or camera-original 45 MP © 2.1 MB JPG Quality 1 file.
As always, if you want to throw the background as far out of focus as possible, shoot at 200mm f/2.8 and get as close as possible.
Distortion performance top
The RF 70-200mm f/2.8L IS USM Z has no distortion as shot with distortion correction ON. With distortion correction OFF, there is no distortion at 70mm which becomes slight pincushion at 100mm and moderately strong pincushion from 135mm to 200mm.
If you shoot raw data rather than JPG images, whatever software you use to create visible images from raw data may or may not correct the distortion as can be done in-camera as JPGs. You're on your own there; I don't bother with raw data.
While Canon's own software probably also corrects this from RAW CR3 files, be warned that other brands of raw processing software probably won't correct the distortion.
For more critical scientific use, use these corrections in Photoshop's lens correction filter to JPG images.
These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
On Full-Frame 30' (10m) |
Correction factor to use with images made with correction ON in R5 II |
Correction factor with uncorrected images |
70mm |
+0.20 | ±0.00 |
100mm |
+0.10 | -0.90 |
135mm |
±0.00 | -2.00 |
200mm |
+0.20 | -2.00 |
© 2024 KenRockwell.com. All rights reserved.
Ergonomics performance top
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Canon RF 70-200mm f/2.8L IS USM Z. bigger. |
Canon RF 70-200mm f/2.8L IS USM Z. bigger. |
Ergonomics are great!
Zooming is a dream and the best thing about this lens, along with great optics and instant autofocusing. It zooms almost as easily pointed straight up or down. Bravo!
The aperture ring is for video. It only works on cameras introduced since about 2024 for still images. It lacks click stops, so it freaks me out because there is a slight time delay from turning this electronic ring until the camera updates its display with the new setting, so I never use this ring. I much prefer using the clicked dial on the camera, or assigning the front white control ring, which does have clicks, to set the aperture.
The worst thing about this lens is that while the tripod foot comes off, the tripod collar and its pokey knob do not. I don't know about you, but it seems that knob is always getting in my way hand-holding as I always do.
There may not be an always-responsive instant manual-focus override unless you enable this in a menu. Manual focus override never works in SERVO AF; while the lens will focus manually as you turn the ring, as soon as you stop the AF system takes over again.
Falloff performance top
There's no visible falloff as shot with falloff (Peripheral illumination) correction ON.
I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background; it will not look this bad in actual photos of real things:
Falloff on full-frame at infinity, correction at its default of ON:
© 2024 KenRockwell.com. All rights reserved. |
If you save only raw data rather than create JPG images in-camera, whatever software you use to create visible images from that raw data later may or may not correct this as is done in-camera as JPGs. You're on your own there; I don't bother with raw data.
If you go out of your way to turn off the correction, or possibly shoot raw files in some software, this is what you get:
Falloff on full-frame at infinity, correction at deliberately turned OFF:
© 2024 KenRockwell.com. All rights reserved. |
Even if you go out of your way to turn the correction OFF it's not that bad in actual photos at f/2.8, and goes away by f/4. Bravo!
Filters, use with performance top
There's no need for thin filters. I can stack at least several standard 82mm filters with no vignetting at any setting on full-frame.
Go ahead and use your standard rotating polarizer and grad filters.
Flare & Ghosts performance top
There is little to no problem with flare or ghosts. At worst, even with a filter, there will be just the slightest ghost of a setting sun opposite its place in the frame. This is excellent performance.
See examples at Sunstars.
Lateral Color Fringes performance top
There are no color fringes when shot as JPG with the default Chromatic Aberration Correction in the Digital Lens Optimizer left ON.
If you go out of your way to turn this OFF (or shoot raw and then use non-manufacturer software to process that data into images) then there is very slight green/magenta fringing at 70mm, none at the middle focal lengths and slight magenta/green at 200mm. This is superb performance; 1989's EF 80-200mm f/2.8L was much worse and there is no correction available.
If you shoot raw data rather than JPG images you may — or may not — be responsible to correct this on your own.
There is very slight green/magenta spherochromatism, which can cause color fringes on things that aren't in perfect focus at large apertures. Spherochromatism is a completely different aberration in a different dimension than lateral color fringes.
Lens Corrections performance top
Other cameras may vary as the years roll on, but my EOS R1, R3, R5 II, R5, R5C, R6 II, R6, R, R8, RP, R7, R10, R50 and R100 all have options to correct for falloff (Peripheral Illumination Correction), Distortion and a Digital Lens Optimizer which corrects for a suite of other aberrations.
All of these may be turned ON or OFF.
If you turn off the Digital Lens Optimizer, you are then offered à la carte ON/OFF options for Chromatic Aberration Correction and Diffraction Correction.
If you shoot raw data rather than JPG images, whatever software you use to create visible images from raw data may or may not correct these as is done in-camera as JPGs. You're on your own there; I don't bother with raw data.
Macro Performance performance top
Macro gets very close and's its ultra-sharp. Bravo!
At f/2.8
It's ultra-sharp assuming you're in perfect focus, however like all f/2.8 teles there is zero depth-of-field this close:
Casio G-Shock Solar Atomic Watch at close-focus distance, Monday, 25 November 2024. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 200mm at f/2.8 at 1/4,000 at Auto ISO 100 (LV 15.0), Radiant Photo software. bigger or camera-original 45 MP © 2.7 MB JPG Quality 1 file.
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original 45 MP © 2.7 MB JPG Quality 1 file.
The texture you're seeing is on the watch face.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
At f/8
It's just as sharp, however much more is in focus than at f/2.8. At these macro distances I usually shoot at f/22 to try to get things in focus.
Casio G-Shock Solar Atomic Watch at close-focus distance, Monday, 25 November 2024. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 200mm at f/8 at 1/500 at Auto ISO 100 (LV 15.0), Radiant Photo software. bigger or camera-original 45 MP © 3.1MB JPG Quality 1 file.
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original 45 MP © 3.1 MB JPG Quality 1 file.
The texture you're seeing is on the watch face.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
Mechanical Quality performance top
Canon RF 70-200mm f/2.8L IS USM Z. bigger.
This is a very well made lens, however all of the exterior and the filter threads are plastic. Only the mount and tripod collar are metal, along with some of the internals.
Exterior Finish
Black plastic or white paint.
While Canon's publicity photos show the white version as a neutral white, in actual use it's a warmer, tanner white:
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Hood
Canon ET-88C (W III) Hood for RF 70-200mm f/2.8L IS USM Z. bigger.
All plastic bayonet.
The screws are metal and there is a plastic locking pawl.
Front Bumpers
None, either on the lens or on the hood.
Filter Threads
Plastic. Boo!
Hood Bayonet Mount
Plastic.
Barrel Exterior
Plastic.
Front Clicked Function Ring
Bare, hard plastic.
Focus Ring
Rubber-covered plastic.
Zoom Ring
Rubber-covered plastic, with gear teeth.
Aperture Ring
Bare, hard plastic.
Slide Switches
Plastic.
Tripod Collar & Foot
Metal, with two plastic locking knobs.
The collar doesn't come off the lens, but the foot does come off from the collar.
If you lose the foot, the collar's stub does not have a standard ¼″ × 20 tripod thread.
¼″ × 20 TPI and ⅜″ × 16 TPI threads.
Identity
Printed around the front of the lens barrel, also there's a metal-look debossed plastic plate reading "70-200" on the top rear of the barrel.
Internals
Looks like a good mix of metal and plastic.
Dust Gasket at Mount
Yes.
Mount
Chromed metal.
Markings
Just paint; nothing's engraved.
Serial Number
White version: laser engraved in darker white on white on bottom of barrel close to mount.
Black version: laser engraved in black-on-black on bottom of barrel close to mount.
It's almost invisible in actual use; it's more visible in my studio photo because it's enlarged and lit by lots of light.
Date Code
The serial number contains a date code:
Serial Number; Canon RF 70-200mm f/2.8L IS USM Z. bigger.
My serial number starts with 145, which means it was made in September 2024.
Noises When Shaken
Minor rattling.
Made in
Made in Japan.
Sharpness performance top
809 hp, 530 ft-lb Ferrari Monza SP2 6.5L V12 Engine, 10:02 AM, Saturday, 04 January 2025. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 126mm at f/4.5 at 1/320 at Auto ISO 100 (LV 12¾), Radiant Photo software. bigger or camera-original 45 MP © 3.8 MB JPG Quality 1 file.
Look at the crinkle-coat paint in the small region that's actually in focus.
Pier, Pacific Beach, California, 10:55 AM, Saturday, 30 November 2024. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 159mm at f/5.6 at 1/640 at Auto ISO 100 (LV 14.4), Radiant Photo software. bigger or camera-original 45 MP © 4.7 MB JPG Quality 1 file.
Here's a crop from the above image:
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original 45 MP © 4.7 MB JPG Quality 1 file. The pier is out-of-focus behind the surfer.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
This lens is ultra sharp, limited of course by diffraction at the smallest apertures and atmospheric heat shimmer at the longest zoom settings.
Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.
If you're not getting ultra-sharp pictures with this, be sure not to shoot at f/11 or smaller where all lenses are softer due to diffraction, always shoot at ISO 100 or below because cameras become softer at ISO 200 and above, avoid shooting across long distances over land which can lead to atmospheric heat shimmer, be sure everything is in perfect focus, set your camera's sharpening as you want it (I set mine to the maximum) and be sure nothing is moving, either camera or subject. If you want to ensure a soft image with any lens, shoot at f/16 or smaller at ISO 1,600 or above at default sharpening in daylight of subjects at differing distances in the same image.
People worry waaaaay too much about lens sharpness. It's not 1968 anymore when lenses often weren't that sharp and there could be significant differences among them; ever since about 2010 all new lenses are all pretty much equally fantastic.
This lens is super sharp corner-to corner at every aperture, limited by your vision as an artist and of course by diffraction at the smallest apertures. Avoid f/16 and f/22 unless you really need them for depth of field because diffraction takes its toll. See also How to Calculate the Sharpest Aperture.
Canon MTF wide-open (f/2.8, or f/4 or f/5.6 with converters) at 10 cyc/mm (black) and 30 cyc/mm (blue). Sagittal (solid) and meridional (dashed). bigger.
Spherochromatism performance top
Spherochromatism, also called secondary spherical chromatic aberration or "color bokeh," is an advanced form of spherical and chromatic aberration in a different dimension than lateral chromatic aberration. It happens mostly in fast normal and tele lenses when spherical aberration at the ends of the color spectrum are corrected differently than in the middle of the spectrum. Spherochromatism can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds. Spherochromatism is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.
It has only minor green/magenta spherochromatism:
Mondaine A132.30348.11SBB at close-focus distance, 12:22 PM, Monday, 25 November 2024. EOS R5 II, RF 70-200mm f/2.8L IS USM Z at 200mm at f/2.8 at 1/6,400 at Auto ISO 100 (LV 15.6), Radiant Photo software. bigger or camera-original 45 MP © 2.3 MB JPG Quality 1 file.
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original 45 MP © 2.3 MB JPG Quality 1 file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
Image Stabilization (VR) performance top
Optical Image Stabilization (OIS, IS or VR (Vibration Reduction)) is excellent. I get 4 to 4½ stops of real-world improvement on my stabilized R5 II.
"Percent Perfectly Sharp Shots" are the percentage of hand-held, free-standing with no support or bracing, frames with 100% perfect tripod-equivalent sharpness as viewed at 300%. Hand tremor is a random occurrence, so at marginal speeds some frames will be perfectly sharp while others will be in various stages of blur — all at the same shutter speed.
This rates what percentage of shots are perfectly sharp, not how sharp are all the frames:
At 70mm
| % Perfectly Sharp Shots on Stabilized R5 II | 1s |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
1/250 |
| Stabilization ON | 0 |
20 |
40 |
100 |
100 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
0 |
0 |
0 |
0 |
40 |
100 |
100 |
I see 4 stops of real-world improvement.
At 200mm
| % Perfectly Sharp Shots on Stabilized R5 II | 1s |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
1/250 |
1/500 |
| Stabilization ON | 0 |
10 |
20 |
20 |
40 |
100 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
0 |
0 |
10 |
20 |
10 |
0 |
10 |
100 |
I see 4½ stops of real-world improvement.
Sunstars performance top
With an 11-bladed rounded diaphragm, I get marvelous 22-point sunstars on brilliant points of light, bot only at the smallest apertures.
Ignore the vertical smear at large apertures. This is a sensor artifact called interline transfer smear and is a camera, not a lens, defect.
Likewise ignore the crazy rainbow dots at small apertures; these are sensor artifacts caused by interference among the divisions between pixels on the sensor. These are made visible because we're using enough exposure to show the dark underside of a huge palm tree, and then putting the blinding disk of the mid-day sun in it. Doing this will show everything due to the insane lighting range.
Click any to enlarge:
Click any to enlarge.
Teleconverters performance top
It works brilliantly with either the RF 2× Extender or RF 1.4× Extender teleconverters, but only one at a time.
Compared top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
This internally-zoomed lens isn't much more expensive than the 5-years-older non-Z RF 70-200mm f/2.8L IS USM, which can be shorter but is a pumper zoom that changes size. They weigh about the same.
This new lens works brilliantly with either the RF 2× Extender or RF 1.4× Extender teleconverters, but only one at a time. The older non-Z RF 70-200mm f/2.8L IS USM doesn't work with any converters.
I'd ignore the old lens unless you have it in your bag most of the time and prefer its shorter collapsing pumper zoom (and its removable tripod collar). Otherwise I prefer the silky-smooth and balanced zooming of this newest internally-zoomed Z lens, and of course this new lens works with teleconverters that the old lens doesn't.
| Introduced | 30 October 2024 |
Hot 24 October 2019 |
| Filters | ||
| Zoom Style | Internal |
Pumper |
| Sharpness & Optical Performance | Superb |
Superb |
| Works with RF 2× Extender or RF 1.4× Extender | YES! |
No. |
| Stabilizer Performance | Excellent, about 4 stops real-world improvement |
Excellent, about 4 stops real-world improvement |
| Diaphragm | 11 blades |
9 blades |
| Minimum Aperture | f/22 |
f/32 |
| Aperture Ring | Yes |
No |
| Length at 70mm | 7.83" (199mm) |
5.75" (146mm) |
| Length at 200mm | 7.83" (199mm) |
about 7.83" (199mm) |
| Close focus at 70mm | 1.6 feet (0.49 meters) |
2.3 feet (0.7 meters) |
| Close focus at 200mm | 2.2 feet (0.68 meters) |
2.3 feet (0.7 meters) |
| Macro ratio at 70mm | 0.20× |
|
| Macro ratio 200mm | 0.30× |
0.23× |
| Weight with tripod collar & foot* | 42.615 oz. (1,208.1 g)** |
41.857 oz. (1,186.7 g) |
| Weight without foot or collar* | 39.115 oz. (1,108.9 g)** |
37.475 oz. (1,062.4 g) |
| Colors | White only |
|
| Price, 1/2025 |
* Actual measured weights.
** White version. Canon rates the black version as ⅙ ounce (5g) less.
User's Guide top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
See also Canon's own RF 70-200mm f/2.8L IS USM Z User's Manual.
Manual-Focus Override user's guide top
By default, there is no always-responsive instant manual-focus override as we take for granted in our DSLRs.
While newer cameras will do this by default in ONE SHOT AF, older EOS R cameras need a menu setting changed for manual-focus override, otherwise the focus ring is always ignored in AF:
Find the "Lens electronic AF" or "Electronic full-time MF" option in your AF menu (AF 6 in R5 II, R6 II, R7, R8 and R10, AF 4 in EOS R5 and EOS R6 or CAMERA 8 in EOS RP), and set it to either "One‑Shot‑> enabled," "One‑Shot‑> enabled (magnify)" or ON.
Canon should have it set this way by default, but they didn't in older models. No big deal, and it usually works by default in newer cameras.
In ONE SHOT AF manual focus now takes over and stays wherever you set the focus manually, however in SERVO AF this setting lets the lens focus manually as you turn the ring, but as soon as you stop, the AF system takes over again and keeps tracking focus! Oh well, this is still a defect in all Canon mirrorless cameras. (This works properly in the Nikon Z system, Nikon's ahead here.)
Canon RF 70-200mm f/2.8L IS USM Z. bigger.
Full / 2.5m-∞ user's guide top
This is a focus limiter.
Leave it in FULL.
The 2.5m - ∞ position prevents the lens from autofocusing closer than 2.5 meters (8 feet). Use this setting only if you're having a problem with the lens attempting to focus on irrelevant close items, or if for some reason the lens is "hunting" from near to far while looking for distant subjects.
AF / MF user's guide top
AF: Auto Focus, with instant manual focus override in ONE SHOT if set.
MF: Manual Focus only.
STABILIZER user's guide top
ON / OFF
Leave it ON unless you're on a very sturdy tripod, or if you're making exposures longer than about a second on any kind of tripod.
STABILIZER MODE 1 / 2 / 3
MODE 1 (For still subjects): Corrects camera movement in all directions.
MODE 2 (For panning on smooth motion like trains and airplanes): Corrects camera movement perpendicular to the panning direction.
MODE 3 (For sports & animals): Same as MODE 2, but only compensates during exposure, not as you're viewing. It saves energy and is better for random motion.
Recommendations top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared User's Guide
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
White or black? White tells you, me and the world that you have a Canon L lens, and it stays cooler in dayllight. It also tends to stand out in public, so get black if you'd rather shoot undisturbed.
I use a clear (UV) protective filter instead of a cap (exactly like an iPhone) so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either.
The very best protective filter is the 82mm Hoya multicoated HD3 UV which uses hardened glass and repels dirt and fingerprints. The Nikon NC 82mm is also an excellent choice, but not as resistant to the environment, fingerprints and physical abuse as the HD3 UV.
For much less money, the Hoya multicoated 82mm UV is also optically superb, but the Hoya HD3 is the toughest.
Any of these filters protects as well and gives ultrasharp images, but since filters last a lifetime, you may as well get the best since the Hoya HD3 is tougher and stays cleaner than the others since it repels oil and dirt.
The Nikon 82mm Polarizer is superb.
All these filters are just as sharp and take the same pictures, the difference is how much abuse they'll take and stay clean and stay in one piece. Since filters last a lifetime or more, there's no reason not to buy the best as it will last you for the next 40 years. Filters aren't throwaways like digital cameras which we replace every few years, like it or not. I'm still using filters I bought back in the 1970s!
I got mine at B&H, where it comes in black and in white. I'd also get it at Adorama in black, at Adorama in white, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
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