The RF 24-70 f/2.8L is the new workhorse for Canon’s new full frame mirrorless system. For many photographers, the 24-70 2.8L is a boring but essential tool, especially for wedding photographers, photojournalists, and event photographers. With Canon’s release of the new RF 24-70 2.8L, there was hope that it would introduce marked improvements over its predecessor, the EF 24-70 f/2.8L II. With the introduction of image stabilization and increased image quality, I can confidently say that the RF 24-70 f/2.8 L is the best lens of its kind.

Canon RF 24-70mm f/2.8 L Specs

  • Focal Length: 24-70
  • Maximum Aperture: f/2.8
  • Maximum Magnification: 0.3x (at 33mm)
  • Filter Size: 82mm
  • Lens Elements/Groups: 21 Elements / 15 Groups, Aspherical lenses, 3 UD lenses
  • Diaphragm Blades: 9 circular blades
  • Dimensions: 3.48 x 4.95″ (88.50 x 125.7 mm)
  • Weight: 1.98 lbs. / 900g

Design

The new Canon RF lenses are all beautifully designed and the RF 24-70 is no exception. It’s not a small lens, but it’s not gigantic either (see my review of the RF 28-70). Measuring 3.48 x 4.95″ and weighing 1.98 lbs., it’s nearly half the weight of the groundbreaking Canon RF 28-70 f/2.8. While it’s not a small lens by any means, it’s manageable and doesn’t weigh me down during a full day of shooting a wedding. And as with all of the new RF L glass so far, it’s weather sealed, so you won’t have to cancel your session if it drizzles.

Image Qualit

The overall image quality of the RF 24-70 is off the charts. It’s extremely sharp at f/2.8 in the center and plenty sharp toward the edges of the glass. While I wouldn’t say this lens exudes extreme levels of character in its images in the same way that the RF 28-70 does, it doesn’t disappoint either. Simply stated, this lens is solid. It just gets the job done.

While you’ll notice some vignetting in the corners, especially at 24mm, it’s nothing that can’t be easily corrected. Further, distortion at the wider end of this lens is minimal. It’s there, but it doesn’t really cause any problems. It’s not really an issue at 35mm or higher. As for chromatic aberration, it’s just nonexistent. In fact, I don’t think I’ve noticed any chromatic aberration or significant color fringing on any of the RF L lenses so far. That’s a big deal in my book, because while most editing software makes it easy enough to fix in post, it takes time. And as for colors, they’re exactly what you’ve come to expect from Canon, sublime.