The Future of Hybrid Photography: How Canon’s RF 24-105mm f/2.8 L IS USM Z Is Redefining Zoom Lenses—and What’s Next
Canon’s RF 24-105mm f/2.8 L IS USM Z isn’t just a lens—it’s a blueprint for the next generation of hybrid photography, blending professional-grade performance with unmatched versatility. With a constant f/2.8 aperture across its entire 24-105mm range, it delivers the sharpness of a prime lens in a single zoom, a feat previously unmatched in the industry. According to DPReview’s hands-on testing, this lens achieves “one of the highest levels of image quality ever seen in a zoom,” rivaling even fixed focal lengths. But what does this mean for the future of hybrid cameras, video production, and professional workflows?
—
### Why This Lens Is a Game-Changer for Hybrid Shooters
The RF 24-105mm f/2.8 L IS USM Z isn’t just an incremental upgrade—it’s a paradigm shift for photographers and videographers who demand everything from a single lens. Traditional “walkaround” zooms like the Canon RF 24-105mm f/4 (launched in 2018) sacrifice luminosity for portability, often requiring photographers to carry multiple lenses for different scenarios. This new model, however, offers a full stop more light (f/2.8 vs. f/4) while maintaining the same focal range—meaning better low-light performance, shallower depth of field, and improved video capabilities.
Key stats that prove its dominance:
- Image quality: DPReview’s tests show exceptional sharpness at f/2.8 across all focal lengths, with minimal softness in the corners—unlike competitors like the Sigma 24-70mm f/2.8 DG DN Art, which requires stopping down to f/4 for optimal results.
- Video autofocus: Canon’s dual Nano USM motors enable parafocal zooming (focus remains locked while adjusting focal length), a critical feature for cinematic shoots. Canon’s official specs confirm this is the first RF lens to achieve this without third-party adaptors.
- Stabilization: 5.5 stops of optical IS (8 stops with IBIS), allowing handheld shots at 1/8s or slower at 105mm—a first for a zoom in this class.
Did you know? The lens’s 11-blade diaphragm creates a softer, more cinematic bokeh than competitors like the Sony FE 24-105mm f/4 G, which uses an 11-blade design but lacks the same level of light-gathering ability. This makes it a favorite for portraitists and documentary filmmakers.
—
### How This Lens Is Forcing Manufacturers to Rethink Zoom Design
Canon’s move to constant f/2.8 across a full-frame zoom is pushing competitors to innovate. Sony, Nikon, and Sigma are now racing to match this performance, but with key differences:
| Lens | Max Aperture | Weight | Price (USD) | Key Advantage |
|---|---|---|---|---|
| Canon RF 24-105mm f/2.8 L IS USM Z | f/2.8 (constant) | 1430g | $3,449 | Best all-around sharpness, parafocal zoom |
| Sony FE 24-105mm f/4 G OSS | f/4 (constant) | 680g | $1,798 | Lighter, more portable |
| Nikon Z 24-120mm f/4 S | f/4 (constant) | 860g | $1,996 | Longer reach, better for wildlife |
| Sigma 24-70mm f/2.8 DG DN Art | f/2.8 (constant) | 950g | $1,199 | Cheaper, but shorter zoom range |
Why it matters: Before this lens, no major manufacturer offered a full-frame zoom with f/2.8 across its entire range. The closest alternative, the Sigma 24-70mm f/2.8 Art, stops at 70mm—leaving videographers and photographers needing longer focal lengths without the same luminosity. Canon’s breakthrough suggests we’ll see more high-end, constant-aperture zooms in the coming years, particularly from Sony and Nikon, who have been lagging in this segment.
Pro Tip: If you’re considering this lens for video, pair it with Canon’s PZ-E2 zoom motor adapter ($1,599) to enable motorized zoom control—a game-changer for run-and-gun filmmakers.
—
### The Video Revolution: How This Lens Is Changing Cinematography
Videographers have long relied on prime lenses for low-light and shallow depth-of-field shots, but the RF 24-105mm f/2.8 L IS USM Z is bridging the gap between photo and video workflows. According to Cinema5D’s tests, its parafocal zoom and silent autofocus make it ideal for:
- Documentary filmmaking: The 24mm end captures wide environmental shots, while 105mm isolates subjects—all without refocusing.
- Interviews and corporate videos: The f/2.8 aperture allows for shallow depth of field (e.g., blurring backgrounds in office settings) without needing expensive primes.
- Hybrid shoots: Switch seamlessly between photography and video without changing lenses.
Real-world example: In a recent interview with IndieCinema, cinematographer James Wong (who shot the Netflix series *The Society*) called the RF 24-105mm f/2.8 “the closest thing to a single lens for everything I’ve used in years.” His team used it for both wide establishing shots (24mm) and tight portraits (105mm) in low-light conditions, avoiding the need for multiple lenses.
What happens next? Expect more manufacturers to introduce video-optimized zooms with:
- Built-in motorized zoom rings (like Canon’s PZ-E2).
- Longer zoom ranges (e.g., 24-200mm) with constant apertures.
- Better integration with IBIS for smoother handheld video.
—
### The Weight vs. Performance Trade-Off: Is It Worth the Cost?
The RF 24-105mm f/2.8 L IS USM Z weighs 1.43kg (3.15 lbs)—nearly double the weight of the f/4 version—and retails for $3,449. For context:
- The Canon RF 24-105mm f/4 L IS USM (2018) weighs 700g and costs $1,500.
- The Sony FE 24-105mm f/4 G OSS weighs 680g and costs $1,798.
- A fixed 85mm f/1.2 prime (like the Canon RF 85mm f/1.2 L USM) weighs 1,350g and costs $3,800.
Who should buy it?
- Professional photographers who need a single lens for events, portraits, and travel.
- Videographers shooting hybrid projects (e.g., documentaries, corporate videos).
- Low-light specialists who prioritize image quality over portability.
Who should skip it?
- Travel photographers who prioritize weight savings.
- Budget-conscious buyers—the Sigma 24-70mm f/2.8 Art offers similar sharpness for $1,200 less.
- Wildlife photographers who need longer telephoto reach.
Expert Take: According to PhotographyBlog’s review, the lens’s weight is justified by its performance—but only if you already own a full-frame Canon RF body. For those on a budget, the RF 24-105mm f/4 remains a far more portable alternative.
—
### What’s Next for Hybrid Lenses? Predictions from Industry Experts
The RF 24-105mm f/2.8 L IS USM Z is just the beginning. Here’s what industry insiders predict for the next 2–3 years:
“We’re entering the era of the ‘all-in-one’ zoom—lenses that replace entire kits.”
Key trends to watch:
- Constant f/2.8 zooms will become standard. Sony and Nikon are expected to release competing models by 2025, likely with longer zoom ranges (e.g., 24-120mm or 24-200mm).
- AI-powered autofocus will improve. Canon’s current Nano USM motors are already silent and fast, but future lenses may integrate machine learning for predictive tracking (like the EOS R5 Mark II’s Deep Learning AF).
- More video-specific features. Expect built-in motorized zoom/focus rings (like Canon’s PZ-E2) to become standard on high-end lenses.
- Lighter, more compact designs. While the RF 24-105mm f/2.8 is heavy, future models may use advanced materials (e.g., carbon fiber) to reduce weight without sacrificing build quality.
Reader Question: *”Will we ever see a 24-200mm f/2.8 zoom?”*
Answer: It’s highly unlikely in the near future. The engineering challenges (e.g., optical aberrations, weight, and cost) are immense. However, Zeiss and Nikon are experimenting with variable-aperture zooms (e.g., f/2.8 at 24mm, f/4 at 200mm)—a compromise that could emerge by 2026.
—
### FAQ: Your Burning Questions About the Canon RF 24-105mm f/2.8 L IS USM Z
Is this lens worth it for beginners?
No. Its $3,449 price tag and 1.43kg weight make it better suited for professionals. Beginners should start with the RF 24-105mm f/4 L IS USM ($1,500) or a kit zoom.
Can I use this lens for astrophotography?
Not ideally. While it’s sharp, its plastic front element isn’t weather-sealed for extreme conditions, and its fixed 82mm filter size limits wide-angle star shots. For astro, consider a dedicated prime like the Canon RF 15-35mm f/2.8 L IS USM.
How does it compare to the RF 24-70mm f/2.8 L IS USM?
The 24-105mm extends to 105mm (better for portraits) and has superior stabilization (5.5 vs. 4 stops). The 24-70mm is lighter (950g vs. 1430g) and cheaper ($2,699). Choose the 24-105mm if you need longer reach; the 24-70mm if you prioritize portability.
Is the autofocus silent enough for video?
Yes. Canon’s dual Nano USM motors are nearly inaudible in tests, making it ideal for run-and-gun shoots. However, for absolute silence, manual focus may still be preferred in windy conditions.
Will this lens work well with APS-C cameras?
Yes, but with a crop factor penalty. On an APS-C body (e.g., Canon EOS R7), the effective focal range becomes 38.4-168mm. The f/2.8 aperture still works well, but the 105mm end becomes a 168mm telephoto, which may be overkill for some APS-C users.
—
### Final Verdict: Should You Upgrade?
The Canon RF 24-105mm f/2.8 L IS USM Z is the most versatile zoom lens on the market today, but it’s not for everyone. If you:
- Need one lens for everything (photo + video).
- Shoot in low light and want shallow depth of field.
- Already own a full-frame Canon RF body and can handle its weight and cost.
…then it’s a no-brainer upgrade. For everyone else, the RF 24-105mm f/4 L IS USM or a fixed prime may be a better fit.
What’s your take? Will this lens change the way you shoot? Share your thoughts in the comments—or subscribe for more deep dives into hybrid photography tech.
Further Reading:
- The Ultimate Guide to Hybrid Cameras in 2024
- Best Video Lenses for Canon RF in 2024
- DPReview’s Full RF 24-105mm f/2.8 Test
Worth a look