When Canon unveiled the RF 35mm f/1.4 L VCM lens in June, the company referred to its fast new prime lens as the first in a series of new hybrid primes. That series has grown by two today with the launch of the RF 24mm f/1.4 L VCM and RF 50mm f/1.4 L VCM.
Like the RF 35mm and its 50mm counterpart, the RF 24mm f/1.4 L VCM is designed for hybrid content creators, who are as likely to capture a high-quality still image as they are to create a professional video. Alongside the new RF 70-200mm f/2.8 L IS USM Z lens also announced today, Canon is all-in on professional hybrid lenses for its RF-mount cameras, including full-frame SLR-like models such as the flagship R1 and new R5 Mark II, and cinema cameras like the recently released C80, a full-frame 6K cinema camera designed for pro videographers.
The RF 24mm f/1.4 L VCM is Canon’s widest f/1.4 RF lens and the company’s widest-angle L series prime lens for mirrorless cameras. Canon has wider L lenses, like the RF 15-35mm f/2.8 L IS USM, but nothing else near as fast as f/1.4. Even for those willing to venture outside the L family, there is little else by way of wide-angle prime lenses, save for the RF 24mm f/1.8 STM Macro, which is quite different from the new RF 24mm f/1.4 in terms of optical design, engineering, and target audience.
Canon says its new 24mm prime lens is well-suited for professional photographers and videographers, including those shooting journalism, portraiture, landscapes, and creating dynamic videos that benefit from a wide-angle focal length. Although Canon doesn’t specifically discuss astrophotography — or the RF 24mm f/1.4 L VCM’s control over comatic aberrations — the fast aperture should appeal to astrophotographers who don’t mind a slightly longer focal length than the traditional ultra-wide fare.
Like the RF 35mm f/1.4 L VCM, the new RF 24mm f/1.4 L VCM utilizes a combination of Canon’s Nano USM (ultrasonic motor) and VCM (Voice Coil Motor) autofocus technology, promising swift and quiet focusing performance. On a Canon EOS R5 and R6 series camera, the lens supports autofocus across approximately the entire image area, including with face and tracking priority. The lens focuses as close as 0.24 meters (9.4 inches), resulting in a max magnification of 0.17x.
As for its optical design, the lens has 15 elements across 11 groups, including two UD lenses and an aspherical lens. The prime also includes Canon’s ASC (Air Sphere Coating), Super SSC (Super Spectra Coating), and SWC (Subwavelength Coating). To help protect the lens from water and oil, the front element has a fluorine coating. Speaking of water, the lens has a weather-resistant design, like other L lenses.
While photographers do not care that much if their various lenses are the same size, videographers do, as it makes it easier to create a consistent rig and have a smooth workflow. To that end, the RF 24mm f/1.4 L VCM is the same size as the new RF 50mm f/1.4 L VCM and existing RF 35mm f/1.4 L VCM while being almost the same weight. The RF 24mm f/1.4 L VCM is 99.3 millimeters (3.9 inches) long and weighs 515 grams (1.1 pounds). The RF 35mm f/1.4 weighs 555 grams (1.2 pounds), and the RF 50mm f/1.4 is the heaviest of the bunch, tipping the scales at 580 grams (1.3 pounds). These lenses, all of which have a diameter of 76.5 millimeters (three inches), weigh close enough to each other that a gimbal shouldn’t require tinkering when switching lenses.
All three lenses also feature a customizable iris ring for controlling aperture during shooting, which works for stills and video recording on compatible cameras, including the Canon EOS R1 and R5 Mark II. Older cameras only support the aperture control ring for video.
Pricing and Availability
The Canon RF 24mm f/1.4 L VCM is expected to arrive to retailers in December and will sell for a suggested retail price of $1,499, the same price as the RF 35mm f/1.4 VCM and $100 more than the RF 50mm f/1.4 VCM.
Image credits: Canon
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