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Canon Shows Off RF 10-20mm Full-Frame Zoom

The RF 10-20mm F4 L IS STM is incredibly small and light when you take its immersive wide angle and autofocus capability into account

 & Jim Fisher Principal Writer, Cameras

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Canon's newest zoom lens addresses one of the long-running problems with wide-angle photography: lens size. Zooms that cover an extreme angle are often oversized. The RF 10-20mm F4 L IS STM bucks that trend—at around 4.4 by 3.3 inches (HD) and 1.3 pounds it's half the weight of the EF 11-24mm F4 L USM for SLRs, with optics that see 25% percent more of a scene.


The Mirrorless Size Advantage, Realized

Like the other major players in the photo industry, Canon's camera business is now centered around mirrorless cameras, not SLRs. Models in its EOS R line place the image sensor right behind the lens mount, a technical detail that makes it easier for engineers to make optical formulas that see a broad view. We've already seen other camera makers use this to their advantage, the Sony FE 12-24mm F2.8 GM is the obvious example.

Canon opted for a wider angle of view and F4 optics over making an extremely wide F2.8. At 10mm, a lens covers about a 50% broader view than at 12mm, something you can use to your advantage to get landscapes with an epic view or unique perspectives on interiors. The RF 10-20mm draws scenes with a rectilinear project too, so it's something you can use for real estate or architecture. This isn't a fish-eye like the old EF 8-15mm zoom for SLRs.

Image stabilization is included in-lens, even though Canon puts in-body stabilization in most of its full-frame cameras. It's not something we usually think of as necessary for a wide lens, it's easier to get away with a lengthy shutter speed boosted by IBIS. Canon tells us it puts IS in this lens to improve corner performance in these situations, as IBIS alone may smear during a long exposure. A rear filter hold is included so you can add a gel neutral density; this is necessary, as the bulbous front element and built-in hood preclude threaded filters.

The 10mm angle captures an immersive view; EOS R5, 10mm, f/4, 1/13-second, ISO 1600

Canon uses a stepping motor (STM) for focus, an uncommon choice for an L series lens. STM focus is quiet and supports smoother transitions than linear drive motors. We don't see the 10-20mm as a lens for action photography, however, and based on experience with other lenses expect its motor to be just fine for photo and video work. It's something we'll look at when we review the lens.


L Series Fit and Finish

The RF 10-20mm is part of Canon's L series, its designation for pro-line lenses. As such, it includes a good array of on-barrel controls along with some weather protection. Canon bills it as being dust and water resistant, and the front glass has anti-smudge fluorine so you won't have to sweat the inevitable fingerprints too much.

The L designation goes beyond the exterior. Inside, the lens has a complex 16-element/12-group optical formula. It includes several exotic elements, including one super ultra dispersion (UD), three UD, and three aspheric.

The lens is set for November availability at a $2,299 retail price.

About Our Expert

Jim Fisher

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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