A Brilliant Lens… That Not Everyone Needs

Canon doesn’t add letters to lens names casually, and the Canon RF 24–105mm f2.8 L IS USM Z is a perfect example of that.  At first glance, it looks like an evolution of a familiar zoom range, but that “Z” designation tells a much bigger story.  This isn’t just another L-series lens. It represents Canon leaning into a hybrid future, where the line between still photography and video continues to blur.

The “Z” stands for power zoom compatibility, and more broadly, it signals Canon’s intent to bridge the gap between traditional RF lenses and their cinema ecosystem.  With an optional power zoom adapter, this lens can deliver smooth, controlled zoom transitions that feel much closer to a cinema lens than anything we’ve traditionally seen in this category.  That changes how you think about the lens entirely.  This isn’t just about image quality anymore—it’s about workflow, control, and flexibility, especially when the production clock is ticking.

The electronic contacts on the lens supports either of two optional Canon Power Zoom Adapters, enabling smooth, high- precision zoom control during movie shooting.

At its core, the lens is trying to be everything.  It attempts to replace a 24–70mm f2.8, cover part of a 70–200mm f2.8, and in some cases even serve as a primary video lens.  It’s an ambitious idea, and in many ways Canon has succeeded in making it work.  But whether that matters depends entirely on how you shoot.

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 50mm @f2.8

From a pure image quality perspective, the lens is excellent.  It delivers exactly what you would expect from modern Canon L glass: sharp images, strong contrast, and consistent performance across the entire focal length range. But if you’re coming from the Canon RF 24–70mm f2.8 L IS USM, there isn’t a meaningful leap forward here.  You’re not gaining noticeably better sharpness or a different rendering style. The images look great, but they don’t look different.  This is not an upgrade in image quality.  It’s a shift in capability.  But is that additional capability worth the cost?

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 61mm @f5.0

That brings us to the extended range from 70mm to 105mm, which is one of the primary selling points of this lens over the classic RF 24-70 f2.8. On paper, it sounds like a significant advantage. In practice, it’s useful, but not transformative.  It doesn’t replicate the compression or subject separation you get from the Canon RF 70–200mm f2.8 L IS USM, and if you already own that lens, this extra reach isn’t going to replace it. The additional 35mm gives you flexibility, but it doesn’t fundamentally change how you shoot.

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 105mm @f2.8

To achieve this level of versatility, Canon made some clear trade-offs. The lens is large, it’s heavy, and it’s expensive.  For a photographer who prioritizes stills, that combination forces a simple question:  what am I gaining that I don’t already have?  If the answer is just a bit more focal range, this lens is difficult to justify due to the added size, weight, and cost.

• Length: 7.8 in (199 mm)

• Weight: 2.9 lb (46.9 oz / 1330 g)

• US Retail Price: $3,299 USD

There’s also a very practical alternative sitting right next to it in Canon’s lineup.  The Canon RF 24–105mm f4 L IS USM remains one of the best walk-around lenses available.  It’s smaller, lighter, significantly less expensive, and still optically excellent.  If your goal is a versatile travel or everyday lens, the f/4 version arguably makes more sense.

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 39mm @f2.8

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 40mm @f2.8

Where this lens begins to make a compelling argument is when you look at it through the lens of its “Z” designation.  For video-first creators, everything changes.  The constant f2.8 aperture allows for consistent exposure throughout the zoom range, and when paired with the power zoom adapter, it enables smooth, controlled zoom movements that are difficult to replicate manually. This transforms the lens from a convenience into a tool. You can move from wide to medium to tight framing without interrupting your workflow, without changing lenses, and without compromising your shot.

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 90mm @f2.8

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 40mm @f2.8

There are also specific professional use cases where this lens fits very well. Wedding and event photographers for example, who work in smaller venues may find real value here.  In tight spaces where a 70–200mm can feel intrusive or impractical, the 24–105mm range at f2.8 offers flexibility and speed without constant lens changes.  For the right photographer, in the right environment, that matters.

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 42mm @f2.8

The challenge with this lens is not that it fails. It’s that it has a very specific identity that may not align with how many photographers actually work.  It doesn’t replace the legendary Canon RF 24–70mm f2.8 L IS USM.  Nor does It replace the RF 70–200mm f2.8 L IS.  And it doesn’t improve image quality enough to justify its trade-offs for a photo-first shooter.

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 43mm @f4.5

But for hybrid creators, it makes a much stronger case.  This is a lens designed for people who move seamlessly between stills and video, who value efficiency as much as image quality, and who are willing to accept some compromises in exchange for flexibility.

Canon R5 Mark II/Canon RF 24-105 f2.8 Z, 68mm @f2.8

The Canon RF 24–105mm f2.8 L IS USM Z is an impressive piece of engineering. It’s forward-looking, thoughtfully designed, and clearly built with modern creators in mind. But it also raises a simple question that ultimately defines its value:  are you a photographer… or are you a content creator?  If you’re photo-only, or even photo-first, this lens may not be for you as it isn’t for me.  But if your work leans heavily into video, or you truly operate in a hybrid workflow, this lens starts to make a lot more sense.

In the end, it’s not about what the lens can do.  It’s about what you actually need it to do.

Here’s my video review on the ThruMyLens YouTube Channel: