Like many photographers and filmmakers, the Canon RF 24-70mm f/2.8L IS USM is my most-used lens. Before switching to RF, I used the Sigma 24-70mm Art because, unlike Canon’s EF 24-70mm, it had stabilization. With the RF system, Canon finally brought stabilization to most of its zoom lineup, and on my Canon R5C this lens works especially well with Digital IS. Used carefully, it gives me stable handheld footage without the infamous Canon IBIS wobble.

Image quality is exactly what you would expect from a modern RF L-series lens: sharp corner to corner at f/2.8, well-controlled chromatic aberration, and very little purple fringing. But what I appreciate most is that it still feels like a Canon lens. It is technically excellent without becoming too clinical.

The Good:

• 24-70mm range covers most documentary, client, travel, and studio situations.

• Constant f/2.8 keeps exposure and depth of field consistent.

• Image stabilization is valuable for handheld stills and video.

• Nano USM autofocus is fast, smooth, and quiet.

• Native RF design avoids adapter bulk and gives the best modern Canon integration.

The Bad:

• Expensive and relatively heavy.

• Like most RF lenses, it loses the physical focus scale window found on many EF lenses, which makes night photography and manual distance work more frustrating.

• Get it if you need one professional RF zoom for most hybrid jobs. It is an excellent compromise compared to the much heavier and more expensive RF 28-70mm f/2.

• Get it if you want a long-term professional standard zoom. Canon has not updated it since its release because there is not much to improve beyond size and weight.

• Get it if stabilization and native RF autofocus matter to your workflow.

• Pass if you prefer smaller prime-based kits.

• Pass if budget or weight matters more; in that case, look at the also excellent non-L RF 24-70mm options.