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The Big Hog of Glass
The RF85mm lens is a compact, heavyweight model. It measures 4.6 by 4.1 inches (HD), supports 82mm front filters, and weighs a hefty 2.6 pounds—a full pound more than the Canon R5 mirrorless camera. Canon includes a rather large, circular hood—it locks on with a bayonet twist, and can be mounted in reverse for storage and transport.
You also get a soft carrying case, and the expected front and rear lens caps. It's the same accoutrement that comes with the physically (at least on the outside) identical RF 85mm F1.2 L USM, a $2,699 edition that doesn't include the Defocus Smoothing (DS) filter.
The RF85mm is distinguished by the DS filter. This is Canon's internal apodization (Opens in a new browser) element. It works to smooth background blur even more than usual, so defocused highlights show smooth gradients—a subtle, but pleasing differentiator.
It comes at a cost—light transmission. Wide open there's a little bit less than two stops of light lost compared with the RF 50mm F1.2 at the same aperture; at f/1.4 the deficit is cut to one stop, and it's just a third of a stop at f/2. The two lenses meter scenes identically at f/2.8 and smaller.
Imaging in dim lighting is a problem. Be careful if you intend to take a lot more shots with f/1.4 and f/1.2 apertures, as well as keeping the ISO low. But for photographers who work outdoors under the sun, the filter can be seen as a boon—you'll have less need to attach a neutral density filter.
Autofocus is quick and quiet, and manual focus is available if you want it—just change the position of the AF/MF toggle switch. The angle of view changes a bit along with focus, a downer for videographers. Outside of dedicated cinema lenses, it's nigh impossible to find a fast 85mm that doesn't show some focus breathing.
The lens also includes an AF/MF switch and a rubberized manual focusing ring. It also has a textured control ring that can be clicked to detent clicks. A focus limiter switch is included. You can have Canon techs change the focus ring for click-free operation—desirable for video—for an $80 fee.
It's built tough, with a high-quality composite barrel, internal weather sealing, and fluorine coating on the front and rear elements. It's especially important on the rear glass, as it's a large surface that's exposed during lens changes, and the fluorine makes it easy to wipe fingerprint smudges away with no ill effect.
The focus limiter ensures the lens will lock only on distant subjects, from about 5 feet away (1.6 meters) through infinity—using it prevents the focus from hunting across its range. The RF 85mm can lock on to a distance of 2.8 feet (85cm) when it is in its Full position. This allows for a 1:18.3 reproduction.
The lens doesn't include optical stabilization, but the latest Canon cameras include in-body image stabilization (IBIS).
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Outstanding Resolution
I tested the resolution of the RF85mm and the EOS R5/R6 out in the field with both the 45MP R5/Imatest software. The results were simply amazing. The pair produces close to 4,300 lines in a center-weighted assessment at f/1.2. However, weighting does not matter; the edges are just as sharp as their center.
It maintains this level of clarity, considered excellent for the R5's sensor. It climbs to an outstanding 4,600 lines at f/2, and tops 5,000 lines at f/2.8 through f/5.6. No doubt, this is as good a lens, from a resolution perspective, as you can put on the R5.
Although there is a small drop in clarity at F/8, the results still exceed expectations (4,800 line). The softening in fine detail at F/11 (4,100 line) and the minimum aperture of f/16 (3,400 line) are more apparent.
There's no distortion of which to speak, and refractive elements suppress any evidence of false color or chromatic aberration. You do see a vignette when working in Raw format—in-camera corrections remove it from JPGs. If you edit Raw shots in Adobe Lightroom, a built-in profile removes the vignette.
Nearly Perfect
Canon RF85mm F1.2L USM DS optic has few, if any, flaws. The optic is sharp right from the center, even at wide aperture, and produces images that have a pleasingly low depth of field. Sharp photos will be taken at higher f-stops to achieve perfectly focused backgrounds.
It comes at a cost, of course. There's the obvious, the $3,000 price, but you also have to think about handholding the heavy lens, and schlepping it from location to location along with the rest of your gear. You'll also have to weigh the benefits of the DS filter versus the standard RF 85mm F1.2, available for $300 less.
We are not dissuaded by the high price tag and heavy optical block, but we will recommend this lens to Canon R photographers. Its focal length makes it a perfect fit for portraits and other blurred-background photos, and there's absolutely no question about its optical quality—it's off the charts.
That said, not everyone wants or needs this much lens. Canon is shipping a $600 85mm, the RF 85mm F2 Macro IS STM, later this year. It doesn't have the jaw-dropping F1.2 aperture, but we're eager to see how it compares.
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