CP+ 2026: Tamron’s Keiya Nishimura on the 35-100mm f/2.8, iOS Lens Utility, Chinese Competition, Canon RF Full-Frame, and 10 New Lenses for 2026


Tamron’s Keiya Nishimura (Product Development) was interviewed by Phototrend at CP+ 2026. You can find a translated summary of the entire interview below or check out the French interview here.

1. The New 35-100mm f/2.8 Di III VXD: Design & Philosophy

  • Achieving Compactness at f/2.8: The 35-100mm f/2.8 weighs just 565g with a constant f/2.8 aperture. Tamron achieved this through extensive simulations and over ten design iterations, optimising glass selection and group distribution — particularly through the use of GM (glass-moulded) aspherical elements.
  • A Different Purpose Than the 35-150mm: Although both lenses share a portrait-zoom concept, they serve different use cases. The 35-150mm f/2-2.8 prioritises maximum versatility and image quality, while the new 35-100mm is designed around mobility and everyday usability for travel and reportage.
  • Ideal Pairing with the 20-40mm f/2.8: Tamron positions the 35-100mm as the perfect companion to the compact 20-40mm f/2.8 Di III VXD, creating a lightweight and high-performance two-lens kit.
  • A Possible 35-150mm G2? If Tamron decides to develop a second-generation 35-150mm, it would certainly be more compact — but it could never be as small as the 35-100mm due to technical constraints.

2. Tamron Lens Utility (TLU) & Tamron Link: iOS at Last

  • iOS Support Finally Here: By solving the long-standing iOS compatibility challenge with the new Tamron Link wireless system, Tamron can now bring the Lens Utility to a much wider audience and continue expanding its feature set.
  • Video-Centric Pro Features in v5.0: The latest update introduces advanced video tools including IRIS markers, Ring Stopper, and Focus Time Lapse. While aimed at advanced users, the update also includes beginner-friendly functions.
  • Modest Adoption, But Big Ambitions: Current user numbers remain modest, but Tamron sees enormous potential in the video market. The Tamron Link system offers unique value that no other lens manufacturer currently provides.
  • Future Vision: Tamron plans to continuously enrich the TLU so that it becomes a decisive factor in the lens purchase decision — going beyond just optics and mechanics.
  • Compatibility Note: All Tamron lenses with a USB-C port are compatible with Tamron Link, except the 28-75mm f/2.8 G2 (Z-mount) and the 35-150mm f/2-2.8 (E-mount). Firmware updates for these two lenses are expected in Spring 2026.

3. Chinese Competition: Viltrox, 7Artisans, TTArtisan

  • Zoom Focus as a Strategic Choice: Tamron’s current priority is compact zooms, where they believe they excel. They have not abandoned the prime lens market, but recognise it is already saturated and must carefully allocate R&D resources.
  • Impressed by Chinese Competitors: Nishimura acknowledged that emerging Chinese manufacturers like Viltrox are genuinely impressive — not just for their aggressive pricing, but for their performance and rapid development cycles.
  • Expecting Zooms from Chinese Brands: While Chinese competitors currently focus on prime lenses, Tamron expects them to expand into zooms. Tamron plans to leverage decades of accumulated expertise to respond with products that inspire enthusiasm.

4. Canon RF Full-Frame: Status Unknown

  • APS-C Only for Now: Tamron has launched two Canon RF-mount lenses, but both are APS-C only (the 11-20mm f/2.8 and the 18-300mm f/3.5-6.3).
  • Full-Frame RF Under Consideration: Nishimura could not disclose specific plans for full-frame RF lenses but acknowledged strong demand and confirmed Tamron is studying the feasibility of new projects.

5. Product Roadmap: 10 Launches Planned for Fiscal 2026

  • Aggressive Launch Calendar: Tamron plans 10 product launches for fiscal year 2026 — nearly double the six launched in 2025.
  • Filling Gaps in the Lineup: The roadmap is aimed at addressing segments where Tamron is currently absent. Full-frame remains the core focus, but APS-C remains a priority as it continues to be a dynamic market.
  • No Public Roadmaps — By Design: Unlike some competitors, Tamron deliberately avoids publishing lens roadmaps because their products are designed to be unique and surprising at launch. Nishimura pointed out that Tamron has historically been a pioneer — citing the original compact 28-200mm all-in-one zoom in 1992 — and that competitors typically follow Tamron’s innovations.

6. Optical Technology & Computational Corrections

  • Next-Gen R&D on All Fronts: Tamron’s R&D teams are working on breakthrough technologies across optics, mechanics, and electronics, including innovations that will speed up the development process itself.
  • TLU as a Technology Platform: Future innovations will extend beyond glass and mechanics, with additional capabilities channelled through the Tamron Lens Utility software.
  • Balanced Approach to Digital Corrections: Tamron integrates digital corrections (distortion, vignetting, chromatic aberration) throughout the design process. This helps keep lenses compact and lightweight. However, certain optical aberrations — axial chromatic aberration and coma — cannot be fully corrected digitally and must be addressed through optical design.
  • Bodies Getting Smarter Helps Lenses Get Smaller: As camera body processing power improves, more aberrations can be handled digitally, allowing Tamron to remove optical elements and produce even more compact lens designs.
  • 28-70mm f/2 Patent: A recent patent revealed a compact 28-70mm f/2 zoom. Nishimura declined to comment on whether it is in active development, but stated that Tamron continuously evolves its roadmap based on market feedback.

7. Third-Party Limitations & Body Compatibility

  • Burst Rate Restrictions: Some features, such as the 120fps burst mode on Sony E-mount bodies, remain unavailable with Tamron lenses. Nishimura stated only that Tamron makes the most of the capabilities that camera manufacturers make available to them.

8. Sales Performance by Mount

  • Sony E-Mount Leads: Sony E-mount products remain Tamron’s best sellers and primary revenue driver.
  • Nikon Z Growing Fast: Nikon Z-mount is growing rapidly and Tamron must keep pace with that momentum.
  • Best-Seller on Z-Mount: The 28-75mm f/2.8 Di III VXD G2 is Tamron’s top seller in Nikon Z-mount, with telephoto lenses also performing well in certain markets.
  • Competitive Landscape Matters Most: More than user demographics, Nishimura believes it is the presence and availability of competing lenses on each mount that most influences Tamron’s sales performance.
  • Fujifilm and Canon Not Neglected: Although Sony E and Nikon Z take priority, Tamron confirmed it cannot afford to ignore Fujifilm X-mount and Canon RF.

9. Market Outlook: Maturity and Opportunity

  • Mirrorless Lens Market Maturing: Tamron recognises that the interchangeable lens market for mirrorless is reaching maturity, with volumes up only 3% in 2025 and value roughly flat.
  • Growth Through Innovation: Tamron believes significant growth opportunities remain for manufacturers who can address emerging needs — hybrid photo/video use cases, the demand for lighter gear, and new forms of creative expression.
  • User-Centric Development: Tamron emphasises that it is constantly listening to users rather than simply producing standard focal lengths, which is why it develops unique optics and features.

10. The CP+ Booth: “Back to the Future” and 75 Years of Tamron

  • Annual Booth Design Contest: Tamron runs a competition each year to select the best partner agency for its CP+ booth design. This year’s agency had direct contacts with Universal Studios, resulting in the “Back to the Future” theme — following last year’s Godzilla collaboration.
  • The Meaning Behind the Theme: 2026 marks Tamron’s 75th anniversary. The “Back to the Future” concept reflects the company’s slogan — “Focus on the Future” — looking back on 75 years of history while keeping its eyes firmly on what lies ahead.

Tamron lenses can be purchased from B&H Photo and Amazon.

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PT: Canon CP+ 2026 Interview – EOS R6 III Sensor Choices, RF Mount Opening, AI Strategy, Retro Camera, And More

Phototrend published their annual CP+ 2026 interview with Canon executives Go Tokura, Executive Vice President and Head of Imaging Division, Manabu Kato, Head of IBO Division in charge of products, Kazumasa Yoshikawa, Director of IBO Division in charge of development, Tetsushi Hibi, Director of IBO Division dedicated to optics, and Yoichi Sato, Senior General Manager in charge of product development. You can read the full interview in French here or find a translated summary of the key points below.

1. Canon EOS R6 Mark III – Sensor and Processor Choices

  • The EOS R6 Mark III uses an FSI (front-side illuminated) sensor rather than the BSI sensors found in the EOS R5 Mark II and EOS R1
  • The DIGIC Accelerator was also omitted from the R6 Mark III
  • Canon says both decisions were made to strike the best balance between performance and cost
  • The camera still features Dual Pixel CMOS AF and delivers high image quality with good high-speed performance
  • Canon believes this represents the right overall balance for an R6-series camera

2. Canon RF 14mm f/1.4 L VCM – Optical Innovation

  • The RF mount’s large diameter and short flange distance gave Canon more flexibility in the optical design, including at the edges of the image circle
  • The lens uses Canon’s proprietary BR (Blue Spectrum Refractive Optics) element, three aspherical elements, fluorine, and high-end SWC/ASC coatings
  • Canon credits advances in manufacturing technology for enabling mass production of such a high-quality lens

3. Canon RF 7-14mm f/2.8-3.5 L Fisheye STM

  • Canon says the lens was not designed for any one specific use case in photo or video
  • It was intended for creators who want to express their creativity or try something different
  • The lens achieves a 190° field of view, a world first, making it well-suited for VR applications
  • Two copies of the lens can be combined for full 360° panoramic coverage

4. Canon RF 45mm f/1.2 STM – Compact and Affordable

  • Canon achieved the large aperture in a compact form factor by reducing the number of optical elements, which also reduced overall lens diameter
  • The use of molded plastic aspherical elements and a geared STM motor helped keep the design compact, light, and affordable
  • Canon hints that more affordable, fast-aperture lenses like this will follow

5. RF Lens Roadmap – 6 to 8 New Lenses Per Year

  • 2026 marks the eighth anniversary of the RF mount
  • Canon has maintained a pace of six to eight new lenses per year and has now surpassed 60 RF lenses in total
  • Canon intends to maintain this pace moving forward
  • The RF system offers more freedom and flexibility in optical design than the EF system, so Canon theoretically expects an even greater variety of lenses going forward

6. Opening the RF Mount to Third-Party Manufacturers

  • Canon says collaboration with third-party lens makers will intensify in the future, though some restrictions tied to Canon’s business strategy may apply
  • Canon claims not to be involved in the individual lens development of third-party manufacturers and says they have no idea what third-party lenses may appear in the future
  • When asked why third-party manufacturers are only making APS-C (RF-S) lenses and not full-frame RF lenses, Canon says they do not differentiate between full-frame and APS-C in terms of mount access and do not comment publicly on the subject
  • Canon says their lens lineup has grown to nearly 70 lenses over seven years, and feedback from users will be factored into future strategy
  • Canon will not comment on the content of their contracts with third parties
  • When asked if Canon is trying to replace third-party makers with lenses like the RF 45mm f/1.2 STM, Canon says they do not position themselves to comment on or control third-party product decisions, and what Canon develops internally will continue to be handled in-house

7. Canon’s AI Strategy

  • Canon’s AI philosophy is to use AI to reproduce reality, never to generate visual content
  • Canon wants to apply AI in four key areas: noise reduction, colour correction, aberration and distortion correction, and upscaling
  • The three goals of AI use at Canon are: reproducing what is seen with more detail, improving subject recognition to better reflect the photographer’s intent, and helping capture exactly what the photographer wants
  • Canon says in-camera automated photo culling and direct transmission of selected images (e.g. to a news agency) will come in the future
  • The same technology could be extended to consumer cameras with auto-selected images ready for social media sharing
  • Canon plans to expand these AI features across a wider range of Canon products

8. PowerShot G7 X Mark III Limited Edition

  • The limited edition G7 X Mark III was released to celebrate the 30th anniversary of the PowerShot line
  • Canon says it was not intended as a market test for reviving the compact expert camera range

9. Canon AE-1 50th Anniversary / Retro Camera

  • 2026 marks the 50th anniversary of the iconic Canon AE-1
  • Canon says they currently have no plans to celebrate this milestone in any special way
  • Canon acknowledges that honouring tradition is important but says they must also adapt to the times and continue to evolve

10. The Future of Photography – 2D to 3D

  • Canon believes the next major shift in photography will be the move from 2D to 3D
  • Canon says true reality involves more than just an image — sound, temperature, wind, smell — and envisions a future device capable of recording all of these elements
  • AI and deep learning will accelerate technological development, though Canon cannot say how much will be integrated within the next 24 months
  • Canon sees potential for AI in camera operation and user interfaces, for example voice commands, but not for image generation

11. Analog Concept Camera

  • The Analog Concept Camera shown at CP+ 2026 originated from a Canon designer who proposed the idea internally
  • It was described as a spontaneous, grassroots initiative within Canon

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Canon EOS R1: B&H Photo / Amazon / Adorama
Canon EOS R5 Mark II: B&H Photo / Amazon / Adorama
Canon EOS R6 Mark III: B&H Photo / Amazon / Adorama

Canon RF 14mm f/1.4L: B&H Photo / Amazon / Adorama
Canon 7-14mm f/2.8-3.5 FisheyeB&H Photo / Amazon / Adorama
Canon 45mm f/1.2 STM: B&H Photo / Adorama / Adorama

Posted in Canon Compacts, Canon EOS R5, Canon EOS R5 Mark II, Canon EOS R6, Canon EOS R6 Mark II, Canon EOS R6 Mark III, Interview | Tagged , , | Leave a comment

BREAKING: Canon Announces the EOS R1S — The World’s First Full-Frame Global Shutter Mirrorless Camera (Shutter Sound Sold Separately)

BREAKING: Canon Announces the EOS R1S — The World’s First Full-Frame Global Shutter Mirrorless Camera (Shutter Sound Sold Separately)

April 1, 2026 — Tokyo, Japan — Canon Inc. has officially announced the EOS R1S, the world’s first full-frame mirrorless camera with a global shutter sensor. The camera represents a genuine leap in imaging technology — eliminating rolling shutter distortion entirely, enabling flash sync at any shutter speed, and delivering completely silent operation with zero mechanical shutter components.

There is, however, one catch.

Because the EOS R1S has no mechanical shutter — none at all, not even as an option — it makes absolutely no sound when you take a photograph. And Canon, in its infinite wisdom, has decided that if you want a shutter sound, you’ll need to subscribe to Canon ShutterFX™, a new monthly audio subscription service priced at $4.01/month.

No, seriously.


The Camera: Canon EOS R1S

Let’s start with the good news, because there is genuinely a lot of it.

The EOS R1S is built around a newly developed 50.2-megapixel full-frame stacked global shutter CMOS sensor — a technology that the industry has been chasing for years. Unlike a conventional rolling shutter, which reads the sensor line by line from top to bottom (introducing distortion when subjects move quickly), a global shutter reads every pixel simultaneously. The entire frame is captured in a single instant.

The implications are enormous.

What a global shutter means in practice

Zero rolling shutter distortion. Fast-moving subjects — spinning propellers, golf swings, a tennis racquet at impact — are rendered with perfect geometric accuracy. No jello. No skew. No wobble. Every frame is clean.

Flash sync at any speed. Because the entire sensor is exposed at once, there is no “maximum flash sync speed.” You can sync a strobe at 1/64000s if you want to. High-speed sync becomes meaningless because every sync is full-frame sync. Wedding photographers, portrait shooters, and studio pros: this changes everything.

True electronic global shutter. There is no mechanical shutter in the R1S. None. Canon has removed it entirely. This means zero shutter shock, zero vibration, unlimited shutter actuations, and a body that is slightly thinner and lighter than the EOS R1 — 1,015g vs 1,115g.

Completely silent. The camera makes no sound whatsoever when firing. Not a whisper, not a click, not even the faint electronic “snick” that some mirrorless cameras produce. It is, for the first time in camera history, truly and completely silent.

Which brings us to the problem.


The Problem: Photographers Actually Want Shutter Sound

In extensive user testing conducted over the past two years, Canon discovered something its engineers hadn’t fully anticipated: photographers want to hear a shutter sound. Not because they need to — but because the audible feedback is deeply embedded in the psychology of shooting.

“We tested the R1S prototype with over 400 professional photographers across twelve countries,” said Yoshiyuki Mizoguchi, Group Executive of Canon’s Image Communication Business Operations. “The feedback was overwhelming and, frankly, surprising. Ninety-two percent of testers reported that shooting in complete silence felt ‘wrong,’ ‘unsettling,’ or ‘disconnected.’ Sports photographers said they couldn’t confirm timing without the sound. Wedding photographers reported that clients didn’t believe they were actually taking photos. Street photographers said subjects didn’t react naturally because there was no audible cue that a photo had been taken.”

Canon’s solution? Rather than adding a single generic electronic shutter sound — as most mirrorless cameras currently offer — Canon decided to build an entire ecosystem around shutter audio.


Introducing Canon ShutterFX™

Canon ShutterFX™ is a subscription-based shutter sound service available exclusively for the EOS R1S. For $4.01 per month (billed annually at $48.12, or $5.99 month-to-month), R1S owners gain access to a growing library of high-fidelity shutter sounds that play through the camera’s built-in speaker each time the shutter button is pressed.

The service launches with 14 shutter sounds across four categories:

Heritage Collection

Premium recordings of iconic Canon shutter mechanisms, captured using studio-grade microphones in Canon’s acoustic testing chamber in Utsunomiya, Japan.

  • Classic EOS-1D — The unmistakable rapid-fire mechanical clatter of the original EOS-1D. Recorded from a mint-condition 2001 body at 8 fps. For the photographer who wants everyone in the room to know they mean business.
  • EOS-1D X Mark III — The refined, authoritative “chunk” of Canon’s last great DSLR. A sound that says “I am being paid to be here.”
  • EOS 5D Mark II — The sound that launched a thousand wedding photography businesses. Warm, slightly hollow, with the distinctive mirror-slap resonance that a generation of photographers associates with the words “full frame.” Pairs well with a 50mm f/1.2.
  • EOS A2E / EOS 5 (Film) — For the film nostalgist. The satisfying whirr-click-whirr of a late-era EOS film body with motor drive. Includes the film advance motor sound between frames.
  • Canon F-1 — The holy grail. A meticulously recorded mechanical shutter from the original 1971 Canon F-1 — the camera that established Canon’s professional reputation. A clean, precise, cloth focal-plane snap that sounds like what a camera is supposed to sound like. Limited to Heritage Collection subscribers.

Studio & Events Collection

Purpose-built synthetic sounds designed for professional working environments.

  • Wedding Safe Soft Click — A gentle, unobtrusive “click” specifically engineered to be audible to the photographer (through the viewfinder speaker) without being picked up by ambient wedding microphones or videographers’ recording equipment. Canon says this sound was developed in consultation with 50 working wedding photographers and tested across dozens of ceremony venues to ensure it falls below the audible threshold at distances greater than 1.5 metres. The frequency profile has been tuned to sit below typical vocal range, making it virtually invisible in wedding video audio tracks.
  • Studio Confirmation — A clean, professional single beep that confirms capture without the mechanical pretence. For photographers who want feedback but don’t need the theatrics.
  • Soft Leaf — An organic, almost ASMR-quality sound described by Canon as “a leaf landing on a still pond.” Designed for newborn, maternity, and boudoir photography where any mechanical sound feels intrusive. We wish we were making this up.

Action Collection

High-energy shutter sounds for sports, wildlife, and photojournalism.

  • Stadium Burst — A rapid, aggressive mechanical burst sound designed to be heard over crowd noise. At 40 fps, it sounds like a very expensive sewing machine. In the best possible way.
  • Sideline Pro — A punchy single-shot sound that projects authority without drowning out the play-by-play. Includes a subtle low-frequency “thump” component that you feel as much as hear.
  • Stealth Wildlife — A dampened, muffled click that mimics the sound of a camera wrapped in a sound blimp. For when you need audio confirmation but don’t want to spook a bird.

Creative Collection

Because apparently some photographers want this.

  • Film Rewind — Every 36 frames, the camera plays a film rewind sound. This has no functional purpose whatsoever. Canon describes it as an “immersive analogue experience.” We describe it as unhinged.
  • Polaroid Eject — A mechanical whirring sound that imitates a Polaroid SX-70 ejecting a print. We have no idea who asked for this.
  • Typewriter Return — A crisp typewriter keystroke on single shot; a carriage return bell every 10 frames. Canon says this was the most popular sound in internal testing among “content creators and visual journalists.” Make of that what you will.

How It Works

The R1S features a newly developed front-facing speaker integrated into the camera’s top plate, positioned near the viewfinder hump. The speaker uses a balanced armature driver — the same technology found in high-end in-ear monitors — to deliver “authentic acoustic reproduction” in a compact form factor.

ShutterFX sounds are stored locally on the camera after downloading via the Canon Camera Connect app (Wi-Fi or Bluetooth). Sounds can be assigned to different shooting modes — for example, “Wedding Safe Soft Click” for silent mode and “Classic EOS-1D” for continuous high-speed burst. Volume is adjustable from 0 (truly silent) to 10 (“asserting dominance at a press conference”).

Canon says the speaker adds approximately 8g to the body weight and draws negligible power — less than 0.1% of battery life per 1,000 shutter actuations.

Free tier vs subscription

The R1S ships with one shutter sound included at no additional cost: a generic electronic “click” that Canon describes as “functional but characterless.” It is, by all accounts, the sound equivalent of a stock photo.

To access any of the 14 premium sounds — or any future sounds added to the library — a ShutterFX subscription is required. Canon has confirmed that new sounds will be added quarterly, with plans for “collaboration packs” featuring sounds from partner brands and cultural institutions.

When pressed on whether a $6,499 professional camera should include shutter sounds without an additional subscription, Mizoguchi responded: “The EOS R1S delivers the most advanced imaging technology in Canon’s history. ShutterFX is an optional personalisation layer that allows photographers to customise their shooting experience. The camera is fully functional without it.”

He paused, then added: “The free click is fine.”

It is not fine.


Full Specifications: Canon EOS R1S

Feature Specification
Sensor 50.2MP full-frame stacked global shutter CMOS
Processor DIGIC Accelerator (next-gen)
ISO range 50–819200
Mechanical shutter None
Electronic shutter Global shutter, all speeds
Max shutter speed 1/64000s
Flash sync All speeds (full-frame global sync)
Continuous shooting 40 fps (RAW), 120 fps (compressed)
Autofocus Dual Pixel CMOS AF III, 100% coverage
AF points 12,288
Subject detection Humans, animals, vehicles, aircraft, trains
Video 8K/60p RAW, 4K/240p (10-bit 4:2:2)
Rolling shutter Eliminated (global shutter)
Built-in speaker Balanced armature, ShutterFX compatible
EVF 9.44M-dot OLED, 240fps
Rear display 3.2″ tilt/swivel touchscreen
Body construction Magnesium alloy, full weather sealing
Weight 1,015g (body only)
Battery LP-E19, approx. 900 shots per charge
Card slots CFexpress Type B (dual)
Connectivity Wi-Fi 6E, Bluetooth 5.3, USB-C (USB4)
Shutter sound ShutterFX™ subscription ($4.01/mo)

Pricing and Availability

Product Price (USD) Availability
Canon EOS R1S (body only) $6,499 August 2026
Canon ShutterFX™ (monthly) $5.99/mo At launch
Canon ShutterFX™ (annual) $4.01/mo ($48.12/yr) At launch
ShutterFX Heritage Pack (one-time) $29.99 At launch
ShutterFX Complete Collection (one-time) $79.99 At launch

Note: One-time purchase options include all sounds available at time of purchase. Future quarterly sound additions require an active subscription or separate one-time purchase.

Pre-orders open May 1, 2026 at B&H Photo, Amazon, and authorised Canon dealers.

Posted in Canon EOS R, Canon EOS R1 | Tagged | 7 Comments

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World Backup Day 2026


B&H Photo announced its World Backup Day specials.

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Canon Patent Reveals Four Compact RF-S Primes (10mm, 12mm, 18mm, 28mm f/2.8)


We have all said it. We have all asked for it. We have watched the RF mount explode with incredible full-frame L-series glass, and even a few affordable FF options. Meanwhile, the EOS R7 and R10 shooters among us have been patiently waiting for the APS-C ecosystem to get the same level of attention.

Well, if the latest patent activity is any indication, our patience is about to pay off. BIG TIME.

Just today, March 25, 2026, a brand-new patent application from Canon (P2026052804) was published in Japan, and it is a fascinating treasure trove of wide-angle potential. This isn’t just one lens concept; it is an entire foundational lineup of compact primes optimized for the RF-S system.

The application outlines optical formulas for a consistent family of lenses: 10mm, 12mm, 18mm, and 28mm—all sharing a fast f/2.8 constant aperture.

The Big Picture: Why This Matters for RF-S

For too long, the primary critique of the EOS R APS-C system has been a reliance on slow kit zooms and a complete lack of native, fast wide-angle primes. This patent suggests Canon is moving to aggressively address that gap.

What makes this patent unique is the cohesive philosophy behind it. These aren’t just random formulas. They appear to be part of a new “Hybrid Prime” initiative focused on extreme compactness and unparalleled AF speed for video.

The filing explicitly identifies the engineering goal: reducing the weight of the focusing group. This is the hallmark of modern mirrorless lens design, pointing directly toward the use of lightweight actuators like Nano USM (Ultrasonic Motor) or potentially the new VCM (Voice Coil Motor) linear motors Canon has been using in high-end glass.


The Lens Lineup: Let’s Talk Specs

Here is the technical breakdown of the most promising embodiments found in the patent (calculations assume a 1.6x crop factor):

The Vlogger’s Dream: RF-S 10mm f/2.8 (Embodiment 4)

  • Focal Length (FF Equiv.): 10.02mm (16mm)
  • Total Lens Length: 65.00mm
  • The Hook: This would be an instantaneous best-seller. At 16mm equivalent, it fills the critical gap for an ultra-wide prime that is faster and likely sharper than the wide end of the existing RF-S 10-18mm zoom. For vloggers looking for a native solution on an R7 or R10, this is the Holy Grail.

The Landscape Primer: RF-S 12mm f/2.8 (Embodiment 1)

  • Focal Length (FF Equiv.): 12.38mm (19.8mm)
  • Total Lens Length: 63.50mm
  • The Hook: A classic architectural and landscape focal length. While the 10mm might get all the hype, a slightly longer 12mm prime allows for a design that likely prioritizes even better optical correction (lower native distortion) than the wider model. This would be a perfect companion for hikers.

The Street Sweeper: RF-S 18mm f/2.8 (Embodiment 8)

  • Focal Length (FF Equiv.): 18.13mm (29mm)
  • Total Lens Length: 70.71mm
  • The Hook: This one gives us massive EF-M 22mm f/2 vibes. While it is f/2.8 and slightly longer, the philosophy is identical: a super-compact, unobtrusive, “walkaround” lens. This is the classic 28mm-equivalent “Street Photography” sweet spot. If Canon builds this, it might become the R-system’s quintessential “pancake-adjacent” lens.

The New Standard: RF-S 28mm f/2.8 (Embodiment 3)

  • Focal Length (FF Equiv.): 28.17mm (45mm)
  • Total Lens Length: 67.03mm
  • The Hook: A perfect “nifty fifty” equivalent for crop sensor shooters. Wait, you say, Doesn’t Canon already have an RF 28mm f/2.8 pancake that fits the R7? Yes. But the optical formula in this patent is different. The IH (Image Height) listed is specific to APS-C (12.6mm), suggesting this formula is optimized for the shorter back-focus of a native crop design, potentially delivering superior specialized AF performance for video or even smaller physical elements.

Bonus Entry: RF-S 14.6mm f/2.8 (Embodiment 7)

  • Focal Length (FF Equiv.): 23.4mm
  • The Hook: Tucked away in the patent is a 15mm-equivalent, serving as a compromise prime for those who find the 10mm too extreme and the 18mm not wide enough.

Final Take: Are They Real?

This isn’t just a patent for a single, pie-in-the-sky lens. The consistent f/2.8 aperture, the shared engineering goals regarding weight and focusing mechanics, and the strategic focal lengths (10, 12, 18, 28) strongly suggest a cohesive roadmap.

Canon is directly answering the primary consumer demand for the RF-S system. With the recent opening of the RF mount to third parties (Sigma and Viltrox), Canon has to flesh out its own ecosystem to compete. A suite of fast, lightweight f/2.8 primes for the R7/R10 users is exactly how they do it.

While a patent is not a guarantee, we would be very surprised if at least the 10mm f/2.8 (the blockbuster for video) and the 18mm f/2.8 (the essential street lens) do not move toward production in the next 12–18 months.

We will be tracking this patent very closely!

Which of these primes are you most excited for? Is f/2.8 fast enough for your walkaround wide-angle needs, or are you still holding out for an f/2 pancake like the old days? Let us know in the comments!

via j-platpat

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