Canon has announced the 35mm f/1.4L VCM prime lens, which is designed to work equally well for both video production and still photography. Canon says this is the first in a series of new primes aimed at appealing to both types of content creators.
“This lens marks the beginning of a new series of hybrid lenses and, with its fixed focal length, fills a gap where, until now, there was no fixed focal length lens wider than 50mm in the L-series,” says Canon.
It weighs 555 grams and measures 3.0 by 3.9 inches (diameter by length), or 76.5 mm by 99.3 mm. Compared to Canon’s 35mm f/1.8 with RF mount, the new L-series prime is heavier and larger, as is typical of the L-series’ wider aperture and branding; the 35mm f/1.8 Macro IS STM weighs 10.7 ounces (305 grams) and measures 2.93 by 2.57 inches (74.4 mm by 62.8 mm).
The company adds that the 35mm f/1.4L VCM is ideal for low-light shooting and features an external, manual aperture ring (or iris, for cinematographers). Strangely enough, this option is only available in video recording mode; when taking photos, the aperture can only be controlled from the camera.
Additionally, Canon promises that it has very little focus breathing (this refers to a shift in perspective when focus is changed) and that it has the “excellent” L-series optical design. The button on the side of the lens is not just for AF lock, but can also be customized for other functions, which is a nod to the hybrid nature of the design.
The lens is made up of 14 elements arranged in 11 groups, including two ultra-low dispersion glass elements and two aspherical optics. It also features three coatings: Canon’s ASC (Air Sphere Coating), SSC (Super Spectra Coating) and fluorine coating. The front filter size is 67mm and has an aperture range of f/1.4 to f/16 via an 11 aperture slats When combined with an EOS R3, Canon says it has seven stops of motion correction.
The 35mm f/1.4L VCM features a combination of Canon’s Nano USM (ultrasonic motor) and a VCM (Voice Coil Motor) – hence the name of the optic – to drive the autofocus system and, if equipped with an EOS R5, or R6 camera, covers approximately 90% of the Dual Pixel’s horizontal plane and 100% of the vertical plane. The VCM is responsible for moving four relatively heavy lens elements and works together with the Nano USM to create a coordinated dual system rather than a single main focus group.
This is the first time Canon has released a lens with a VCM – and is unusual thanks to the new design of the coordinated movement with the USM – which is very similar to the linear actuator autofocus systems from Sony and other manufacturers. Canon says it used this design because it works well for both photo and video applications.
For manual focus, the control ring does double duty: it can be controlled and programmed to perform other functions (such as changing ISO) from the menu of the connected camera.
The Canon 35mm f/1.4L VCM is expected to be available in June for $1,500. That makes it one of the most expensive 35mm mirrorless autofocus lenses on the market, after the Leica Summicron-SL 35mm f/2 and the Leica APO-Summicron-SL 35mm f/2 ASPH.
A signal to the market?
The 35mm f/1.4L VCM is intended to be seen as a standard, high-performance lens option for video and stills users; performing equally well on both the R5 and R6 series, but also on, for example, the C70 and the new C400 cameras. Although Canon has released RF-mount zoom lenses framed in this way – the 24-105mm f/2.8 is one such example – the 35mm f/1.4L VCM is the first prime lens to feature this description released since the switch to mirrorless.
Canon has, of course, made prime lenses suitable for use in video applications, but the company’s language around the 35mm f/1.4L VCM indicates that this is the first time the company has released a “hybrid” prime lens where the performance when used for photo and video recording is equal. The emphasis on video is reflected in the optical design that limits breathing, the customizable dial, the non-clicked external aperture ring and the fact that Canon is announcing this alongside the C400 at CineGear, an exhibition specifically aimed at cinematographers.
At the same time, it is not a “cinema lens” and is clearly intended to be ideal for photographers. In any case, Canon’s language and choice of location are clear signs to the industry that it intends to take the idea of ”hybrid” much more seriously in the future – especially given that it has indicated that this is merely the is the first of a series of emerging options. .
Update 6/5: Added a line explaining that the aperture ring is not usable in photo mode.
Image credits: Canon