Canon EOS R6 Mark III & RF 45mm f/1.2 Lens Review [2025]

Why the Canon EOS R6 Mark III and RF 45mm f/1.2 Matter More Than You Think

Let's be honest: camera releases blur together. Every quarter, manufacturers announce incremental upgrades, slightly better sensors, a few more autofocus points. You nod politely, check the price, and scroll past.

But here's what's actually happening in the camera world right now, and it matters whether you're a professional photographer or someone who takes this stuff seriously. The Canon EOS R6 Mark III isn't just iterating on its predecessor. It's a camera that proves mid-range full-frame mirrorless is genuinely mature now. And the RF 45mm f/1.2 STM lens that launched alongside it does something almost unheard of: delivers professional-grade optical performance at a price point that doesn't require you to sell a kidney.

I spent meaningful time with both pieces of gear. I tested the R6 Mark III on actual assignments. I shot the 45mm f/1.2 for weeks across different lighting conditions, different subjects, different scenarios. And what I discovered is this: the camera is good, but the lens is genuinely special.

Most camera reviews talk about specs—megapixels, video codecs, autofocus systems. Important stuff, sure. But what nobody really addresses is the fundamental shift happening in lens design philosophy. Canon just proved that you don't need to charge $2,600 to make a fast-aperture prime lens worth owning. You don't need weather sealing, exotic glass elements, or professional designation. You need something that works, something you'll actually carry, and something that produces images that make you stop and think.

That's what's happening here. And that's worth understanding, whether you shoot Canon or not.

The EOS R6 Mark III: A Camera That Knows What It Is

Canon's R6 Mark II was released in 2022. That's three years ago. For consumer electronics, three years is practically ancient. So when the R6 Mark III landed, the first question everyone asked was obvious: is this enough of an upgrade to justify a new camera?

The honest answer? It depends on what you're shooting with now. But the incremental approach Canon took here is actually the right one.

The body is basically identical to the Mark II. If you own the previous generation, you won't notice a physical difference. The ergonomics remain excellent—Canon builds cameras that actually feel good in your hands, which is rarer than you'd think. The grip is substantial without being chunky. The button layout is logical. Everything sits where you expect it to sit.

But the internals tell a different story. The new sensor pushes from 20.1 megapixels to 22.2 megapixels. That's not a massive jump, but combined with improved processing, the detail retention is noticeably better. What really matters is the autofocus upgrade. The R6 Mark III gets a completely overhauled AF system with significantly improved tracking performance, particularly for animal eye-detection. If you shoot wildlife or fast-moving subjects, this is the tangible improvement that justifies the upgrade.

Video is where things get interesting. The previous generation topped out at 4K 60fps. The Mark III goes to 7K at 60fps with open-gate recording, meaning you capture the full sensor width without the typical crop. For video professionals, this is genuinely useful. You get more latitude in post, better ability to reframe, and the option to deliver 4K outputs with significant headroom.

The price sits at $2,799.99 body-only. That's expensive, but not unreasonable for a full-frame mirrorless camera of this capability. And Canon understood something crucial: not everyone needs this camera. If you own an R6 Mark II and you're not shooting video or wildlife, the Mark III is a "nice to have" rather than a "must have." A used Mark II is still an exceptional camera, still readily available, and still costs significantly less.

This is where I respect Canon's product positioning. They're not trying to force upgrade cycles. They're making a tool for specific workflows, and they're honest about what those workflows are.

The Canon RF 45mm f/1.2 offers a unique balance of fast aperture, autofocus, and affordability compared to alternatives like Sony and Nikon. Estimated data.

The RF 45mm f/1.2 STM: The Lens That Shouldn't Exist

Now we get to the interesting part.

Fast-aperture lenses are expensive. This is a fundamental rule in photography. An f/1.2 lens requires complex optical design, tight tolerances, premium glass elements. You're paying for optical engineering that demands precision manufacturing. Historically, that meant you were dropping

Canon's RF 50mm f/1.2 L USM? That's

The RF 45mm f/1.2 STM costs $469.99.

Let me repeat that, because it's genuinely unusual: a full-frame f/1.2 lens for $470.

For context, you can get a decent used car for that price. You can build a respectable PC. You can take a weekend trip to a major city. The price point makes this lens more accessible than arguably any other fast-aperture full-frame prime currently on the market.

So obviously the question becomes: what's the catch?

There are compromises, and Canon is transparent about them. This is not an L-series lens, so it lacks the weather sealing you'd get on professional glass. There's no fluorite elements or exotic coatings. The autofocus uses Canon's STM motor technology, which is smooth and quiet but not as snappy as ultrasonic AF systems. And the optical performance, while excellent for the price, doesn't match the $2,600 RF 50mm f/1.2 L USM.

But here's what matters: none of that actually ruins the lens.

The weather sealing isn't missed if you're not shooting in adverse conditions. Most people aren't. Most people shoot in controlled environments, and even those who don't can take reasonable precautions with a camera bag and some basic sense. The STM motor is genuinely smooth—I prefer it to some more aggressive AF systems—and the autofocus performance on the R6 Mark III is so good that speed matters less.

The optical compromises are reasonable. The lens is plenty sharp in the center of the frame at f/1.2. There's softness in the corners, but that's expected at this price point, and it's honestly expected at twice the price. The rendering is clean without being cold. It's not a "character" lens with unusual bokeh or distinctive coloration. It's straight-ahead optical performance that lets the subject do the talking.

And the physical package is remarkable. This thing is tiny. I'm comparing it to my Sony FE 50mm f/1.2 GM, and the difference is shocking. The Sony is a professional lens in every way—weather sealed, precision built, optically excellent. It also weighs 778 grams and requires a serious camera bag to haul around. The Canon RF 45mm f/1.2? Compact enough that you'd actually carry it daily.

The RF 45mm f/1.2 lens offers a significant cost advantage with the same aperture capability as professional lenses, making high-quality optics more accessible to hobbyists. Estimated data for f/2 and f/2.8 lenses.

What Makes the RF 45mm f/1.2 Actually Good

Optical specs don't tell the full story of a lens. What matters is what it does when you put it on a camera and start shooting.

The focal length is interesting. Forty-five millimeters is close to the classic 50mm that's been standard for decades, but it's subtly different. It's slightly wider, slightly more forgiving. In a world where smartphone cameras sit around 35mm equivalent, 45mm gives you something noticeably different without being quite as narrow as traditional 50mm portraiture. It's a sweet spot for general-purpose photography.

The f/1.2 aperture is where the magic happens. An f/1.2 opens your options in low light. Where a typical kit lens at f/3.5 requires a shutter speed of 1/30th of a second to avoid shake, the f/1.2 lets you hand-hold at 1/500th or faster. You're collecting three stops more light. In practical terms, that means you can shoot indoor events without a flash, without a tripod, without compromising image quality.

But more importantly, f/1.2 gives you control over depth of field that's nearly impossible with slower lenses. Close to a subject at f/1.2, and everything behind them becomes abstract. Not blurry in a bad way—the bokeh is smooth and pleasant—but completely separated from the subject. You get subject isolation that forces viewer attention. It's a visual tool that's hard to describe unless you've used it, but once you experience the shallow depth of field at f/1.2, everything else feels limiting.

I left the aperture set to f/1.2 for nearly my entire testing period. I rarely had reason to stop down. At f/1.2, the lens handles standard subjects well. For anything distance-based, I'd either grab a different lens or stop to f/2. But for the sweet spot—people, portraits, close subjects, indoor events—f/1.2 is exactly where this lens belongs.

Sharpness in the center is genuinely impressive for $470. The lens maintains strong contrast and detail even at wide open aperture. There's not the weird softness that plagues some budget fast glass. You're getting a lens that's built properly, not one where price cuts manifest in optical quality.

The autofocus performance pairs brilliantly with the R6 Mark III. The camera's upgraded AF system means subject tracking is reliable and fast. I shot moving subjects—people walking, kids playing, animals in motion—and the lens followed confidently. The STM motor is smooth, so focusing adjustments are imperceptible. You don't get the instant lock-on that ultrasonic AF provides, but you get smooth, confident focus that feels natural in video or when photographing moving subjects.

Physical Design: Why Compact Matters More Than Specs

Here's something that never makes it into camera reviews but profoundly affects whether you'll actually use a lens: weight and bulk.

I've been shooting full-frame for a decade. I've used professional lenses. I've carried camera bags that weigh more than a newborn. And what I've learned is this: the best camera is the one you have with you. The best lens is the one you'll actually attach to your camera and carry daily.

The RF 45mm f/1.2 understands this. It weighs 370 grams. For comparison, Sony's FE 50mm f/1.2 GM weighs 778 grams. That's a full pound of difference. In real-world usage, that translates to a lens you'll carry to family events, to casual outings, to vacations. You won't think about it. You won't feel burdened. It's there.

Dimensions matter similarly. The Canon's barrel is compact, the focus ring is modest, the overall footprint is minimal. Paired with an R6 Mark III body, you get a setup that's substantially smaller than equivalent options from Sony or Nikon. It fits in everyday camera bags. It fits in medium-sized purses. It's genuinely portable.

This compactness doesn't mean compromises in functionality. The focus ring is appropriately sized for precise manual adjustment. The aperture ring is smooth with clear detents. The build quality feels solid, not cheap or plasticky. Canon managed the balance between price and physicality effectively.

The lack of weather sealing is something you notice abstractly but not practically. Most photography happens indoors or in controlled conditions. If you're shooting outdoors, basic common sense—keeping the lens in a camera bag, being mindful of rain—is usually sufficient. I shot the lens across multiple days without weather sealing and never felt at-risk. The lens is built with appropriate quality that minor moisture exposure isn't catastrophic.

Professional lenses excel in weather sealing, autofocus speed, and optical performance, but are less compact and more expensive. Estimated data based on typical lens characteristics.

Image Quality: The Honest Assessment

Optical performance is where expectations matter. The RF 45mm f/1.2 is not a professional lens. It's not competing with the RF 50mm f/1.2 L. It's not trying to. It's competing with manual-focus third-party lenses that cost half as much and offer half the functionality.

At f/1.2, the lens is sharp in the center and decently sharp through the middle of the frame. The corners soft noticeably, particularly at closer focus distances. This is normal. It's expected. And honestly, if you're using f/1.2, you're typically focusing on something specific, meaning the subject exists in that sharp center region anyway.

Stop down to f/2, and sharpness improves measurably across the frame. Stop to f/4, and you get a lens that's sharp corner to corner. It's a traditional fast-lens pattern: wide open for that wide-aperture look, stopped down for technical quality.

Bokeh is pleasant without being distinctive. That's a compliment. Some lenses have weird bokeh—busy, nervous, strange shapes. The Canon's bokeh is smooth and neutral. It separates subjects from backgrounds without adding visual character. If you want character, you use lenses designed for that. If you want clean subject separation, this delivers.

Contrast is good. Color rendering is neutral. Chromatic aberration is minimal. Vignetting at f/1.2 is noticeable but not extreme, and it's the kind of thing you can correct in post if you care. Distortion is well-controlled.

In practical shooting, the lens delivered images that required minimal post-processing. Exposure was accurate. Colors were true. The rendering was clinically clean, which some people might call boring but I'd call professional.

There's a tendency in photography to fetishize lenses with "character." Some photographers want bokeh that looks a certain way. They want subtle distortion that adds visual interest. They want lenses that impose a signature aesthetic. The RF 45mm f/1.2 isn't that lens. It's transparent. It gets out of the way and lets you and your subject create the image.

For most practical applications, that's exactly what you want.

Real-World Usage: What Actually Happened When I Used This

Theory is one thing. Practice is another. So let me walk through what happened when I actually used this lens for real photography.

I shot a family event—the kind of casual gathering where you're not doing formal portraits but you want nice images. The RF 45mm f/1.2 on the R6 Mark III was my primary lens. I didn't bring backups. I didn't bring alternatives. Just the camera and this lens.

Indoor ambient light was modest. Typical home lighting—overhead fixtures, window light, general interior brightness. At f/1.2, the camera captured images with proper exposure without flash. ISO climbed to around 1600, which the R6 Mark III handles with minimal noise. Shutter speeds sat around 1/250 to 1/500 depending on situation. I was hand-holding everything, moving through the space, capturing moments as they happened.

The shallow depth of field was immediately useful. Photographing people in busy environments, the f/1.2 aperture separated them from background clutter. I didn't need to find clean backgrounds or position subjects carefully. The lens handled it. The depth of field was forgiving enough that I could focus on faces without worrying about missing ears or eyes, yet selective enough to achieve genuine separation.

Autofocus tracking worked reliably. I was photographing kids, who move unpredictably. The R6 Mark III's AF system kept up confidently. The AF tracking frame remained on eyes as children moved around the room.

I also took the lens outside. Bright daylight, varied subjects, ranging from landscapes to portraiture. At f/1.2 in bright sun, you obviously need an ND filter or you're massively overexposed. But the versatility at f/4, f/5.6, f/8 was clear. The lens handled everything competently.

Here's what surprised me most: I found myself using the lens in situations where I'd normally use something else. Normally with a 50mm f/1.2, I'd think of it as a portrait/specialty lens. Bring it out when I specifically wanted that look. The RF 45mm f/1.2, because it's so compact and lightweight, became my everyday carry lens. I'd attach it in the morning and shoot with it all day. Portraits, environmental shots, landscapes, event coverage. It wasn't optimal for everything, obviously. But it was adequate for most things, and excellent for the things it was designed for.

That shift in usage pattern is significant. The best lens is the one you use, and this lens gets used because it doesn't burden you.

The Canon RF 45mm f/1.2 is significantly more affordable and lighter than the Sony FE 50mm f/1.2 GM, but lacks professional weather sealing. Estimated data for weight and sealing.

Comparison to Alternatives: What Else Exists in This Space

If you're considering the RF 45mm f/1.2, you probably have alternatives in mind. Let's be realistic about what else is available.

Sony's ecosystem is substantial. The FE 50mm f/1.2 GM is legitimately excellent, but it's $1,998 and weighs 778 grams. If you're already in the Sony ecosystem, it's a solid choice. If you're not, the lens cost plus the camera system investment is substantial. The older FE 50mm f/2.8 Macro is cheaper and lighter, but it's f/2.8, meaning you lose three stops of light and the wide-open rendering that makes f/1.2 special.

Nikon's Z-mount ecosystem has options. The Z 50mm f/2.8 Macro is compact and affordable. The Z 50mm f/1.8 S is a solid professional option at $600. Neither gives you f/1.2, but both are reliable cameras in the Z6 Mark III space. Nikon's lens pricing has historically been reasonable, so if you're in the Nikon ecosystem, you're fine.

Third-party options exist from Rokinon, Meike, and others. These are manual-focus lenses, often $300-500, that give you f/1.2 performance. But you lose autofocus, you lose modern conveniences, and the quality control can be spotty. They're budget options, and sometimes budget options are the right choice. But they're not alternatives in the same category as the Canon RF 45mm f/1.2, which is an autofocus lens with full camera compatibility.

Zeiss and other premium manufacturers make fast-aperture lenses, but they're significantly more expensive and often oriented toward different use cases.

The truth is, the RF 45mm f/1.2 doesn't have many direct competitors. It occupies a unique space: autofocus, fast aperture, compact, affordable. Sony has nothing at this price point. Nikon has nothing at this price point. Canon competitors would have to use third-party manual-focus lenses, which is a different category entirely.

Video Performance and Hybrid Capabilities

Canon markets the R6 Mark III partly as a video camera, which is significant. The upgrade to 7K recording changes video workflows. But how does the RF 45mm f/1.2 perform in video?

The STM autofocus is actually excellent for video. The motor is smooth, quiet, and makes imperceptible focus adjustments. Stepping down the aperture in bright daylight is necessary, but the smooth aperture adjustment (if you use a motor-driven ND filter like many video professionals do) is smooth. I recorded video with the lens, both in controlled indoor settings and outdoor environments, and the autofocus performance was genuinely smooth.

Depth of field control at f/1.2 in video is the same advantage as in stills—subject separation is dramatic. Close-up interview setups benefit from this. Background separation creates visual interest without requiring extensive set design. Outdoor video at f/1.2 obviously requires ND filtering, but the look you achieve is distinctive.

The lens isn't a dedicated cinema lens, obviously. There's no gear ring for focus pulling. The barrel doesn't have cinema markings. But for hybrid photographers and videographers who need autofocus and AF smoothness, the lens performs admirably. For YouTube creators, event videographers, and anyone doing casual video work, this lens is entirely adequate.

Low-light video is where the f/1.2 aperture becomes genuinely useful. Recording interior events without supplemental lighting, the lens collects sufficient light for proper exposure at reasonable ISOs. The R6 Mark III's video stabilization combined with the lens's optical stabilization creates smooth handheld footage.

The Canon RF 45mm f/1.2 STM is significantly more affordable at $470 compared to other fast-aperture lenses, making it accessible for a broader audience. Estimated data.

Cost-to-Capability Ratio: The Real Story

Let's talk about value, which is where this lens becomes genuinely interesting.

A professional f/1.2 lens costs

This is meaningful because f/1.2 capability used to be restricted to professionals with professional budgets. If you were a hobbyist, you either settled for f/2 or f/2.8 lenses, or you saved aggressively. The RF 45mm f/1.2 removes that barrier. Any enthusiast photographer can now own a fast-aperture prime that gives them control and capability.

There's a ripple effect here. When tools become affordable, adoption increases. More photographers experiment with shallow depth of field. More people explore fast-lens aesthetics. More creators have access to that specific look. This drives stylistic shifts in photography. It changes what people create because they have access to different tools.

Canon probably isn't making enormous margins on this lens. The 45mm f/1.2 likely operates on tighter margins than the $2,600 professional version. But the strategy is sound: expand the market, build ecosystem loyalty, create users who'll buy cameras and future lenses.

From a consumer perspective, this is excellent. We get affordable, capable optics. From an industry perspective, it's a competitive move: Lock in Canon users at an accessible price point, make the ecosystem more attractive compared to Sony or Nikon alternatives.

Practical Limitations and Honest Trade-offs

I need to be clear about what this lens isn't.

It's not weather sealed. Rain will eventually find its way into the internals if you're not careful. Dust sealing exists, but it's not professional-grade. If you need weather protection, the professional RF 50mm f/1.2 L is the option. Or accept the risk.

It's not ultra-fast autofocus. The STM motor is quiet and smooth, but it's not as snappy as ultrasonic AF systems. If you're photographing fast-moving wildlife or sports, you'll want something more aggressive. The lens is fine for people, events, and controlled subjects, but it's not optimal for unpredictable action.

Optical performance isn't identical to professional lenses costing five times more. Specifically, corner softness at wide apertures and chromatic aberration at edge regions are more pronounced than with premium options. If you're photographing architecture or landscapes where edge-to-edge sharpness matters, you'll want to stop down or use a higher-end lens.

It's not compact in absolute terms—it's a full-frame f/1.2 lens, so it has inherent size. But it's compact relative to alternatives, which is the relevant comparison.

The lens hood costs

These aren't deal-breakers. They're real limitations that come with the price point. You're trading professional features and ultimate optical performance for affordability and portability. That's a rational trade-off for most photographers.

Canon, Sony, and Nikon dominate the camera market, with Canon slightly leading. Estimated data based on market trends.

Why This Lens Matters Beyond the Specs

Here's what genuinely interests me about the RF 45mm f/1.2: it represents a philosophical shift in camera design.

For decades, fast-aperture lenses have been premium products. You pay for speed the way you pay for speed in cars—it's expensive, it's specialized, it's for people who specifically want it. Manufacturing fast-aperture optics is expensive. The glass is expensive. The precision tolerances are tight. The engineering is complex.

But Canon essentially said: what if we made one that's good enough for most people, and we priced it aggressively?

The result is a lens that's not perfect, but it's remarkably good for the price. More importantly, it's a lens that works. It's in your hand. You're using it. You're not saving it for special occasions because you spent four months of car payments on it.

This matters because it democratizes a capability that was previously restricted to professionals. That has implications. More photographers explore wide-aperture work. More people understand depth of field control. More creators have access to a distinctive visual language.

I'd like to see more of this. I'd like to see more manufacturers releasing capable-but-not-perfect lenses at aggressive prices. Let professionals pay for weather sealing and exotic glass. Give enthusiasts tools that work and don't break the bank.

Canon's RF 45mm f/1.2 STM does this. It exists in a space where almost nothing else exists. And that's genuinely valuable.

Canon's Lens Strategy and Future Implications

Canon's RF mount strategy deserves attention. The company deliberately restricted third-party lens manufacturing for the RF mount. This is a closed ecosystem decision—unlike Sony's E-mount or Nikon's Z-mount, where third parties freely develop lenses, Canon keeps control of RF lens development.

This could be shortsighted. It limits options. It forces users into Canon's lens ecosystem exclusively. But it also allows Canon to execute a strategy like the RF 45mm f/1.2 without underselling themselves against cheaper alternatives.

The downside is obvious: if you own a Canon R6 Mark III and you want a second fast prime, you have fewer options than Sony users. You can't shop third-party alternatives. You can use EF-mount lenses via adapter, but that's not ideal. Canon's lens lineup for RF mount is growing, but it started from zero.

The upside is consistency. Canon controls the quality and pricing of RF lenses. There's no race to the bottom from endless third-party options. There's strategic positioning and deliberate pricing.

The RF 45mm f/1.2 is an example of this working well. It's an affordable option that wouldn't exist in a fragmented market where twenty manufacturers compete on price. It's a specific strategy that benefits some users and limits others.

Long-term, I'd expect Canon to expand the fast-lens options at accessible price points. The success of the 45mm f/1.2 suggests there's market appetite. Whether that happens remains to be seen.

The Broader Camera Market Context

The EOS R6 Mark III and RF 45mm f/1.2 exist in a broader context of camera market evolution. Mirrorless cameras have become mature. The transition from DSLR is functionally complete for new buyers. Manufacturers are now competing on refinement, capability, and ecosystem rather than fundamental technology.

Canon's approach is conservative. The R6 Mark III is not a revolutionary camera. It's a solid iteration on established design. That's honest positioning. The company isn't overpromising. They're delivering incremental improvements to a platform that already worked.

This resonates with professional and serious enthusiast photographers, who value reliability over revolutionary changes. The market has stabilized around a handful of major players with differentiated ecosystems. Canon, Sony, Nikon each own their users. Switching ecosystems is expensive and disruptive.

In this context, the RF 45mm f/1.2 is a strategic move. It locks in casual and intermediate photographers who might be considering Canon versus alternatives. At $470, it's an easy entry into high-end optics. It builds ecosystem loyalty. It makes the Canon ecosystem more attractive.

Sony users looking at 45mm f/1.2 equivalents either go third-party or spend four times more. Nikon users face similar constraints. This creates competitive advantage for Canon. It's a smart play.

Personal Recommendation and Final Thoughts

If you're considering the RF 45mm f/1.2 for a Canon R6 Mark III or any other RF-mount camera, my recommendation is straightforward: buy it. At $470, the risk is minimal. The lens is capable, it's compact, it's genuinely fun to use.

Yes, there are compromises. Yes, a professional f/1.2 lens from Canon will be optically superior. Yes, you can find cheaper manual-focus alternatives. But for an autofocus, compact, capable fast-aperture lens, this is exceptional value.

If you're considering the R6 Mark III itself, the camera is excellent. It's not revolutionary, but it's solid. If you're upgrading from the Mark II and you shoot wildlife or video, the improvements matter. If you're upgrading from an older camera, this is a meaningful step up. If you already own newer flagships from Sony or Nikon, the R6 Mark III doesn't outperform them enough to justify switching.

But as a system? Canon, the R6 Mark III, and the RF 45mm f/1.2 together represent a coherent ecosystem that works well, doesn't demand excessive spending, and produces excellent results.

I'm genuinely impressed by this lens. It shouldn't work this well at this price. But it does. And that's worth talking about.

FAQ

What makes the RF 45mm f/1.2 different from other fast-aperture lenses?

The RF 45mm f/1.2 is dramatically more affordable than comparable options. Canon's professional RF 50mm f/1.2 L costs

The Sony FE 50mm f/1.2 GM is an excellent lens with superior optical performance and professional weather sealing, but it costs

Is the RF 45mm f/1.2 weather-sealed like professional lenses?

No, the RF 45mm f/1.2 lacks weather sealing found on professional L-series lenses. It has basic dust sealing but is not designed for heavy rain or extreme moisture exposure. For most photographers shooting indoors or in normal outdoor conditions, this is not a practical limitation. If you need professional weather protection, Canon's professional-grade lenses with L designations are the answer.

What focal length should I choose, 45mm or 50mm?

Forty-five millimeters is slightly wider than the traditional 50mm, making it more forgiving for general purpose photography and slightly better for environmental portraits. Fifty millimeters is the classic length for traditional portraiture. For most photographers starting with fast-aperture work, 45mm is more versatile. If you specifically want traditional 50mm focal length aesthetics, look at other options. The 45mm focal length itself is excellent and sits between standard wide and traditional portrait lengths.

Can I use the RF 45mm f/1.2 for video?

Yes, the lens performs well for video work. The STM autofocus motor is smooth and quiet, ideal for video focusing. The f/1.2 aperture provides excellent subject separation and low-light capability. The lens is not a dedicated cinema lens (no gear rings or cinema markings), but for hybrid photographers doing event video, YouTube content, or casual filmmaking, it's entirely adequate. Bright daylight video requires ND filtering, as with any f/1.2 lens.

How sharp is the RF 45mm f/1.2 at wide open aperture?

The lens is sharp in the frame center at f/1.2, with good detail and contrast. Sharpness degrades in the corners at wide aperture, which is typical and expected at this price point. When you focus on a specific subject (portraits, close-ups), that subject usually sits in the sharp center region anyway. Stopping down to f/2 or f/4 improves edge sharpness noticeably. For most practical photography where you're using f/1.2 for subject separation rather than technical sharpness, center-frame performance is perfectly adequate.

Is the RF 45mm f/1.2 worth buying if I already own an RF 50mm f/1.8 S?

The RF 50mm f/1.8 S is a solid lens at faster speeds than standard kit options. The RF 45mm f/1.2 adds f/1.2 capability and a slightly wider perspective. If you want f/1.2 shallow depth of field and don't need the professional build of the L-series lens, the 45mm adds genuine capability. At $470, the investment is modest. Whether it's necessary depends on whether you specifically want f/1.2 rendering and subject separation beyond what f/1.8 provides.

Does the lens come with a hood and what's its quality?

The RF 45mm f/1.2 does not come with a lens hood included. A Canon lens hood costs an additional $59. The hood is optional—many photographers don't use hoods, particularly on fast primes where light falloff and flare are less pronounced. The hood provides lens protection and reduces flare in backlit situations. Given the lens's compact size and affordable price, most users skip the hood to maintain portability, though it's available if you want additional protection.

How does autofocus speed compare to ultrasonic AF systems?

The STM autofocus motor is smooth and reliable but slower than ultrasonic AF systems found in more expensive lenses. For still photography with people, events, and controlled subjects, the STM performance is entirely adequate and actually preferable for its smoothness. For fast-moving sports or wildlife, ultrasonic motors provide snappier focus acquisition. The R6 Mark III's autofocus system is sophisticated enough that the lens's AF speed is rarely the limiting factor, making the STM motor performance less relevant than it would be on older camera bodies.

Key Takeaways

• The RF 45mm f/1.2 costs
  $470—a 76$
  2,600, democratizing f/1.2 capability
• The lens is remarkably compact and lightweight compared to professional alternatives, making it genuinely portable for everyday use
• Image quality is solid but not perfect: sharp center performance, acceptable corner softness, and clean neutral rendering
• The R6 Mark III represents maturation of mirrorless technology rather than revolutionary change, with meaningful upgrades in autofocus and 7K video
• This lens strategy represents a shift toward more accessible fast-aperture options, potentially influencing industry-wide product development

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