The question I get more than any other from people starting out is some version of “what lens should I buy next?” I’ve answered it so many times I almost have a script. But the honest answer is almost always the same one, and it has been for years: get a 50mm f/1.8. It’s the lens I wish someone had pushed me toward faster when I was shooting everything on a kit zoom and wondering why my photos looked flat. Watch the full tutorial on YouTube
The problem for Canon mirrorless shooters has been that the classic EF version of this lens required an adapter to mount on any R-series body. That adapter works fine, but it adds bulk, cost, and one more thing to lose. In this Peter McKinnon tutorial, he walks through the updated RF version of the nifty 50, the Canon RF 50mm f/1.8 STM, which mounts directly to any EOS R body with no workarounds. It sounds like a small thing until you actually use a native mount lens and realize how much cleaner the whole experience is.
I’ve had this lens on my radar since Canon announced it, and McKinnon’s breakdown confirmed most of what I suspected. Below I’ve pulled out the key points from his walkthrough so you can get the practical picture without needing to pause and rewind.
Step 1: Understand Why the 50mm Focal Length Works for Almost Everything
Peter explaining why the 50mm transcends skill levels and budgets
The 50mm focal length has stuck around this long because it approximates how the human eye sees the world. It’s not so wide that it distorts, and it’s not so tight that it becomes specialized. McKinnon makes the point that most lens recommendations depend on your budget, your skill level, and what you like to shoot. The 50mm is the rare exception that holds up regardless of those variables.
If you’re shooting portraits, street, food, or everyday life, this focal length fits. That versatility is exactly why I keep one in my bag even when I’m testing other glass. It’s the baseline.
Step 2: Learn What a 1.8 Aperture Actually Gets You in the Real World
Side-by-side shots showing subject isolation and background blur from the RF 50mm
A lot of beginners hear “fast aperture” and nod like they understand, then continue shooting at f/8 out of habit. McKinnon shows actual footage demonstrating what f/1.8 looks like in practice: a sharp subject with the background falling off into smooth blur. That background separation is what makes photos look intentional rather than accidental.
The second benefit of a wide aperture is low-light performance. More light hitting the sensor means you can use a faster shutter speed in dim conditions without cranking your ISO into noise territory. McKinnon shows a cave shot with almost no available light where the lens still pulls usable detail. That’s not a trick. That’s physics working in your favor because you’re letting more light in.
Step 3: Note the In-Body Stabilization Compatibility
Peter pointing out the lack of optical IS and mentioning R5 and R6 IBIS compatibility
The RF 50mm f/1.8 does not have optical image stabilization built into the lens itself. That’s worth knowing upfront. However, if you’re shooting on an R5 or R6, those bodies have five-axis in-body image stabilization that kicks in and covers you. McKinnon flags this clearly so you’re not surprised when you pick the lens up and find no IS switch on the barrel.
If you’re on a body without IBIS, like the RP, you’ll want to be mindful of your shutter speed in lower light. The 1/focal length rule applies: stay at 1/50 or faster to avoid camera shake. It’s not a dealbreaker, just something to account for.
Step 4: Use the Dual-Function Control Ring
Closeup of the control ring on the RF 50mm lens barrel
One of the features that separates this RF version from the older EF lens is the control ring on the front of the barrel. McKinnon walks through how it works: you can flip between using it as a manual focus ring or assigning it to control camera settings like ISO, aperture, or shutter speed.
On a small, lightweight lens like this one, that’s a genuinely useful addition. I shoot a lot of run-and-gun situations where reaching for a dial breaks my rhythm. Having a dedicated ring on the lens itself that I can map to ISO is the kind of ergonomic improvement that sounds minor until you use it daily. It’s a feature that usually shows up on Canon’s more expensive RF glass, so getting it here is a win.
Step 5: Check the Minimum Focus Distance Improvement
Peter comparing old EF and new RF minimum focus distance specs
The RF version closes in slightly tighter than the EF version. The older lens had a minimum focus distance of about 0.35 meters. The RF version brings that down to 0.3 meters. McKinnon is upfront that this isn’t a dramatic shift, but it does give you a bit more flexibility when you’re shooting close-up details or want a tighter frame without stepping back.
For product photography or anything where you’re working at close range, that extra five centimeters of breathing room matters. It’s not a macro lens, but the improvement is real and the use cases are practical.
Step 6: Appreciate the Metal Mount
Close shot of the metal lens mount on the RF 50mm
The original budget 50mm lenses from Canon had plastic mounts. They worked, but they felt fragile and made a lot of shooters nervous about wear over time. The RF version uses a metal mount, which McKinnon calls out as a straightforward upgrade worth appreciating.
This is one of those details that doesn’t show up in sample photos but matters over years of use. A lens you swap on and off regularly needs a mount that can handle the repetition. Metal holds up. It also just feels more confidence-inspiring when you’re attaching the lens, which is a small thing, but it adds up when you’re working fast.
My Take: The Adapter Tax Is Real, and This Eliminates It
I’ve tested the EF 50mm f/1.8 on R-series bodies with the Canon adapter, and the results are good. But I’ve also tracked what that adapter costs on deal sites for the past year, and it consistently runs between $80 and $100 for the official version. Add that to the EF lens price and you’re closing the gap on what the RF version costs natively. The math is closer than most people realize.
My spreadsheet of budget lenses going back three years shows the EF nifty 50 consistently sitting around $100 to $125 new. The RF version runs higher, typically in the $200 to $250 range, but when you factor out the adapter cost and the added weight and mount wear, it starts making sense as the smarter long-term buy for anyone already on an R-series system or planning to move to one.
If you’re shooting on a Canon mirrorless body and you don’t own a dedicated 50mm, this lens is where I’d put my money before almost anything else on the market at this price point. Native mount, fast aperture, a control ring that actually earns its place, and image quality that punches well above the asking price. That’s the whole case, and it’s a strong one.
Watch the full tutorial on YouTube to see McKinnon’s sample shots and his complete hands-on breakdown of the RF 50mm f/1.8.
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