Canon RF‑s 18‑45mm IS STM
Collapsible APS‑C Mirrorless
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
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Bodies Compared RF Lenses EF Lenses Flash
Canon RF-s 18-45mm f/4.5-6.3 IS STM (49mm filters, 4.4 oz./125g, 0.66'/0.2m close focus, 0.2× macro ratio, $299). bigger. I got mine at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally approved sources I've used myself for way over 100 combined years when you get anything, regardless of the country in which you live — but I receive nothing for my efforts if you get it elsewhere. Canon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, dropped, incomplete, gray-market, store demo or used lens — and all of my personally approved sources allow for 100% cash-back returns for at least 30 days if you don't love your new lens. I've used many of these sources since the 1970s because I can try it in my own hands and return it if I don't love it, and because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I've used myself for decades for the best prices, service, return policies and selection.
October 2023 Better Pictures Canon Reviews Mirrorless RF Lenses EF Lenses Flash All Reviews
Sample Images top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
More samples throughout this review at Bokeh, Falloff, Macro, Sharpness, Spherochromatism and Sunstars.
These are just snapshots; my real work is in my Gallery.
These are all shot hand-held as NORMAL (▟ stairstep icon) JPGs. No tripods, FINE JPGs or RAW CR3 files were used or needed.
BMW M850i Convertible 4.4l V8 Engine, 10:49 AM, Friday, 26 May 2023. Canon EOS R50, Canon RF 18-45mm IS STM at 18mm at f/7.1 at 1/25 hand-held at Auto ISO 100 (LV 10¼), Perfectly Clear. bigger or camera-original 24 MP © JPG file (about 5 MB).
The camera-original 24 MP © JPG file is so loaded with detail in this quick shot I was immediately amazed! I was going to spot-out the dust specs out of habit, but realized that they show how insanely sharp is my R50 and RF 18-45mm IS STM combo. This sharpness was immediately apparent even though the finder on playback. A huge advantage of the smaller APS-C sensor is that the shorter lenses we use to get the same angle of view compared to full-frame (18mm vs. 28mm here) means was also get much deeper depth of field, so this entire power system is in focus. Whoo hoo!
BMW M850i Convertible Interior in Cognac Merino Leather, 10:54 AM, Friday, 26 May 2023. Canon EOS R50, Canon RF 18-45mm IS STM at 18mm at f/8 at 1/25 hand held at Auto ISO 100 (LV 10.6), exactly as shot. bigger or camera-original 24 MP © JPG file (about 5 MB).
Likewise, detail and color all around.
Yellow Porsche H4 Headlight, 9:49 AM, Saturday, 27 May 2023. Canon EOS R50, Canon RF 18-45mm IS STM at 45mm at f/9 at 1/125 at Auto ISO 100 (LV 13.4), Perfectly Clear. bigger or camera-original 24 MP © JPG file (about 5 MB).
BMW Z8 ALPINA Interior in Red and Black, 9:52 AM, Saturday, 27 May 2023. Canon EOS R50, Canon RF 18-45mm IS STM at 18mm at f/5 at 1/100 at Auto ISO 100 (LV 11¼), Perfectly Clear. bigger or camera-original 24 MP © JPG file (about 5 MB).
Zebra Lightning cable? Really? Black or red would have been easy and not made me have to go back and edit it out of my photo.
Blue Ferrari, 10:03 AM, Saturday, 27 May 2023. Canon EOS R50, Canon RF 18-45mm IS STM at 45mm at f/8 at 1/125 at Auto ISO 100 (LV 13.0), Perfectly Clear. bigger.
Ceramic Ferrari Brakes in Red, Yellow and Black, 10:06 AM, Saturday, 27 May 2023. Canon EOS R50, Canon RF 18-45mm IS STM at 27mm at f/6.3 at 1/100 at Auto ISO 100 (LV 12.0), Perfectly Clear. bigger or camera-original 24 MP © JPG file (about 5 MB).
It's so sharp that you clearly can see me and my camera and the folds of my jeans reflected in the lug nuts in the camera-original 24 MP © JPG file!
Yellow Porsche GT3, 10:40 AM, Saturday, 27 May 2023. Canon EOS R50, Canon RF 18-45mm IS STM at 45mm at f/9 at 1/80 at Auto ISO100 (LV 12¾), Perfectly Clear. bigger or camera-original 24 MP © JPG file (about 5 MB).
Corvette Emblem, 10:47 AM, Saturday, 27 May 2023. Canon EOS R50, Canon RF 18-45mm IS STM at 45mm at f/8 at 1/125 at Auto ISO 100 (LV 13.0), Perfectly Clear. bigger or camera-original 24 MP © JPG file (about 5 MB).
This is so sharp that it looks three-dimensional, which is how this emblem is made, with the logo on a plastic sheet above the dished background. See the camera-original 24 MP © JPG file for the most detail.
Solar Disc and Gull at Sunset, 6:44 PM, Thursday, 18 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 38mm (62mm equivalent) at f/8 at 1/3,200 at Auto ISO 100 (LV 17.6), Luminar Aurora HDR (now part of Luminar Neo) with my one JPG file to restore detail to highlights and shadows. bigger.
I should have used a curves adjustment layer mask to lighten the dark clouds near the sun, but tough, this isn't going into my portfolio. My website, my rules.
Island Sunset, 7:08 PM, Thursday, 18 August 2022. Canon EOS R10 in square-crop mode, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 21mm (34mm equivalent) at f/8 at 1/640 at Auto ISO 100 (LV 15.4), Luminar Aurora HDR (now part of Luminar Neo) with my one JPG file to restore detail to highlights and shadows. bigger.
Sunset and Boogie Board, 7:19 PM, Thursday, 18 August 2022. Canon EOS R10 in square-crop mode, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 45mm (73mm equivalent) at f/8 at 1/200 at Auto ISO 100 (LV 13.6), Luminar Aurora HDR (now part of Luminar Neo) with my one JPG file to restore detail to highlights and shadows. bigger.
Sunset and Cessna, 7:25 PM, Thursday, 18 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 45mm (73mm equivalent) at f/8 at 1/250 at Auto ISO 100 (LV 14.0), Luminar Aurora HDR (now part of Luminar Neo) with my one JPG file to restore detail to highlights and shadows. bigger.
Ideally I'd have the plane facing into the image rather than flying out of it. I'd either have the Cessna come around again heading North, but barring that I'd flip it so it faces in the other direction by putting it in a new layer and flipping it in Photoshop CS6 (from 2012), but since this is just a sample photo and not exactly going into my portfolio, tough. It's a free website, my rules.
Black BMW and Red Neon, 7:27 PM, Friday, 19 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 45mm (73mm equivalent) wide-open at f/6.3 at 1/40 at Auto ISO 800, -1 stop exposure compensation to keep the black car black (LV 7¾), Perfectly Clear, curves adjustment layer to increase contrast in Photoshop CS6 (from 2012). bigger.
This is what I love about my weightless R10 and tiny RF-s 18-45mm IS STM: it goes everywhere with me, so when something catches my eye, boom!, instant photo. In this case I snuck out of a pizza place and headed across the parking lot to In-N-Out to get a lemonade that the pizza place didn't have. I saw the neon turned into an "S" as I squeezed past the black car, and bingo, instant photo as I was trying to get back to the pizza place before I got busted.
Pizza, 7:45 PM, Friday, 19 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 18mm (28mm equivalent) wide-open at f/4.5 at 1/40 at Auto ISO 10,000 (LV 3.1), curves adjustment layers and masks to lighten the pizza in Photoshop CS6 (from 2012). bigger.
ISO 10,000 in no light with the slow RF-s 18-45mm f/4.5 ~ 6.3 IS STM? No problem, and you can see why I didn't want to miss my pizza!
Masonry, 9:18 AM, Saturday, 20 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 25mm (40mm equivalent) at f/8 at 1/80 at Auto ISO 100 (LV 12.4), Perfectly Clear. bigger.
P and POO on an unwashed Audi, 9:25 AM, Saturday, 20 August 2022. Canon EOS R10 in 4:3 crop mode, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 45mm (73mm equivalent) at f/8 at 1/100 at Auto ISO 100 (LV 12.6), curves adjustment layer in Photoshop CS6 (from 2012) to lighten. bigger.
Even at the small screen resolution I show here, I still can see every speck of dirt on this filthy car.
Mercedes SL500 Interior with Eucalyptus Wood (not mine), 9:39 AM, Saturday, 20 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 28mm (45mm equivalent) at f/8 at 1/80 at Auto ISO 100 (LV 12.4), Perfectly Clear. bigger or camera-original 24 MP © 5 MB JPG file.
Orange Camaro, 9:40 AM, Saturday, 20 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 45mm (73mm equivalent) at f/8 at 1/100 at Auto ISO 100 (LV 12.6), as shot. bigger.
Yellow Lamborghini, 9:52 AM, Saturday, 20 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 34mm (55mm equivalent) at f/8 at 1/400 at Auto ISO 100 (LV 14.6), as shot. bigger or camera-original 24 MP © 4 MB JPG file.
1955 Porsche Spyder, 9:52 AM, Saturday, 20 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 30mm (49mm equivalent) at f/8 at 1/250 at Auto ISO 100, -0.7 stops exposure compensation (LV 14.0), Perfectly Clear, perspective correction in Photoshop CS6 (from 2012). bigger or camera-original 24 MP © 5 MB JPG file.
Scuderia Ferrari Badge, 9:54 AM, Saturday, 20 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 45mm (73mm equivalent) at f/8 at 1/160 at Auto ISO 100 (LV 13.4), curves adjustment layer in Photoshop CS6 (from 2012). bigger.
1958 Corvette Rear Emblem, 9:18 AM, Saturday, 20 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, RF-s 18-45mm IS STM at 38mm (62mm equivalent) at f/8 at 1/320 at Auto ISO 100, -0.7 stops exposure compensation (LV 14.4), Perfectly Clear. bigger.
This emblem is only a couple of inches (70mm) across. It's probably larger than life on your screen. I'm impressed at how close my tiny RF-s 18-45mm IS STM focuses.
Introduction top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
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This RF-s 18-45mm IS STM is a brilliant little collapsible lens. It's tiny, weightless, stabilized and ultrasharp, covering a 28~70mm equivalent, and it has ultra close-focusing.
I love tiny and sharp, but honestly I find 45mm (70mm equivalent) limiting, and much prefer the almost-as-small RF-s 18-150mm instead, but hey, if this the the range you want, don't doubt for a second that this tiny gem isn't super-sharp.
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
New intro top
Canon's first tiny collapsible lens for its EOS-R mirrorless system.
Good intro top
Super sharp.
Twist the zoom ring to collapse.
Image Stabilization rated 4 stops, or 6½ stops with internal camera sensor-shift stabilization.
Tiny.
Ultra light.
Very close-focusing.
Programmable focus or control ring.
100% U.S.A.-based high-quality technical support at (800) OK-CANON.
Bad intro top
No Stabilizer switch; you have to set this in a menu in your camera.
Missing intro top
No Sunstars.
No always-responsive instant manual-focus override unless you enable this in a menu in your camera.
No Stabilizer switch; you have to set this in a menu in your camera.
Canon RF-s 18-45mm IS STM, ready to shoot. bigger.
Canon EOS R10 and Canon RF-s 18-45mm IS STM. bigger.
Compatibility top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
This lens only works on Canon's EOS-R series of mirrorless cameras.
It will not even mount on any other camera.
Full-frame cameras will automatically crop to use only the central APS-C sections of their sensors.
Use the ultralight full-frame RF 24-105mm IS STM instead for better results on full frame.
Specifications top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
Name specifications top
Canon calls this the RF-S18-45mm F4.5-6.3 IS STM:
RF: Works only on Canon's EOS-R Mirrorless cameras.
-S: Only covers APS-C (full-frame cameras will crop accordingly).
IS: Image Stabilization.
STM: STepper (autofocus) Motor.
Optics specifications top
Internal Optical Construction. Aspherical elements. IS section.
7 elements in 7 groups.
2 aspherical elements.
The front section with filter threads moves in and out as zoomed, while the rear section is fixed.
Internal focus.
Diaphragm specifications top
Canon RF-s 18-45mm IS STM. bigger.
7 rounded blades.
Electronically actuated.
Stops down to f/22 ～ f/22.
Optical Image Stabilization
Rated 4 stops optical. Actually measures about 3 stops in my R10.
Rated 6½ stops with in-camera stabilization. Actually measures about 4 stops in my stabilized R7. No system gives 6½ stops as claimed; 4 stops is pretty good.
Filters specifications top
49mm filter thread.
Coverage specifications top
APS-C (15 × 23mm) only.
Angles of View on APS-C specifications top
74° 20′ ～ 33° 40′ diagonal.64° 30′ ～ 28° 20′ horizontal.
45° 30′ ～ 19° 05′ vertical.
Focus Scale specifications top
Not on lens, but may be displayed in-camera.
Infinity Focus Stop specifications top
No.
You have to focus somehow to get precise focus at infinity, just like at every other distance.
Depth of Field Scale specifications top
Not on lens, but may be displayed in-camera.
Infrared Focus Index specifications top
No.
Close Focus (distance from subject to the image plane) specifications top
AF: 0.66' (0.2m) at 18mm.
MF: 0.49' (0.15m) at 18mm.
Maximum Reproduction Ratio specifications top
AF: 1:6¼ (0.16 ×).
MF: 1:3.8 (0.26 ×).
Minimum Subject Field specifications top
AF: 3.64 × 5.49" (92.5 × 139.4mm).
MF: 2.24 × 3.38" (56.9 × 85.8mm).
Caps specifications top
Canon E-49 49mm Front Cap (p/n 0576C001).
Rear Lens Dust Cap RF (p/n 2962C001).
Hood specifications top
Case specifications top
Size specifications top
2.72" ø maximum diameter × 1.75" extension from flange when closed. 2.6 ~ 2.9" extension while shooting.
69 mm ø maximum diameter × 44.3 mm extension from flange when closed. 65 ~ 73mm extension while shooting.
Weight specifications top
4.400 oz. (124.75 g) actual measured weight.
Rated 4.6 oz. (130g).
Announced specifications top
Tuesday, 24 May 2022 at 12:18 AM NYC time.
Promised for specifications top
Late 2022.
Actually starts shipping specifications top
I received my R10 and 18-45mm IS combo at the very beginning of August 2022.
Included specifications top
Lens.
Canon E-49 49mm Front Cap (p/n 0576C001).
Rear Lens Dust Cap RF (p/n 2962C001).
No hood.
No case.
Canon's Model Numbers specifications top
Product code: 4858C002 (4858C001 in Japan).
Model number: RF-S18-45mm F4.5-6.3 IS STM.
JAN code: 4549292-188325.
Made in specifications top
Price, U. S. A. specifications top
October 2023
$299 at B&H, at Adorama, at Amazon and at Crutchfield,
About $135 used at eBay if you know How to Win at eBay.
August ~ September 2022
$299 at B&H, at Adorama and at Crutchfield.
About $225 used at eBay if you know How to Win at eBay.
Optional Accessories top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
Optional EW-53 hood.
Optional LP-814 sack.
Getting a Legal U. S. A. Version top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
This section applies in the U. S. A. only.
Canon EOS R10 and RF-S 18-150mm kit USA Warranty Card. bigger.
I got my lens as part of a kit. The kit will have both the body and lens on the same warranty card; if you get the lens alone it will have its own card.
You must have e a U. S. A. warranty card like the one shown above from Canon U.S.A., Inc. It should be on top inside your box as you open it. The serial number on the card must match the serial number on the bottom of your lens, on the outside near the lens mount.
If you have no card or the serial number doesn't match, you got ripped off with a gray market version from another country. This is why I never buy anyplace other than from my personally approved sources. You just can't take the chance of buying elsewhere, especially at any retail store, because non-U. S. A. versions have no warranty in the U. S. A., and you probably won't be able to get firmware or service for it — even if you're willing to pay out-of-pocket for it when you need it!
Shifty dealers may include copies of a card from a legitimate U. S. A. product in a gray-market box, hoping you won't check serial numbers and catch their fraud. A card with the wrong serial number means nothing other than that you have no warranty coverage.
The serial number on the box doesn't have to match, but it should. It will be hidden someplace on the sticker with all the bar codes. If not, it means a shady dealer took things out of boxes and was too sloppy to put them back correctly — and it means you got a used lens if anyone other than you took it out of the box.
If a gray market version saves you $200 the risk might be worth it, but for $100 or less I wouldn't risk having no warranty or support.
Always be sure to check yours while you can still return it, or just don't buy from unapproved sources or at retail so you'll be able to have your camera serviced and get free updated firmware as needed. Get yours from the same places I do and you won't have a problem.
Performance top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
Overall Autofocus Manual Focus Breathing
Distance Recording Bokeh Distortion Ergonomics
Falloff Filters Flare & Ghosts Lateral Color Fringes
Lens Corrections Macro Min & Max Apertures
Mechanics Sharpness Spherochromatism
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
Overall performance top
The RF-s 18-45mm IS STM is fast, sharp, tiny and focuses ultra-close. If you want one, get it!!!
Autofocus performance top
Autofocus is immediate, but not instantaneous. It will depend on your camera, the subject and the light level, and always is more than fast enough for anything I'd shoot with this lens.
Manual Focus performance top
Manual focusing is entirely electronic; the manual focus ring isn't connected to anything other than a digital encoder.
How to get manual-focus override.
Focus Breathing performance top
Focus breathing is the image changing size as focused in and out. It's important to cinematographers that the image not breathe because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth.
The image from this lens grows as focused more closely.
Focus Distance Recording performance top
The focused distance is recorded in the EXIF data.
I read this in the lower left of my screen in Photoshop's lens correction filter.
Bokeh performance top
Bokeh, the feel, character or quality of out-of-focus areas as opposed to how far out of focus they are, doesn't matter much with this tiny, slow lens because nothing ever gets that far out of focus. If you can get something out of focus, bokeh is pretty good.
Here are photos from headshot distance wide-open. I'm focused on the DAVIS logo. Click either for the © camera-original file:
Made-in-U. S. A. Davis 6250 weather station, Sunday, 11 September 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, Canon RF-s 18-45mm IS STM at 1/1,600 , and 1/1,000 at Auto ISO 100 (LV 15.0 and 15.4), Perfectly Clear. click either for the 24 MP © 3 MB camera-original JPG file.
As always, if you want to throw the background as far out of focus as possible, shoot at 45mm at f/6.3 and get as close as possible.
Distortion performance top
There's no visible distortion shot as JPG with distortion correction ON in my R10:
On APS-C at ∞ |
Correction factor to use with images made with correction ON in R10 |
18mm |
+0.50 |
24mm |
±0.00 |
28mm |
+0.20 |
35mm |
±0.00 |
45mm |
±0.00 |
You can't turn off automatic correction, at least in my in my R7 and R10.
If you collect raw data rather than create JPG image files, you may or may not have to correct at some point if your particular choice of software doesn't.
Ergonomics performance top
Turn the zoom ring past 18mm and it collapses:
|
|
|
Closed. bigger. |
At 18mm. bigger. |
At 45mm. bigger. |
|
|
|
Closed. bigger. |
At 18mm. bigger. |
At 45mm. bigger. |
Ergonomics are great. This tiny little lens is a joy to carry and use.
There's no room for a Stabilizer switch.
The zoom ring ribs are very much in the style of a LEICA M lens: very grippy and never uncomfortable. They're hard plastic, meaning they'll never get gooey or turn white as rubber sometimes does over the decades.
The front (usually focus) ring is easy to find by feel. Its diamond knurling feels very different from the zoom ring so they're easy to find without looking.
There's no always-responsive instant manual-focus override unless you enable this in a menu in your camera.
Falloff performance top
Falloff is invisible in actual shooting.
I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background; it will not look this bad in actual photos of real things:
Falloff on APS-C at infinity, correction at its default of ON:
© 2022 KenRockwell.com. All rights reserved. |
If you shoot raw data rather than JPG images you may — or may not — be responsible to correct this on your own. Here's how it looks uncorrected, and again this is a deliberate exaggeration using flat gray fields:
Falloff on APS-C at infinity, correction deliberately turned OFF:
© 2022 KenRockwell.com. All rights reserved. |
Filters, use with performance top
There's no need for thin filters. There's no vignetting with a few stacked 49mm filters, even at 18mm.
You can use quite a stack of filters as you zoom to longer focal lengths.
Flare & Ghosts performance top
There are no ghosts. With this lens' simple design, there just aren't any.
See examples Sunstars.
Lateral Color Fringes performance top
There are no lateral color fringes when shot as JPG with the default Chromatic Aberration Correction left ON in my R10.
If you go out of your way to turn this OFF (or shoot raw and then use non-manufacturer software to process that data into images) then there's a tiny bit of green/magenta color fringes in the corner, and that's it.
This is great performance; it used to be so much worse ten years ago, while today this is a thing of the past with automated correction — or even without.
If you shoot raw data rather than JPG images you may — or may not — be responsible to correct this on your own.
There is almost no spherochromatism, which is a completely different aberration in a different dimension than lateral color fringes.
Lens Corrections performance top
This will change as the years roll on, but my EOS R7 and R10 have options to correct for falloff (Peripheral Illumination Correction), Distortion and a Digital Lens Optimizer which corrects for a suite of other aberrations. The EOS R, R5, R6 and EOS RP have this, too; I just don't have them handy to check their specifics with this lens.
Distortion correction is always on and cannot be turned off.
Falloff and the Digital Lens Optimizer are ON by default.
If you turn off the Digital Lens Optimizer, you are then offered à la carte ON/OFF options for Chromatic Aberration Correction and Diffraction Correction — at least on my EOS R5, EOS R6 and EOS RP.
Macro Performance performance top
This 15-45mm gets super-close (to 1/4 life size), however it does need to be stopped down a bit for the best contrast at the very closest distances.
It gets closer when manually focused. If you can't get close enough in autofocus, remember to flick the switch on the camera to MF.
Wide-open at f/6.3
It has less contrast wide-open at f/6.3 due to spherical aberration. That's probably why it stops autofocusing and expects you to use manual focus at the very closest distances:
Casio G-Shock Solar Atomic Watch at 45mm wide-open at f/6.3 at closest manual-focus distance, 11:38:52 AM, 11 September 2022. Canon EOS R10, RF-s 18-45mm IS STM at 45mm at f/6.3 at 1/1,000 at ISO 100 (LV 15.4). bigger or camera-original © file.
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original © file.
The haze is spherical aberration.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same insanely high magnification would be about 40 × 60" (1 × 1.5 meters).
At 45mm at f/11
Stopped down a little the spherical aberration goes away and it becomes super-sharp:
Casio G-Shock Solar Atomic Watch at closest manual-focus distance, 11:39:06 AM, 11 September 2022. Canon EOS R10, RF-s 18-45mm IS STM at f/11 at f11 at 1/320 at ISO 100 (LV 15.4). bigger or camera-original © file.
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same insanely high magnification would be about 40 × 60" (1 × 1.5 meters).
Maximum & Minimum Apertures performance top
Maximum Aperture |
Minimum Aperture |
|
| 18mm | f/4.5 |
f/22 |
| 24mm | f/5 |
f/25 |
| 28mm | f/5 |
f/25 |
| 35mm | f/5.6 |
f/29 |
| 45mm | f/6.3 |
f/32 |
Mechanical Quality performance top
Canon RF-s 18-45mm IS STM. bigger.
This is a very well made lens, made entirely out of plastic except for the screws, glass and electronics. This what you get in a lens that weighs only 4.4 oz. (125g).
Finish
Black plastic.
Front Bumper
None.
Filter Threads
Plastic.
Hood Bayonet Mount
Plastic.
Barrel Exterior
Plastic.
Zoom Ring
Plastic.
Front Control Ring
Plastic.
Identity
Invisibly molded around front of lens as if Canon's trying to hide it, also "18-45" printed on top rear of barrel.
Internals
Seem like all plastic.
Dust Gasket at Mount
No.
Mount
Plastic.
Markings
Paint.
Serial Number
Canon RF-s 18-45mm IS STM. bigger.
Laser-engraved on bottom of barrel near the mount.
Date Code
None found.
Noises When Shaken
Just some minor clicking.
Made in
Canon RF-s 18-45mm IS STM. bigger.
Made in Taiwan.
Sharpness performance top
This is an ultrasharp lens.
As lens designers know, it's trivial to make an ultrasharp lens if it doesn't need to zoom over a wide range (only 2.5× in this case), only covers reasonably normal focal lengths (28~70mm equivalent) and is slow, only f/4.5~6.3 here. Because this is such a simple lens, it's easy for Canon to make it super-sharp at a bargain price because it doesn't have to go to f/2.8 or zoom really wide or long.
Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.
If you're not getting ultra-sharp pictures with this, be sure not to shoot at f/16 or smaller where all lenses are softer due to diffraction, always shoot at ISO 100 or below because cameras become softer at ISO 200 and above, be sure everything is in perfect focus, set your camera's sharpening as you want it (I set mine to the maximum) and be sure nothing is moving, either camera or subject. If you want to ensure a soft image with any lens, shoot at f/16 or smaller at ISO 1,600 or above at default sharpening in daylight of subjects at differing distances in the same image.
People worry waaaaay too much about sharpness. It's not 1968 anymore when lenses often weren't that sharp and there could be significant differences among them; today they are all pretty much equally fantastic.
This lens is ultrasharp at every setting, especially wide-open in the corners where it's the most difficult to be sharp in other lenses.
Here's how sharp it is wide-open at 18mm:
Canary Palm, 11:23 AM, 11 September 2022. Canon EOS R10, RF-s 18-45mm IS STM at 18mm wide-open at f/4.5 at 1/80 at Auto ISO 100 (LV 10¾). bigger or camera-original 24 MP © 11 MB file.
Remember that very little is in focus; I'm focused on the ball of the pineapple.
Canon's MTF wide-open at f/4.5 and f/6.3 at 10 cyc/mm (black) and 30 cyc/mm (blue). Sagittal (solid) and meridional (dashed).
Spherochromatism performance top
Spherochromatism, also called secondary spherical chromatic aberration or "color bokeh," is an advanced form of spherical and chromatic aberration in a different dimension than lateral chromatic aberration. It happens mostly in fast normal and tele lenses when spherical aberration at the ends of the color spectrum are corrected differently than in the middle of the spectrum. Spherochromatism can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds. Spherochromatism is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.
Spherochromatism is negligible in this lens, which I expected because it's so slow. It has plenty of spherical aberration at this distance, so any spherochromatism is pretty well covered up by the spherical aberration:
Mondaine A132.30348.11SBB at closest manual-focus distance, 11:38: 42 AM, Sunday, 11 August 2022. Canon EOS R10, OWC ATLAS S PRO 256GB SDXC card, Canon RF-s 18-45mm IS STM at 45mm wide-open at f/6.3 at 1/1,600 at Auto ISO 100 (LV 16.0). bigger.
1,200 × 900 pixel (5.84× magnification) crop from above. bigger.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same insanely high magnification would be about 40 × 60" (1 × 1.5 meters).
Image Stabilization performance top
This lens has Optical Image Stabilization (OIS, IS or VR (Vibration Reduction)), and it also works great with in concert with in-camera stabilization if you have it. On my unstabilized R10 I get about 3 stops of real-world improvement.
In-camera sensor-shift Image Stabilization (IS) in my R7 works great, giving a measured 4 stops of combined real-world improvement with this optically stabilized lens. No system gives 6.5 stops as claimed; 4 stops is excellent.
"Percent Perfectly Sharp Shots" are the percentage of frames with 100% perfect tripod-equivalent sharpness I get when I'm shooting hand-held while free-standing with no support or bracing. This is a very strict test; in actual shooting at typical print sizes I get acceptable sharpness at much, much slower speeds, but for the purposes of seeing how much improvement an IS system gives, this is the most precise and repeatable method. I'm evaluating these images at the equivalent of 8 × 12 foot prints viewed from just 30" (2½ × 3½ meter prints viewed from just 75 cm).
Hand tremor is a random occurrence, so at marginal speeds some frames will be perfectly sharp while others will be in various stages of blur — all at the same shutter speed. This rates what percentage of shots are perfectly sharp, not how sharp are all the frames:
On the Unstabilized R10
On my unstabilized R10 I get about 3 stops of real-world improvement, which is swell:
At 18mm (28mm equivalent) on unstabilized R10
| % Perfectly Sharp Shots | 1 |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
1/250 |
| Stabilization ON | 0 |
17 |
67 |
83 |
100 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
0 |
0 |
25 |
50 |
86 |
100 |
100 |
I see a 3 stop real-world improvement.
At 45mm (75mm equivalent) on unstabilized R10
| % Perfectly Sharp Shots | 1 |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
1/250 |
| Stabilization ON | 0 |
0 |
33 |
62 |
50 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
0 |
0 |
17 |
17 |
33 |
100 |
100 |
I see about a 3 stop real-world improvement.
On the Stabilized R7
In-camera sensor-shift Image Stabilization (IS) in my R7 works great, giving a measured 5 stops of combined real-world improvement with this optically stabilized lens. No system gives 7 stops as claimed; 5 stops is excellent.
With stabilization, I can get perfect sharpness most of the time at 1/4 second at 18mm and 35mm, 1/8 second at 70 and 1/15 at 45mm — and viewed at reasonable print sizes, I can get perfectly usable images at two full seconds hand-held at 18mm!
At 18mm (28mm equivalent) on the Stabilized R7
| % Perfectly Sharp Shots on Stabilized R7* | 2s |
1s |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
| Stabilization ON | 0 |
0 |
17 |
67 |
83 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
0 |
0 |
0 |
0 |
50 |
17 |
100 |
* I'm evaluating these images at the equivalent of 8 × 12 foot prints viewed from just 30" (2½ × 3½ meter prints viewed from just 75 cm). Even at 4 seconds some of the images looked sharp at large print sizes with stabilization ON!!!
I see a 3½ stop real-world improvement.
At 45mm (75mm equivalent) on the Stabilized R7
| % Perfectly Sharp Shots on Stabilized R7 | 1s |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
1/250 |
| Stabilization ON | 0 |
17 |
50 |
100 |
100 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
0 |
0 |
0 |
0 |
50 |
100 |
100 |
I see a 4 stop real-world improvement.
Sunstars performance top
With a fancy knife-edged plastic 7-bladed rounded diaphragm, I can't see much of any kind of sunstars on brilliant points of light.
Click any to enlarge:
Compared top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
Versus the RF-s 18-150mm IS STM
Canon RF-s 18-150mm IS STM and RF-s 18-45mm IS STM. bigger.
Both are ultra sharp.
The RF-s 18-150mm isn't that much larger or more expensive, and has over three times the zoom range, eliminating the need for a telephoto lens, and often substitutes very well for a dedicated macro lens. I find the 45mm end of the 18-45mm much too limiting; I always need longer.
This RF-s 18-45mm IS STM is a little smaller and lighter and even collapses, but not by much, while I find its zoom range way too limiting.
The 18-150mm has much better macro performance and slightly better stabilization, and replaces two lenses and maybe a macro, while the 18-45mm is just one lens.
I'd only get the RF-s 18-45mm IS STM if every gram of weight or collapsibility matters. Otherwise you know you'll want the 18-150mm eventually.
User's Guide top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
Manual-Focus Override user's guide top
By default, there is no always-responsive instant manual-focus override as we take for granted in our DSLRs.
EOS R cameras need a menu setting changed for manual-focus override, otherwise the focus ring is always ignored in AF.
Find the "Lens electronic AF" option in your AF menu (AF 6 in R7 and R10, AF 4 in EOS R5 and EOS R6 or CAMERA 8 in EOS RP), and set it to either "One‑Shot‑> enabled" or "One‑Shot‑> enabled (magnify)."
Canon should have it set this way by default, but they don't. No big deal now that I figured it out.
In ONE SHOT mode manual focus now takes over and stays wherever you set the focus manually, however in SERVO mode this setting lets the lens focus manually as you turn the ring, but as soon as you stop turning the ring the AF system takes back over and keeps tracking focus! Oh well.
AF - MF Switch user's guide top
There is no AF/MF switch on the lens.
EOS R7 and R10
The AF - MF switch is on the front of the camera near the lens mount.
Full frame cameras don't have this switch, so in the:
EOS R5
Select manual focus at MENU > AF 1 > Focus mode > MF.
In manual focus you have options of 6× or 15× magnifiers. I assign this to my SET button at MENU > CUSTOM 3 > Customize buttons > SET > Magnify. Now just tap SET and it toggles among 1×, 6× and 15×.
Select the in-finder focus-distance scale at MENU > CAMERA 7 > Shooting info. disp. > Focus distance disp.
Focus peaking is enabled and set at MENU > AF 2 > MF peaking settings.
I add this option to my My Menu so I can get to it easily.
EOS R6
Select manual focus at MENU > AF 2 > Focus mode > MF.
In manual focus you have options of 5× or 10× magnifiers. I assign this to my SET button at MENU > CUSTOM 3 > Customize buttons > SET > Magnify. Now just tap SET and it toggles among 1×, 5× and 10×.
Select the in-finder focus-distance scale at MENU > CAMERA 7 > Shooting info. disp. > Focus distance disp.
Focus peaking is enabled and set at MENU > AF 2 > MF peaking settings.
I add this option to my My Menu so I can get to it easily.
EOS RP
Select manual focus at MENU > CAMERA page 7 > Focus Mode > MF.
I add this option to my My Menu so I can get to it easily.
Stabilizer Switch user's guide top
There is no stabilizer switch.
Instead set this in the R7 and R10 at MENU > CAMERA page 8 > IS (Image Stabilizer) mode.
It's in similar places in the other cameras.
I add this option to my My Menu so I can get to it easily.
Recommendations top
Sample Images Intro New Good Bad Missing
Compatibility Specifications Accessories
USA Version Performance Compared
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
This tiny 18-45mm lens is sharp, focuses very close and is nearly free, but I greatly prefer the RF-s 18-150mm IS STM because it's more than twice as much lens in about the same size package.
While it "works" on full-frame cameras, most of the pixels are thrown away. Use the ultralight full-frame RF 24-105mm IS STM instead on full-frame for much better results.
I use a clear (UV) protective filter instead of a cap (exactly like an iPhone) so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either.
The very best protective filter is the Multicoated Hoya HD3 49mm which uses hardened glass and repels dirt and fingerprints.
For much less money the basic multicoated Hoya filters work great, but the Hoya HD3 is the toughest and the best.
Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt.
All these filters are just as sharp and take the same pictures, the difference is how much abuse they'll take and stay clean and stay in one piece. Since filters last a lifetime or more, there's no reason not to buy the best as it will last you for the next 50 years. Filters aren't throwaways like digital cameras which we replace every few years, like it or not. I'm still using filters I bought back in the 1970s!
I got my 18-45mm IS STM at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or used at eBay if you know How to Win at eBay.
This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally approved sources I've used myself for way over 100 combined years when you get anything, regardless of the country in which you live — but I receive nothing for my efforts if you get it elsewhere. Canon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, dropped, incomplete, gray-market, store demo or used lens — and all of my personally approved sources allow for 100% cash-back returns for at least 30 days if you don't love your new lens. I've used many of these sources since the 1970s because I can try it in my own hands and return it if I don't love it, and because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I've used myself for decades for the best prices, service, return policies and selection.
Thanks for helping me help you!
Ken.
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