Canon vs. Sony — Which Mirrorless System is Best? The Answers Revealed by the Kit.

Overall, Canon and Sony offer outstanding camera and lens line-ups.
It is hard to go wrong with either choice, and with no unanimous winner declared, neither Canon nor Sony will be referencing this article.
However, making Canon or Sony happy is not my job — advising you is — and advantages exist between the brands.

While my kit is primarily based on Canon gear, I maintain a full complement of Sony cameras and lenses to use during evaluations.
Having a solid basis from both brands permits a best-of-breed approach.

Aside from a Canon EOS 1Ds Mark III utilized to capture the site’s standard lens product images in the studio, the kit is all mirrorless (I know, I should sell that last camera and process R5 images to the 1Ds III pixel dimensions).
Most of the best cameras and lenses are mirrorless models; those starting out should opt for a mirrorless kit, and those interested in bettering their kits should begin the migration to mirrorless.

The Canon side of the kit foundation is built on a pair of EOS R5 bodies.
The R5 is an outstanding performer, featuring general-purpose utility, outstanding AF performance, and excellent image quality, including high resolution.

A Sony Alpha 1 and a Sony Alpha 7R IV represent sony in the kit.
The a1 is Sony’s flagship model, featuring up to 30 fps continuous shooting with no viewfinder blackout, 50 MP resolution, and best-available specs and features throughout.
The a7R IV’s only advantage over the a1 is higher resolution.
It would only take a moment of weakness to upgrade the a7R IV to a second a1.

Listing the cameras was easy, and most often, the which camera decision is answered by the lens needed.

Let’s look at the lenses, starting with the zoom lenses and following with the prime lens options.
The sort within those two categories will be the widest focal length and then the widest aperture.

Sony FE 12-24mm F2.8 GM Lens

Although it does not go to 11mm, this phenomenal zoom lens is smaller and lighter, has a 2x wider aperture, is at least as sharp wide-open as the Canon EF 11-24mm f/4L USM Lens, and has the same price.
That Canon lens is another great option.

I primarily use this lens for landscapes, nightscapes, and interior architecture.
Note that the Sony cannot utilize front filters, a detraction for certain needs, primarily those requiring a circular polarizer filter.
The Canon lens has the same problem; however, the Drop-In Canon Mount Adapter adds full filter capabilities to this lens.

Canon RF 15-35mm F2.8 L IS USM Lens
Sony FE 16-35mm F2.8 GM Lens

The RF 15-35 is my go-to landscape lens, and it works well for other needs, including capturing the big view at events, etc.
Because this focal length range is so important to me, I also have the most equivalent lens on the Sony side, the Sony FE 16-35mm F2.8 GM Lens.
If a Sony camera is under evaluation, I’ll take the Sony option without hesitation.

Canon RF 24-70mm F2.8 L IS USM Lens
Canon RF 24-105mm F4 L IS USM Lens
Canon RF 28-70mm F2 L USM Lens

The general-purpose focal length range tends to get a lot of use, and there are currently three superb-performing options in the kit.
Initially, only the RF 24-70mm F2.8 had membership, and the results from this lens never disappoint.
However, a wider aperture or lighter, more compact option was often needed.

The RF 28-70 F2 had been on the want list since it first arrived, but I waited long enough to ensure the high cost was justified.
As it turns out, I waited too long, and this lens was still back ordered when a large indoor music festival assignment hit the calendar, providing the incentive to order.
Unfortunately, the lens arrived about a month after the concert.
Still, other needs for the f/2 lens are steadily arriving, especially the event coverage it is perfectly suited for.

While the RF 24-70 F2.8 is not a large or heavy lens, a modestly lighter option can make a big difference when hiking long distances, and the RF 24-105mm F4 recently joined the kit to facilitate some hiking needs later this year.

A phenomenal general-purpose zoom lens is arguably Sony’s biggest opportunity.

Canon RF 70-200mm F2.8 L IS USM Lens
Canon RF 70-200mm F4 L IS USM Lens

My uses for the 70-200mm focal length range include portraits, events, landscapes, and product images.
Until recently, the relatively compact and lightweight F2.8 lens was the kit’s solo 70-200mm option, but some distance hiking needs justified the F4 variant’s entry into the kit.

The Sony FE 70-200mm F2.8 GM OSS II Lens is an outstanding option for those with a sony kit, and this lens addition would help round out the Sony kit shared here.

Canon RF 100-500mm F4.5-7.1 L IS USM Lens
Sony FE 100-400mm F4.5-5.6 GM OSS Lens

The RF 100-500 goes almost everywhere with me.
This lens is an outstanding choice for landscapes, wildlife, portraits, daytime field sports, and more.

The FE lens fills this important role when working with a Sony camera.

Those with Sony-based kits should also consider the Sony FE 200-600mm F5.6-6.3 G OSS Lens.
This lens shifts the focal length range to the long direction, which noticeably increases the size and weight of the lens.
Because I most often have a 600mm f/4 lens complementing the long telephoto zoom, I opted for the more compact and wider-angle lens option.

Now we look at the primes, starting with a combined discussion of the widest three lenses.

Sony FE 14mm F1.8 GM Lens
Sony FE 20mm F1.8 G Lens
Sony FE 24mm F1.4 GM Lens

These three lenses will outperform all others matching their focal length, and the ultra-wide apertures make them the ultimate astrophotography lenses.
These three lenses are in the pack if I’m photographing the night sky.

Sony FE 35mm F1.4 GM Lens

A 35mm prime lens most often joins the pack when portraits are scheduled.
The strong background blur and low-light capabilities of the f/1.4 aperture are extremely attractive features, with the 35mm angle of view facilitating a great perspective for full-body portraits.

Canon’s EF 35mm f/1.4L II USM is an outstanding lens, both optically and physically.
However, the Sony lens is smaller, lighter, and less expensive.
I purchased the Sony lens to review and kept it.

Canon RF 50mm F1.2 L USM Lens

When this lens arrived in the Canon USA refurbished inventory, I couldn’t resist adding it to the kit.
Reviewing the RF 50mm F1.2 revealed it the incredible-performing 50mm lens we had long waited for.

The focal length and aperture make the RF 50mm F1.2 an ideal portraiture and event lens.

Later, Sony introduced the FE 50mm F1.2 GM Lens.
It is also an outstanding choice, slightly smaller and less expensive.
In this decision, select the lens that matches your camera.

Especially with the RF 85mm F1.2 and RF 28-70 later joining the kit, my 50mm prime lenses do not see much use.
Thus, I don’t own models from both brands, and the RF 50mm lens is at the top of the consideration to sell list.

Canon RF 85mm F1.2 L USM Lens

This lens joined the most wanted list immediately upon providing the image quality test results, where it showed a
stunning improvement over its EF predecessor.
This lens is so optically high-performing that it is currently used for image quality testing of Canon EOS R-series cameras.

If portrait photography is on your list, the RF 85mm F1.2 lens is an outstanding choice, one that makes low light a non-issue.

Canon EF 100mm f/2.8L IS USM Macro Lens

The only non-mirrorless lens in this list, the adapted EF 100mm L macro is an outstanding performer.
I may upgrade to the Canon RF 100mm F2.8 L Macro IS USM Lens someday, but I’m not yet over the RF lens’s focus shift issue.

Sony FE 135mm F1.8 GM Lens

Similar to the RF 85 F1.2 to the Canon system is the FE 135mm F1.8 to the Sony system.
The 135mm focal length is superb for portraits (and products), and the extremely high optical quality is the reason this lens is used for Sony Alpha camera image quality testing.

Canon RF 400mm F2.8 L IS USM Lens

Periodically, I decide that I could get along without a 400mm f/2.8 lens in the kit.
Then life happens, and I realize how important this lens is to the needs coming in.
A 400mm f/2.8 lens is used primarily for sports and wildlife photography, but it gets called upon for portraits since it is already in the kit.
This lens delivers differentiating results in all its uses, with the background blur strength surpassing nearly all other options.

Sony-based kits should opt for the also-superb FE 400mm F2.8 GM OSS Lens.
I like the Canon option very slightly better, with better image stabilization performance being the biggest differentiator.

Canon RF 600mm F4 L IS USM Lens
Sony FE 600mm F4 GM OSS Lens

Wildlife and sports are among my primary photographic pursuits, the 600mm f/4 is the best option for those needs, and this option for both brands is covered in the kit.

The Canon lens’s image stabilization system is better, but I’ll pick the Sony option for a sharpness advantage if extenders/teleconverters are needed.

Canon RF 1.4x Extender
Canon RF 2x Extender
Sony FE 1.4x Teleconverter
Sony FE 2x Teleconverter

I like carrying and using the RF 1.4 with the RF 400 F2.8, and I like using the FE 2x with the FE 600 F4 when photographing the sun and moon.
Otherwise, getting closer is usually better than using extenders, and in this kit, extenders and teleconverters are most frequently used for lens image quality testing.

Which lens will be added to the kit next?
It probably has not been announced yet.