The F-1 was Canon's first successful professional-grade SLR system, supporting a huge variety of accessories and interchangeable parts so it could be adapted for different uses and preferences.

In 1972 Canon launched a Highspeed model with a fixed pellicle mirror that allowed the user to see the subject at all times.

Between 1970 and 1979, a total of 68 different FD mount lens models were produced, ranging from 7.5mm to 800mm in focal length.

This lens' rear element extends further into the camera body than other FL-mount lenses, and would obstruct the moving mirror of the Canon F-1.

Canon's super telephoto FD lenses were also the first to use white-colored housings,[3] which were designed to keep the thermally sensitive fluorite lens elements from expanding or cracking.

Canon continues to use white housings for its L-series lenses today, though the modern versions are made with ultra-low dispersion (UD) glass rather than fluorite.

The viewfinder is removable (interchangeable with four other viewfinders); The focusing screen can be changed out with 4 (later 9) types; the mirror can be locked up to allow deep seated lenses or for high magnification work, the back is interchangeable with a data and bulk film back (250 exposures), The bottom plate is removable and there are 4 Motor Drives and / or Power Winders that can be used (one was a special order 9 frames per second high speed motor drive); three different flash couplers allowed a wide variety of flashes; the eyepiece can take threaded diopter adjustment lenses, magnifiers or angle finders; and the lens collection numbers over 50 FD (and a few special purpose) lenses from 7.5 mm fisheye to 1200 mm super telephoto, and includes the world's fastest 300 mm at the time (the 300 mm F2.8L) and the world's fastest 400 mm lens (the New FD 400 mm F2.8L) both of which incorporate special fluorite and ultra low dispersion glass elements for superb optical quality at the widest lens opening.

It also allowed the entire finder image to be viewed from 60 millimeters away and was suggested for use when wearing goggles or anything else that could prevent the user from placing the eyepiece right up to their eye.

[9]: 3 In 1972 Canon made a special modification of the F-1 called the "High Speed Motor Drive Camera".

Its use at the 1972 Olympics in Japan produced fantastic sequential shots that were previously impossible to achieve.

A special cord ("Connecting Cord MF") allowed the Servo EE finder to draw its power from the Motor Drive MF – thus making a much more compact setup than the original Motor Drive unit.

The Data Controller resembles a desktop calculator with a vacuum fluorescent display and is powered by four AA batteries.

[11] The Data Back F is a self-contained unit with three analog dials to select numbers, certain letters, or Roman numerals.

[7]: 82 The F-1s eyepiece was threaded and could take a metal (later soft rubber covered) ring, an eyecup or several different diopter adjustment lenses.

[15]: 15 With a removable viewfinder, the F-1's flash coupler originally attached atop the rewind crank.

The Flash Coupler L contained two batteries (now hard to find, one being originally a 1.35v mercuric oxide and the other being the uncommon PX-1 size), one which powered a light to light up the metering window visible in the viewfinder, and the other to work with the original Canon Auto tuning system (CATS).

Canon announced and produced manuals for a high power handle mounted ("potato masher") flash designated SpeedLight 500A.

This was also to use the CATS equipment It appears in some Canon publications, and there are user instructions for it, however most people have never actually seen a SpeedLight 500A.

Later, Canon introduced the Flash Coupler F, which fastened over the Eye Level Finder, making the camera look like more like one with a fixed viewfinder and hot shoe.

It was also possible for the flash unit to select an appropriate camera aperture based on its own photo cell exposure reading, provided that the motor drive was also present.

For many this was considered as a considerable advantage although the ergonomics of the Nikon F3 with its liquid crystal display lacked the clarity of the Canon F1.

The Museum of Contemporary Art in Gothenburg in Sweden showed a giant working replica of the Canon F1 made by the artist Sonja Nilsson in 2001.