What's the best Canon lens to get for your EOS DSLR or mirrorless camera? It can be hard to know where to start. Interchangeable lenses open up whole new worlds of possibilities, but which lens should you get first, and which ones do we recommend for your camera?
Popular lenses to get
Lenses come in lots of different types and for different purposes. We've chosen the top five to help you get started and find the lens you want:
1) Telephoto zoom: You need these for sports and wildlife photography, when you have to photograph your subjects from a distance.
2) Ultra-wide zoom: Sometimes you need to squeeze sweeping vistas into the image frame, narrow streets or small interior spaces.
3) A better standard zoom: The kit lenses you get with Canon cameras are all right to get you started, but you can get better image quality, a wider maximum aperture or a longer zoom range.
4) Macro lens: This will enable you to get right up close to tiny subjects and capture them in pin-sharp detail. Macro lenses are a great favorite with nature photographers.
5) Portrait lens: If you prefer people to bugs, a 'portrait' lens will give you the perfect working distance for flattering features and background blur.
Check your camera compatibility
You need to make sure you get the right lens to fit your camera, so here's a quick guide, and right now Canon makes four different types. We pick the best lens for each type in our guide below, but here's a quick run-down.
1) Canon EF-S lenses fit Canon's APS-C DSLRs. These are popular with beginners and enthusiasts. EF-S lenses are designed specifically for the smaller sensor area, and you can't use them on full frame Canon DSLRs.
2) Canon EF lenses are designed for full frame Canon DSLRs but they can also be used on smaller format APS-C models. The only thing to watch out for is that the 1.6x 'crop factor' of the smaller sensor means that full frame standard and wide-angle lenses are effectively 'longer' in focal length and less useful.
3) Canon EF-M lenses fit Canon's APS-C format EOS M cameras. This is a different lens mount to Canon's DSLRs, so while you can use DSLR lenses on EOS M cameras with an adaptor, you can't use EOS M lenses on a Canon DSLR.
4) Canon RF lenses only fit Canon's full frame mirrorless cameras like the EOS R, EOS RP, EOS R5 and EOS R6. You can't use them on the EOS M cameras because the mount is different, and you can't use them on Canon DSLRs either.
You can use Canon DSLR lenses on the EOS M and EOS R cameras via adaptors, but ultimately you're better off using 'native' lenses designed for these cameras to get the full benefit of the mirrorless design, both in performance and for size and weight savings.
If you’ve bought a Canon camera, it’s only natural to buy Canon lenses to go with it. In many cases, however, independent lens makers like Sigma, Tamron, Tokina and others make lenses to fit Canon cameras. Lenses from independent makers can deliver equally good or even better performance, while often being considerably less expensive. Read on to discover our top recommendations in all the main categories to help you find the best Canon lens.
The best Canon lenses in 2021
A telephoto zoom is the first extra lens that most of us buy. Ideal for shooting sports and wildlife, it’s a must-have lens whenever you can’t get as close as you might like to what you’re shooting. With telephotos, it makes sense to get a full frame EF lens, even if you have an APS-C camera. The smaller sensor brings a 'crop factor' that gives lenses a longer effective focal length on these cameras, but for telephotos that's an advantage! These are just the best recommendations for each of the four Canon camera types. For more choices, see Best Canon telephoto lenses.
Canon makes a pro-grade L-series 70-300mm zoom, which comes complete with weather seals and an optional tripod mount ring to take the weight and steady up your shots, but this newer lens is practically as sharp, only about two-thirds of the weight and less than half as much to buy. Clever features include a revolutionary Nano USM autofocus system, which is incredibly fast for tracking moving objects when shooting stills, yet gives smooth focus transitions during movie capture. The lens also features a neat LCD display with options for showing focal length, focus distance and stabilization information.
If money and muscle-power are no object, the Sigma 150-600mm f/5-6.3 DG OS HSM | Sports lens is our favourite super-telephoto zoom for Canon cameras, but it’s a big and heavy lens, weighing in at nearly 3kg, which makes prolonged handheld shooting a struggle. This ‘Contemporary’ version of the lens is much less expensive to buy, more compact, and almost a full kilogram lighter in weight. It stretches to a mighty 600mm on full-frame bodies, and delivers an incredible 960mm ‘effective’ focal length on Canon APS-C bodies, thanks to the 1.6x crop factor you get from the smaller sensor on these cameras. You really do need lenses with this kind of reach for many wildlife subjects, long-range sports like cricket or baseball, and aviation photography. This 'Contemporary' lens is not quite as extensively weather-sealed as the 'Sports' version, but it's still very well made, almost as sharp, and has the same range of up-market features and controls. On balance, it’s a better buy for most of us.
If you've chosen an EOS M camera because it's small and light, you'll want lenses which are small and light too. This lightweight telephoto zoom is barely more than a third of the weight of Canon’s latest EF 70-300mm lens for DSLRs, and it’s very much slimmer and shorter. Naturally, it’s also shorter in maximum focal length, but still extends to an ‘effective’ 320mm in full-frame terms. The other prominent factor in downsizing is that the aperture rating shrinks to f/6.3 at long zoom settings, instead of the more usual f/5.6. Despite having a plastic rather than metal mounting plate, the construction feels solid throughout. Image quality is good in all respects, with decent levels of sharpness helped by a 3.5-stop image stabilizer. All in all, it’s the ideal telephoto zoom for a compact EOS M camera body.
The vast majority of 70-200mm f/2.8 zoom lenses have a fixed physical length, which remains the same at all zoom and focus settings. While this RF-mount lens has internal focusing, it has an inner barrel that extends as you zoom from 70mm to 200mm focal lengths. This enables a much more compact stowage size, as well as a more lightweight construction. Indeed, it’s only about two-thirds the weight of most 70-200mm f/2.8 zooms, making it feel better balanced on R-series mirrorless cameras. High-tech thrills include super-fast Dual Nano USM autofocus and 5-stop optical image stabilization, all wrapped up in a solid, weather-sealed casing. It’s simply the best telephoto zoom for EOS R-series cameras, but it comes at a heavy purchase price.
We've been promised more compact lenses with mirrorless cameras for a while now, and with Canon's RF 70-200mm f/4L IS USM, we've finally got something that's much more compact than its DSLR stablemate. When collapsed this lens is no bigger than a can of Coke, making it not only much shorter than the EF version, but also much easier to stow away in a camera bag. Performance is also very good, delivering an impressive 7.5 stops of stabilization (on an EOS R6 or R5 at least), or 5 stops on a non-IBIS camera. Sharpness is spot-on in the center, though we'd like to have seen a slightly better performance at the edges. Another downside is that it's confusingly not compatible with Canon's RF teleconverters, while it's noticeably more expensive than its EF counterpart. Otherwise, this is a great lens for R series photographers.
Standard zoom lenses are pretty versatile but often don’t give a wide enough angle of view. On an APS-C format Canon, the typical kit lens has a minimum focal length of 18mm, which only equates to 28.8mm in full-frame terms. It’s wide, but not THAT wide. Most APS-C format wide-angle zooms, however, start at 10mm, enabling you to fit massively more of a scene into the image frame.
Unlike with telephoto zooms, it’s essential to get a lens designed for your camera’s sensor size. You’ll need to get an APS-C format lens for shooting on an APS-C class camera, as full frame wide-angle zooms won’t give actually give you the wide angle of view you’re looking for. If you have a full frame Canon, on the other hand, you will need a full frame wide-angle zoom to go with it.
These are just our top picks. For more choice, see Best Canon wide-angle zooms.
Tamron makes some great lenses that cost less than Canon equivalents. This one is a major upgrade over Tamron’s original 10-24mm ultra-wide zoom for APS-C format cameras, with improved optics, 4-stop VC (Vibration Compensation) stabilization, and a new HLD (High/Low toque-modulated Drive) autofocus system. Handling is improved as the focus ring no longer rotates during autofocus and enables full-time manual override. Weather seals are also added, plus a fluorine coating on the front element to repel moisture and aid cleaning. The image quality is very good and, while it's not the cheapest ultra-wideangle zoom for Canon EF-S DSLRs, it is the best choice if you can afford it.
For extreme viewing angles, this lens doesn’t go quite as wide as the massively expensive Canon 11-24mm zoom, nor Sigma’s 12-24mm Art lens, but it comes pretty close and is only about half the price of the Canon. The Sigma 14-24mm delivers stellar sharpness across the entire image frame, even when shooting wide-open at f/2.8. Distortions are incredibly minimal for an ultra-wide zoom, and colour fringing is absolutely negligible. The top-performance optics are wrapped up in a superbly well engineered and fully weather-sealed construction. This relatively new lens has become our favourite ultra-wide zoom for full-frame Canon DSLRs.
With its compact, retractable design, this is an uncommonly small wide-angle zoom that’s entirely in keeping with the EOS M mirrorless design philosophy. Indeed, it’s only half the weight of the Tamron 10-24mm lens for APS-C format DSLRs. With a minimum focal length of 11mm, the maximum viewing angle isn’t quite as extreme but it’s very wide nonetheless. The STM autofocus system is virtually silent in operation, ideal for movie capture, where it also delivers smooth focus transitions and sharpness is further enhanced by ‘dynamic’ movie stabilization. Image quality is impressive and the extra-short minimum focus distance of 0.15m is brilliant for capturing extreme wide-angle close-ups and really exaggerating perspective. As with most lenses that feature stepping motor autofocus systems, though, there’s no focus distance scale.
Rather than try to keep the weight down with a more modest aperture rating, Canon has gone for glory with this ‘trinity’ lens, adopting a faster f/2.8 aperture that remains constant throughout the zoom range. The net result is a comparatively large ultra-wide zoom that goes equally large on performance and image quality. Nano USM autofocus is fast and accurate, as well as being virtually silent in operation, while the image stabilizer gives a 5-stop benefit in beating camera-shake. Aspherical and UD (Ultra-low Dispersion) elements enable impressive sharpness while keeping distortions and colour fringing to a minimum, and both of Canon’s premium SWC (Sub-Wavelength structure Coating) and ASC (Air Sphere Coating) are applied to minimize ghosting and flare. It’s the wide-angle zoom of choice for EOS R cameras.
Standard zoom upgrades
The ‘kit’ zoom lenses that Canon supplies with its DSLRs and mirrorless cameras bodies will help you get started, but they can feel relatively basic. Reasons for upgrading include better image quality, a longer zoom range or a faster, constant-aperture rating, typically of f/2.8. This enables faster shutter speeds for freezing motion, even under dull lighting conditions, as well as giving a tighter depth of field. For APS-C format Canon DSLRs, the fairly ancient Canon EF-S 17-55mm f/2.8 IS USM best fits the brief although, as you’ll see, it’s not our first choice. To see more, read Best Canon standard zoom lenses.
The 1.6x crop factor of Canon’s APS-C cameras is quite limiting at the wide-angle end of the zoom range, so a regular kit lens that offers a widest setting of 18mm gives an ‘effective’ 28.8mm focal length in full-frame terms, which really isn’t that ‘wide’. The EF-S 15-85mm lens has much greater wide-angle potential, as well impressive telephoto reach, with its effective zoom range of 24-136mm. That makes it much more versatile as a lens for everyday shooting, especially considering that the lens is robustly built and features excellent ring-type ultrasonic autofocus system, along with 4-stop stabilization. Image quality is mostly great and, although barrel distortion and vignetting are quite heavy at 15mm, they can be quite easily corrected in-camera or with software.
The Canon EF 24-70mm f/2.8L II USM is the choice of many professional photographers around the world, but it’s not particularly good value for money and lacks image stabilization. This Sigma lens isn’t as fully weather-sealed as the Canon, but it’s beautifully built and matches the Canon for all-round performance and image quality. Sharpness and contrast are spectacular, while bokeh is lusciously smooth. Autofocus is very quick and extremely quiet, while the 4-stop stabilizer helps to ensure sharp handheld shots at relatively slow shutter speeds. At around two-thirds the price of the Canon lens, it’s a better buy.
With an effective 51.2mm, this is the longest focal length prime lens that Canon markets for its EOS M mirrorless APS-C cameras. It's a bit short for a classic 'portrait' lens but it's the closest equivalent in the EOS M lens range and works well for half-length and environmental portraits. The f/1.4 aperture rating enables you to blur the background quite successfully, though the relatively short focal length is not very good for tight head shots. You’ll find that you need to get a little too close to your subject, probably making them feel a little uncomfortable as well as distorting their features a little. Typical of such ‘fast’ lenses with an f/1.4 aperture, there’s no image stabilizer and, while the stepping motor autofocus system works well and enables precise fly-by-wire manual adjustments, it’s not as near silent as in some other EF-M lenses. The best thing about this lens is that its image quality is excellent in all respects.
If you've got really deep pockets, then you won't go wrong with the stunning RF 50mm f/1.2L USM lens. However, costing a fraction of the price is Canon's pocket-sized RF 50mm f/1.8 STM. And don't think that you'll have to make too much in the way of compromises either. It is a little slower, but f/1.8 will still deliver nicely defocused backgrounds, will our tests show it's a match for the f/1.2 version in some areas. Focusing speeds are also very good, with the stepping motor (STM) used offering quick and quiet focus. It's also better made than the EF equivalent making this a must-but for R series photographers.
In terms of pure performance, the RF 28-70mm delivers amazing results. This is a big and expensive lens, but it also has specifications which are out of this world. F/2 lenses are not that common, but f/2 full frame zooms are unheard of... until now. However, its hulking heft might make this lens unwieldy for everyday use. Lugging this around for a full day's shooting will give your forearms a serious workout. It doesn't have image stabilisation, either, but while this might have held it back in the past, the in-body stabilisation of the new EOS R5 and R6 will give this lens whole new appeal. As if it didn't have enough already!
‘Macro’ is used as another word for close-ups, but there's a bit more to it than that. While many zoom lenses have the word ‘macro’ in they typically only offer a maximum magnification ratio of between 0.3x and 0.5x. By contrast, a ‘real’ macro prime lens will deliver a full 1.0x magnification at its closest focus setting. This means that the subject you’re shooting will be reproduced at full life size on the camera’s image sensor. On an APS-C camera, for example, a standard postage stamp would fill the entire image area.
As with telephoto lenses, there can be advantages of buying a full-frame format macro lens, even if you’re shooting with an APS-C format camera. Full frame lenses have longer focal lengths, so you’ll get a longer and more comfortable working distance to your subject. And, of course, if you decide to upgrade to a full frame Canon DSLR later, your lens will work just fine on this, too.
We've picked our favorite macro lenses for each Canon format here, but to see more options, read Best macro lenses.
Like many recent designs, this lens features a stepping motor autofocus system with an electronically coupled focus ring. The hybrid image stabilization is inherited from Canon’s range-topping 100mm L-series lens and is able to correct x-y shift as well as vibration, making it more effective for close-up shooting. At the minimum focus distance, however, the front of the lens comes to just 3cm from the subject and can block ambient light. To compensate, there’s a built-in LED ‘Macro Lite’, with two brightness levels and the option to use both sides or just the left or right. It’s not very bright, though, so even at full power and at the closest shooting distance you’ll need a slow shutter speed of about 1/15th of a second at f/8 (ISO 200). It's an interesting and affordable 'novelty' lens, but serious close-up fans would probably go for a lens with a longer focal length.
A focal length of around 90mm to 105mm is often regarded as ideal for macro photography, as it enables a comfortable and natural working distance for close-up photography. This is a high quality Tamron ‘G2’ lens, with improved optical performance, nano-structure coatings, weather-seals and a fluorine coating on the front element to repel moisture and grease. It also adds a new ‘hybrid’ image stabilizer that counteracts horizontal and vertical shift, as well as the more usual angular vibration or ‘wobble’. This makes stabilization much more effective in close-up shooting and, in this respect, the Tamron directly matches Canon’s esteemed 100mm IS USM L-series macro lens. It also performs every bit as well in terms of handling and image quality but, at only around two-thirds of the price, the Tamron is the better buy.
Despite having a chamfered front end on its extending inner barrel, this lens’s working distance for full-magnification macro shots is so short that it can often cast a shadow over the object you’re shooting. As with Canon’s EF-S 35mm lens for APS-C format DSLRs, a built-in LED ‘macro lite’ adds illumination. Again, you can alter the brightness level and choose whether to use the lamp as a circular ring-light or just to employ one side or the other. Other similarities include a hybrid image stabilizer and stepping motor autofocus system. The smaller EOS M’s party trick is that it adds a Super Macro mode, which increases the maximum magnification factor from 1.0x to 1.2x, though you can't focus on far away subjects in this mode. Taking the crop factor of the smaller EOS M sensor into account, this lens gives nearly twice the maximum magnification of shooting with a 1.0x macro lens on a full-frame camera.
Canon’s EOS R-series mirrorless full-frame cameras are significantly smaller and lighter than their DSLR counterparts. Conversely, most RF-mount lenses are comparatively big and heavy, so any downsizing advantage is effectively lost. Enabling a better balance, this 35mm prime lens is nicely compact and weighs just 305g. It makes for a really discreet package with an EOS R camera, ideal for street photography and candid shooting. It also has a remarkably short minimum focus distance, at which it can reproduce small objects at half life size, thanks to its 0.5x macro capability. A 5-stop ‘hybrid’ stabilizer is also built-in, enabling steady handheld shooting even at very close range. All in all, it’s an ideal general-purpose prime for any EOS R-series camera.
The Canon RF 100mm f/2.8L Macro IS USM takes everything that was great about the EF version of this lens and makes it even better. Magnification? Boosted to 1.4x. Stabilization? Upped to 8 stops (on the EOS R5 and R6). Bokeh? Even more beautiful, thanks to a control ring that shifts the lens elements. Focus and breathing? Faster and more controlled than ever. It's a superb standalone portrait lens as well, with pin-sharp rendering and a flattering focal length. If you're an EOS R-series shooter and you want to photograph close-ups of small things and large things alike, you've just found your next purchase! Start saving...
When shooting portraits, you generally want to lift people from their surroundings and make them the centre of attention. That can be hard to achieve, especially if you’re shooting against a detailed or cluttered background. A lens with a medium to long focal length and a ‘fast’ aperture rating of around f/1.4 to f/1.8 can solve the problem. With a tight depth of field, it’ll enable you to throw the background out of focus and make people stand out from their environment.
As with macro lenses, there can be advantages in shooting with a full-frame format lens on APS-C format bodies. An 85mm focal length is usually regarded as ideal for portraiture with a full-frame camera. On an APS-C format camera, a 50mm lens will give similar benefits, taking the crop factor into account. You can still use an 85mm 'portrait' lens on Canon APS-C cameras, but you’ll just need to move a little further away.
Read more: Best Canon portrait lenses
This is a much cheaper 'portrait' alternative to the Sigma lens (above) for Canon APS-C DSLR owners. It's true that the build quality of Canon’s recent EF 50mm f/1.8 lenses have felt a little suspect, right down to their plastic mounting plates, but this latest edition feels much more solid, boasting a metal mounting plate and a better STM (Stepping Motor) autofocus system with an electronically coupled fly-by-wire focus ring. A handling benefit is that the focus ring no longer rotates during autofocus and, although audible, autofocus is quieter than in preceding editions of the lens. Smooth autofocus transitions also become available for movie capture. The diaphragm blade count goes from five to seven, enabling a more well-rounded aperture when stopping down. The lens is wonderfully compact and a real lightweight at just 160g. It definitely punches above its weight in terms of image quality.
When buying a portrait prime, you usually need to make a choice between image stabilization or a fast f/1.4 aperture. This Canon lens gives you the best of both worlds, with no compromise in features or image quality, along with top-notch build quality and a full set of weather-seals. It comes with a nine-blade diaphragm that enables an extremely well-rounded aperture (for attractive ‘bokeh’), and Canon’s advanced ASC (Air Sphere Coating) to minimize ghosting and flare. It’s quite big and chunky but still noticeably smaller and lighter than the competing Sigma 85mm f/1.4 Art lens. It’s not quite as bitingly sharp as the Sigma but the Canon’s stabilizer can make a huge difference in low-light handheld shooting and its bokeh (the quality of defocused areas) is deliciously smooth and creamy. Specialist lenses like these are expensive (sorry!) but you get what you pay for.
Engineered specifically for APS-C format EOS M mirrorless cameras, this Sigma lens is a real triumph. It combines a portrait-friendly 90mm ‘effective’ focal length with a fast f/1.4 aperture rating, ideal for shrinking the depth of field and blurring the background. Moreover, it does this while keeping the physical size down to just 67x60mm and weighing a mere 280g, giving the lens a wonderfully balanced feel on slim-line EOS M-series bodies. Build quality feels solid and robust and, unlike most Canon lenses outside of the L-series line-up, the Sigma comes complete with a lens hood. Handling is very refined, with fast and whisper-quiet autofocus and an electronically coupled manual focus ring. Image quality is simply superb. All in all, it’s a high-performance lens that’s a real bargain at the price.
Dwarfing Canon EOS R-series camera bodies, this mighty lens is a real heavyweight at almost 1.2kg. Large-diameter forward elements are required to pull in sufficient light for the f/1.2 aperture rating, which enables a really tight depth of field. In fact, it’s so tight that you can often find that only one eye of a portrait sitter is properly sharp, while the background dissolves into dreamy bokeh. Indeed, for outright softness of defocused areas, this lens is one of the very best on the market. And if you still want more, there’s an even pricier ‘DS’ edition of the lens with an added ‘Defocus Smoothing’ coating for further softening the edges of bokeh discs, created by defocused pinpricks of light and bright spots.
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