The Canon EOS 5D Mark IV is definitely a DSLR for professional photographers, but it doesn’t sit quite at the top of Canon’s DSLR camera tree - that spot is reserved for the 1D-X series. So then, at a more affordable price, it’s also suitable for enthusiasts and serious amateurs who need a full-frame DSLR to kick things up a notch.
With an improved camera, lenses are next on the horizon and there are plenty to choose from either from Canon or third-party while there are diamonds in the rough out there, it’s still a minefield of varying optical quality when it comes to choosing the best lens for the 5D Mark IV.
That’s why we’ve selected some of the very best lenses for this full frame behemoth. Lenses that cover a wide range of uses, from general photography to macro; ultra-wides for astrophotography to hyper-telephoto zooms that reach right into the heart of the action.
Features that make the best lenses stand out are built-in image stabilization for keeping shots steady during handheld use, superior lens coatings, fast autofocusing, wide apertures, and glass that reduces color fringing and ghosting. So if any of that sounds appealing, especially if you’re seeking a lens for specific uses such as weddings, real estate, or astrophotography, then bear that in mind as you move through the list.
Jase Parnell-Brookes
Jase Parnell-Brookes is an award-winning photographer, educator and writer based in the UK. They won the Gold Prize award in the Nikon Photo Contest 2018/19 and was named Digital Photographer of the Year in 2014. After completing their Masters, Jase has spent a good chunk of two decades studying and working in photography and optics. Now the Channel Editor for Cameras and Skywatching at Space.com, their speciality is in low-light optics and camera systems.
Expect superb detail in close-up shots with this accomplished macro lens, which gives you lifesize magnification. Read more below…
Best lenses for Canon 5D Mark IV in 2024
Why you can trust Digital Camera World Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out how we test.
As one of the most common focal length ranges in a keen photographer’s repertoire, this is Canon’s best zoom lens, with a wide aperture of f/2.8 that stays constant throughout the zoom range. It’s perfect for landscapes, portraits and many other disciplines, whether indoors or out, thanks to its excellent weather sealing.
Competitor models may keep up with it in terms of sharpness, but few have the durable build and L-series quality wrapped up in one lens. However, it would be nice to see image stabilization added, despite wide-angles and fast-aperture lenses needing it less.
Perfect for landscapes and any wide field photography
+
Razor sharp image quality edge-to-edge
+
Almost undetectable distortion in every respect
Reasons to avoid
-
Not what you’d call cheap for a wide-angle
Touted by Sigma as containing zero distortion, this Art-series lens is truly versatile. With a zoom range of 14-24mm, it lends itself well to landscape photography. However, the fast and constant f/2.8 aperture also suits wide-field astrophotography.
It’s designed to handle chromatic aberration well and shoot with streak-free results when aimed at bright light sources. It’s also compatible with the 5D Mark IV’s Lens Aberration Correction function, to further perfect optical characteristics.
Rightfully acknowledged as an all-time classic Canon lens, the EF 50mm f/1.8 STM delivers very good sharpness right out to the edges and corners and a responsive autofocus system. The real shock is how little it costs given its performance credentials – it’s one of the best deals a 5D Mark IV owner can find.
An 85mm lens is widely thought of as the ideal focal length for portraiture - and this prime offers the advantage of a wide f/1.4 maximum aperture to help you blur the background, and concentrate on the subject's eyes. Unlike many of its rivals, the Canon lens offers the distinct advantage of built-in image stabilization. Build quality is highly robust, with a shock-absorbing front barrel, comprehensive weather seals, and anti-glare coatings on the front and rear elements. Despite weighing a substantial 950g, the lens feels balanced on the EOS 5D Mark IV.
Wide-aperture sharpness is marginally less magnificent than from the Sigma 85mm Art lens but still pretty extraordinary. The quality of the bokeh is exceptional, with super-smooth blur and particularly minimal longitudinal or ‘bokeh’ fringing. The aperture remains more well-rounded when stopping down a little, compared with Canon’s alternative EF f/1.2 and f/1.8 85mm lenses.
Useable focal length range is perfect for many scenarios
+
A wide aperture and IS achieves sharp handheld shots
Reasons to avoid
-
Larger and heavier than most prime lenses
-
Expensive for enthusiasts, but surely worth the price
A staple in any professional photographer’s kit bag, the Canon EF 70-200mm f/2.8L IS III USM combines a flexible telephoto zoom range with a wide constant aperture of f/2.8 for shallow depth of field portraits or maximizing light in dark scenes. 3.5 stops of image stabilization supplement the fast aperture to maintain faster shutter speeds handheld.
The lens benefits from Fluorite and UD optics and improved coatings to combat lens flare, and ghosting, and improve overall contrast and sharpness with minimal chromatic aberration no matter which end of the focal length range you’re shooting in.
Telephotos with this sort of range are usually big and bulky, so Sigma has done well to restrict its weight to just under 2kg. This lens is really made for tripod-based shooting, but if the situation or personal preference demand handheld use, four stops of Optical Stabilization help to reduce the impact of camera shake, especially at the long end of the range, where the maximum aperture narrows to f/6.3.
Expensive and large if used exclusively for portraits
With a minimum focusing distance of 30cm the Canon EF 100mm f/2.8L IS USM reproduces subjects with a 1:1 ratio, meaning the space subjects take up in real life is the same on the image sensor. That means ultra-detailed and impeccably sharp results when shooting macro.
Not just a good macro lens, this fixed macro can also focus to infinity. The focal length makes it ideal for portraiture, with the fast f/2.8 aperture and longer focal length generating a flatteringly shallow depth of field. Image stabilization keeps handheld shots steady and sharp, while the UltraSonic Motor enables fast autofocus.
The 5D Mark IV uses the Canon EF mount, which means it works with all EF lenses. EF lenses are designed for use with full-frame Canon DSLRs such as the 5D series, and there’s a wide selection to choose from.
The 5D Mark IV can’t use Canon EF-S lenses, which are made for APS-C Canon DLSRs. These lenses don’t physically fit to the EF lens mount.
The 5D Mark IV can’t use Canon RF or EF-M lenses, which are designed for mirrorless Canon cameras.
If you later upgrade to a Canon R-series mirrorless camera, you can continue to use your EF lenses on your new camera if you buy a Canon Mount Adapter EF-EOS R.
How do I know which lens to get for my 5D Mark IV?
The reason there are so many types of lens in the first place is that different scenes demand different lens designs, particularly when it comes to focal length and aperture rating.
Usually, you will decide what you want to photograph, then get a lens with the focal length that suits the situation. For example, to shoot landscapes you will need a wide-angle lens, while for sports and wildlife you will need a telephoto.
The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.
We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.
There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).
We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.
Jase Parnell-Brookes is an award-winning photographer, educator and writer based in the UK. They won the Gold Prize award in the Nikon Photo Contest 2018/19 and was named Digital Photographer of the Year in 2014. After completing their Masters Jase has spent a good chunk of two decades studying and working in photography and optics shooting and writing all over the world for big-name brands and media outlets. Now the Channel Editor for Cameras and Skywatching at Space.com their speciality is in low light optics and camera systems.