I've always thought that the Canon EOS 6D Mark II was one of the best DSLRs on the market. A major upgrade over the original, it's almost like the best of a DSLR and mirrorless camera in one package. You get a 'proper' optical viewfinder and endless battery life, along with hybrid phase/contrast autofocus right on the image sensor when you're in Live View mode. Handling is excellent and it's great value at the price. But of course, any camera is only as good as the lenses that you mount on it, which is where my guide comes in.
I’ll be focusing on high-quality lenses that produce sharp results to make the most of the camera's 26.2MP full-frame image sensor. Most of the best lenses in my roundup include features like fast, ultrasonic motors for speedy autofocusing, and high-performance optical image stabilization, given that like other Canon EOS DSLRs, there's no in-body sensor-shift stabilization. Some also have fast apertures, offering versatile options for wide-ranging shooting scenarios.
I feel that each lens in the guide has been perfectly crafted for use with this full-frame camera. Most take advantage of features such as flare-reducing lens coatings, ultra low dispersion elements that prevent chromatic aberration, and aspherical elements designed to remove distortion issues.
As Digital Camera World's principal lens reviewer, Matthew brings his seasoned expertise to picking out the best lenses for the Canon EOS 6D Mark II – and the lenses on this list are his top recommendations.
Best lenses for the Canon 6D Mark II
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Here are my top choices from Canon's remaining (although dwindling) selection of EF mount lenses for the full-frame EOS 6D Mark II, starting off with my favorite standard zoom for everyday shooting.
Best everyday lens for the 6D Mark II
This standard wide to mid zoom hits all the useful focal lengths a photographer could ask for on a day-by-day basis. There’s great sharpness throughout the zoom range, and a constant f/2.8 aperture keeps images bright even in dark environments. It’s a little heavier than other competitor models, but Sigma has paid close attention to this lens to reduce optical aberrations and minimize distortion.
Sturdy metal construction means it’s strong and durable and there’s even partial weather sealing to protect it from the elements. A Hyper Sonic Motor (HSM) in the lens makes this all-purpose zoom fast and accurate at autofocusing even in tricky situations.
Read more: Sigma 24-70mm f/2.8 DG OS HSM Art review
Features ★★★★★ | It’s a classic ‘trinity’ f/2.8 standard zoom but with the addition of fast ring-type ultrasonic autofocus and 4-stop optical image stabilization. |
Design ★★★★★ | The lens feels reassuringly robust and beautifully made, although it is a touch on the heavy side. |
Performance ★★★★★ | Image quality is excellent in all respects, backed up by impressive autofocus and stabilization systems. |
Value ★★★★★ | It’s much more ‘affordable’ than own-brand 24-70mm trinity standard zooms from other manufacturers. |
Best wide-angle zoom for the 6D Mark II
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 6D Mark II’s Lens Aberration Correction function, to further perfect optical characteristics. Native distortion shows up in close-range lab tests but in real-world shooting, I've hardly ever noticed any distortion, even at the short end of the zoom range.
Read more: Sigma 14-24mm f/2.8 DG HSM Art review
Features ★★★★★ | Typical Sigma DLSR lens features include ring-type ultrasonic autofocus with a physical distance scale under a viewing panel. |
Design ★★★★☆ | Robust build quality includes a weather-sealed mount but the integral hood precludes the easy use of filters. |
Performance ★★★★★ | Image quality is fabulous, from sharpness and clarity to an almost complete lack of distortions. |
Value ★★★★★ | This Sigma lens is standout value for money, especially compared with similar lenses from other camera manufacturers. |
Best wide-angle prime for the 6D Mark II
Sold as the Rokinon SP 14mm f/2.4 in the USA, I find this ultra-wide prime is an ideal choice for interiors and for shooting nightscapes. The f/2.4 aperture is able to cope with fading light, but the lens maintains sharpness across the entire frame when it’s wide-open, which is crucial for astrophotography.
Handling is terrific: the focus ring is rubberized, which really helps with grip when you’re shooting in the cold. It’s a manual-focus-only lens, with no autofocus facility, but that’s less important in a wide-angle like this, where the depth of field stays deep even when the aperture’s at its widest.
Read more: Samyang XP 14mm f/2.4 review
Features ★★★★☆ | There’s no autofocus but the lens does feature built-in electronics for data communication with the host camera body. |
Design ★★★★★ | The lens isn’t weather-sealed but is beautifully built and impeccably turned out. Manual focusing is very refined and precise. |
Performance ★★★★★ | Image quality is superb, even when shooting wide-open at f/2.4, making performance very appealing for astrophotography and architectural interiors. |
Value ★★★★★ | Sure, it’s not an autofocus lens but the design, build quality and performance make it standout value at the price. |
Best standard prime for the 6D Mark II
This is the latest and probably final edition of Canon's classic EF 50mm f/1.8 prime. Although full-frame compatible for the likes of the EOS 6D Mark II, it's also a stellar choice for portraiture on Canon's APS-C format DSLRs, thanks to the 1.6x crop factor. Either way, the updated STM (Stepping Motor) edition has smooth and ultra-quiet autofocus, ideal video as well as stills capture. Another bonus is that unlike in the previous edition of the lens, the focus ring doesn't rotate during autofocus, which improves handling.
The minimum focusing distance of approximately 35cm makes this 'nifty fifty' useful for close-up subjects and detail shots. Further updates include a better-rounded aperture diaphragm and a metal rather than plastic mounting plate. The lens is also a steal at the price, for an own-brand Canon prime.
Read more: Canon EF 50mm f/1.8 STM review
Features ★★★★☆ | The f/1.8 aperture should prove fast enough for most and the stepping motor autofocus is an upgrade over previous versions. |
Design ★★★★☆ | Unlike some older versions, this one has a metal rather than plastic mounting plate, better-rounded aperture diaphragm and the focus ring no longer rotates during autofocus. |
Performance ★★★★☆ | Image quality and other facets of performance are impressive for such a budget-friendly lens. |
Value ★★★★★ | This Canon prime lens is standout value for money although, as usual with non-L-series lenses, the hood is sold separately. |
Best portrait lens for the 6D Mark II
A prime focal length that’s known for its ability to create flattering portraits, the 85mm focal length compresses perspectives just enough to smooth out facial features while the shallow f/1.4 aperture isolates subjects beautifully, creating dreamy background bokeh.
Armed with four stops of image stabilization, this lens steadies handheld shooting, which is especially handy in low light conditions, where photographers are forced to use longer exposures to counteract the lack of light. Air Sphere Coating (ASC) reduces internal ghosting and flare, and an Ultrasonic Motor keeps autofocus fast and accurate.
Read more: Canon EF 85mm f/1.4L IS USM review
Features ★★★★★ | The strong feature set includes both optical image stabilization and fast, virtually silent USM autofocus, complete with full-time manual override. |
Design ★★★★★ | The lens is robust, weather-sealed and impeccably turned out, without being overly large or heavy. |
Performance ★★★★★ | Sumptuous image quality combines scintillating sharpness with beautiful bokeh. |
Value ★★★★★ | It’s an expensive lens but one that really delivers on every level, making it great value for money. |
Best telephoto lens for the 6D Mark II
Ever useful, the 70-200mm telephoto zoom range is a standard across all lens manufacturers. It’s suited to a wide range of assignments from portraits to gig photography, and the longer end might have become unwieldy for all but the steadiest hands unless this L-series version came with 3.5 stops of image stabilization.
Flare and ghosting is attenuated on this 70-200mm by the use of a Fluorite coating and Ultra Low Dispersion elements. Fully weather sealed, it's happy being shot in the rain, on a dusty beach, or sitting amongst the snow up the mountain.
Read more: Canon EF 70-200mm f/2.8L IS III USM review
Features ★★★★★ | Features include super-fast autofocus, highly effective image stabilization and plenty of handling extras. |
Design ★★★★★ | If it ain’t broke, don’t fix it… The lens is essentially the same as the Mark II but with additional optical coatings. |
Performance ★★★★★ | Performance is top-drawer in most respects, although sharpness at the short end of the zoom range could be a little better. |
Value ★★★★☆ | It’s expensive for a 70-200mm ‘trinity’ zoom lens but well worth the money. |
Best super-telephoto lens for the 6D Mark II
Canon’s original EF 100-400mm zoom was something of a classic, but wasn’t to everybody’s taste, especially regarding its trombone-style push-pull zoom mechanism. The second edition of the lens has a more typical twist-action zoom ring and a host of upgrades. These include a refined optical path with fluorite and Super UD (Ultra-low Dispersion) elements and high-tech Air Sphere coating.
There’s a more effective, triple-mode image stabilizer, and the Mark II also gains weather seals and fluorine coatings on the front and rear elements. It’s a superb lens but rather expensive for a 100-400mm zoom and lacks the outright telephoto reach of more recent 150-600mm independent designs.
Read more: Canon EF 100-400mm f/4.5-5.6L IS II USM review
Features ★★★★★ | It’s packed full of features, including rapid autofocus, effective stabilization and a torque adjustment for the zoom ring. |
Design ★★★★★ | There are control switches aplenty and, unlike the first edition of the lens, a proper zoom ring rather than a trombone push-pull affair. |
Performance ★★★★★ | The lens is an excellent performer, easing ahead of the previous edition for image quality. |
Value ★★★★☆ | It’s a chunky telephoto zoom with a heavyweight price tag but is still very good value for money. |
Best macro lens for the 6D Mark II
The long focal length gives the EF 100mm f/2.8L IS USM macro lens a usable working distance for those who like to photograph bugs and other skittish wildlife, with a minimum focusing distance of 30cm. Image stabilization steadies shooting by up to four stops, which drops to three stops at 0.5x magnification and two stops at 1.0x magnification.
It has the ability to focus to infinity so it can be used as a general telephoto prime lens too. At 100mm it’s ideal for portraiture because when paired with the wide aperture of f/2.8 it can produce shallow depth of field and satisfying subject isolation.
Read more: Canon EF 100mm f/2.8L Macro IS USM review
Features ★★★★★ | Great features include ‘hybrid’ optical stabilization, which was a world first when this lens was launched. |
Design ★★★★★ | Solid and dependable, the lens is typical of Canon’s exalted L-series line-up and includes extensive weather-seals. |
Performance ★★★★☆ | Image quality and all-round performance are very good overall but lose out to the newer equivalent Canon RF lens. |
Value ★★★★☆ | It’s comparatively pricey to buy for a macro optic, which is no surprise for one of Canon’s top-end lenses. |
Lab data and comparisons
The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. Prime lenses in the group tend to lead the way for sharpness, although the Canon 70-200mm does particularly well for a zoom. Color fringing is fairly minimal across the board, while wide-angle lenses show the most barrel distortion.
Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.
Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel and pincushion distortion at its shortest and longest focal lengths respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.
How to choose the best lens for the 6D Mark II
Do all Canon lenses fit the 6D Mark II?
The 6D Mark II 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 6D series, and there’s a wide selection to choose from.
The 5D Mark II 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 6D Mark II 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 6D Mark II?
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.
You can watch this video that explains focal length: it helps you work out what kind of lenses you need for different genres of photography.
How we test lenses
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.
Find out more about how we test and review on Digital Camera World
