The Canon EOS 6D Mark II is a great camera that fills an important gap in the market. As a full-frame model aimed at a market that requires full-frame quality but can’t yet justify the expense of the higher-end models Canon has available, the 6D Mark II is the best of both worlds in terms of features and value for money. There’s a wide range of glass on offer for the 6D Mark II owner, from wide-zooms to fast telephoto primes.
We’ve decided to focus on high-quality lenses that produce ultra-sharp results to make the most of the detail that the 26.2MP image sensor can capture. The best lenses in this roundup include features like fast, ultrasonic motors for speedy autofocusing to keep the shoot moving; strong image stabilization that steadies the frame whether shooting stills or video; and fast, constant apertures that won’t change through zoom ranges, and offer the most versatile options for shooting whether in bright sunshine or dark, low light environments.
Each lens has been perfectly crafted for use with this entry-level full-frame camera, and takes advantage of features such as flare-reducing lens coatings, ultra low dispersion elements that prevent chromatic aberration, and aspherical treatments designed to remove distortion issues, especially on zoom lens constructions.
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.
Shoot small objects and creatures from a comfortable distance with this macro, which doubles as a decent portrait lens. Read more below…
Best lenses for the Canon 6D Mark II
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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.
This is the third iteration of this classic wide-angle zoom, and we think the Canon EF 16-35mm f/2.8L III USM is the best yet. L-series quality brings sharpness to the entire zoom range with minimal chromatic aberration and distortion due to the Glass Moulded (GMo) lenses and Ultra Low Dispersion elements inside. Ideal for landscapes, real estate, even environmental portraits, it’s a versatile lens that can shoot in the dark thanks to its bright f/2.8 constant aperture.
A rugged build and excellent weather sealing make this ideal for professional photographers, and enthusiasts who can afford it, to take with them on their next adventure no matter the weather conditions.
Max angle of view (diagonal): 114 degrees (Full-frame)
Dimensions (WxL): 87x106mm
Weight: 791g
Reasons to buy
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Generous viewing angle
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Superb image quality
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Good build and handling
Reasons to avoid
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No image stabilization
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Manual focus only
Sold as the Rokinon SP 14mm f/2.4 in North America, this ultra-wide prime is an ideal choice for interiors or for shooting nightscapes. The f/2.8 constant 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.
This is a classic Canon lens that continues to sell healthily – and it’s no wonder. It’s light and compact, sharpness and detail are strong even in the corners, and the autofocus system is pleasingly responsive. This is all provided at a shockingly low price, which is why this nifty fifty is feted as one of the best lens deals you’ll find.
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.
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.
Super-telephotos like this are rarely small, but Sigma has done a good job at keeping this lens just under the 2kg wire. It’s not overly large to handle either, but definitely much larger than many other, more typical telephotos.
Photographers favoring handheld shooting should be aware of the slower maximum aperture of f/6.3 when zoomed in to 600mm, but four stops of Optical Stabilization remedies this somewhat. In order to fit all of that glass inside and keep things sharp and clean, the front element has had to grow to a massive 95mm, so get ready to shell out for some more filters if you opt for this lens. Also consider Sigma's more robust Sport version of this lens, the Sigma 150-600mm f/5-6.3 DG OS HSM | S.
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.
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.
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.
