Best Lens for Wildlife Photography
| Last Updated: June 3, 2019
The Canon EOS 5D Mark IV is a semi-professional full frame DSLR camera, and to get the most out of it, you need to match that exceptional body with the right lenses. The list of possibilities is seemingly endless, making your decision even more difficult. It all comes down to your imaging preferences.
The world of possibilities to fit this camera is big, with almost 300 Canon native lenses and another like number of third-party options, so there is no single ‘best overall’.
Depending on the focal length that typically works best for your framing and circumstances, you might want a prime over a zoom or a telephoto instead of standard range. For primes, we’ve listed a lens recommendation in each focal range, while for zooms, we’ve combined some ranges because they cover more than one category.
13 Best Canon 5D Mark IV Lenses
Best Ultra-Wide Angle Prime – Specialty: Sigma 8mm f/3.5 EX DG Circular Fisheye
- Best For: Close-ups, exaggerated planned distortion
- Focal Length: 8mm
- Aperture: f/3.5
- Minimum Focus Distance: 6 in.
- Image Stabilization: No
- Weight: .9 lbs.
This specialty lens produces amazing artsy effects creating a circular image while maintaining depth of field. Imagine looking at that close up as if peering through a drop of water. Its autofocus system completely integrates with the Canon DSLR camera body.
This prime is also great for those distorted macro shots to make nature look larger than life. The 180-degree angle of view exaggerates the subject and picks out the fine details but can also include your feet in the image if you’re not careful. This lens is not weather-resistant, so use care in dust or wet conditions.
Best Ultra-Wide Angle Zoom: Sigma 12-24mm f/4.5-5.6 II DG HSM
- Best For: Panoramas, close-ups, architecture
- Focal Length: 12-24mm
- Aperture: f/4.5-5.6
- Minimum Focus Distance: 11 in.
- Image Stabilization: No
- Weight: 1.5 lbs.
Sigma seems to own the ultra-wide ratings, and this zoom is no exception. Users note the ultra-wide end is particularly sharp and precise, though considered slow at both ends (shutter speed to compensate for narrow apertures). Its ability to capture street scenes and cultural aspects of a location are definite strong points.
Reviewers say that using a lens such as this, ultra-wide and with variable aperture, requires a refresher on technique. While not a specialty lens, its uses take skills to avoid over-exaggerating a scene. Weather sealing is a plus for flexibility.
Best Wide-Angle Prime: Canon EF 35mm f/2 IS USM
- Best For: Interiors, architecture, landscapes
- Focal Length: 35mm
- Aperture: f/2
- Minimum Focus Distance: 10 in.
- Image Stabilization: Yes
- Weight: .7 lbs.
This prime lens lives at the boundary between wide and normal, and as such, it produces exceptional shots in tight spaces without suffering from major distortion at the edges. There are a few reports of darkening at the corners, but those are not the norm. It produces a shallow depth of field.
Users love the image stabilization in this lens, saying it even maintains clarity at slow handheld imaging. It is lightweight and small, with a good match in fast aperture value. Reviewers note that it is in many ways better than the pro glass with similar characteristics because of the IS on board.
Best Wide-Angle Zoom: Canon EF 16-35mm f/4L IS USM
- Best For: Interiors, architecture, landscapes
- Focal Length: 16-35mm
- Aperture: f/4
- Minimum Focus Distance: 11 in.
- Image Stabilization: Yes
- Weight: 1.4 lbs.
Any time you weigh a zoom lens, you’ll find it is considerably heavier than a similar prime. That makes sense, since it has more in terms of optics to handle a focal range. While this zoom is no exception, users tell us its features far outweigh the additional ounces.
This is pro level glass, and it includes image stabilization, further making your handheld shots something to be proud of. It is slow at the wide end, but reasonably fast at the tele end. Weather sealing invites you to carry this outdoors, but it’s also a great Canon lens for portraits and videos indoors.
Best Standard Prime: Canon EF 50mm f/1.2L USM
- Best For: General purpose, photojournalism, street scenes
- Focal Length: 50mm
- Aperture: f/1.2
- Minimum Focus Distance: 18 in.
- Image Stabilization: No
- Weight: 1.3 lbs.
Everyone needs a Nifty-Fifty, and this model is one you can rely on it to capture sharp images even in low light situations. If you want to blend into the crowd, this lens helps you do it, super fast and quiet autofocusing. While it is pricier than other 50mm models, it proves itself in the resulting photos.
Users note it takes some practice to focus on exactly the points you want and not more, because autofocusing compensates quickly if you aren’t framing well. They also would prefer it came with a lower price tag. But it produces great bokeh effects and color saturation, and those alone might be the reasons you want to get out your credit card.
Best Standard Zoom: Canon EF 24-105mm f/4L IS USM II
- Best For: General purpose, portraits, photojournalism, street scenes
- Focal Length: 24-70mm
- Aperture: f/4
- Minimum Focus Distance: 18 in.
- Image Stabilization: Yes
- Weight: 1.8 lbs.
Some might say this zoom is the best of all middle distance worlds, extending from Canon wide-angle to short tele. While it’s slow at the wide end, it’s fast and bright at the tele end. This lens extends while focusing, a feature some don’t like.
Users do warn that this lens can be noisy while focusing, unusual in pro grade glass, making it a bad choice if you’re primarily shooting videos. However, the image stabilization and weather sealing give you plenty of other shooting options to work with. This is a favorite all-purpose lens of many.
Best Short Telephoto Prime: Canon EF 85mm f/1.8 USM
- Best For: Portraits, street scenes, candids
- Focal Length: 85mm
- Aperture: f/1.8
- Minimum Focus Distance: 33 in.
- Image Stabilization: No
- Weight: .9 lbs.
Prime lenses in this range are made for capturing the subject’s details while leaving the background a pleasant blurry bokeh, and this lens does not disappoint. You won’t be getting close at this minimum focusing distance, but you won’t need to. The aperture makes this a very fast lens, great for low light conditions.
Users note this can be an excellent lens for things like concerts and events, though a few complain about autofocusing issues. It serves many useful distance range purposes out of the gear bag. Note that it is not weather-sealed, so beware of using it outdoors in wet or dusty conditions.
Best Medium Telephoto Prime: Canon EF 135mm f/2L USM
- Best For: Mid-distance sports and action
- Focal Length: 135mm
- Aperture: f/2
- Minimum Focus Distance: 35 in.
- Image Stabilization: No
- Weight: 1.7 lbs.
This very fast pro lens is your match for middle distance action and sports. It is not weather-sealed. Its built in autofocusing and full time manual focusing let you play around with depth of field and bokeh in all the best ways.
If you need a prime for low light events such as wedding photography or conferences, this longer focal length and fixed aperture is a perfect combo for precise shots. A few users note the clarity does not appear to be as great and wish it had image stabilization. If you’re looking for a way to draw close to your subjects while remaining out of their range, this is the tool for you.
Best Super Telephoto Prime: Canon EF 400mm f/5.6L USM
- Best For: Wildlife, nature, extreme distances
- Focal Length: 400mm
- Aperture: f/5.6
- Minimum Focus Distance: 138 in. (11.5 ft.)
- Image Stabilization: No
- Weight: 2.8 lbs.
Bringing the extreme distances close in without losing detail takes great optics, and this pro prime lens does not disappoint. It is hefty and you sacrifice flexibility in aperture, but you wouldn’t be shooting at far range in low light anyway. It’s a good thing this lens comes with a tripod collar, because it does not have image stabilization and handheld is a challenge for clear images.
Users say you will need to use your travel tripod to capture the best shots. Photo opportunities for the serious enthusiast will probably focus on wildlife and birding. Pros prefer zooms to be able to adjust to where their subject is moving, but for the prosumers, this lens has a specific niche to fill.
Best Short-to-Medium Telephoto Zoom: Canon EF 70-300mm f/4-5.6 IS USM
- Best For: Closer range sports and action
- Focal Length: 70-300mm
- Aperture: f/4.5-5.6
- Minimum Focus Distance: 71 in. (5.9 ft.)
- Image Stabilization: Yes
- Weight: 3.0 lbs.
If you’re looking for an action lens that allows you to blur the movement while keeping the subject in focus, this is the one for you. It is slow at both ends, so you’ll want to freeze to let it work its autofocusing magic. Its image stabilization is forgiving in handheld work.
Users appreciate the zoom lock on this lens, which means if you change the angle of your lens-camera combo, the zoom will not accidentally change focal range. This lens does not have weather sealing. A few reviewers note that the autofocusing motor can appear to be loud.
Best Medium-to-Super Telephoto Zoom: Canon EF 100-400mm f/4.5-5.6L IS II USM
- Best For: Distant sports, wildlife, action
- Focal Length: 100-400mm
- Aperture: f/4.5-5.6
- Minimum Focus Distance: 39 in. (3.2 ft.)
- Image Stabilization: Yes
- Weight: 3.5 lbs.
While this pro level zoom is slow at both ends, it has many things going for it. It features image stabilization which, if you’re shooting action and don’t have a lot of time to freeze and focus, will be a game changer. Weather sealing invites you to bring this outside.
Users note it produces fantastic photo quality; there are few negative comments. Utilize the tripod collar for the clearest photos; image stabilization is necessary at these ranges. This lens extends while focusing.
Best Tilt-Shift: Canon TS-E 90mm f/2.8
- Best For: Architecture, art shots, food and products
- Focal Length: 90mm
- Aperture: f/2.8
- Minimum Focus Distance: 20 in.
- Image Stabilization: No
- Weight: 1.3 lbs.
Expect a steep learning curve with this specialty lens. It is all-manual, and that’s how you keep all of the subjects in your frame in focus. It allows you to minimize the distortion you’d normally see when you shoot from a high or low angle, particularly when there are repetitive patterns in the shot.
When you want to play with depth of field to create interesting effects, users say this selection is the one to have in your DSLR camera backpack. It is not a be-all lens, however. If you want to explore creativity in photography in extreme close-ups or distance, this tilt-shift opens up your possibilities.
Best Macro: Canon EF 100mm f/2.8L Macro IS USM
- Best For: Small subjects in close-up
- Focal Length: 100mm
- Aperture: f/2.8
- Minimum Focus Distance: 12 in.
- Image Stabilization: Yes
- Weight: 1.4 lbs.
If you like to do small subject work like nature, you will want this Canon macro lens in your bag. The focus on this at a foot means you can be on top of the creature and capture a clear, crisp image. It fills the frame well with 1x magnification, larger than life.
Users have no complaints about this lens, saying this is a case where you can’t go wrong with your choice. The fast aperture works in all kinds of light, and image stabilization helps you freeze any movements of the subject that may occur. Its weather sealing makes it an easy lens to take across a range of conditions.
The Complete Canon 5D Mark IV Lenses Buyer’s Guide
Why Lens Selection is Important for Your 5D MIV
Your Canon EOS 5D Mark IV body with an EF lens mount comes from a long line of premier DSLR cameras designed to produce pictures of the highest quality. Lenses you used for imaging with previous models will work with this camera, but with advances in technology, manufacturing and quality, you deserve to think about adding to your sling camera gear bag. A less than adequate lens on a great camera won’t produce the crisp, clear imaging you expect from it.
The body also has 4K video capability, so selecting a lens that can’t capture this well would be a waste of money if video is part of your shooting repertoire. This Canon body does not feature image stabilization (IS) making it important to think about avoiding camera shake when shooting at longer focal lengths or slower shutter speeds.
Here are other things to consider as you prepare to add to your lens collection.
Native Lenses
Native lenses are made by the camera body manufacturer. They are fully functional with the features of your 5D camera. An implication is that the quality is better because it wears the Canon name.
While this can be a great advantage, it can also be a risk if there is a vital gap in available Canon lenses. Say, for example, that you want a good lens for portrait work or for macro shots, but those available in those ranges or specialties don’t have the focal or aperture values you want. They can also be expensive if they are professional level glass, and therefore too expensive based on your budget.
Third-Party Brands
Third-party lenses are produced by a company other than the body brand. For many years, they were thought to be substandard to native lenses because they weren’t always able to work with the settings and features of the DSLR camera body. Optics and manufacturing standards were also considered inferior to natives.
Luckily, these days are long behind us. Through the magic of reverse engineering, third parties such as Sigma, Tamron and Tokina make terrific lenses that fill holes in focal ranges and apertures native manufacturers don’t offer. In short, you have third-party options in every focal range category.
Focal Ranges and Common Uses
Each focal range (focal length) is intended for certain general uses. That’s not to say you can’t push past those boundaries, but they exist for a reason. Those are the kinds of suggested limits where the lens works its best magic.
And magic is what you want when you’re shooting photos. Relying on your equipment to perform as it should frees you up for the creative part, adjusting settings and framing. Let’s discuss the common focal ranges and what they mean for your shooting.
| Canon EOS 5D MIV Wide-Angle Lenses | Category | Best For: | Focal Length | Aperture |
| Sigma 8mm f/3.5 EX DG Circular Fisheye | Ultra-Wide Angle Prime – Specialty | Close-ups, exaggerated planned distortion | 8mm | f/3.5 |
| Sigma 12-24mm f/4.5-5.6 II DG HSM | Ultra-Wide Angle Zoom | Panoramas, close-ups, architecture | 12-24mm | f/4.5-5.6 |
| Canon EF 35mm f/2 IS USM | Best Wide-Angle Prime | Interiors, architecture, landscapes | 35mm | f/2 |
| Canon EF 16-35mm f/4L IS USM | Best Wide-Angle Zoom | Interiors, architecture, landscapes | 16-35mm | f/4 |
Wide-Angle
Wide-angle lenses are generally considered anything shorter than 35mm. Use these for close-ups because they have a close-in minimum focusing distance. This means the combination of optics designed to get close to your subject and a close focusing distance allow you to tighten in on a subject you might not otherwise notice from further away, or in which you’d lose details if further away.
That’s not all wide-angles are good for, though. They also create great panoramas because their angles are so wide, often 180 degrees. Couple this with the ability to gather less distracting light through a smaller aperture (higher f/# value) and you have a great landscape or large format wildlife tool.
These lenses can have some distortion at the corners of the frame, and lower quality models have more pronounced distortion. However, because they make everything seem wider and closer in, they’re great for interior shots like real estate. If you want planned distortion, look for a fisheye such as the first listing on our comparison.
| Canon EOS 5D MIV Standard Lenses | Category | Best For: | Focal Length | Aperture |
| Canon EF 50mm f/1.2L USM | Best Standard Prime | General purpose, photojournalism, street scenes | 50mm | f/1.2 |
| Canon EF 24-105mm f/4L IS USM II | Best Standard Zoom | General purpose, portraits, photojournalism, street scenes | 24-70mm | f/4 |
Standard or Normal
Standard lenses are generally anything above 35mm up to 85mm (depending on which list you read). The 50mm focal length most closely matches what the human eye sees. These are great general purpose lenses, also widely used by photojournalists and documentarians.
You will also find zoom lenses that extend below and above the focal range listed as standard or normal lenses, because the bulk of their range is within that normal range. Having one of these on your camera when you aren’t sure what you’re going to encounter on a shoot gives you capabilities at both the wide and telephoto ends.
| Canon EOS 5D MIV Telephoto Lenses | Category | Best For: | Focal Length | Aperture |
| Canon EF 85mm f/1.8 USM | Best Short Telephoto Prime | Portraits, street scenes, candids | 85mm | f/1.8 |
| Canon EF 135mm f/2L USM | Best Medium Telephoto Prime | Mid-distance sports and action | 135mm | f/2 |
| Canon EF 400mm f/5.6L USM | Best Super Telephoto Prime | Wildlife, nature, extreme distances | 400mm | f/5.6 |
| Canon EF 70-300mm f/4-5.6 IS USM | Best Short-to-Medium Telephoto Zoom | Closer range sports and action | 70-300mm | f/4.5-5.6 |
| Canon EF 100-400mm f/4.5-5.6L IS II USM | Best Medium-to-Super Telephoto Zoom | Distant sports, wildlife, action | 100-400mm | f/4.5-5.6 |
Telephotos
Telephotos come in three subsets, short (85mm up to 135mm), medium (135mm up to 300mm) and super (above 300mm). Short teles are wonderful for portrait work, while mediums and supers are what you need for distant sports, action, and wildlife. These lenses bring the subject close to you, allowing you to capture details that would be lost in too few pixels if you enlarged a normal focal shot.
The bigger the lens, though, the longer and heavier it will be. You’ll find many teles with a tripod collar, because trying to hold the monster still is nearly impossible. With finer optics and a greater amount of glass, expect a steep increase in price as your lens gets longer.
| Canon EOS 5D MIV Specialty Lenses | Category | Best For: | Focal Length | Aperture |
| Sigma 8mm f/3.5 EX DG Circular Fisheye | Ultra-Wide Angle Prime – Specialty | Close-ups, exaggerated planned distortion | 8mm | f/3.5 |
| Canon TS-E 90mm f/2.8 | Best Tilt-Shift | Architecture, art shots, food and products | 90mm | f/2.8 |
| Canon EF 100mm f/2.8L Macro IS USM | Best Macro | Small subjects in close-up | 100mm | f/2.8 |
Specialty Optics
Fisheyes, mentioned under the wide-angle section, are one kind of specialty optics designed to emphasize and plan for distortion at the corners. Macros make things larger than life, sometimes twice as large. If you want to take detailed insect or small animal images, a macro is what you need.
Another specialty is tilt-shift or perspective (TS-E in Canon-speak) which takes all subjects in your image and makes them appear they are the same distance from your DSLR camera. Think of a string of telephone poles disappearing into the distance, now all appearing to be the same actual height. This type of lens, while not cheap and requiring technical practice to use, makes artsy architecture shots a reality.
FAQs about Lenses for Canon 5D MIV
With the wealth of lens available for your Canon 5D body, it’s no wonder that you’d have questions about how to select the best ones for your photography style. We’ve assembled some of the common questions about these lenses, along with prompts about how you should make your decision.
| Canon EOS 5D MIV Lenses | Best For: | Focal Length | Minimum Focus Distance |
| Sigma 8mm f/3.5 EX DG Circular Fisheye | Close-ups, exaggerated planned distortion | 8mm | 6 in. |
| Sigma 12-24mm f/4.5-5.6 II DG HSM | Panoramas, close-ups, architecture | 12-24mm | 11 in. |
| Canon EF 35mm f/2 IS USM | Interiors, architecture, landscapes | 35mm | 10 in. |
| Canon EF 16-35mm f/4L IS USM | Interiors, architecture, landscapes | 16-35mm | 11 in. |
| Canon EF 50mm f/1.2L USM | General purpose, photojournalism, street scenes | 50mm | 18 in. |
| Canon EF 24-105mm f/4L IS USM II | General purpose, portraits, photojournalism, street scenes | 24-70mm | 18 in. |
| Canon EF 85mm f/1.8 USM | Portraits, street scenes, candids | 85mm | 33 in. |
| Canon EF 135mm f/2L USM | Mid-distance sports and action | 135mm | 35 in. |
| Canon EF 400mm f/5.6L USM | Wildlife, nature, extreme distances | 400mm | 138 in. (11.5 ft.) |
| Canon EF 70-300mm f/4-5.6 IS USM | Closer range sports and action | 70-300mm | 71 in. (5.9 ft.) |
| Canon EF 100-400mm f/4.5-5.6L IS II USM | Distant sports, wildlife, action | 100-400mm | 39 in. (3.2 ft.) |
| Canon TS-E 90mm f/2.8 | Architecture, art shots, food and products | 90mm | 20 in. |
| Canon EF 100mm f/2.8L Macro IS USM | Small subjects in close-up | 100mm | 12 in. |
Is a prime lens better than a zoom?
This debate is best answered by considering how you like to shoot. Some pro photogs will say that they only want to shoot prime lenses with fixed apertures because that gives them the greatest control over light and depth of field.
Others note that in the hands of someone who knows what they’re doing, having the ability to zoom and/or adjust aperture values provides the unique flexibility their images require.
The advantage of a prime lens is also often better optics, usually in the professional line. On the other side of the discussion, if you have a fixed focal distance (prime) and it doesn’t provide you with the framing you need of your subject, your choices are moving closer or further away, not always possible. Add in a slow fixed aperture and your low light options become weaker.
Zooms do just that, zoom closer or further. Sometimes you sacrifice detail in the image, and coupled with a variable aperture, your challenge is finding the right mix to take that perfect shot. If your gear bag contains a small set of zooms, though, you fill more shooting needs than if you invested in a small set of primes.
Is a fixed aperture preferable to variable?
Much like the prime or zoom discussion, this is a preference that’s personal. Pros will tell you that once you get the feel for the fixed aperture on a lens, you understand how it treats light and what you can do with other settings to get the effect you want.
Variable means you might set the aperture to too small an aperture setting (higher f/# value) and lose detail and clarity in your shot because you don’t have the right amount of light for the distance you’re shooting.
This is particularly important on zoom lenses, because the wider aperture (lower number) functions at the wide end of the lens, and the narrower (higher number) is the tele end. A ‘fast’ lens brings in a lot of light for the focal range. Variable aperture lenses also extend with the change in aperture, which doesn’t bother everyone but makes a difference to some.
Is image stabilization necessary?
The bigger and heavier your lens, the more you’ll want a way to stabilize your shooting beyond what you can do with handheld. If you’re aiming the DSLR at a lion lounging some distance away with your telephoto, the opportunity for camera shake ruining your image clarity increases. In-lens image stabilization makes electronic adjustments to help avoid that effect.
Since the 5D does not have built-in IS, that makes lens IS more important. Yes, you can put the camera on a tripod, but if your long lens doesn’t have a tripod collar, you’re still relying on your sense of balance to keep things from shaking. Even pushing the shutter release is enough to ruin your shot.
Do I need pro-grade lenses?
Professional lenses in the Canon line have the letter “L” following the aperture value (f/#) in their name. Not all are expensive, and in some rare cases, not all have a great reputation. For the most part, though, you expect that a pro lens is of better build quality and has higher-end optics.
It depends on what you plan to do with the images. If you’re aiming for large format art enlargements, the clarity a pro lens brings is probably necessary. Ditto for images you’re selling or entering into contests. Interestingly, though, plenty of contests are won by a good (skilled) photographer using a crop sensor camera with inexpensive or kit interchangeable lenses or a point-and-shoot with a fixed lens.
Good glass in the hands of a great photographer can produce great shots. Great glass in the hands of someone who hasn’t taken the time or made the effort to learn the solid skills won’t matter.
Selection Criteria for Canon 5D Mark IV Lenses
We’ve chosen lenses across the spectrum of prime and zoom ranges to recommend something in each focal length and purpose category. While some of these criteria are evident in the name of the lens, we call out the important ones to help you find exactly what you’re looking for.
| Canon EOS 5D MIV Lenses | Category | Best For: | Focal Length | Aperture | Minimum Focus Distance | Image Stabilization | Weight |
| Sigma 8mm f/3.5 EX DG Circular Fisheye | Ultra-Wide Angle Prime – Specialty | Close-ups, exaggerated planned distortion | 8mm | f/3.5 | 6 in. | No | .9 lbs. |
| Sigma 12-24mm f/4.5-5.6 II DG HSM | Ultra-Wide Angle Zoom | Panoramas, close-ups, architecture | 12-24mm | f/4.5-5.6 | 11 in. | No | 1.5 lbs. |
| Canon EF 35mm f/2 IS USM | Best Wide-Angle Prime | Interiors, architecture, landscapes | 35mm | f/2 | 10 in. | Yes | .7 lbs. |
| Canon EF 16-35mm f/4L IS USM | Best Wide-Angle Zoom | Interiors, architecture, landscapes | 16-35mm | f/4 | 11 in. | Yes | 1.4 lbs. |
| Canon EF 50mm f/1.2L USM | Best Standard Prime | General purpose, photojournalism, street scenes | 50mm | f/1.2 | 18 in. | No | 1.3 lbs. |
| Canon EF 24-105mm f/4L IS USM II | Best Standard Zoom | General purpose, portraits, photojournalism, street scenes | 24-70mm | f/4 | 18 in. | Yes | 1.8 lbs. |
| Canon EF 85mm f/1.8 USM | Best Short Telephoto Prime | Portraits, street scenes, candids | 85mm | f/1.8 | 33 in. | No | .9 lbs. |
| Canon EF 135mm f/2L USM | Best Medium Telephoto Prime | Mid-distance sports and action | 135mm | f/2 | 35 in. | No | 1.7 lbs. |
| Canon EF 400mm f/5.6L USM | Best Super Telephoto Prime | Wildlife, nature, extreme distances | 400mm | f/5.6 | 138 in. (11.5 ft.) | No | 2.8 lbs. |
| Canon EF 70-300mm f/4-5.6 IS USM | Best Short-to-Medium Telephoto Zoom | Closer range sports and action | 70-300mm | f/4.5-5.6 | 71 in (5.9 ft.) | Yes | 3.0 lbs. |
| Canon EF 100-400mm f/4.5-5.6L IS II USM | Best Medium-to-Super Telephoto Zoom | Distant sports, wildlife, action | 100-400mm | f/4.5-5.6 | 39 in. (3.2 ft.) | Yes | 3.5 lbs. |
| Canon TS-E 90mm f/2.8 | Best Tilt-Shift | Architecture, art shots, food and products | 90mm | f/2.8 | 20 in. | No | 1.3 lbs. |
| Canon EF 100mm f/2.8L Macro IS USM | Best Macro | Small subjects in close-up | 100mm | f/2.8 | 12 in. | Yes | 1.4 lbs. |
Best For
On our tables, the category of the lens refers to the focal length and type. We note the shooting situations where this lens is best used. Specialty lenses will have particular uses that are not readily transferable.
Focal Length
Focal length is the distance between the optics of the lens and the sensor, all adjusted by the range of optics inside the lens. A longer lens (higher number) can bring the distance closer than a shorter lens. Focal length or range is expressed in millimeters, #mm.
Aperture
Aperture is the size of the opening letting light through to the sensor. It is really a fracture, 1 divided by the number, so an f/2 is really a half and an f/4 is a quarter, making the f/2 a wider lens. The wider lens let more light through, known as a ‘faster’ lens.
Minimum Focus Distance
Minimum focus distance is the closest you can get to your subject and be able to shoot a clear photo. If you intend to do close-up work, you’ll want to pay attention to this amount.
Image stabilization
Image stabilization (IS) is an electronic function that compensates for camera shake. Your 5D body does not have IS.
Weight
Longer lenses are heavier due to their more complicated construction. Zooms tend to be heavier than primes. If you’re shooting handheld at a distance in particular, you’ll want to consider this in addition to the camera body weight, which is almost two pounds.
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