Which is the best walk around lens for Canon?
Here are my recommended top 5 best walk around lens for Canon:-
A very exciting new lens for full-frame cameras, the segments 24-millimeter F1.4 art lenses that combine such a very wide-angle and wide maximum aperture, are useful creative, and fun.
24 millimeters is a very wide angle that dramatically pushes back your subject and gives you corners that look just slightly stretched.
It’s especially popular with wedding photographers or anyone who needs a big field of view without quite going into the ultra-wide-angle cemetery.
If you’re using an APS-C camera, then you’ll get an angle of about 38 millimeters.
That’s still a reasonably wide-angle, but you do get more emphasis on your subject.
It’s a perfect focal length for general-purpose shooting. You could fix this lens to an APS-C camera for a perfect walkarounds lens.
I’d say that a 24-millimeter focal length has even more appeal on an APS-C camera than a full-frame.
And of course, this 24-millimeter lens’s biggest selling point is its extremely wide maximum aperture of F 1.4.
This means it can let in a huge amount of light, useful for shooting indoors or in the dark.
F1.4 can also give you impassively out-of-focus backgrounds, especially for such a wide-angle field of view.
A 24-millimeter F1.4 lens can give you really striking images, whatever kinds of cameras you’re using.
This lens is slightly big and heavy, being jam-packed with 15 glass elements, typically for segment arts lenses.
It feels excellent and tightly put together. It’s based on a lens mount, although there’s no extra weather sealing.
The lens is dominated by large rubberized focus when it turns about 90 degrees, so that’s just about precise enough.
Driving itself turns extremely smoothly and not too heavy, and that is full-time manual fixing so that you can adjust the focus at any time.
The lens’s autofocus motor works silently but not very quickly.
That’s really that’s fast enough for most uses. It’s just not quite as fast as one of the canon’s lenses, but it works quite accurately.
Overall, the lens is very well made, indeed, and it’s a pleasure to use, just like segments, other art lenses.
The image quality, sigma, has been producing some very sharp lenses recently. Still, as I mentioned before, this particular kind of wide-angle fast aperture lens is very challenging for manufacturers to design.
The lens is astonishingly sharp with slightly warmer colors and fantastic contrast levels on a full-frame camera, a 20 megapixel Canon 60 at F 1.4 in the middle of the image.
That’s a great result.
Most people will only be interested in how the lens performs in the middle of the image, and the sigma is mighty. Indeed, the contrast levels are particularly impressive.
Overall, that’s excellent performance on a full-frame camera.
The lens is very sharp indeed, with excellent contrast levels.
One issue is that you can see hints of color fringing on contrasting edges.
In the middle of the image, the picture quality is crazy sharp, and there’s no color fringing at this narrower aperture.
On an APS c camera, this lens produces a very tidy performance indeed. It’s nice and sharp with good contrast levels.
Although a normal bonus of using a full-frame camera lens on a crop sensor camera, the corners are nice and bright.
The good news is that the lens only shows a little barrel distortion.
The lens can focus as closely as 25 centimeters, which is about normal among fast 24-millimeter lenses.
Still, that’s a very nice interface, and it enables you to get some quite creative pictures.
The closer picture quality is pretty sharp, straight from F 1.4.
Finally, bokeh at F 1.4, you can get some impressively out of Vegas backgrounds for such a wide-angle lens.
When it comes to the quality of this lens is out of Vegas background. It has a bit of a split personality.
When your background is deeply out of Vegas, the bokeh looks fantastic nice smooth.
Overall, it’s still a compelling piece of equipment that represents excellent value for money.
The build quality is great, and the optics are very sharp and punchy, indeed, at least in the middle of your images.
I’m especially pleased that the lens shows so little distortion.
The dark corners on a full-frame camera are admitted as disturbing, but that can be corrected in editing.
And it’s just a typical problem for this kind of lens on an APS-C camera. This lab really has no problems at all.
I’d say that this is probably the best walk-around claim lens you could get.
The segment 24-millimeter F1.4 is a delightful professional tool, which comes highly recommended.
The 24-105 millimeter has a fixed aperture of F4. So, it doesn’t matter if you shoot at a wide angle of 24 millimeters or zoom 105 millimeters; the aperture stays in F4.
This great walk-around lens is 800 grams, which is quite nice for any occasion, especially weddings and holidays.
The focus ring has a pleasant resistance, and another feature of the 24 to 105 millimeter is the integrated image stabilizer.
Which allows you up to three times longer exposure settings without any noticeable shakings.
This piece of glass has outstanding performance when it comes to chromatic aberrations.
In terms of vignetting with the 24-105 millimeters, you don’t need to worry about that much; at F4, you can expect to have some dark edges but nothing that Lightroom can’t fix too.
The ultrasonic autofocus system works was an outstanding speed.
You get close enough, all for the next holiday and city trip with your family through the flexibility of a wide-angle and zoom lens.
The touch focus was quite fast in combination with the 5D Mark 4.
Another great opportunity to make the most out of this lens would be street photography.
It’s a great lens to always have on one’s camera at 24 millimeters on a full frame; you can get enough in the frame without that much distortion around the edges.
At 105 millimeters, you can get close enough for most occasions, even at a full-frame camera such as the 5D Mark 4 through the relatively lightweight.
It’s a great lens to have for discovering other cities.
I’m happy to tell you that you get a really nice-looking bokeh with this lens as well.
I mean, the maximum aperture is just an F4, but filming interviews at about 50 or 85 millimeters wide open blurs out the background, quite nice.
If you consider having a lens that always sticks onto your camera, it’s quite nice and a good performer.
The lens flare, there is not much to say neither to complain about.
You will notice just a tiny bit of flare pointing this lens straight into the sun.
The closest focusing distance on the entire focal length with the 24 to 105, a millimeter is about 1.4 feet which are 45 millimeters with such a focusing distance.
You can take stunning detail shots of food, flowers, or jewelry, and you still get a broad background even shooting at f4.
The best part of this lens is its flexibility. You have to read a variable focal length of 24 millimeters, great for wide-angle shots.
And 105 millimeters gives you the flexibility to bring your subjects closer to your full-frame or APS-C sensor camera.
The maximum aperture of F4 does not bother me at all on my 5D Mark 4 through its outstanding low light performance.
When I take photos and videos during daylight conditions, I stopped down to F8.
And if I want to make use of the bokeh, I’m going to use an ND filter during the video recording.
This is a nice walk-around lens to have for your full-frame or APS-C camera.
Remember that you get a 38 to 168 millimeter on a camera such as the ATD with a crop factor of 1.6.
It’s a great lens to have for your video recordings because you can save such a lot of weight by carrying just a single lens with you.
Especially if you deal with pressboard and wedding photography or for your walk-around and YouTube channel.
The bokeh of this lens is quite soft, even though the widest aperture of just f4.
And guess what, the image stabilizer seems to do a decent job as well.
I personally purchased this lens on Amazon refurbished for $195; I was looking for a telephoto lens that was lightweight and inexpensive.
The EFs 55 to the 250-millimeter lens is designed specifically for Canon APSC or crop sensor cameras.
I shoot a lot of wildlife photography on my Canon 80 D, which I paired this lens with for the review.
This is the latest version of this lens which adds faster autofocus.
It also comes with is image stabilization, which canon says will stabilize up to 3.5 equivalent stops of shake correction.
The lens has a 55 to 250 millimeters focal length on a crop sensor that’s 88 to 400-millimeter equivalent.
The aperture range is F4-5.6, closing down as you zoom into the 250-millimeter mark.
The aperture has 7 blades which produce decent bokeh.
It takes some work to get a shallow depth of field with a human-size subject.
If you’re shooting outside and decent light and have the room, but it’s much easier with smaller subjects like flowers, dogs, cats, and insects.
You’ll not need to get as close to your subject, and you can blur the background.
It sharps, the image is really sharp, all the way through the aperture range.
It’s lightweight, has a quiet focusing motor, and is a great value for my price.
I noticed that at 250 millimeters, it would search in and out and around trying to find the bird’s head; it’ll get there, just not always on the first try.
It’s an odd focal range for crop sensor cameras.
So here are my final thoughts. This is a great kit lens upgrade, especially if you’re upgrading from the 18 to 135. It’s sharper than that lens, but you do lose on the wide end.
Still, you do get more detail and contrast in your images without breaking the bank.
The focal length for a crop sensor camera is kind of odd because you have to have a decent amount of room between you and your subject to get everything in the frame.
At the end of the zoom, I always needed more reach than it could offer.
If you’re shooting your pets or flowers or insects or even going on vacation to the zoo or the beach, you can get some really nice detailed images with this lens.
This came out a few years ago to a bit of excitement.
There are a few fast standard lenses out there for full-frame cameras, but so far, this is the only one with image stabilization.
Something photographers have been really calling out for.
The optics turn out to be good enough; this could be a real one-lens solution for full-frame camera owners who are still doing photography or video work.
The zoom range of 24-70 millimeters going fairly wide-angle to slightly telephoto, that’s not a big vocal range, but it covers the basics well enough.
It’s your classic standard zoom range, good for capturing wide VISTAs or zooming in for portrait pictures.
If you’re using an APS-C camera, then 24 to 70 millimeters which really gives you a wide-angle to work with.
This really is more of a full-frame camera lens.
That’s the maximum aperture of F 2.8 means it lets in a good amount of light, and F 2.8 can also give you some nicely out of Vegas backgrounds.
Tamron has thumbed their nose at the competition by offering image stabilization, or VC, as they call it.
The image is kept quite firmly still, which is great for still photography.
The lens around the stabilization is slightly jerky, so it’s not completely perfect for handheld video makers, but it’s doing a good job.
The lens’s build quality; it’s a pretty large lens.
It’s made of good quality plastics, and it’s a bit heavy. Taiwan’s lens designers certainly didn’t set any of their traditional size or weight restrictions this time.
The lens is based on a metal mount with a weather-sealing gasket attached to help keep dust and moisture.
The lens’s zooming is large, and the way it turns is rather heavy and not very smooth.
The focus ring turns very smoothly and precisely being very well damped.
The lens features full-time manual focusing so that you can change focus at any time.
And, of course, the lens’s front element does not turn or extend as he changed focus. The autofocus motor runs very quickly, accurately, and quietly.
It sometimes needs to make a few micro-adjustments before it nails focus.
Overall, the time on 24 to 70 is a hefty lens, but it works very nicely.
In the middle of the image, the lens is bitingly sharp with good contrast and neutral colors.
The corners are a bit softer and Starker but still quite usable with barely any chromatic aberration.
So, overall, the Tamron 24 to 70 pits in an excellent performance on a full-frame camera.
It’s always very sharp in the middle of the image, straight from F 2.8.
And if he stopped down the aperture a little bit, then you’ll get sharp right corners.
The Tamron lens works well enough on an APS-C camera at F 2.8, although your corners will be on the soft side.
Stop down the aperture for fantastic image quality.
Finally, bokeh, this lens can give you quite nicely out of the figure’s background.
The quality of those backgrounds is generally okay.
The bokeh seems to be a bit smoother, but the Tamron 24-70 millimeter F2.8 VC USD is an excellent package at the end of the day.
Although it’s pretty big and heavy, the build quality and functionality are excellent indeed, and its optics are nice and sharp.
Its image stabilization gives this fast standard zoom lens a big advantage over the competition.
I could only have one lens for my full-frame camera to do all my still photography and video work.
Then this would definitely be the one sharp and comprehensive; it’s a great lens that comes highly recommended.
This is the newest version of canons 18 to the 135-millimeter lens, and as well as having an improved autofocus system, it’s also supposed to have much-improved picture quality.
It’s an EFs lens so that it won’t work on canon’s expensive full-frame digital cameras.
The 18 to 135-millimeter focal range makes this a super zoom lens.
It can zoom from reasonably wide-angle all the way to telephoto.
135 millimeters is still very good, and having a shorter zoom range can often mean fewer compromises on picture quality.
The disadvantage of a super zoom lens is that they don’t give you a very wide maximum aperture, which means they don’t let in much light.
Thankfully though, the lens does have image stabilization.
This helps you to get much sharper pictures and better handheld video work.
The image stabilization is quite smooth as you pan the lens around.
It also works very quietly, which is another bonus for video work.
The lens’s build quality is quite small and compact, considering its long zoom range, although it’s made of plastic.
The lens feels quite solid and tightly assembled.
The zoom ring works nice and smoothly, which is always a bonus.
The lens uses canons new STM autofocus system. This means a couple of things.
Firstly, its focus system works using a special motor electronically coupled to your camera.
So, you can only change focus when the camera is turned on, and the motor runs slightly behind as you turn the focus ring. It feels slightly odd, but it is responsive enough.
And the focus ring is also extremely smooth, which is great news if you’re doing video work.
The lens’s front element doesn’t turn or extend as you focus, which is a lifesaver if you’re using a polarizing filter.
And of course, the autofocus system is amazingly quiet and very fast indeed.
There is not a hint of noise or movement as your autofocus.
So apart from the relatively slow maximum aperture, this lens would obviously be handy for handheld video work.
At 18 millimeters with the aperture wide open at F 3.5, we see excellent sharpness and contrast in the middle of the image without purple fringing.
In the corners of the image, we still see acceptable sharpness, although there’s quite a lot of pink and green chromatic aberration on contrasting edges.
As we stop the lens down to 5.6, we see much more sharpness in the corners, or the chromatic aberrations remain.
In the middle of the image, we see fantastic sharpness and contrast.
So apart from the chromatic aberration, at 18 millimeters, it’s a performance on the good side of average.
The chromatic aberrations have greatly reduced stop the lens down to F8.
Finally, at 135 millimeters, it’s the same story; our study shows good sharpness in the center of the image and a few softer corners with a little visible chromatic aberration.
Overall the lens gives a fairly good performance when wide open and stops the lens slightly for much more sharpness.
I would have hoped to see a bit less chromatic aberration, but at least that can be corrected in editing software.
For the superzoom lens, overall, the picture quality is better than average.
Some good news is that the background blur or bokeh quality is pretty nice on this lens.
It’s nice and soft at 18 millimeters, but you’re more likely to see it when you zoom in.
It’s still pretty good at 135 millimeters. The lens can focus pretty close to your subject, which is always useful.
The picture quality at F 5.6 is pretty sharp, and it becomes even better when you stop the lens down to F8. So that’s a pretty average performance still useful.
The lens’s performance against bright lights is fairly good. There’s not too much of a loss of contrast, and flaring doesn’t seem to be too much of an issue either; good to see.
So overall, the Canon 18-35 millimeter is STM is simply a nice super zoom lens and a little sharper than the average.
It has the normal distortion problems of a super zoom lens and the boring, narrow maximum aperture.
So it’s not a particularly creative lens. Still, the fantastic STM autofocus motor, nice build quality, and dynamic image stabilization mean it’s all handled very well indeed for all kinds of photography and video work.
So if you’re looking for a good super zoom lens, which one should you buy?
This new 18 to 135 millimeter STM lens will undoubtedly be much more popular.
And not just for its lower price, if you’re on the market for a super zoom lens, despite its limitations, then this is simply a great option.
As well as being excellent value for money.
If you’re a beginner photographer slash filmmaker, the Canon 50 millimeter at 1.8, the nifty 50, this is a must-buy.
If you’re looking to carry around one lens and have said $100 to spend on a lens?
Well, luckily for Canon shooters, there is a lens that is incredibly, incredibly wallet-friendly. But it’s also surprisingly still a fantastic little lens, which is the Canon 50 millimeter f 1.8 STM.
This is actually a lens that is very well known and universally loved in the photography world.
So there’s nothing new in that respect.
However, if you are new to photography or filmmaking, let’s talk about why this guy is so popular.
So this is a really common first lens to buy for people who’ve just bought a DSLR.
In fact, this was actually the first lens I ever bought, and this lens has taught me so much about photography and filmmaking.
So enough rambling, let’s get into why this is a must-have lens for beginners in particular.
So first of all, this lens is really cheap.
The nifty 50 is the exception. I guess it’s cheap, but don’t let the price fool you. This little lens is a very, very capable piece of gear.
Not only is it cheap, but it’s lightweight and easy to carry around.
The nifty 50 weighs in at just 159 grams. It’s literally so small that you can carry this around in your pocket.
The build quality is like its plastic, fantastic. But it is still quite sturdy.
With that wide aperture of F 1.8 and within seven aperture blades, you’re going to get that gorgeous circular-looking bokeh and creamy background.
So this actually makes it a perfect budget lens for portraying words. So you can really make subjects pop from their backgrounds.
So basically, you get a good amount of subject separation, but not so much that it makes it so blurry that you can’t tell where your subject is; you still get that context of the environment.
Another benefit of the F 1.8 aperture is that it lets you have lots of lights.
This is considered a very fast lens, which means it will work really well in low-light situations.
So, because of this, you can still shoot what is not so bright but still keep your shutter speed relatively high.
For example, if you’re trying to capture nice crisp images of fast-moving subjects, like your kids at a party or maybe like your pets.
Let’s talk about the actual focal length, like 50 millimeters; at least on a full-frame camera, it is a really nice middle-of-the-road focal length, so that it’s not too wide, but it’s not too tight.
So this makes it quite a flexible lens in the sense that you can use it for portraits, use it for street photography, and use it for travel or landscapes.
Of course, with this being a cheaper lens, many people prefer cheaper cameras, likely more budget-orientated cameras with a temperature sensor.
So this 50-millimeter camera on a crop sensor body has a 1.6 times proxy. You’re actually getting closer to an 80-millimeter focal length.
I get like 80 millimeters, so this actually becomes an even better lens for a portrait on a crop sensor camera.
Is video work is a great lens for capturing details and Play substitute?
For me, the biggest reason why this is such a perfect lens for beginners is that it is an affordable prime lens.
You don’t have the luxury of being able to zoom in and out.
You can’t be lazy with this lens.
Basically, it makes you physically move. It makes you think about composition more about the field, essentially actually forces you to think and be a more thoughtful shooter.
I used the analogy of being like a gateway drug to this nifty 50 was like my gateway drug into the world of cameras and the world of like, filmmaking and gear like.
I’ve never met anyone who taught me and didn’t suddenly become like a cameraman overnight.
So, it will make you want to be a better photographer or filmmaker.
And that, for me, is why the 50-millimeter F 1.8 lens is the perfect lens for beginners and, in my opinion, the first lens you should buy for your DSLR.
Now considering the price, there are some downsides to this lens.
First of all, I didn’t mention the build quality before. It’s fine. Isn’t the weather-sealed?
So, I wouldn’t take you out in the rain and the snow, for example.
Second of all, I’ve had no issues with this focusing on taking pictures.
However, when using it for filming, occasionally It does. It does have some trouble locking into faces, especially if you have fast-moving subjects.
However, if you drop it down to like F 2.8, it is a little better, especially if your subject isn’t moving so fast, but definitely, at wide-open F 1.8 fast-moving subjects, it does have some trouble like keeping up.
Lastly, the image quality It’s a sharp lens. However, there are much better lenses out there.
I mean, you’re paying only a fraction of the price, and there are some drawbacks to be expected, mainly with chromatic aberration.
So particularly with a crop sensor camera, if you put it on one of the crop sensor bodies, do you do get a little bit of chromatic aberration happening.
But all things considered, Considering how much you’re paying for the lens in the first place, I think those things are like you can forgive them.
I’m a prime lens shooter. So what am I doing with this zoom lens?
I have a bag full of prime lenses, and I shoot almost exclusively with those prime lenses.
But I really need to have a couple of situations that I often use that I really love.
And the Canon 24 to 70-millimeter f 2.8 version ii is one of those; this lens is really like the standard zoom-in canons lens lineup.
As far as professional photographers for weddings and events and things like that, this is an absolute go-to lens.
The zoom range on this, 24 to 70 millimeters, is nice, wide end at 24 millimeters.
It’s a really wide field of view, and you can zoom it in all the way to 70 millimeters which isn’t really a long telephoto focal length.
But with a large megapixel sensor like on the Canon 5D for 30 megapixels, I can shoot at 70 millimeters and crop fairly tight, still get some great shots out of that.
With the 70-millimeter focal length on a large sensor like this, you really can kind of zoom in.
70 is a really nice range; the maximum aperture of 2.8 is great. I love having wide maximum aperture lenses.
I would love it if it were image-stabilized, which it’s not.
I’ve had this for several years. I’ve knocked it around. I’ve used it a lot, and it still works looks just as great as it did.
Use this 24 to 70 zoom as much as I do.
Well, it all comes down to what I’m shooting? Why I’m shooting it? More importantly, Who I’m shooting it for?
There are some situations where I absolutely have to get the shot and really more for someone else and me if somebody asked me to shoot an occasion for them or an event.
I need to make sure that I get the shot, I get it in focus, and I get it right every time.
I would nail the shot every time because the focus is lightning fast and always 100% accurate.
This is 100% accurate every single time, even wide open a 2.8.
So, I know I go into a situation like that: I need to deliver something to somebody.
At the end of the day, I know with this lens; It’s going to focus quickly and accurately.
We’re going to get the shot without having to even change lenses because of this great focal length.
So, events like special occasions, parties, weddings, anything like that where it’s really more about documenting the event for the person you’re not sacrificing anything image quality-wise with.
So, the Canon 24 to 78-millimeter f 2.8 mark ii is definitely a must-have for me and might for you.
So that’s my must-have zoom lens.