Lens selection is a highly personal choice for the professional photographer. Your shooting style, client needs, and cost all factor into how you choose to build your kit. Wedding photographers require a greater variety of lenses as they must cover a diverse assortment of compositions in various environments and lighting conditions. As working professionals, it’s only natural to begin investing in high-quality professional glass. For Canon users, this is the L series.
Easily identified by a thin red line circling the lens barrel, L glass is the best of the best. This red line symbolizes the superior image quality, performance, and reliability of professional-level glass. Canon never accepts less than the best from their lenses and does not compromise when deciding which lenses deserve the “L” moniker. After all, the “L” stands for luxury and can only be found on lenses that feature the best optical technologies Canon has to offer, such as Ultra-Low Dispersion (UD) glass, high-performance aspherical glass, and ultra-lightweight fluorite elements.
It’s for these reasons that L glass is the preferred choice by professional photographers in almost every situation, especially weddings. The L series has evolved with the times, from the FD mount back in 1978, to the EF mount, and eventually the latest mirrorless RF mount system.
Standard Zoom Lenses
Standard zoom lenses serve as your all-purpose workhorse lenses. A standard zoom is versatile enough to handle nearly every aspect of a wedding day. They cover some of the most commonly used focal lengths. If you’ve yet to upgrade to an L-series lens, consider making a quality standard zoom your first investment.
RF 24-70mm f/2.8 L IS USM
If there’s one lens that you could call the wedding lens, it would probably be the RF 24-70mm f/2.8. This is a versatile wide-angle to portrait zoom lens known for its stunning, bright imagery and fast, silent autofocus. Additionally, a constant f/2.8 aperture means you have greater control over depth of field, and consistent illumination throughout the zoom range. Pair that with the robust and shock resistant construction and it’s no wonder why this is the most popular choice for photography professionals.
EF 24-70mm f/2.8 L II USM
While right at home mounted on the legendary 5D Mark IV, the EF 24-70mm f/2.8 has a long life ahead of it. With one of Canon’s EF-EOS R adapters, DSLR lenses like this one can be used on current mirrorless camera bodies flawlessly. The RF and EF interpretations of this lens share many traits; however, this version does not have image stabilization. Even so, it’s known for producing razor sharp images across various lighting conditions.
RF 28-70mm f/2 L USM
The RF 28-70mm f/2 combines the versatility of a zoom with the fast apertures typically only found in primes. The result is amazing performance in low-light conditions with sharp, bright images and incredibly smooth background blur at every focal length. If you’re looking to emulate that large format look with your depth of field or simply want to bring in a bit more light, this is a great alternative to the traditional 24-70mm f/2.8.
RF 24-105mm f/4 L USM
Ready for virtually any situation, the RF 24-105mm f/4 pairs well with any full frame EOS R camera for an all-around impressive choice for landscapes, portraits, and of course, weddings. The zoom range offers wide angles for group shots and mid-telephoto reach for individual portraits, details, or candid shots. While not the fastest lens on this list, it is compact, relatively inexpensive, and very versatile.
RF 24-105mm f/2.8 L IS USM Z
Canon’s RF 24-105mm L-series lens is the world’s first 24-105mm autofocus lens with a consistent f/2.8 aperture. With that fast consistent aperture, full-frame coverage, and the ability to zoom beyond 70mm into true portrait range, this lens is the ultimate standard zoom solution for the professional wedding photographer. The lens features a dedicated Iris Ring for precise control over aperture, and with 11 aperture blades, this lens produces an exquisite, almost circular bokeh effect, resulting in even dreamier backgrounds than the typical 9-blade apertures found in most L-series lenses.
Telephoto Zoom Lenses
Telephoto zooms are some of the most versatile lenses available. Longer focal lengths make distant objects appear closer and have a naturally narrower depth of field. This makes them excellent at eliminating busy backgrounds and isolating your subject. Additionally, it allows you to capture intimate moments from a respectable distance. The most popular lens in this category is the 70-200mm f/2.8.
RF 70-200mm f/2.8 L IS USM
The RF 70-200mm f/2.8 is Canon’s lightest and shortest 70-200mm f/2.8 lens to date. At just 2.35 lb, it’s perfect for wedding pros lugging around multiples camera rigs for hours at a time. Another important feature that comes in handy at longer focal lengths, is optical image stabilization (IS). While featured in many Canon lenses, image stabilization is invaluable at longer focal lengths. This minimizes the appearance of camera shake and enables you to work in low-light conditions with slower shutter speeds. RF lenses have the added benefit of Combination IS, where lens-based stabilization and in-body stabilization found in EOS R cameras work in tandem for optimal shake correction.
EF 70-200mm f/2.8 L IS III USM
As its name suggests, the EF 70-200mm f/2.8 L III is the third and apparently final EF update to this highly regarded zoom. It’s solidly made, fast focusing, and excellent in low lighting. As with all EF 70-200mm lenses, this one offers an internal zoom, providing even better sealing and long-term durability. While heavier than both new RF mount versions, it’s easily manageable at 3.26 lb. If you’re still using a DSLR or can’t justify jumping to the more expensive RF models just yet, this is the obvious choice.
RF 70-200mm f/2.8 L IS USM Z
Optimized for video shooters, the Z version of the RF 70-200mm f/2.8 L is redesigned to feature the traditional internal zoom for user who intend to mount it on a gimbal. For photographers, this feature provides even greater weather sealing and a familiar form factor while only weighing a few ounces more than the standard version. Canon also brings back the programmable function buttons on the lens barrel, which can be used to recall focus, or change settings in camera. Like the 24-105mm Z, this lens features 11 aperture blades. And we can’t forget: This lens is available in both black and white!
RF 70-200mm f/4 L IS USM
If you like the focal length, but would prefer a smaller, lighter option with a small sacrifice in the light gathering department, Canon also offers the RF 70-200mm f/4 L IS USM. This is the smallest 70-200mm lens Canon has to offer and thanks to its compact size, it can fit in most messenger bags or even vertically in a backpack. While its light gathering capabilities don’t quite live up to the other zooms in this category, its size alone is worth consideration.
RF 100-300mm f/2.8 L IS USM
The RF 100-300mm f/2.8 was designed with professional still-image users and high-end video users in mind. Bringing zoom capabilities to the proven 300mm f/2.8 design produces gorgeous background bokeh that’ll make your subject pop. The relatively light design is achieved by utilizing fluorite elements. These are lightweight optical elements developed well before the L series came to be. This type of glass is almost exclusively used in super-telephoto lenses as both UD and Super UD elements can achieve a similar effect at a fraction of the cost in smaller lenses. While not the lens that typically comes to mind, these longer zooms provide that extra reach when you need to quickly and discreetly focus on a small but big moment, such as the groom putting the ring on his bride’s finger.
Macro Lenses
You will inevitably come to need a dedicated macro lens. They’re the obvious choice for capturing details in flowers arrangements, decorations, and of course, the rings. While they may not see as much action as the standard or telephoto zooms, they serve a valuable purpose. With Canon’s choices being in the mid-telephoto range, these lenses can even double as portrait lenses in a pinch,
RF 100mm f/2.8 L Macro IS USM
With a 1:1 macro reproduction ratio, the RF 100mm f/2.8 L is a true macro lens. To put it simply, the size of your subject is accurately captured on your sensor with a 1:1 ratio. Additionally, this is the first Canon lens to feature adjustable Spherical Aberration (SA), which allows you to adjust the depiction of your images background bokeh with the SA control ring. Simply rotate the control ring to your preference and lock it in place. Leaving it in the middle position sets the lens to standard operation with no SA optical effects. This is also the first autofocusing mirrorless macro lens to feature 1.4x magnification, resulting in even closer images.
EF 100mm f/2.8 L Macro IS USM
While missing some of the features in the RF 100, this DSLR lens is still a very capable option. Both lenses share the same focal length, aperture, and L-series quality, but the EF has a magnification of 1x compared to the RF’s 1.4x. This is not a game-changing feature for the wedding genre but may impact those into photographing insects and smaller objects.
Prime Lenses
Prime lenses have a fixed focal length, which simplifies their optical design, resulting in sharper images. Their incredibly wide apertures make them perfect in challenging lighting conditions and provide a super-shallow depth of field when required. Before the ceremony, these can make for clean, eye-catching portraits. In a dimly lit reception hall or church, these can be ideal for shooting candid portraits of guests and details.
EF 35mm f/1.4 L II USM
The EF 35mm f/1.4 L II USM offers a wider field of view, which is great for group or environmental portraits. This particular option also offers a fairly wide aperture at f/1.4, providing excellent control of depth of field, and beautiful separation between your subject and the background. This was also the first Canon lens to feature their Blue Spectrum Refractive (BR) elements, which can now be found in many L-series lenses. This BR element nearly eliminates chromatic aberration and color fringing for better clarity and color accuracy.
RF 35mm f/1.4 L VCM
The RF 35mm f/1.4 is the RF-equivalent to the EF 35mm f/1.4, though with a twist. This lens is the exact same size as three other primes in its line. These Voice Coil Motor (VCM) lenses were designed for hybrid use. In addition to the 35mm option, Canon offers 20mm, 24mm, and 50mm VCM lenses as well. Their size and weight make it easy for videographers working from a gimbal to switch lenses without the need to re-balance their rig. For photographers, their compact size makes them light, easy to pack, and gives the lenses a lower profile.
RF 50mm f/1.2 L USM
50mm is considered the normal or standard focal length as it most closely resembles the field of view of the human eye. The versatility of this focal length is what earned these lenses the nickname “the nifty fifty.” The RF 50mm’s f/1.2 aperture just enhances the overall appeal. It’s a popular choice thanks to its stellar low light performance and subject-isolating qualities. The EF version of this lens is still available for DSLR users as well.
RF 85mm f/1.2 L USM
The RF 85mm f/1.2 is the perfect portrait lens. The focal length alone delivers a narrower depth of field, and with a bright f/1.2 aperture, this is the ideal lens for photographing individual portraits or isolating details. This is the first of Canon’s RF lenses to incorporate the same BR technology originally found in the EF 35mm f/1.4 L II. Combined with UD and aspherical lens elements, flaws and aberrations typically caused by large apertures have been eliminated. The lens also offers fast autofocus speeds and works well with Canon’s Eye Detection AF features found in cameras the EOS R5 Mark II and EOS R1.
RF 135mm f/1.8 L IS USM
The 135mm focal length has been a favorite among Canon portrait photographers for over 25 years. While tighter than the more flexible 85mm prime, the RF 135mm offers an even narrower depth of field for greater subject isolation. This new RF iteration not only increases its maximum aperture from f/2 on the EF version to f/1.8 but also adds image stabilization for even greater low-light usability.
Wide-Angle Lenses
Whether it be for group portraits, shots of the venue itself, or a fun perspective for dancing guests, you’re going to want a wide-angle lens. Shorter focal lengths offer an immersive point of view that put your audience in the middle of the action.
EF 11-24mm f/4 L USM
While in some ways outshined by its younger sibling, the RF 10-20 f/4 L IS STM, the EF 11-24mm is still the widest rectilinear full-frame lens available for Canon DSLR cameras. What made this lens perfect is the combination of wide field of view and close minimum focus distance of just 11.02”. This allows you to focus on details up close while still capturing the grand, wide view of the venue behind with ease. Due to the bulbous nature of the front element, this lens accepts rear insert-type filters which are cut to size and inserted.
RF 10-20mm f/4 L IS STM
A sleeker, more modern update to the EF 11-24mm f/4 L USM, the RF 10-20mm is a lightweight, fast-focusing, image-stabilized, state-of-the-art, ultra-wide zoom that offers corrected, rectilinear coverage at an incredibly wide 10mm focal length. This earns the lens the distinction of currently being the widest rectilinear native full-frame lens available for Canon shooters. Being able to capture images at 10mm is already quite spectacular, but to do it in a lens that’s smaller and lighter than its predecessor is pretty neat. The RF mount design also enabled Canon to add image stabilization in a lens that traditionally wouldn’t have it.
EF 16-35mm f/2.8 L III USM
The EF 16-35mm f/2.8 is one Canon’s most popular wide-angle zooms. It’s no wonder why they made three versions! While not as wide as some of the other lenses in this category, it offers greater versatility. Like the 11-24, this lens can focus as close as 11", making it a great choice for creative perspectives on details. 35mm on the long end also makes this lens a practical option for group portraits or candid shots during the reception. If this lens seems overkill for your style and you’re willing to sacrifice a bit of the speed, there is also the EF 16-35mm f/4 option. You read that right, the f/4 version of this lens actually gains image stabilization (IS).
RF 15-35mm f/2.8 L IS USM
Canon’s latest ultra-wide zoom with a consistent f/2.8 aperture is the RF 15-35mm. Aside from the obvious boost from 16mm to 15mm, another update this lens received was the addition of image stabilization. Up to five stops of lens-based stabilization in conjuncture with your camera’s IBIS dramatically improves your ability to capture sharp images in low light conditions. Similar to the EF 16-35mm lenses, Canon offers a slower but lighter option in the RF 14-35mm f/4 L USM.
EF 14mm f/2.8 L II USM
Well-suited to both exterior and interior applications, the EF 14mm is significantly smaller than the wide-angle zooms mentioned above. If you only need a wide-angle lens for a few shots during a job, a small prime like the EF 14mm might be the right choice for you. It won’t take up much space in your bag, while still offering that famous L-series quality we strive to achieve.
Specialty Lenses
Unlike other lenses on this list, these specialty lenses serve no practical purpose. They exist to add a bit of flare and excitement to your portfolio, and if nothing else, to bring you joy. These are specialty lenses that are designed for very specific tasks in the photo world—from correcting distortion to creating it.
EF 8-15mm f/4 L Fisheye USM
The EF 8-15mm f/4 is an unusual lens that offers an alternative distorted perspective. On a full-frame body, it’ll deliver circular and rectangular fisheye images, depending on what range of the zoom you use of course. At the wider end, you’ll capture a full 180-degree fisheye image, while tighter focal lengths will offer a frame-filling image. Both ends produce dramatic, distorted images. Like some other wide-angle lenses on this list, there is a holder in the rear of lens that can hold up to three pre-cut gelatin filters.
Tilt-Shift Lenses
While editing software like photoshop enables you to correct distortion, there’s a lens for that. Tilt-shift lenses give you the ability to control perspective through tilt and shift movements. By doing so, you can correct perspective distortion or “keystoning” in camera. Keystoning, also called the “keystone effect,” occurs when parallel lines, like the sides of a ballroom or church, appear to converge or diverge toward the top of the frame. This distortion is more noticeable when the camera is titled relative to the subject. Canon currently offers two versions of this lens type: the TS-E 17mm f/4 and the TS-E 24mm f/3.5. Both benefit from the same advanced optics and build quality that comes with being an L-series lens, but they are manual focus only.
As you can see, there are many L-series lenses at the wedding photographer’s disposal, from razor sharp primes to flexible zooms. If you’re interested in any of the lenses we mentioned, visit us at our NYC Super Store and try them out for yourself!
