10 best walk around lens for Canon

A good camera and a good lens can’t make you a good photographer, but it can help a lot. Photography is capturing the moments that make life beautiful. It encourages us to capture significant or interesting moments: the stunning view or the lesser seen. In this article, I will talk about the 10 best walk around lens for canon.

You will see other professional photographers carrying a bunch of lenses of different specs to capture these moments perfectly.

But for an average photographer, a solid walk around lens is a great place to start.

What does it mean when we are talking about the best walk around lens for Canon?

We will consider a general-purpose lens that will get you through the majority of every shooting situation so that you don’t have to carry a bunch of different types of lenses.

While people’s preferred focal lengths can vary, an honest walk-around lens should aim for somewhere within the middle – neither too wide nor too long.

The best walk-around lens should be something that you simply can strap to your camera and spend each day walking and shooting with, so it shouldn’t be too heavy or bulky.

It’s useful for an honest walk-around lens to be a zoom, but crucially, it doesn’t need to be – we’ve included a few of prime lenses on this list as we expect there’s something to be said for each day spent moving your feet instead of your zoom ring.

This list covers lenses for Canon DSLRs.

Here are our top picks on the 10 best walk around lens for canon

  • Canon EF 50mm f/1.8 STM
  • Canon EF 24-70mm f/2.8L II USM Lens
  • Sigma 18-35mm F1.8 Art DC HS
  • Sigma 30mm F1.4 Art DC HSM Lens
  • Tamron 24-70mm f/2.8 Di VC USD Lens
  • Tamron 10-24mm f/3.5-4.5
  • Canon EF 35mm f/1.4 II USM Lens
  • Canon EF 85mm f/1.8 USM
  • Sigma 17-70mm f/2.8-4 DC Macro OS HSM Lens
  • Canon EF-S 10-18mm f/3.5-4.5 IS STM Lens

As mentioned it’s a mix of zooms and primes, but also of lenses that cover a full-frame perspective and people designed for APS-C.

We’ve aimed to hide lenses for a variety of budgets, so whether you’re buying something inexpensive or looking to urge the absolute best in quality, we should always have you ever covered.

We’ve also tried to cover a few third-party manufacturers, not just Canon themselves.

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OUR TOP PICK

Canon EF 50mm f/1.8 STM
  • f/1.8 fixed aperture.
  • Fixed and non-zooming for perfect clarity, more contrast and sharpness, and less distortion.
  • Small and versatile
  • Very much handy.
  • Wide aperture lets in a huge amount of light.

#1. Canon EF 50mm f/1.8 STM

Canon EF 50mm f/1.8 STM

This lens will be the top pick of mine. It is also called a perfect lens.

It usually plays a very effective and important role in both video making and professional photography.

It’s a type of prime lens. Its Sensor size is APS-C. The focal length of the lens 50mm.

Its maximum aperture is f/1.8. It has no Image stabilizer and weather seals. Its minimum focus distance is 0.35m. Its filter size is 49mm. Its Dimension is 69 x 39mm.

The weight of the lens is 160g.

Compared to other lenses, this lens is very cheap and cheerful. It has great quality in its sweet spot. But it also has a negative side. It is Noisy focusing.

Ask any Canon user what their first prime lens was and they’ll probably tell you it was the 50mm f/1.8.

Small, affordable, and a great way to get to grips with the demands of large-aperture photography, it’s long been a go-to for those looking to spice up their photography for cheap.

It’s not unusual to find this 160g beauty for fantastically low prices, and it’s great.

Canon’s claim that the system is ‘near-silent’ is pretty accurate, but for video work ‘near-silent’ just doesn’t cut it.

Manually focusing the lens results in a noise that sounds a bit like a coat being zipped up, so make so mistake about it as there is no silent way to use this lens, which means videographers who capture audio on-board should look elsewhere.

Why it’s great:

  • f/1.8 fixed aperture.
  • Fixed and non-zooming for perfect clarity, more contrast and sharpness, and less distortion.
  • Small and versatile
  • Very much handy.
  • Wide aperture lets in a huge amount of light.
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#2. Canon EF 24-70mm f/2.8L II USM Lens

Canon EF 24-70mm f/2.8L II USM Lens

Canon’s 24-70mm f/2.8L II USM is shorter and lighter than its forefather but is also even more in pricing.

It also has a larger front element, with an 82mm filter thread in place of the previous 77mm.

And internally there are now nine blades rather than eight to give an even more circular aperture-geometry for softer out-of-focus transitions.

It’s incredibly versatile, with a uniform f/2.8 aperture through all zoom lengths.

When shooting in low light you’ll be ready to perfectly capture the action, without having to stress about an excessive amount of image noise.

The brilliant autofocus is quick and quiet and maybe manually overridden without having to vary shooting modes.

The bokeh on the EF 24-70mm f/2.8L II USM creates a lovely, soft background blur that is right for close-ups and portraits.

It’s a sturdy enough lens to be utilized in all types of situations, yet not so heavy it impedes hand-held shooting.

Overall this is often an outstanding lens.

Yes, there was some aberration detected but this showed-up only during technical testing and will not be spotted in real-world pictures unless it had been actively sought.

Similarly, there’s no escaping the very fact that Canon’s new 24-70mm telephoto lens is twice the worth of the model it replaces but it offers a real and significant step upwards in terms
of image quality.

In short, this is often the quality zoom that a lot of Canon users will aspire to have.

Why Should You Buy?

  • Perfect for use in low-light shooting.
  • f/2.8 maximum aperture throughout the zoom range.
  • Ultrasonic Ring Auto Focus for fast and quiet focusing.
  • A Simple design that’s ideal for daily use.
  • Affordable in price.
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#3. Sigma 18-35mm F1.8 Art DC HS

Sigma 18-35mm F1.8 Art DC HS

When Sigma announced the 18-35mm f/1.8 DC HSM lens, it made big headlines everywhere the web.

Being the first-ever f/1.8 telephoto lens, it caught tons of attention from media and instantly became a hit story for Sigma.

However, I had my doubts about its performance, thinking that Sigma had to compromise the fast aperture with rather average performance. 

once I finally received the Sigma 18-35mm f/1.8 and took it with me on a trip for 4 days, it continued to surprise me with its superb sharpness, beautiful colors, and impressive build.

The lens went through quite a little bit of stress, being exposed to bone-chilling -5F degree temperatures and it continued to supply images with no problems.

While I had a couple of other lenses with me, I just didn’t want to require it of the Canon EOS 80D DSLR that I used to be testing at an equivalent time. With its wide to normal focal distance coverage and a quick f/1.8 aperture, it had been a flexible lens that I used for photographing different subjects in various lighting conditions.

The Sigma 18-35mm f/1.8 felt totally different than handling the typically slow f/3.5-5.6 zoom lenses, especially once I noticed how sharp it had been at its widest aperture.


The Sigma 18-35mm f/1.8 Art deserves the very best of praises for being such a tremendous lens.

Being a full-frame shooter, I’m saddened by the very fact that such a lens doesn’t exist for FX, but I also realize that a lens like this is able to have probably been twice larger in size and far heavier, perhaps making it rather prohibitive to use on full-frame cameras.

My main complaint is its autofocus accuracy issues that I even have encountered when shooting with Canon camera bodies.

While my lens sample didn’t seem to possess any front/back focus issues, it might occasionally miss focus.

Shooting with the 80D that features a rather small viewfinder, it had been impossible to inform if the focus was accurate or not until I reviewed images. 

I’m unsure if such autofocus accuracy problems are associated with Sigma’s AF motor, or it’s some kind of incompatibility with Canon’s DSLRs, but I considerably hope that Sigma addresses AF accuracy issues via firmware soon.

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#4. Sigma 30mm F1.4 Art DC HSM Lens

Sigma 30mm F1.4 Art DC HSM Lens

The Sigma 30mm f/1.4 DC HSM is a component of Sigma’s premium Art range and is specifically designed for APS-C format cameras, instead of full-frame models with larger sensors. 

Internet results of this are often that it’s small and light-weight compared with many rival f/1.4 lenses designed for full-frame.

It’s almost precisely the same physical size because the Canon 35mm f/2 lens, but 100g heavier. Build quality feels substantial, sort of a scaled-down Sigma 50mm f/1.4 Art lens.

Like this larger Sigma sibling, the Sigma 30mm f/1.4 DC HSM has ring-type ultrasonic autofocus and attention distance scale that’s mounted beneath a viewing panel.

It doesn’t, however, have any weather seals, so you’ll want to take care when using it outdoors.

The optical path includes a double aspheric element, with the aim of minimizing aberration, astigmatism, and coma.

The nine-blade diaphragm is well rounded and helps to take care of the standard of bokeh when narrowing the aperture.

At the widest available aperture of f/1.4, bokeh is soft, and therefore the depth of field is tighter than from competing Canon and Tamron 35mm lenses when they’re used on APS-C formats.

Focusing is usefully internal and manual focusing is feasible when set via the main target turn on the lens barrel.

Full-time manual focus override is additionally available at any time just by rotating the main target ring.

A clear distance scale in both feet and meters runs from the closest focusing distance of 0.3m / 0.98 ft to infinity.

Surprisingly given its price, the Sigma 30mm F1.4 DC A ships with an honest quality soft case and also a plastic circular-shaped lens hood. It accepts 62mm filters.

Why should you Buy?

  • Great value
  • Produces beautiful bokeh
  • Small and lightweight
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#5. Tamron 24-70mm f/2.8 Di VC USD Lens

Tamron 24-70mm f/2.8 Di VC USD Lens

The Tamron 24-70mm f/2.8 may be a versatile professional lens designed for several different sorts of photography needs – from wide-angle landscapes and panoramas to portraits and events.

Built with low-light photography in mind, the lens features a continuing aperture of f/2.8, fast autofocus, and built-in image stabilization (which Tamron markets as “VC” or “Vibration Compensation”).

The latter is what no other manufacturers today, including Nikon and Canon, can pride themselves with – the Tamron 24-70mm is the world’s first and currently only “standard zoom” lens with image stabilization.

Featuring 17 lens elements in 12 groups, 3 of which are aspherical and three with low-dispersion qualities, the Tamron 24-70mm f/2.8 features a more complex design than the Nikon 24-70mm f/2.8G, which has 15 lens elements in 11 groups.

With a barrel diameter of three .5 inches and weighing a complete of 825 grams, it’s by no means a little or lightweight lens.

It incorporates Tamron’s Ultrasonic Silent Drive (USD) motor, which provides both fast and ultra-quiet autofocus.

With a focal distance of 24-70mm (which isn’t its actual focal distance), which is like roughly 36-105mm, it’s designed to be used more on full-frame (FX) than cropped-sensor (DX) cameras.

36mm just might feel a touch “too long” on the wide endways cropped-sensor cameras for general photography needs.

Unlike most professional lenses which will take 77mm filters, the Tamron 24-70mm f/2.8 features a larger 82mm filter diameter, which suggests that it might require purchasing additional larger filters if you’re getting to use filters thereon. 

Thanks to the huge size of the front element, it might be impossible to use a 77mm filter with adapter rings.

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#6. Tamron 10-24mm f/3.5-4.5

Tamron 10-24mm f/3.5-4.5

The next lens we will talk about is 10-24mm F / 3.5-4.5.

It is a lens of Tamron company. Its minimum zoom capacity is 10mm and maximum zoom capacity is 24mm.

Basically this lens is for modeling photography or taking pictures of any nearby subject.

This is an ultra-wide-angle lens. This lens is very effective in capturing the surrounding environment very well with the main subject.

The optical design includes 16 elements in 11 groups.

A new large aperture aspherical lens and LD (Low Dispersion) lens elements deliver exceptional resolution across the complete zoom range combined with stable imaging across the entire frame.

The lens also corrects comatic and transverse chromatic aberration, as well as distortion that often crops up on other wide-angle lenses.

Tamron’s unique VC (Vibration Compensation) technology makes it easy to enjoy handheld, wide-angle shooting, even in low-light environments such as evening and indoors.

With this lens, Tamron introduces the HLD (High/Low torque-modulated Drive) AF drive system.

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#7. Canon EF 35mm f/1.4 II USM Lens

Canon EF 35mm f/1.4 II USM Lens

Canon is on a roll with its updated Mark II lenses and scoring bullseyes with just about every shot.

New versions of key focal lengths are being unrolled across the range, with fully revised optics and mechanical construction.

Most are class-leading, often setting new standards in one area or another, and therefore the Canon EF 35mm F1.4L USM MkII is not any exception – it’s sharp, very, very sharp!

The Mk II model launched last year replaces the elderly MkI of 1998.

That lens was originally designed for film SLRs, but it won many digital hearts, including some on.

The new Canon 35mm F1.4 MkII shares headline specifications with the MkI and most key features are equivalent or similar. It’s all-change under the skin though, with more of everything within the go after quality, including a big increase in size, weight, and price.

Key specifications

  • New optical design with 14 elements in 11 groups
  • One UD glass element added, and two aspherical surfaces (MkI has one aspherical)
  • New BR Optics layer reduces CA
  • Nine rounded aperture blades
  • Weight goes up 31% and length 23%
  • Sealed, weather-resistant construction

There is no image stabilization, thereupon option already very effectively covered by the Canon 35mm F2 IS USM.

Purists will welcome the choice to consider sheer optical quality, and it helps to stay complexity and therefore the burgeoning weight in restraint

This is the simplest 35mm F1.4 prime currently available.

On performance overall, it leaves all-comers floundering in its wake with outstanding image quality, especially at F1.4, and extra-robust build.

Some rivals compared optically, but none offers a complete package to match the Canon 35mm F1.4L USM MkII.

It is excellent for Reportage, weddings and environmental portraits.

Unparalleled sharpness when used wide open, good for blurring backgrounds and subject isolation, or in low light. Robust build when the going gets tough.

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#8. Canon EF 85mm f/1.8 USM

Canon EF 85mm f/1.8 USM

The price point for a lens with this optical quality and longevity is great. 

I even have shot with this from day one and continued to shoot major campaigns with it throughout my career. 

There’s no way that I can justify upgrading this lens to anything costlier when clients just don’t complain. 

The sole time I exploit a special lens for an identical focal distance is once I rent medium-format systems for giant jobs.

The build quality is additionally great. Although it feels cheap, it’s taken a battering over the years that I even have owned it and it still works also today because it did once I first purchased it.

I even have never had to possess it serviced either, which is more than I can say for my costlier lenses.

The optics on this lens are amazing. I’m not a pixel peeper nor a DXOMark checker, but I actually couldn’t pinpoint any faults with the optical performance. 

The sole reason I might upgrade is that if I wanted something with a specific aesthetic. This lens does offer a solid performing 85mm focal distance which will get you from beginner to jobbing professional at an excellent price point, but it misses any magic that some more fancy lenses can bring back the table.

If Canon lenses suit your camera and you would like a portrait or zoom lens then this is often an excellent introduction thereto world.

Perfect for wedding photographers and portrait photographers. 

It’s also an excellent move if you are doing not have the cash for expensive zooms and in my opinion, it offers much better optical performance, although lacking the apparent versatility of zoom lenses.

If you already own an honest standard zoom or a 50mm or 35mm lens then this is able to be an excellent next step to filling your camera bag. 

I actually believe that as knowledgeable this lens has given me my greatest return on investment and allowed me to make some really cool work without breaking the bank.

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#9. Sigma 17-70mm f/2.8-4 DC Macro OS HSM Lens

Sigma 17-70mm f/2.8-4 DC Macro OS HSM Lens

With its wide zoom range, this lens features a focal range like 25.5-105mm on a 35mm lens. because of Sigma’s latest technologies, it’s exceptionally lightweight and 30% more compact by volume than previous lenses of its type.

Its low F-number equips photographers to shoot subjects at extremely close range, making this the right lens for travel, family photos, artistic compositions, and lots of other uses.


It’s Compact Zoom is really awesome. The SIGMA 17-70mm F2.8-4 DC MACRO OS HSM is that the first product from the Contemporary line. Featuring a good zoom range, the lens features a focal range like 25.5-105mm on a 35mm lens.

This lens is excellent for macro photography. This lens’s minimum focusing distance is 22cm and therefore the maximum magnification ratio is 1:2.8. At 70mm, the working distance becomes 5.52cm.

When it involves telephoto, it can shoot pictures with an identical sensation to a macro lens. Also, without the necessity to vary the lens, it enables photographers to require in-depth pictures of subjects like jewelry and flowers.

It has High image quality throughout the whole zoom range. This lens incorporates 2 FLD (“F” Low Dispersion) glass elements, which have performance adequate to fluorite, 1 SLD (Special Low Dispersion) glass element, and three aspherical glass lenses including a double-sided aspherical lens. By optimizing the facility alignment of the lens, both aberration of magnification and axial aberration are corrected.

From infinity to macro, it achieves superior image quality through the whole zoom range.


The aperture value is F2.8 at the wide end (17mm) and is F4 at the telephoto end (70mm). the brilliant viewfinder aids focusing and composition of images.

The fast apertures also offer useful functions like fast shutter speeds to stop an object from being blurred and ensuring a smooth bokeh within the background.


Sigma’s own unique OS (Optical Stabilizer) function is incorporated. It offers effective correction of roughly 4 stops, which makes it possible to catch up on camera shake even in macro range photography where a little blur is often easily identified.

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#10. Canon EF-S 10-18mm f/3.5-4.5 IS STM Lens

Canon EF-S 10-18mm f/3.5-4.5 IS STM Lens

Now the thing we will talk about is the Canon EF-S 10-22mm f / 3.5-4.5. It’s a Wide Angle Lens.

The Lens Description is 22 millimeters. Its max focal length is 22 millimeters. This exciting zoom lens provides ultra wide-angle coverage to the EOS 20D, 30D, 40D, 50D, and Digital Rebel SLRs.

Equivalent to a 16-35mm zoom, it offers excellent performance and optics designed from the ground-up for digital SLR use.

Three Aspherical lens elements, plus a Super-UD element, assure image quality. It focuses as close as 9.5 inches.

It has a Superior AF performance and speed, with full-time manual focus by simply turning ring. It’s Close-focusing to 9.5 inches which will fill the frame with subjects as small as 3.6 x 5.4 inches.

It has a relatively compact size and lightweight for an ultra-wide zoom lens. It’s Inner focusing system (no front element rotation); length doesn’t change if zoomed.

Its Circular aperture design is natural highlights, even stopped down two stops. The electronic diaphragm will manually-set apertures stay constant from f/4.5 thru f/22.

The EF-S lens mount — exclusively for EOS 20D, 30D, 40D, 50D and Digital Rebel bodies. Focal length & maximum aperture is 10 – 22mm; 1:3.5-4.5.

Lens Construction is 13 elements in 10 groups. Diagonal Angle of View is 107° 30′ – 63° 30′. Focus Adjustment is an Inner focusing system, with a focusing cam.Closest Focusing Distance is 0.24m / 0.79 ft.

The filter size is 77mm. Its maximum diameter x Length is 3.3 x 3.5, 13.6 oz. / 83.5 x 89.8mm. The weight of the lens is 385g.

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CONCLUSION

So, This topic “best walk around lens for canon” comes to an end. These are the top 10 best walk around lens for Canon.

I have been working in the photography world for a long time and I have experience working with different lenses in different condition.

These walk around lenses will fit in any situation and will make you comfortable.

The main focus of this article was finding top 10 handy cameras for you that works great as well.

And I think, I have made the right choices by choosing these lenses.

I have selected Canon EF 50mm f/1.8 STM as my top pick among these 10 lenses.

All of these lenses are so good but the best walk around lens would be the EF 500 mm according to my considerations.

It can not be the same for you as well and that’s why I have written the main focusing points of a lens you need to know while choosing a perfect lens for you.

You can read 10 best Camera Lenses for Beginners (Affordable to Buy). If you are a beginner photographer and don’t want so much complicity in a lens then that article will help you a lot.

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