These are the best Canon lenses with image stabilization, chosen for how their optical IS partners with EOS R bodies’ IBIS to deliver steadier handheld shots, cleaner low-light images, and smoother video without extra rigging. Stabilization is about confidence and control: multi-stop compensation that counteracts pitch/yaw (and in some lenses, shift for macro), smart IS modes that adapt to panning or erratic motion, and quiet AF drives that won’t shake the frame mid-pull. Start with the everyday anchors: RF 24–105mm f/4L IS USM is the gold-standard travel/event zoom—sharp, weather-sealed, balanced—and the RF 24–105mm f/2.8L IS USM Z adds prime-like speed with robust IS for weddings and live production. Wide shooters get the RF 15–35mm f/2.8L IS USM for rectilinear interiors and blue-hour landscapes, or the featherweight RF 14–35mm f/4L IS USM when ounces matter. Portrait-to-tele coverage is handled by the compact RF 70–200mm f/2.8L IS USM (or the lighter f/4L) with superb stabilization and fast, reliable AF; wildlife and airshow fans should reach for the RF 100–500mm f/4.5–7.1L IS USM, whose IS and AF tracking make long-end framing feel effortless. Prime lovers aren’t left out: the RF 100mm f/2.8L Macro IS USM uses Hybrid IS to correct angular and shift movement at high magnification, the RF 85mm f/2 Macro IS STM brings flattering bokeh and useful 0.5× close-up with effective IS for ambient portraits, and the RF 35mm f/1.8 Macro IS STM and RF 24mm f/1.8 Macro IS STM stabilize documentary and low-light storytelling with close-focus versatility. For daylight reach in tiny packages, the RF 600mm and 800mm f/11 IS STM are underrated travel tele primes whose IS makes sharp handheld shots feasible at slow shutter speeds. APS-C shooters get compact stabilized zooms in the RF-S line—10–18mm IS for ultra-wide handheld video, 18–45mm IS as a pocket standard, and 18–150mm IS as a one-lens travel solution. EF legends with IS adapt beautifully too: EF 16–35mm f/4L IS for straight lines, EF 24–105mm f/4L IS II as a dependable walk-around, EF 70–200mm f/2.8L or f/4L IS for classic event coverage, EF 100mm f/2.8L IS Macro for hybrid stabilization at 1:1, and compact IS primes like EF 35mm f/2 IS, EF 24mm f/2.8 IS, and EF 28mm f/2.8 IS for stabilized, lightweight kits. For video, look for Nano USM/USM lenses whose IS plays nicely with IBIS and (optionally) Digital IS; the RF 15–35/24–70/70–200 L trio yields smooth handheld moves, while the RF 24–105 f/2.8L Z integrates with power-zoom accessories for live work. Technique makes IS shine: use Mode 1 for general shooting, Mode 2 for horizontal/vertical panning, and Mode 3 (on select teles) when you want stabilization active only during exposure to keep finder movement natural; combine IS with a 1/50–1/125s “cinema” shutter for fluid motion, or drop to 1/5–1/2s for creative blur on water and crowds. Practical kits are straightforward—build a stabilized two-zoom shell (15–35 + 24–105 f/4L or 24–105 f/2.8L Z) for travel and events, add a 70–200 IS for portraits/action, slot in the RF 100mm Macro IS for details, and pick an RF-S stabilized zoom if you’re on an APS-C body. Whether you’re handholding at dusk, tracking athletes at 200mm, composing macro at 1:1, or filming walk-and-talks without a gimbal, the best Canon lenses with image stabilization deliver steadier frames, cleaner files, and production-ready confidence across the EOS ecosystem.