These are the best Canon lenses for landscape photography, chosen for their rectilinear control, edge-to-edge sharpness, filter friendliness, weather sealing, and stabilization that help you render disciplined lines and rich micro-contrast from blue hour to backcountry noon—whether you’re on RF mirrorless or adapting EF glass. The RF 14-35mm f/4L IS USM is the travel-friendly ultra-wide workhorse: light, sharp, stabilized, and compatible with common screw-in filters for NDs and polarizers, making it ideal for long exposures, reflections, and high-elevation hikes; if you want more speed for twilight and astro, the RF 15-35mm f/2.8L IS USM delivers prime-like corners, quiet AF, and effective IS that pairs beautifully with IBIS for hand-held scouting and dawn compositions. When space gets impossibly tight or you crave radical perspectives in canyons and interiors, the RF 10-20mm f/4 L IS STM pushes rectilinear reach while keeping weight down (plan on rear gels or dedicated holders), and the tiny RF 16mm f/2.8 STM is a pocketable ultra-wide you’ll actually carry for spontaneous vistas and Milky Way starts. For classic “one lens, all day” hikes, the RF 24-105mm f/4L IS USM is a stabilized, color-true staple that spans sweeping scenes to compressed layers, while the RF 24-70mm f/2.8L IS USM adds low-light headroom for blue-hour transitions and forest shade; if your look leans tele for stacking ridgelines and isolating patterns, the RF 70-200mm f/4L IS USM is a featherweight gem for long days, the RF 70-200mm f/2.8L IS USM adds speed for foggy mornings, and the RF 100-500mm f/4.5-7.1L IS USM reaches distant peaks and weather windows with surprising acuity. Prime lovers can build a light, disciplined kit with the RF 24mm f/1.8 Macro IS STM and RF 35mm f/1.8 Macro IS STM—both stabilized and close-focusing for foreground textures—and add the RF 135mm f/1.8L IS USM for elegant compression and weather-sliced horizons; for crystalline foreground detail and texture studies, the RF 100mm f/2.8L Macro IS USM doubles as a landscape tool with Hybrid IS and an SA Control ring to tune blur character for focus-transitions in intimate scenes. Adapting EF glass remains a budget-savvy path with proven results: the EF 16-35mm f/4L IS USM is a landscape classic—rectilinear, sharp, stabilized, and filter-friendly—while the EF 16-35mm f/2.8L III USM brings speed and improved corner performance for dawn skies; the EF 17-40mm f/4L is still a durable value hiker; the EF 11-24mm f/4L is the rectilinear extreme for cathedrals, slot canyons, and epic foregrounds (use a square system); and the EF 70-200mm f/4L IS II and EF 100-400mm f/4.5-5.6L IS II remain outstanding for layered tele landscapes with fast, accurate AF. If perspective control is part of your look, Canon’s tilt-shifts elevate landscape craft: TS-E 24mm f/3.5L II for parallax-free stitched panoramas and disciplined lines with standard filters, TS-E 17mm f/4L when you need ultra-wide coverage and generous shift for cliffs and architecture, and TS-E 50mm f/2.8L Macro for intimate landscapes where laying the focus plane beats stopping to diffraction-limited apertures. Technique turns these lenses into consistent results: level the camera first to minimize keystone stretch, stop zooms to f/5.6–f/8 (f/8–f/11 on ultra-wides) for corner discipline, and use primes at f/4–f/8 depending on depth; carry a circular polarizer for water and foliage (rotate lightly at ultra-wide angles to avoid uneven skies) and a 3–6 stop ND for smoothing water and clouds—square holders for bulbous fronts, threaded filters for 14-35/4 and close-focus primes; use manual focus with magnification for critical edges, turn off IBIS/IS on a locked tripod, and bracket or blend exposures for high-contrast scenes; for tele layers, seek backlit haze at golden/blue hour and meter for highlights, and for nightscape starts, begin around f/2.8, 10–20 seconds, ISO 1600–3200 with the RF 15-35/2.8 or RF 16/2.8, then refine. A simple, high-impact RF landscape kit is RF 14-35/4L for wide work, RF 24-105/4L for all-day coverage, and RF 70-200/4L or RF 100-500L for compression; swap the 14-35/4 for RF 15-35/2.8 when twilight and astro dominate, add RF 24/1.8 or 35/1.8 for foreground-driven scenes, and pack the RF 100/2.8L Macro for texture-rich studies. Whether you’re smoothing tide pools, stitching mountain panoramas, stacking tele layers across valleys, or rendering quiet woodland detail, Canon’s filter-friendly wides, stabilized standards, long teles, macros, and tilt-shifts provide the sharpness, handling, and control that turn landscapes into print-ready photographs.