These are the best Canon lenses for studio photography, chosen for their neutral color, flat-field sharpness, dependable autofocus, and practical handling on tripods and stands so you can move from beauty and fashion to e-commerce, product, and editorial sets with consistent, retouch-friendly files—whether you’re on RF mirrorless or adapting EF glass. The RF 24-70mm f/2.8L IS USM is the studio workhorse: razor-sharp across the frame, quick to focus for live subjects, and versatile for everything from full-length to tight half-body and detail cutaways; if you prioritize lighter carry and extra reach for lookbooks or set-wide frames, the RF 24-105mm f/4L IS USM trades one stop for broader coverage without sacrificing color fidelity. When you want prime-like rendering in a single body, the RF 28-70mm f/2L USM behaves like a set of fast primes with rich micro-contrast and polished skin tone transitions, while the RF 70-200mm f/2.8L IS USM is the portrait and beauty tele that compresses backgrounds, flatters features, and stays compact for boom arms and rolling stands; the RF 70-200mm f/4L IS USM keeps weight down for long sessions with no meaningful drop in sharpness. Portrait primes define studio character: the RF 85mm f/1.2L USM is the hero for beauty, headshots, and fine skin gradation, while the RF 85mm f/2 Macro IS STM offers stabilization and 0.5× close focus for lashes, jewelry, and fabric details; the RF 50mm f/1.2L USM provides luminous mid-length portraits with natural perspective (the RF 50mm f/1.8 STM is a budget, color-consistent alternative), and the RF 135mm f/1.8L IS USM delivers cover-grade compression and creamy separation for fashion and editorial. For product, cosmetics, and texture studies, the RF 100mm f/2.8L Macro IS USM is indispensable—true 1:1, flat-field sharpness, Hybrid IS for handheld tweaks between flashes, and an SA Control ring to fine-tune blur character—while the RF 35mm f/1.8 Macro IS STM and RF 24mm f/1.8 Macro IS STM (both 0.5×) handle scene-with-detail storytelling, tabletop flats, and BTS without a lens swap. Wide work for set builds, interiors, and group shots is covered by the RF 14-35mm f/4L IS USM (filter-friendly, rectilinear, light on a boom) or the RF 15-35mm f/2.8L IS USM when you need extra speed; for movement precision and stitched “medium-format-feel” plates, Canon’s tilt-shifts are the studio cheat code: TS-E 50mm f/2.8L Macro to lay focus across products at modest apertures, TS-E 90mm f/2.8L Macro for compressed still lifes and selective-focus portraits, TS-E 135mm f/4L Macro when you need working distance and surgical micro-contrast, plus TS-E 24mm f/3.5L II or TS-E 17mm f/4L for architectural sets and parallax-free panoramic stitches. Adapting EF glass remains a budget-savvy, proven path: EF 24-70mm f/2.8L II USM and EF 70-200mm f/2.8L IS II/III USM are still studio standards, EF 24-105mm f/4L IS II is a reliable catalog zoom, EF 100mm f/2.8L Macro IS USM mirrors the RF macro’s precision, and the MP-E 65mm f/2.8 1–5× Macro covers microscope-level detail on jewelry and textures with rails and diffused flash. Technique turns these lenses into consistent, client-ready results: shoot tethered in RAW with fixed Kelvin or a custom gray-card white balance for perfect color, level sets and lock camera height for repeatable angles, work around f/5.6–f/8 for portraits and f/8–f/11 for product to balance sharpness and depth (stop smaller only when necessary to avoid diffraction), use manual focus with magnification for macro and tilt-shift work, and switch IS/IBIS off on a locked tripod to prevent micro-drift; for strobes, sync in mechanical shutter, mind flash duration as your effective “shutter” for motion control, and use flags/negative fill to sculpt form and manage speculars; for glossy packaging or glass, employ a circular polarizer on filter-friendly lenses or cross-polarization (gels on lights + CPL on lens) to tame glare while preserving highlight shape; for video and motion loops, a slim variable ND keeps a 180° shutter under continuous light. Simple, high-impact RF kits look like RF 24-70/2.8L for core coverage, RF 70-200/2.8L for beauty/compression, RF 100/2.8L Macro for product/detail, and TS-E 50mm Macro for plane control; prime-led sets can be RF 50/1.2 + RF 85/1.2 (or 85/2) + RF 135/1.8 for signature portrait rendering with the macro added for inserts; EF shooters can mirror the same logic with EF 24-70/2.8L II, EF 70-200/2.8L IS II/III, EF 100L Macro IS, and TS-E 50/90. Whether you’re building flawless catalog runs, sculpting beauty light, crafting editorial set pieces, or executing meticulous product plates, Canon’s fast portrait primes, stabilized zooms, macros, and tilt-shifts provide the sharpness, color control, and handling that convert careful studio craft into polished, print-ready imagery.