Shooting in a studio, both full-face beauty and macro beauty, the ability to photograph the entire subject, and then flip a switch, move in close to get a macro shot is incredibly useful. Unless close to the subject the Canon 100mm f/2.8L IS offers a great lens at a great focal length. And that Image Stabilization isn’t just standard IS, but a Hybrid IS system, which helps correct both shift movement as well as the angular movement of the lens.īut perhaps most importantly, the Canon 100mm f/2.8L IS doesn’t need to be used as a macro lens. While not that impressive to those who have transitioned to mirrorless systems with that built into the body, us Canon shooters are happy to have a macro lens that can produce 1:1 scaled images, and still be handheld. There is a reason why Roger Cicala himself says that the Canon 100mm f/2.8L IS is ‘One of Canon’s best lenses”, and a lot of that comes from its incredible sharpness and autofocus accuracy.Īlong with having incredible autofocus accuracy (though admittingly a little slow) and sharpness, the Canon 100mm f/2.8L IS has 4-stops of image stabilization. And while I own many of those lenses, I always return to the Canon 100mm f/2.8L IS Macro, if nothing else, for its incredible sharpness. Many people would assume one of the dozen or so “perfect” portrait lenses, such as the Canon 85mm f/1.2L II, Canon 135mm f/2L, or the Canon 70-200mm f/2.8L III IS. Why the Canon 100mm f/2.8L ISĩ5% of my studio work is shot with the Canon 100mm f/2.8L IS. Using the Canon 100mm f/2.8L IS as an example again, you’re able to reach up to f/32 on the lens. To counteract this, many macro lenses allow for incredibly high f-stops to be achieved. 04 of an inch (or one-tenth of a centimeter). Using a Depth of Field Calculator, at f/2.8 and at it’s shortest focusing distance, the Canon 100mm f/2.8L IS only has a depth of field of. By shortening your camera to subject distance, you’re also shorting your depth of field. For example, the Canon 100mm f/2.8L IS has a minimum focus distance just shy of one foot (11.81″ to be exact) and allows you to get incredibly close to your subject to get 1:1 reproduction. Generally, this feat is achieved by making lenses with incredible short minimum focus distances. Photo was taken a 3.5ft away, same scene (non-macro level focusing) using the same setup.
The Canon MP-E 65mm f/2.8 Macro has a reproduction ratio of 5:1, giving it almost microscopic properties. For example, the Canon 85mm f/1.2L II has a reproduction ratio of 1:9.1, meaning everything is produced at ~10% of its actual size, so it’s not even close to being a macro lens. All this means is that the item you’re photographing is the same size in real life, as it’s being produced on the sensor. So What is Macro?Ī macro lens, by technical terms, is any lens that can produce 1:1 magnification or more. With all of these lenses boasting a 1:1 image reproduction ratio, they make for an incredibly versatile lens, without breaching into the near microscope level of something like the Canon MP-E 65mm f/2.8 Macro (with 5x magnification).
CANON MACRO 100MM TEST PRO
In addition to being set as a strong competitor to the incredible lens from Nikon, it was also the Pro level version of the Canon 100mm f/2.8 Macro USM. The Canon 100mm f/2.8L IS was developed in 2009, and Canon’s response to the Nikon 105mm f/2.8G Micro released just a few years earlier.
CANON MACRO 100MM TEST SERIES
So with that, I thought it was time to brush off my love letter writing skills, and write a continuation to the little series I’ve called ‘Gear I Love,’ and touch base on a lens that is on my camera 95% of the time, the Canon 100mm f/2.8L IS Macro.
Since then, I’ve had the opportunity to try the holy grail Canon 200mm f/1.8L IS, and my shooting style has changed considerably.
A couple of years ago, I wrote a love letter of sorts, to a lens that I don’t own, but rent as often as I can, the Canon 200mm f/2L IS.
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