Macro Lens Guide For Nature Photography

Macro is one of the more challenging types of photography from a technical perspective, and choosing the right lens for macro work can be similarly perplexing.

The word macro is often (and incorrectly) used interchangeably with “close-up.” The two are not synonymous. While a macro image may indeed be made at a close distance to the subject, it’s the magnification of the subject, and not its proximity to the lens, that defines macro photography.

Macro is the photo opportunity that’s always available. You can find good close-up subjects just about anywhere. All you need is a way to make your camera focus close enough. Dedicated macro lenses are the best option because they can focus from infinity down to close enough to produce a life-size (1:1) magnification at the image plane. Macro lenses also are optically optimized for close focusing distances, so they produce better results at such close range than non-macro lenses used with extension tubes (and lenses with extension tubes attached can no longer focus out to infinity).

Most macro lenses also are well corrected for flat fieldwork, such as photographing stamps and coins, which may or may not be useful for nature photography. The main drawbacks of macro lenses are that they’re generally bulkier and more costly than non-macro lenses of equal focal length, although the differences today aren’t nearly as great as they were some years ago.

Macro Lens Magnification

What makes a “true” macro lens? Many lenses are labeled “macro” by manufacturers because they are able to focus at very close distances, but that doesn’t make them true macro lenses.

When we talk about magnification regarding macro lenses, we’re talking about magnification at the image plane (the surface of the camera sensor). A true macro lens will have 1:1, or 1x magnification or greater. What this means is that the size of the subject projected on the image plane by the lens is its actual physical size—a flower that’s 2 centimeters in diameter will be rendered 2 centimeters in diameter on the sensor.

It’s important to note that sensor size does not affect the magnification power of the lens itself. This is a common misconception. The “crop factor” of smaller sensors is just that: a crop. This makes an object appear magnified in relationship to the sensor’s frame because the image circle produced by the lens is larger than the sensor. So for practical purposes, you do get more magnification with the smaller sensor in that the subject fills up more of the image frame. The actual magnification produced by the lens at the image plane doesn’t change; rather, it’s the amount of that image that each sensor size “sees” that changes. 

Macro Lens Focal Lengths

Focal length is an important consideration in macro photography because it determines your working distance from the subject. The longer the focal length, the greater the working distance to achieve 1:1 magnification. With a 100mm macro, you’ll be twice the distance from your subject than with a 50mm macro. This is beneficial when photographing live subjects that may be alarmed by your proximity. You’re also less likely to block ambient light on your subject—another inherent challenge of macro photography—when working from a greater distance.

A normal (50mm for a full-frame camera) macro lens produces its 1x magnification at a distance of around 7 to 8 inches, a short tele macro lens (100mm for a full-frame camera) at around 12 inches, and a tele (200mm for a full-frame camera) at around 19 inches. Shooting closer to the subject expands perspective, while shooting from farther away compresses it.

Minimum Focusing Distance Of Macro Lenses

Unlike magnification, the minimum focusing distance of a lens is a relatively straightforward concept. This is the closest distance your lens can be positioned from the subject and still achieve sharp focus. You’ll observe that the minimum focusing distance increases along with focal length. That’s because for 1:1 magnification, as noted in our discussion of focal length, you’ll need to be closer to the subject with a wider lens than you will with a telephoto lens.

Macro Lens Depth Of Field

Most normal and short tele macro lenses have a maximum aperture of ƒ/2.8, while most tele macros have a maximum aperture of ƒ/3.5 or ƒ/4. Due to the limited depth of field at macro shooting distances, these apertures let you produce dramatic selective-focus effects; focus on a particular part of a flower or the eye of an insect, and everything closer to the camera or farther away blurs nicely.

If you want an entire insect or flower to be sharp, you’ll have to stop the lens way down to increase depth of field. Even then you probably won’t get the entire subject sharp due to the very limited depth of field at very close shooting distances. Stopping the lens way down introduces the effects of diffraction—at very small apertures, light bends around the edges of the aperture, reducing overall sharpness, even as increased depth of field increases it.

Most professional macro photographers use electronic flash to illuminate their subjects. Electronic flash offers two major benefits: it’s bright at macro range, allowing you to stop all the way down to increase depth of field, and its very brief duration at short range (1⁄10,000 sec. and shorter) minimizes the effects of camera shake and subject movement. Special macro flash units mount on the lens and allow you to set them to provide even lighting or directional lighting.

Focusing Macro Subjects

Most macro lenses in production today offer autofocusing, but it’s generally best to focus a macro subject manually. That’s the only way to be sure focus is exactly where you want it. Set the lens to its minimum focusing distance, then slowly move the camera in on the subject until it’s sharp. Focus assisting technology such as focus peaking display can be very helpful. Once you’ve achieved focus this way, you can activate the AF system to maintain focus if the subject is moving. If you’re working from a tripod, which is always a good idea with macro work, get your composition set, then fine-tune your focusing, if needed.

Macro Lenses & Image Stabilization

A tripod can hold the camera steadier than we can and can lock in a composition of a nonmoving subject, so you don’t accidentally change it as you squeeze off the shot. For the sharpest, most controlled macro compositions, a tripod is especially essential for macro work. At this level of magnification, even the smallest movements can degrade sharpness.

Working from a tripod also lets you experiment with depth-of-field by varying your aperture without changing your composition and can be further used for focus stacking techniques. But it can sometimes be difficult to position the camera exactly where you want it for a macro shot using a tripod, so many macro shooters work handheld, using electronic flash’s brief duration to minimize blur due to camera shake. You may want to try it both ways to see which works best for your macro photography. A monopod is a good compromise, making it much easier to position the camera right where you want it, yet providing more support than pure handholding. Still, having the option of image stabilization is a nice alternative when using a tripod isn’t practical or possible.

Macro Lens Options For Your Camera System

Following is an overview of the macro lens options for the most popular camera systems, plus recommended models for each. 

Canon

Canon currently offers macro lenses for each of its camera lines, including the new Canon RF 100mm F2.8L Macro IS USM for its EOS R full-frame mirrorless system. Five of these are true macro lenses with 1:1 magnification. There are also two EF mount tilt-shift perspective control lenses and the Canon RF 85mm F2 Macro IS STM that Canon labels as “macro” but which only offer 0.5x magnification. The stand-out lens in Canon’s lineup is the EF mount MP-E 65mm f/2.8 1-5x Macro, which is uniquely capable of magnifying subjects up to five times life size.

Canon MP-E 65mm f/2.8 1-5x Macro

Canon MP-E 65mm f/2.8 1-5x Macro
Format: Full-frame
Magnification: 1x – 5x
Minimum focusing distance: 9.6 inches
Focusing method: Manual
Estimated street price: $1,049
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Fujifilm

Fujifilm has three lenses it designates as macro, but only one of them, the FUJINON XF80mmF2.8 R LM OIS WR Macro for Fujifilm X Series cameras, produces 1x magnification. The two others are 0.5x magnification, or half life size. These are the FUJINON XF60mmF2.4 R Macro for X Series cameras and the FUJINON GF120mmF4 R LM OIS WR Macro for the company’s GFX medium format system.

FUJINON XF80mmF2.8 R LM OIS WR Macro

FUJINON XF80mmF2.8 R LM OIS WR Macro
Format: APS
Magnification: 1x
Minimum focusing distance: 9.8 inches
Focusing method: Auto/manual
Estimated street price: $1,199
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Nikon

Nikon has an extensive collection of macro lenses. Although it has not yet introduced a macro lens for its Z series full-frame mirrorless cameras, a lens “roadmap” released last fall indicates two macro lenses are planned for the system. In the meantime, Z series shooters can use one of the existing full-frame DSLR lenses via an adapter. The AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED is a great choice with a comfortable 12-inch minimum working distance and image stabilization.

Nikon AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED

Nikon AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED
Format: FX (Full-frame)
Magnification: 1x
Minimum focusing distance: 12 inches
Focusing method: Auto/manual
Estimated street price: $899
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Olympus

For its OM-D and PEN series cameras, Olympus offers two macro options in the M.Zuiko lens line, a 30mm and a 60mm, with equivalent focal lengths of 60mm and 120mm, respectively. The Olympus M.Zuiko ED 60mm f2.8 Macro features sealing to protect against dust and wet weather and a minimum focusing distance of 7.5 inches.

Olympus M.Zuiko ED 60mm f2.8 Macro

Olympus M.Zuiko ED 60mm f2.8 Macro
Format: Micro Four Thirds
Magnification: 1x
Minimum focusing distance: 7.5 inches
Focusing method: Auto/manual
Estimated street price: $499
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Panasonic

Panasonic offers only one macro lens, the Panasonic Leica DG Macro-Elmarit 45mm F2.8 ASPH MEGA O.I.S., with a minimum focusing distance of 6 inches. Optical Image Stabilization gives you the option to shoot handheld with this 90mm-equivalent lens. Panasonic shares the Micro Four Thirds format with Olympus, so you can also choose one of the Olympus lenses if you’d like a wider or longer focal length. 

Panasonic Leica DG Macro-Elmarit 45mm F2.8 ASPH MEGA O.I.S.

Panasonic Leica DG Macro-Elmarit 45mm F2.8 ASPH MEGA O.I.S.
Format: Micro Four Thirds
Magnification: 1x
Minimum focusing distance: 6 inches
Focusing method: Auto/manual
Estimated street price: $799
Check the price at B&H Photo

Sigma

Sigma 105mm F2.8 DG DN Macro

Three 1:1 macro lenses are available from Sigma, the 70mm F2.8 DG MACRO | A, the 105mm F2.8 EX DG OS HSM Macro and the newest addition, the Sigma 105mm F2.8 DG DN Macro. The 70mm is available for Canon, Sigma, Sony E-mount and the L-Mount designed in partnership with Leica and Panasonic. The 105mm DG is offered in Canon and Nikon mount, and the new Sigma 105mm F2.8 DG DN Macro is offered in Sony E-mount and Sigma L-Mount.

Sigma 105mm F2.8 DG DN Macro
Format: Full-frame Sony E-mount, Leica/Panasonic/Sigma L-Mount
Magnification: 1x
Minimum focusing distance: 11.6 inches
Focusing method: Auto/manual
Estimated street price: $799
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Sony

There are six macro lenses in Sony’s range, three for popular E-mount cameras including the a7 series and a6400, and three for older A-mount cameras like the a99 II. In the A-mount line, the 50mm and 100mm are full-frame, and the 30mm is for APS-C cameras like the a77 II. For E-mount, the 50mm and 90mm can be used with both full-frame and ASP-C sensor cameras, while the 30mm is for APS-C only.  The Sony FE 90 mm F2.8 Macro G OSS features a nine-blade circular aperture for soft background bokeh when isolating macro subjects.

Sony FE 90 mm F2.8 Macro G OSS

Sony FE 90 mm F2.8 Macro G OSS
Format: Full-frame E-mount
Magnification: 1x
Minimum focusing distance: 11 inches
Focusing method: Auto/manual
Estimated street price: $1,099
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Tamron

Tamron currently offers two macro lenses, the SP 90mm F/2.8 Di MACRO 1:1 VC USD for Canon and Nikon full-frame cameras, and the SP AF60mm F/2 Di II LD IF MACRO 1:1 for APS-C sensor Canon, Nikon and Sony E-mount cameras. The SP 90mm F/2.8 Di MACRO 1:1 VC USD includes a Vibration Compensation (VC) system that provides up to 3.5 Stops of correction when shooting handheld.

Tamron SP 90mm F/2.8 Di Macro VC USD (Model F017)

Tamron SP 90mm F/2.8 Di Macro VC USD
Format: Full-frame Canon, Nikon
Magnification: 1x
Minimum focusing distance: 11.8 inches
Focusing method: Auto/manual
Estimated street price: $649
Check the price at B&H Photo

Tokina

Tokina also has two macro lenses, the FiRIN 100mm F2.8 for Sony E-mount full-frame and the atx-i 100mm F2.8 Macro FF for full-frame Canon and Nikon cameras.

Tokina FiRIN 100mm F2.8

Tokina FiRIN 100mm F2.8
Format: Full-frame Sony E-mount
Magnification: 1x
Minimum focusing distance: 11.8 inches
Focusing method: Auto/manual
Estimated street price: $599
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Zeiss

Available for Canon and Nikon mounts, the Zeiss Milvus 2/50M and Milvus 2/100M share the distinction of being the fastest “macro” lenses available but are not technically true macro lenses, with magnification of 0.5x. Zeiss does offer a 1:1 macro for APS-C sensor Fujifilm X-mount and Sony E-mount cameras, the Touit 2.8/50M. This lens features premium construction and provides an equivalent focal length of 75mm.

Zeiss Touit 2.8/50M

Zeiss Touit 2.8/50M
Format: APS-C
Magnification: 1x
Minimum focusing distance: 6 inches
Focusing method: Auto/manual
Estimated street price: $999
Check the price at B&H Photo