Canon Fd 100mm F2 8 Review

By | 18/10/2022

Canon EF 100mm f/two.eightL
IS USM Macro

(2009-today)

How to Shoot Macro   Best Macro Lenses Compared

Introduction   New   Skillful   Bad   Missing


Compatibility
SpecificationsFunctioning

Compared

User’s Guide   Recommendations


Canon 100mm f/2.8 IS L Macro

Canon EF 100mm f/2.viiiL
IS USM Macro
(67mm filters, 22.0 oz./623g, $one,299, or about $825 used if you lot know How to Win at eBay). enlarge. I’d get mine at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.

This 100% all-content, junk-free website’due south biggest source of support is when yous utilise those or whatever of these links to my personally canonical sources I’ve used myself for fashion over 100 combined years when y’all get
anything, regardless of the state in which you live — but I receive
nothing
for my efforts if y’all become it elsewhere. Canon does not seal its boxes in any way, so
never
buy at retail or any other source not on my personally approved list since y’all’ll take no way of knowing if you’re missing accessories, getting a defective, damaged, returned, not-USA, shop demo or used lens — and all of my personally canonical sources allow for 100% cash-back returns for
at to the lowest degree
30 days if you lot don’t
dear
your new macro. I’ve used many of these sources
since the 1970s
because I can try it in my ain hands and render it if I don’t love it, and considering they ship from secure remote warehouses where no one gets to touch your new macro lens before you do. Buy only from the approved sources I’ve used myself for decades for the all-time prices, service, return policies and selection.

April 2021

Better Pictures   Catechism Reviews   Mirrorless   EF Lenses   RF Lenses   Wink   All Reviews


NEW:
All Canon 100mm Lenses Compared

RF 100mm f/2.8L IS USM Macro Review
(2021-today)

EF 100mm f/2.8 USM Macro Review
(2000-2021)

EF 100/ii.8 Macro Review
(1990-2000)

EF 100mm f/2 USM Review
(1991-2019)

All-time Macro Lenses

How to Shoot Macro

Why Fixed Lenses Take Better Pictures

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The Canon 100mm f/2.8 Macro L IS is a swell lens. It weighs less than yous’d first await, which is a adept thing. it is ideal for utilise as a general-purpose telephoto, peculiarly if yous need shut-focus power.

It’s not bad that it doesn’t weigh much, but I would besides feel a fleck ripped-off paying $ane,299 for information technology when the older non-IS Canon 100mm f/2.8 Macro does exactly the same thing, without IS, for half the price. Both have exteriors made entirely of plastic, except for the metallic lens mountain, some other reason I would feel shorted paying $one,299 for this lens.

The Canon 100mm f/2.8 L IS is a compromise. It’s a lens best carried in the field as a combination macro and medium telephoto. For serious macro work, I won’t use a 100mm lens, because by the fourth dimension I go close enough to make use of the macro power, I’m and then close that I make it the way of my lights, I annoy any sentient subject, and because I’m then close, the subject field doesn’t await as good considering the perspecive is unnatural from merely a few inches abroad.

For example, with the hood fastened, this lens can focus as shut as than two 1/4 inches (6cm) in front of the hood. In that location’s no way you tin can get light in and therefore utilize this lens that close, if you really want to shoot macro with the hood.

For serious macro work, similar making the product photos of this lens for this review, I use a 200mm macro lens, which in Canon, is the 180mm f/3.5 Fifty USM, which doesn’t sell for much more than this IS 100mm Macro.

Image stabilization (IS) is not relevant to serious macro work, which is washed with strobes to allow us to shoot at f/32 to hope to become something in focus. IS is extremely useful for general-purpose hand-held telephoto shooting, but for general-purpose telephoto shooting, the Canon 100mm f/2 USM is sharper, twice every bit fast, and half the price of this IS macro lens.

If you’re photographing anything alive, especially flowers, they wiggle around either by themselves, or from the breeze, so IS and longer exposures don’t help you lot. That’s why strobes are so of import for macro: they give plenty light to let usa shoot at f/32, which is optimum for macro, and as well take a short elapsing to finish whatever’s moving.

How do we go sharp photos of butterfly wings? Even at f/32, almost aught is in focus at macro ranges, and then we spend a lot of time making sure that the wings are flat, and do our best to place the wings in our very shallow plane of focus.

These caveats aside, if yous’re looking for one telephoto to put in your purse that will practice everything well, this is it. The 100mm f/2.8 IS L Macro works swell as a general-purpose tele to replace the 70-200mm f/iv L IS II for less money with less weight, and works well as close, and closer, than any rational person would ever desire to shoot.

Personally, I bought the 100mm f/2 USM for myself instead, because for full general use, the 100/2 USM is smaller, lighter, feels amend made, is twice every bit fast, sharper and costs only half as much.

For dedicated macro utilize, I wouldn’t use whatsoever 100mm lens; I’d become the Canon 180mm f/3.v L (non-IS) Macro for not much more money instead.

I’d get my EF 100mm f/2.eight
Fifty

IS USM at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.

New since the EF 100mm f/two.8 USM

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blue ball icon © KenRockwell.com
World’s outset prototype-stabilized macro lens.

blue ball icon © KenRockwell.com
Three-position focus limiter switch adds a new 0.3m-0.5m “close only” position.

Practiced


elevation

Introduction   New   Good   Bad   Missing


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Compared

User’s Guide   Recommendations

green ball icon © KenRockwell.com
Superb Epitome Stabilization for ultra-precipitous results even hand-held at
ane-eighth
of a 2nd — if your subject holds yet that long and you’re a smooth shooter.

green ball icon © KenRockwell.com
Splendid optics.

green ball icon © KenRockwell.com
Superb autofocus.

green ball icon © KenRockwell.com
Vanishingly low
south
p
h
e
r
o
c
h
r
o
grand
a
t
i
southward
thou.

green ball icon © KenRockwell.com
Light weight.

green ball icon © KenRockwell.com
Fabricated in Japan.

green ball icon © KenRockwell.com
100%
U.

S.
A.-based high-quality technical support at (800) OK-CANON.

Bad


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red ball icon © KenRockwell.com
Non-compensating diaphragm: aperture does not automatically correct for calorie-free loss every bit focussed more closely. This means null to most people and can be ignored when shooting with TTL metering every bit most everyone does, however working with manual exposure or external light meters as I do with studio strobes I have to alter my exposure settings every bit I change distance — even though the light isn’t changing! This is obvious because yous always can set up f/2.viii, even at 1:1 where the existent maximum aperture is closer to f/v!

red ball icon © KenRockwell.com
For $1,299 all I get is an all-plastic outside and crappy plastic hood? At to the lowest degree the lens mountain is metal, exactly similar the $125 Nikon 50mm f/1.eight D.

red ball icon © KenRockwell.com
Except for Prototype Stabilization, the Canon 100mm f/2.8 Macro USM has equally splendid optics, autofocus and ergonomics, with less weight, for half the price.

red ball icon © KenRockwell.com
For annihilation at least 3 feet away, the Canon 100mm f/2 USM is sharper, offers twice the speed for moving subjects (f/two.0), a metal filter thread, and is also half the price of this 100mm f/2.8 Fifty IS Macro.

red ball icon © KenRockwell.com
For serious macro piece of work, macro-specialists (and I) adopt the 180mm f/3.five L USM, because it lets us stand far plenty away as not to interfere with lighting or the field of study’s attitude, and most importantly, gives a more natural perspective precisely because we’re able to stand further abroad from our subjects. The 180/three.5 doesn’t toll much more than than this 100mm f/ii.8 IS.

Missing


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User’s Guide   Recommendations

gray ball icon © KenRockwell.com
Naught; includes caps, case and hood.

gray ball icon © KenRockwell.com
Non-compensating diaphragm every bit explained in a higher place.

Canon 100mm f/2.8 IS L Macro

Canon EF 100mm f/2.8L
IS USM Macro
. bigger.

Compatibility
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Compatibility
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I’d become my EF 100mm f/ii.8
L

IS USM at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.

This lens works flawlessly on every Canon DSLR and 35mm SLR made since 1987.

Information technology work flawlessly on every Catechism full-frame and every Canon APS-C DSLR.

It also works flawlessly on every 35mm EOS camera, like my Canon EOS 1V, introduced in 2000, and aye, I tried it on my original 1987 Catechism EOS 620 and autofocus is fast and stabilization works brilliantly.

This isn’t Nikon; with Canon, everything but works, even if the photographic camera is
over thirty years old.

Utilize an EF to RF adapter to use this on Canon’s full frame mirrorless cameras.

Utilise the EOS-One thousand adapter to utilize this on Catechism’south EOS-M mirrorless cameras.

Specifications
pinnacle

Introduction   New   Good   Bad   Missing


Compatibility
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User’southward Guide   Recommendations

I’d get my EF 100mm f/2.8
L

IS USM at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.

Proper noun

specifications       top

Canon calls this the
Canon MACRO LENS EF 100mm f/2.8L
IS USM
:

  MACRO:
Focuses to only a few inches.


EF

means “electronic focus,” meaning that there is an autofocus motor in the lens itself. All Catechism lenses since 1987 accept been EF.


  L

means as expensive as L.

  IS
means Prototype Stabilization.

  USM
ways Ultra-Sonic Motor, meaning AF is almost silent.

Optics

specifications       height

Canon EF 100mm f/2.8L IS USM Macro Internal Optical Construction

Canon RF internal optical construction.

UD

chemical element and

IS section
.

15 elements in 12 groups.

Multicoated.

Internal focus: nothing moves externally. The front and rear elements never motion.

Diaphragm

specifications       elevation

Canon 100mm f/2.8 IS L Macro

Canon 100mm f/2.8 IS Macro at f/2.eight.
(EF diaphragm not visible). enlarge.

9 blades, hallelujah! Catechism finally got it right.

Round to f/v.vi, nonagonal from f/8 on.

Stops down to f/32.

Like all SLR lenses, the diaphragm is never perfectly symmetrical at smaller apertures. This is normal; this isn’t a LEICA rangefinder lens, which are virtually the only lenses whose diaphragms are perfectly symmetrical at all apertures.

The EOS system does not indicate the true f/terminate every bit focused more closely. If using an external lite meter — which isn’t probable — yous will need to compensate manually for the natural lite loss as focused more closely.

Filters

specifications       pinnacle

Plastic 67mm filter thread.

Does non move or rotate at all.

Coverage

specifications       top

Full-Frame (24 × 36mm), 35mm film (24 × 36mm) and APS-C (16 × 24mm).

Angles of View

specifications       top

On full-frame at infinity:

24º diagonal.

20º horizontal.

14º vertical.

Focal Length

specifications       top

100mm.

When used on an APS-C photographic camera, it sees the same angle of view equally a 150 mm lens sees when used on a Full-Frame or 35mm camera.

See also Crop Gene.

Autofocus

specifications       top

Internal focussing.

No external movement as focussed, so no air or dust is sucked in.

Focus Calibration

specifications       pinnacle


Aye
, but only vestigial.

The ring turns from nearly to far in almost 135.º

Infinity Focus Stop

specifications       top


No
.

You have to focus somehow to get precise focus at infinity, just like at every other distance.

Depth of Field Scale

specifications       top


No
.

Infrared Focus Alphabetize

specifications       superlative


No
.

Close Focus

specifications       meridian

1 pes (0.3 thou) from the image plane.

Working Altitude

(altitude from front of lens to subject)     specifications       top

5.2″ (133mm) at 1:1.

Maximum Reproduction Ratio

specifications       top

1:1 (1.0 ×).

Caps

specifications       top

Canon E-67II 67mm front cap, included in 2021.

The 67mm ET-67U front cap was standard in 2010.

Standard EOS cap rear.

Hood

specifications       top

Plastic clip-on ET-73, included ($45 to replace).

The inside is a niggling bit fuzzy, but I preferl metal screw-in hood over these plastic things.

Canon 100mm f/2.8 IS L Macro

Canon 100/2.8 IS Macro with ET-73 hood attached.
enlarge.

Canon 100mm f/2.8 IS L Macro

Canon 100/2.eight IS Macro with ET-73 hood stowed.
Practice non shoot this style. bigger.

Example
specifications       top

Canon LP1219 sack

Included LP1219 Lens Sack.
bigger.

Nice LP1219 case included.

Size

specifications       superlative

3.08″ ø maximum diameter × 4.84″ extension from flange.

77.7 mm ø maximum bore × 123.0 mm extension from flange.

Weight

specifications       top

21.980 oz. (623.2g), measured.

Ensemble with caps and hood: 24.935 oz. (706.9g), measured.

Canon specifies 22 oz. (625g).

Announced

specifications       acme

Autumn 2009.

Quality

specifications       meridian

Made in Japan.

Included

specifications       top

Lens.

ET-73 hood.

Canon E-67II 67mm front cap.

Standard EOS cap rear.

LP1219 case.

one year U.s. warranty.

Canon’s Model Numbers

specifications       top

Product code:
3554B002 (3554B001 in Japan).

Model number:

EF10028LMIS.

Jan code:

January 4960999-635170.

Price,
U.

S.
A.

specifications       top

April 2021

$1,299 at Adorama, at Amazon, at B&H and at Crutchfield.

About $825 used if you know How to Win at eBay

June 2013

$900.

July 2021

$950.


Performance
       height

Introduction   New   Good   Bad   Missing


Compatibility
SpecificationsFunctioning

Compared

User’s Guide   Recommendations

Overall    Autofocus    Bokeh   Color   Distortion

Ergonomics   Falloff    Filters     Image Stabilization

Lateral Color Fringes   Light Loss    Mechanics    Sharpness

Spherochromatism   Sunstars

I’d go my EF 100mm f/two.8
L

IS USM at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.


Overall





operation      top

The Canon 100mm f/2.8 IS Fifty Macro works as expected, and IS works much better than expected. It’s lighter than yous’d expect, which enhances the plasticy feeling.

It’s a nifty lens; my but concerns are that other similarly great Canon lenses sell for half as much.


Autofocus





performance      height

Autofocus is super-fast and tranquility.

Autofocus can pull yous from infinity to a foot, and then all the back over again for the side by side shot, well-nigh immediately. It’s uncanny.

Motorcar/Manual Switching

But grab the focus ring at whatever time if y’all desire manual-focus override.

Only move the AF-MF switch if you lot want to disable the camera from autofocusing.

AF Speed

AF is
fast!, as Canons e’er are.

The AF motor is silent. All you’ll hear is some internal sliding.

AF Accurateness and Consistency

I got perfect autofocus every time on my Canon 5D Mark II.

Manual Focus

Manual focus is piece of cake; just grab the ring.

Information technology takes only 135º to go from end-to-end of the focus scale, which means that I establish the gearing a little fast for my gustation. It makes it piece of cake to go the lens from one end of its range to the other, just information technology is not as precise equally I’d like for fine focus at f/2.eight.

Hunting and Hanging

It is common with all AF macro lenses that often your side by side shot will require a completely different stop of the focus range. When it’due south that far out of focus, the AF organisation can simply surrender and non focus at all.

Presuming you have your camera prepare to the appropriate Cfn menu option, I could never get AF to hang or to hunt. It simply went where it needed, and
bang!, perfect focus.

A menu item that could lead to your camera getting stuck and non autofocusing if it’s way out of focus is “AF/Bulldoze when AF impossible.” (It’s at Card >

AF page iv


> Lens drive when AF impossible > Continue focus search ON in the R5 and C.Fn. Iii #1 on the 5D Mark II, for case. Other cameras may telephone call information technology something different, or not have that option at all.) Set up this selection to FOCUS SEARCH ON then that the camera tin can keep looking if it can’t run across what to do. Set this to OFF, and if the image is manner out of focus with a macro, the camera will simply hang and give up, unless you assist it out with the manual focus ring showtime.


Bokeh





performance      top

Bokeh, the quality of out-of-focus areas every bit opposed to the caste of defocus, is fantabulous.

Backgrounds are as soft as possible, and are good regardless of focused distance or position in the frame.

Here are total-frame snaps. There are no larger versions; everything is so far out of focus you lot tin feel the bokeh but slap-up at this size.

In these beginning four shots, the lens is focuses on a stage lattice at 3 meters (10 feet), and synthetic reference vegetation is at 200 meters (600 anxiety).

In these next four shots, the lens is focused on a phase lattice to give a 1:5 reproduction ratio, and the synthetic reference vegetation is notwithstanding at 200 meters (600 feet).


Colour Rest


performance      elevation

The color residual of the 100mm f/2.8 50 IS is a piffling fleck warmer than my Canon EF 50mm f/1.viii II, which I used every bit a reference considering information technology is a very simple lens. The 50mm’s minor number of coated surfaces and very few elements yield fewer opportunities to modify light transmission, so I picked it for this experiment.

In this experiment, I set a manual white balance to the 50mm lens, then shot the same grayness surface with the 50mm, and so with the 100mm at the same manual white balance setting.

In other words, in this experiment, I forced the 50mm to look neutral, which shows how the 100mm IS differs from the 50mm. This experiment shows the difference; non which is best.


Baloney





performance      top

The Catechism 100mm f/2.viii L IS Macro has no visible distortion at any distance.

For critical use, utilise these values in Photoshop’due south Lens Baloney tool to remove it completely.

Full-Frame and 35mm Moving picture



0.0

10′ (3m)

+0.5

1:10

0.0

1:5

0.0

ane:ii

-0.5

ane:1

-0.five

© 2010 KenRockwell.com. All rights reserved.


Ergonomics





performance      top

Canon 100mm f/2.8 IS L Macro

Canon 100mm f/2.8 IS L Macro

Canon 100/2.8L
IS USM Macro.

Ergonomics are perfect. I wish everything was this nice. Just shoot.

I find the manual focus is a niggling on the fast side, which makes it easy to become to each end of the focus range, but less precise when you do get at that place.

In spite of my whining about the all-plastic barrel and filter thread for a $ane,000 lens, I love having a lens equally light as possible, peculiarly if it has IS.


Falloff

(darkened corners)



functioning      tiptop

For bodily photography, falloff is small at f/2.8 at infinity, and completely invisible at closer distances or smaller apertures.

I’ve greatly exaggerated this by shooting a apartment grayness target and presenting information technology confronting a grey background. The exposure variations seen here mimic what I saw, too.

Canon 100mm f/2.8 Fifty IS Macro falloff on total-frame, no correction.

f/two.8

f/four

f/5.six

Infinity

1:5

1:ii

1:1

© 2010 KenRockwell.com. All rights reserved.


Filters, Use with





performance      top

The filter threads are much bigger than they need to be, meaning that you can stack as many filters as yous cartel and never get any vignetting on whatever camera, film, full-frame or bottom formats.

The threads are plastic, and never move every bit y’all focus and shoot.


Image Stabilization





performance      pinnacle

The Canon 100mm f/2.eight L IS Macro has
fantastic
prototype stabilization. If you like IS, so this lens is worth double the price of the non-IS version.

On a 21 MP 5D Marking II, I become tripod-equivalent sharpness almost all of the fourth dimension hand-held at 1/8 of a second —
one eighth!

Without IS, I only get that level of sharpness at about 1/125. This is standing with no support, simply property quite still, as 1 might shoot in a rifle match.


Percent tripod-equivalent abrupt shots, hand-held Canon 100mm f/two.viii L IS USM Macro on a 5D Mark II


ane/2


one/4


one/eight


1/15


1/thirty


1/60


1/125


i/250

Stabilizer OFF


0


0


0


0


xx


83


100


100

Stabilizer ON


five


twoscore


100


100


100


100


100


100


100% precipitous fifty% of the time with no IS


100% sharp l% of the fourth dimension with IS


Real
Stops Improvement


Marketing
Stops Improvement


100mm f/2.8 IS

ane/45

one/5

3 1/3

4 1/3


100mm f/two USM

1/lx

1/sixty

0

2/3

“Real Stops Improvement” are how many extra stops I got, IS ON compared to IS OFF.

“Marketing Stops Comeback” isn’t comparing the speed I can use from IS OFF to IS ON, just instead comparing the speed one can use with IS ON to the old-wives-tale speed of 1/focal length. That’s called Lying with Statistics.

If the subject is moving, the 100mm f/two is ameliorate because the extra stop of real speed lets you apply a faster shutter speed to terminate the action. Image Stabilization does nothing to terminate field of study motion; information technology serves only to counteract camera movement.


Lateral Color Fringes





operation      top

Almost none. I wouldn’t worry about information technology, or if you lot do, shoot the 100mm f/ii USM instead.

If y’all’re out-of-focus, you lot may see a piddling spherochromatism, which is quite different.


Lite Loss

performance      meridian

Macro lenses lose light equally focused more closely. I’ll skip you the real reason, but suffice information technology to say that equally magnification goes upward, the light has to be spread farther.

Canon EOS cameras don’t show the true f/cease every bit these lenses are focused more than closely. Equally one focuses to 1:1, one loses almost 1 1/2 stops of light, but EOS cameras keep reporting the same f/finish regardless.

Because of this, you will accept to compensate if using an external meter, which is very uncommon today. Virtually of united states of america use our TTL meters, which work fine.

On the other hand, Nikon’s AF cameras and macro lenses report the actual effective f/stops as one focuses more than closely, and so they e’er bear witness the correct reading.

Over again, this doesn’t affair to 99% of us.


Mechanics


functioning      elevation

Canon 100mm f/2

Canon 100/2.8 IS Macro.
enlarge.

The Canon 100mm f/2.eight IS Macro Fifty’south exterior is almost entirely plastic, with a metal lens mount.


Filter Threads and Hood Mountain

Plastic.


Identity Band

Plastic.


Forebarrel

Plastic.


Focus Band

Prophylactic-covered metal.

The only metal you can feel are one-millimeter-wide sections at the front and back of the focus band that aren’t covered in rubber.


Rear barrel

Plastic.


Internals

Look like plastic and some metal.


Mount

Chromed metallic.


Markings

Paint.


Serial Number

Engraved into the rear of lens mountain and filled with paint.


Date Lawmaking

Light amplification by stimulated emission of radiation-burnt into the aforementioned black plastic donut at the rear of the lens mount that holds the electrical contacts.

Information technology follows the usual Canon Engagement Code convention.


Rear Gasket

(dust seal at mount)

Yeah.


Noises When Shaken

Some clicking.


Made in

Japan.


Sharpness





performance      height

Sharpness doesn’t matter much, and peculiarly doesn’t matter with macro lenses, since sharpness in macro depends more than on our ability to manage planes of focus and depth-of-field than any limitation of the lens’ optics. Serious macro shooting is washed at f/32, where diffraction makes all lenses equal anyway.

Lens
sharpness has nothing to do with
movie
sharpness; every lens made in the by 100 years is more than sharp enough to make super-precipitous pictures
if you know what you’re doing. The only limitation to moving picture sharpness is your skill as a lensman. It’s the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatsoever photographic camera is in their hands; I’ve fabricated some of my best images of all time with an irreparably broken camera! Most pixels are thrown abroad before yous run into them, but photographic camera makers don’t desire you to know that.

If y’all’re not getting ultra-abrupt pictures with this, be certain not to shoot at f/eleven or smaller where all lenses are softer due to diffraction, e’er shoot at ISO 100 or below because cameras get softer at ISO 200 and above, avoid shooting across long distances over land which tin can pb to atmospheric rut shimmer, exist certain
everything
is in
perfect
focus, set your camera’s sharpening as you want it (I set mine to the maximum) and be sure nothing is moving, either camera or subject. If you desire to ensure a soft image with any lens, shoot at f/16 or smaller at ISO 1,600 or above at default sharpening in daylight of subjects at differing distances in the aforementioned paradigm.

People worry waaaaay besides much about sharpness. It’s not 1968 anymore when lenses often weren’t that sharp and there could exist pregnant differences among them; today they are all pretty much equally fantastic.

Canon EF 100mm f/2.8L IS USM Macro MTF

MTF wide-open at x cyc/mm (black) and
30 cyc/mm
(blueish). Sagittal (solid) and
meridional (dashed).

I did a direct comparison between this 100mm f/two.eight IS L lens, the 100mm f/ii USM, Nikon’s 105mm f/four AI-south (1970-1983), 105mm f/2.eight AI-s (1983-today) and 105mm f/2.8 AF (1990-2007) lenses, using a lens adapter on a 21 MP 5D Mark II. They were pretty much the same, while the 100mm f/2 USM easily outperformed all of them at infinity.

Ignoring the 100mm f/2, at f/4 and infinity this f/2.8L IS is about the same on the 5D Mark 2 as the Nikon 105mm f/ii.viii AF, merely non quite equally good every bit the Nikon 105mm f/iv AI-due south. The current manual-focus Nikon 105mm f/2.8 AI-s was ameliorate than this Canon 50 lens, second but to the Catechism 100/2.

Ignoring the superior 100mm f/2, at f/8 and infinity, this f/2.8L IS is the same as the other lenses on the 5D Mark 2.

Macro lenses have focused internally since the 1980s, and automatically optimize themselves to whatever distance as focused (Even the only fixed (non-floating element) design I tried, the introduced-in-1970 Nikon 105mm f/iv Micro, was also about as practiced as the newer macro lenses, even at infinity.)

As shot on the 5D Marker 2 under test conditions at infinity, the Canon 100mm f/2.viii L IS is sharp; about the same equally the previous 100mm f/2.viii Macro and 70-200mm f/four L IS.

The 100mm f/2 USM is sharper, if y’all’re counting pixels at large apertures.

In the real world, your sharpness is more dependant on what you lot tin get in focus. If you lot’re using this for macro, it will take you about ii snaps to realize that with macro, there is nigh nothing in focus, because depth-of-field is newspaper sparse. At f/32, you might have half a millimeter in focus, and whether or not you tin become a sharp picture depends on how well you can wrangle all of your bailiwick into that sparse plane of focus.

Back to test conditions, which tin can see things nigh lens operation that never come up out in actual shooting unless y’all are very, very good, here’s what I see.

Equally seen on the 5D Mark 2 (Full-Frame 21MP):

f/ii.8:
Reasonably abrupt in center, a little softer on sides.

f/four-5.6:
The sides get progressively sharper as stopped down.

f/viii:
Optimum.

By comparison, if you’re splitting pixels at larger apertures, the 100mm f/two USM makes this 100mm f/ii.viii look like something’s broken by comparison, but this Macro lens is near the same as almost of Canon’s other L lenses.

Hither are extreme crops, presented at 100%, from the top right corner of 5D Marking Ii images:


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performance       top

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thousand, also chosen secondary spherical chromatic aberration or “color bokeh,” is an advanced form of spherical and chromatic aberration in a different dimension than lateral chromatic aberration. It happens mostly in fast normal and tele lenses when spherical aberration at the ends of the colour spectrum are corrected differently than in the middle of the spectrum.
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can cause colored fringes on out-of-focus highlights, usually seen every bit
green

fringes on backgrounds and
magenta
fringes on foregrounds.
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is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. Information technology goes away as stopped down.

The 100mm f/2.8 L USM has almost no
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m, meaning out-of-focus bright areas rarely have any sort of colored fringes around them.

Here’southward my watch, at f/2.8 and about 1:1.2 magnification.

Mondaine Swiss Rail Watch

Swiss Railways Watch.


Sunstars





performance      acme

With its 9-bladed diaphragm that becomes nonagonal at f/8 and below, this Catechism 100mm f/2.8 L IS ought to brand neat 18-pointed sunstars on brilliant points of light, when stopped down.

They probably won’t be that symmetrical, as the 100/2.8L’s diaphragm isn’t particularly uniform.

Compared
meridian

Introduction   New   Good   Bad   Missing


Compatibility
SpecificationsPerformance

Compared

User’s Guide   Recommendations

I’d become my EF 100mm f/2.8
L

IS USM at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.


NEW:
All Canon 100mm Lenses Compared

Compared to more Nikon lenses

Best Macro Lenses Compared

Encounter my sharpness comparisons above nether Sharpness.

Old 2010 Comparison Table
(newest 2021 comparison tabular array)

100/2.8 IS Macro

100/2.viii USM Macro

100/2 USM

180/3.5 Macro

70-200/iv IS

Manual Focus

Instant override

Instant override

Instant override

Instant override

Instant override

Filter

67mm

58mm

58mm

72mm

67mm

Filter

plastic

plastic

Metal

plastic

Butt

plastic

plastic

Metal & plastic

Metal and plastic

Weight, g.

623g

584g

417g

756g

Weight, oz.

22.0 oz.

20.6 oz.

fourteen.seven oz.

26.7 oz.

Optics

Ex

Ex

Ex+

Ex

Ergonomics

Ex

Ex

Ex

Ex

Price, seven/2010 USA

$950

$520

$435

$1,370

$1,210

User’s Guide
tiptop

Introduction   New   Good   Bad   Missing


Compatibility
SpecificationsPerformance

Compared

User’s Guide   Recommendations

I’d get my EF 100mm f/2.8
50

IS USM at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.

Canon 100mm f/2

Canon 100/2.8 IS Macro.
enlarge.

Manual-Focus Override
user’due south guide       meridian

Just turn the mechaincal focus ring at any time. Of class if your camera is set to SERVO AF it will probably continue trying to focus itself; exist sude you’re in ONE SHOT and it’south locked befoe you try to focus manuallly — but it does always reply.

FULL / 0.5m-∞ / 0.3m-0.5m Switch
user’due south guide       top

This is a focus limiter.

Leave information technology in Full.

The 0.5m-∞ position prevents the lens from autofocusing closer than a half meter (i.6 feet). Apply this setting but if y’all’re having a trouble with the lens attempting to focus on irrelevant close items, or if for some reason the lens is “hunting” from virtually to far looking for afar subjects.

The 0.3m-0.5m position prevents the lens from autofocusing farther away than a half meter (ane.five anxiety). Utilise this setting just if you’re having a problem with the lens attempting to focus on irrelevant distant items, or if for some reason the lens is “hunting” from almost to far looking for about subjects.

AF – MF Switch
user’due south guide       summit

AF:
Car Focus, with manual override someday you take hold of the focus band. Leave information technology here.

MF:Manual Focus simply. Utilise this if you lot don’t want the autofocus system to focus the lens.

STABILIZER Switch
user’due south guide       top

Exit it ON unless you’re on a very sturdy tripod, or if you’re making exposures longer than a 2nd on any kind of tripod.

If your camera has built-in sensor-shift stabilization so this switch controls both the in-camera
and
the optical stabilization at the same time. There is no way to control them separately; they both are either ON or OFF.



Recommendations

       top

Introduction   New   Good   Bad   Missing


Compatibility
SpecificationsPerformance

Compared

User’s Guide   Recommendations

I’d get my EF 100mm f/ii.8
L

IS USM at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.

For serious macro I use the Canon EF 180mm f/3.5L Macro instead because its longer focal length gives better perspective rendering at shut distances; few things expect their best from a foot away with a 100mm lens! The 180/iii.v Macro also gives me more than working room between photographic camera and subject so I don’t block my calorie-free.

Since all the macro work I practice is with studio strobes, stabilization means nothing to me for macro, and so if I wanted a 100mm macro and coin mattered, I’d get the otherwise similar but recenlty discontinued 100/2.eight Macro before it sells out.

If yous want the sharpest possible shots of real three-dimensional subjects up close, shoot at f/32 or otherwise very lilliputian is in focus. Do your best to get the discipline flat so it all can exist reasonably in focus; a pro friend of mine who gets published in Ranger Rick (it’south more competitive to get published in Ranger Rick than in National Geographic) spends a lot of fourth dimension making butterflies lie flat so the images bear witness every scale on their wings. This has nada to exercise with lens sharpness and everything to do with getting the subject field as flat as possible; at that place is NO depth of field at macro distances.

Utilize studio strobes, or employ flashes mounted close to the lens, so y’all 1.) have plenty of light to shoot at f/16 to f/32, and 2.) the instantaneous flash eliminates camera shake. Shooting hand-held past available low-cal is a recipe for macro disaster due to both boring shutter speeds and larger apertures and their resulting lack of depth-of-field.

For full general-purpose shooting, I prefer the Canon 100/2 USM for its superior optics, smaller size, lower weight and lower price.

If I wanted a lens for use every bit both a general-purpose tele and for occasional close-focus, I love IS, and for this very pop purpose, the Catechism 100mm f/2.8 L IS is superb.

I utilise a clear (UV) protective filter instead of a cap then I’m always prepare to shoot instantly. I only utilise a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the style, and never gets lost, either.

The very best protective filter is the Hoya multicoated HD3 67mm UV which uses hardened glass and repels dirt and fingerprints.

For less coin, the B+Westward 67mm 010 is an excellent filter, as are the multicoated version and the bones multicoated Hoya filters, but the Hoya HD3 is the toughest and the best.

If I was working in nasty, dirty areas, I’d forget the cap, and employ an uncoated 67mm Tiffen UV filter instead. Uncoated filters are much easier to clean, but more than prone to ghosting.

For color slides similar Fuji Velvia 50, I apply a 67mm Hoya HMC 81A outdoors.

For B&W moving picture outdoors to make clouds look natural in the heaven I use a 67mm Hoya HMC K2 Yellow, or usually a 67mm Hoya HMC Orange for a stronger upshot, or a 67mm Hoya HMC Red for the near dramatic skies or to hibernate pimples on pare.

Filters last a lifetime, so you may besides get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt.

All these filters are merely every bit sharp and have the same pictures, the departure is how much abuse they’ll take and stay clean and stay in i piece. Since filters last a lifetime or more than, there’south no reason non to purchase the best equally it will last you for the next 40 years. Filters aren’t throwaways like digital cameras which we replace every few years, like it or not. I’m withal using filters I bought back in the 1970s!

© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten. Ken Rockwell® is a registered trademark.

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