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Canon EF 100mm f/2.8 Macro USM

 & Jim Fisher Principal Writer, Cameras

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Canon EF 100mm f/2.8 Macro USM - Digital Cameras
3.5 Good

The Bottom Line

The Canon EF 100mm f/2.8 Macro USM may not be the company's top of the line macro lens, but it does capture sharp images with 1:1 magnification.
Best Deal£482

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£482

Pros & Cons

    • Sharp images.
    • 1:1 magnification.
    • Inexpensive.
    • Prone to color fringing.
    • Lens hood not included.
    • No image stabilization.

Canon EF 100mm f/2.8 Macro USM Specs

Type Lens

The Canon EF 100mm f/2.8 Macro USM ($599.99 direct) is a telephoto lens for Canon cameras that can focus close enough to capture objects with true 1:1 magnfiication. It is adequately sharp, even at its maximum aperture, but does suffer from some optical issues in certain high-contrast situations. There are other macro lenses of similar focal lengths available for Canon cameras, including the company's own EF 100mm f/2.8L IS USM—part of its top-end L series of lenses—as well as the manual focus Carl Zeiss Makro-Planar T* 2/100—but both will put a bigger dent in your wallet than this relatively inexpensive lens.

The lens is rather compact when you consider its focal length, aperture, and close focus capability. It measures 4.7 by 3.1 inches (HD) and weighs about 1.3 pounds. Standard 58mm filters are supported, and the front element doesn't rotate so using a polarizing filter is possible if desired. There is a focus limiter switch on the lens, so you can set it to seek focus over its entire range, or to restrict it to close focus only. A lens hood, which will reduce the chance of flares and improve image contrast, is not included.

I used Imatest to check the sharpness of the lens when paired with the full-frame Canon EOS 6D. It just crossed the 1,800 lines per picture height barrier at f/2.8, which is what we require to define an image as sharp using a center-weighted algorithm. Stopping down to f/4 improves the score to 2,152 lines, and the lens performs at its best at f/8, where it nears 2,500 lines. Distortion is not an issue, but the lens is prone to color fringing when shooting high-contrast scenes—this can be corrected in Lightroom, but requires a little bit of work with sliders to remove the unwanted purple and green aberrations. The Zeiss Makro-Planar opens up to f/2—capturing twice the light as this lens—and is sharper at both f/2 and f/2.8. It isn't prone to color fringing, but only offers 1:2 magnification and doesn't support autofocus.

The Canon EF 100mm f/2.8 Macro USM is the lesser-loved of Canon's pair of 100mm macro lenses. Its more expensive sibling, the EF 100mm f/2.8L Macro IS USM, adds image stabilization and uses a more complicated optical design—but it costs $1,049. There's also the manual focus Zeiss Marko-Planar—it has a faster aperture and is impressively sharp, but costs $1,843 and only supports 1:2 magnification. The EF 100mm f/2.8 isn't the best macro lens that you can buy, but it's adequately sharp and delivers true 1:1 magnification.

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Final Thoughts

Canon EF 100mm f/2.8 Macro USM - Digital Cameras

Canon EF 100mm f/2.8 Macro USM

3.5 Good

The Canon EF 100mm f/2.8 Macro USM may not be the company's top of the line macro lens, but it does capture sharp images with 1:1 magnification.

Get It Now
Best Deal£482

Buy It Now

£482

About Our Expert

Jim Fisher

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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