The best macro lenses aren't exclusively designed for photographing tiny subjects, but are generally excellent primes in their own right. Ideal for close-ups of all kinds, they produce super-sharp images at all aperture settings and often possess a moderate telephoto focal length that means they double as great portrait lenses.
The best macro lenses have a 1:1 reproduction ratio. What this means in real terms is that you can fill the entire image sensor of a DSLR or mirrorless camera with a subject that's the size of a postage stamp. Whether you're looking at a tiny flower, an insect or one of any number of other small objects, macro lenses enable an incredible level of enlargement when viewing images on screen or in print.
But which to choose? A focal length of around 90-105mm is often regarded as ideal for macro photography (and particularly so for full-frame cameras), as it allows you to get close but not too close to what you’re shooting. Indeed, one of the best lenses of recent years is the Sigma 105mm f/2.8 – and that's just been completely redesigned for mirrorless cameras (Sony FE and L-mount) so it features in our buying guide twice!
When using shorter focal lengths, the front end of the lens can end up being so close to what you’re shooting that it can cast a shadow over it, or even scare it away if it's something that can move of its own accord. However, shorter focal lengths are the only way to get that wide-angle perspective. We've provided a selection of longer and shorter lenses in our guide so you can decide what's best for you.
We've provided choices of lens in many of the commonly used lens mounts. Third-party manufacturers like Tamron and Sigma produce macro lenses that fit a range of cameras, so we've included a couple of those, as well as specific options for Canon, Nikon, Sony, Micro Four Thirds and Pentax.
Best macro lenses in 2021
Canon macro lenses
The latest generation of Tamron’s enviable 90mm macro lenses ditches the gold band around the middle in favour of a silver band at the rear, which should hopefully avoid any buying confusion with the older version. Upgraded optics include two XLD (eXtra Low Dispersion) elements and one LD element, plus dual nano-structure and conventional coatings. Good build quality includes weather-sealed and a keep-clean fluorine coating on the front element. There’s also a ‘hybrid’ optical stabiliser, which counteracts the effects of X-Y shift as well as vibration, enhancing performance in close-up shooting. Even so, it’s no real substitute for a tripod as you near the very shortest focus distance.
Along with sturdy L-series build quality, Canon’s 100mm macro features hybrid optical stabilization. Typical upmarket attractions include ring-type ultrasonic autofocus and a three-position autofocus limiter switch, which can lock out the short or long end of the range. The lens also has weather sealing and an Ultra-low Dispersion element. Image quality remains impressive throughout the aperture range, right down to f/22, helping you to eke out a little extra depth of field. Autofocus is fast and accurate and quiet but, more importantly for most macro shooting, the manual focus ring is smooth and precise.
If you're an EOS R user, the new Canon RF 100mm f/2.8L Macro IS USM boasts wit 1.4x magnification, 8 stops of stabilization and a bokeh control ring.
The Canon RF 100mm f/2.8L Macro IS USM takes everything that was great about the EF version of this lens and makes it even better. Magnification? Boosted to 1.4x. Stabilization? Upped to 8 stops (on the EOS R5 and R6). Bokeh? Even more beautiful, thanks to a control ring that shifts the lens elements. Focus and breathing? Faster and more controlled than ever. It's a superb standalone portrait lens as well, with pin-sharp rendering and a flattering focal length. If you're an EOS R-series shooter and you want to photograph close-ups of small things and large things alike, you've just found your next purchase! Start saving...
Despite its budget-friendly asking price (in the UK and Europe, at least) this Sigma lens boasts fast, quiet and accurate ring-type ultrasonic autofocus, a three-position range limiter switch and optical stabilization with dual static and panning modes. Quality glass includes two SLD (Special Low Dispersion) optical elements, and the lens is supplied complete with a soft case, a hood, and even a hood converter to optimise efficiency with APS-C format rather than full-frame cameras. Sharpness is highly impressive and the effectiveness of stabilisation is worth about four stops in general shooting, but of little use for extreme close-ups.
Tokina’s AT-X PRO 100mm macro lens was launched all the way back in 2006. The replacement atx-i (interactive) model came to market in 2019, with a fresh look that makes the lens appear more up-to-date. Looks can be deceiving though, and the newcomer has the same optical path as the original, featuring two aspherical and two Super-Low Dispersion glass elements. Further similarities are that it has an extending inner barrel which protrudes further at shorter focus distances, and that only the Canon mount edition has an autofocus motor. Image quality is very good with impressive levels of sharpness and minimal distortion, while lateral chromatic aberration is fairly minimal. It’s a good buy at the price but the ‘redesign’ is mostly cosmetic.
If you're an EOS R-series owner, then this is your best bet as far as macro lenses go. While the 0.5x magnification might be a little disappointing for some, there's lots to like here. The 5-stop image stabilization system is excellent, and pair it with the in-body image stabilization in the EOS R5 or R6 and this improves even further. Focusing is quiet and smooth, while the build quality is also very good. Optically, it won't disappoint either, with the lens rendering excellent levels of sharpness. The relatively fast maximum aperture of f/2 and classic focal length of 85mm also make this an ideal portrait lens.
Designed exclusively for Canon’s APS-C format DSLRs, this lens features a stepping motor autofocus system which is very quiet and enables ‘fly-by-wire’ manual focusing. As with the larger Canon 100mm lens in the group, it has a hybrid image stabilizer that can correct x-y shift as well as vibration, making it more effective for close-up shooting. With its relatively short focal length, the front of the lens comes to just 3cm from the object you’re shooting, when using the minimum focus distance for maximum magnification. However, its built-in LED ‘Macro Lite’ helps to offset the blocking out of ambient light. Even so, it’s not particularly bright and you’ll need a slow shutter speed of about 1/15th of a second at f/8 (ISO 200). Image quality is good overall but barrel distortion is more noticeable than with most macro lenses.
Despite having a chamfered front end on its extending inner barrel, this lens’s working distance for full-magnification macro shots is so short that it can often cast a shadow over the object you’re shooting. As with Canon’s EF-S 35mm lens for APS-C format DSLRs, a built-in LED ‘macro lite’ adds illumination. Again, you can alter the brightness level and choose whether to use the lamp as a circular ring-light or just to employ one side or the other. Other similarities include a hybrid image stabilizer and stepping motor autofocus system. The smaller EOS M’s party trick is that it adds a Super Macro mode, which increases the maximum magnification factor from 1.0x to 1.2x, though you can't focus on far away subjects in this mode. Taking the crop factor of the smaller EOS M sensor into account, this lens gives nearly twice the maximum magnification of shooting with a 1.0x macro lens on a full-frame camera.
Nikon macro lenses
Nikon’s MC 105mm is one of two new Z-mount macro lenses. There's also the cheaper Z MC 50mm f/2.8 which is a good lens, but this MC 105mm has a more practical focal length for macro photograhy and is a properly pro-grade lens - it's well worth the extra cost. Sublime image quality for both general shooting and extreme close-ups is backed up by a super-fast and highly accurate autofocus system, along with highly effective optical VR (Vibration Reduction) that can work in tandem with the in-body stabilizers of Nikon’s full-frame Z-series cameras. Handling exotica includes a multi-function OLED display, a customizable Lens-function button and control ring, plus an autofocus range limiter, along with an electronically coupled focus ring that enables ultra-fine adjustments. Everything’s wrapped up in a tough, weather-sealed construction. Image quality, all-round performance and handling are simply sensational.
We’ve always found this Tamron lens to give better close-up image quality and all-round performance than Nikon’s pricier AF-S VR Micro 105mm f/2.8G IF-ED. The Tamron is sharper and has a more effective ‘hybrid’ image stabilizer. This counteracts x-y shift as well as the more usual angular vibration, making it much more effective at very close range. Even so, for full 1.0x macro shots, it’s a poor substitute for using a tripod. The weather-sealed construction is of very good quality. Ring-type autofocus is quick and quiet, with the usual full-time manual override. All in all, it’s a great macro lens at a competitive selling price. However, a forthcoming firmware upgrade is required to make the lens compatible if it's to be used with Z-series cameras via an FTZ mount adapter. Unlike with the Canon-mount version of the lens, you should be able to apply this via Tamron’s optional TAP-in USB console, rather than having to send the lens to a Tamron service centre.
This Sigma lens exactly matches Nikon’s own 105mm Micro for focal length, as well as featuring similarly fast and whisper-quiet ring-type ultrasonic autofocus and 4-stop optical stabilization. Unlike in the competing Tamron 90mm, the stabilizer is a conventional rather than ‘hybrid’ unit. As such, stabilization is very effective in general shooting, and comes complete with switchable static and panning modes. Indeed, the Sigma works very well as a fast, short telephoto lens for portraiture and sport photography. However, stabilization is less effective when shooting extreme close-ups. An autofocus range limiter enables you to lock out either the short or long end of the range, either side of 0.45m. Image quality is impressively sharp and, although the lens doesn’t feature weather-seals, it feels very solid and well-built. Ideal for any Nikon DSLR, it’s also a great macro lens for Z-series mirrorless cameras, via an FTZ mount adapter.
This is Nikon’s top-flight FX format macro lens, although it’s equally attractive for shooting close-ups on DX cameras. Like the 85mm DX lens in the group, it includes a ring-type ultrasonic autofocus system with fully internal focusing, 3-stop VR II stabilization and Nano Crystal coating. Both lenses also feature 14 elements in their optical paths with a single ED element. As FX format lenses need to produce a larger image circle, to cover the bigger image sensor, the 105mm is rather wider in diameter. The working distance from the front of the lens to the subject at the minimum focus setting is very similar, at 15cm compared with the DX lens’s 14.5cm. The VR system is effective for general shooting, similar to that of the Sigma lens, but lags behind the performance of Canon’s and Tamron’s hybrid stabilizer for close-ups. Image quality is good overall with impressive sharpness across the whole frame.
Tokina’s AT-X PRO 100mm macro lens was launched all the way back in 2006. The replacement atx-i (interactive) model came to market in 2019, with a fresh look that makes the lens appear more up-to-date. Looks can be deceiving though, and the newcomer has the same optical path as the original, featuring two aspherical and two Super-Low Dispersion glass elements. Further similarities are that it has an extending inner barrel which protrudes further at shorter focus distances, and that only the Canon mount edition has an autofocus motor. The Nikon mount version relies on AF drive from the host camera body, unavailable with the likes of D3xxx and D5xxx DSLRs, as well as when using the lens on a Z-series mirrorless camera via an FTZ mount adapter. The Nikon version also adds an aperture control ring. Image quality is very good with impressive levels of sharpness and minimal distortion, while lateral chromatic aberration is fairly minimal. It’s a good buy at the price but the ‘redesign’ is mostly cosmetic.
Nikon makes a cut-price 40mm DX format macro lens but this is a far superior optic for close-up shooting. Its minimum focus distance is more generous and the inner barrel doesn’t extend at shorter focus distances. The net results is that the working distance from the front of the lens to the target in full 1.0x macro shooting is 14.5cm compared with the 40mm lens’s paltry 3.5cm. Further advantages include VR (Vibration Reduction) and an ED (Extra-low Dispersion) element, both of which are lacking in the 40mm lens. Sharpness is uninspiring at f/3.5 but much better at medium to narrow apertures, more commonly used in macro photography. Ultimately, the Tamron 90mm and Sigma 105mm lenses still have the edge for shooting with DX as well as FX format cameras.
Best Micro Four Thirds macro lenses
The Micro Four Thirds system is a good fit for telephoto and macro photography, the 2x crop factor delivering double the ‘effective’ magnification from a lens that’s compact and lightweight yet beautifully built and comes complete with weather-seals. Stepping motor autofocus systems are renowned for their virtually silent operation but rarely feature a focus distance scale. This lens’s smart focus distance/magnification indicator is a bonus. Due to its relatively short focal length, the minimum focus distance is just 20cm, compared with around 30cm for many macro lenses. At maximum magnification, however, the working distance between the front of the lens and the subject is reasonably usable, at about 10cm. Image quality and handling are very good in every respect, making this our favourite MFT format macro lens, and not just the best option for Olympus mirrorless cameras, but for Panasonic G-range cameras too..
Sharpness, lightweight build, tremendous ease of use, effective stabilisation and snappy autofocus. The Panasonic 30mm f2.8 Macro LUMIX G ASPH MEGA OIS, which provides an effective focal length of 60mm, does all of this in a tidy, affordable package, and is a very good choice indeed for MFT users, functioning well as an everyday lens with solid 1:1 macro capabilities. The lack of weather seals is a little disappointing, but really is the only black mark on this excellent lens's ledger. We'd definitely recommend this lens to any Micro Four Thirds user looking to shoot beautiful close-ups, especially given the extremely close minimum focusing distance of just 0.105m.
Pentax macro lenses
Relatively compact considering its generous 100mm focal length, the Pentax 100mm f2.8 SMC D-FA WR Macro Lens is an eminently solid and reliable macro lens, producing a reliably sharp image and providing a weatherproof outer casing. It'll work with Pentax's full-frame and APS-C DSLRs (providing an equivalent focal length of 153mm on the latter), and its eight-bladed aperture allows it to produce images with attractive bokeh in shallow depth of field. A useful Quick-Shift focus system allows you to quickly toggle between auto and manual focusing, though be aware that the autofocusing is not internal and does cause movement of the lens and the control ring.
Sony macro lenses
Sigma already makes an excellent 105mm f/2.8 macro lens for DSLRs, but this version has been completely redesigned for mirrorless cameras. For revealing ultra-fine levels of detail in anything from insect and bug photography to extreme close-ups of all things small and smaller, this is a fabulous macro lens. It’s super-sharp and delivers stellar image quality in all respects, while the feature-rich, high-quality build ensures wonderfully refined handling. The lens also works well for portraiture and general short-telephoto shooting with Sony full frame cameras (it's also available in an L-mount version).
Typical of Sony’s recent G-series and G Master lenses, there’s no shortage of quality in this 90mm macro prime. It’s fully compatible with full-frame and APS-C format E-mount cameras, and packs plenty of high-tech features, including a Dual DDSSM (Direct Drive Super Sonic wave Motor) autofocus system for rapid, accurate and near-silent performance, plus ‘Optical SteadyShot’ stabilization. The optical path includes aspherical, ED and Super ED elements, built into a precision-engineered, weather-sealed metal casing. Handling benefits from a super-smooth and precise focus ring, with an electronic fly-by-wire coupling. There’s also a three-position autofocus range limiter switch and a focus hold button. Image quality is outstanding but it’s a pricey lens to buy.
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