Camera lens close up

11 Best Lens For Close Up Shots: (2023 Guide & Reviews)

When you need to focus on the details, whether a macro shot of an insect or the texture of the bark on a tree, your best bet is to use a lens with at least one close-focusing distance.

In this blog post, we’ll take a look at some of our favorite close-up lenses and explain what they’re capable of doing.

Here are my recommended top 11 best lens for close up shots:-

Nikon 60mm F2.8: (Best lens for close-up shots Nikon)

You can use it anywhere, from family portraits to flowers in your garden, and you will love how crystal clear and stunning it looks.

It’s fast, compact, powerful, and has excellent distortion correction, all thanks to proprietary Nikon technology.

It does have the option to switch between manual autofocus on the lens itself.

It does have an external aperture ring.

This is an endless end with an ED glass as well.

And also, it does come with a lens cap, I mean a lens hood, which is good for getting rid of the sunlight and so forth.

Fabricated from resilient plastics, the barrel absorbs vibrations while it minimizes dust ingestion when using it outdoors.

Overall, this lens is one of the most incredible in the number of lenses I own.

If you’re using up-close macro photography, unlike flowers, or trying to document personal items like a wedding ring.

This lens is so pin-sharp with different distances; it can give you some fantastic images out of the field of focus.

This lens will let you accomplish what I have had some people ask if I can use it for everyday photography.

You can think you’re going to consider the size of the glass on the exterior of it.

With the amount of light and so forth, this lens is probably one of the, like I said, one of the most incredible lenses you can have when taking some excellent artsy-type photos.

You’ve had the unfortunate experience of discovering that your object is better up close.

This lens is perfect for close-up shots of both people and objects with clarity.

This lens’s compact and lightweight design allows easy travel without sacrificing performance.

This Nikon’s premier telephoto portrait lenses produce pictures with a blurred background but natural-looking sharpness due to its 7-blade aperture diaphragm, which creates a beautiful blurring of out-of-focus details.

The Nikon 60mm F2.8 lens for close-up shots would be perfect in this case.

It’s so versatile you can use it to get intimate with the object of your love.

And as an all-around low-profile lens that will take some stunning urban photos at night or any other time, you must shoot from far away.

Pros

Excellent sharpness
Lightweight & compact.
Less distortion.

Cons

Some vignette.
No image stabilization.

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Tamron 90mm F2.8: (Best lens for food photography)

I shoot quite a lot of food.

It’s a perfect way to score for many things.

But today, I’m going to tell you why I think it’s the best lens for food photography.

Well, first of all, when we think about food photography.

You look at food. I have a lot of different textures.

So we want to bring them out to make the food look delicious.

That’s why one of the things why I use a macro lens.

Macro lenses are sharp lenses. So, it’s easy to bring out all the goodness in the food.

I also love using the Tamron 90 millimeter because you can close in on the food.

Sometimes I want to focus on the dish itself; it’s beautiful.

I don’t want anything other than just showing the lovely dish.

So I can go close and cut out all the distracting parts around the play, just having the lovely dish in.

And sometimes, I love to go even closer in and focus on some part of the dish, and the macro allows me to do that. So I can bring out some small delicious details in the dish.

It’s a fast lens.

It’s a 2.8 lens, so when you want a shot where the food is the main subject, you want to have some environmental surroundings.

In short as well, you can get a shallow depth of field; you get the food’s sharp but a lovely bouquet on everything else.

So, the eye knows exactly where to look in the photo.

Because of the think if everything would be in really sharp.

With wine glasses, candles, bread, and whatever is in the surrounding, you can get the food sharp and get the environment out of focus.

And it will just complement the shot.

It won’t distract the viewer.

This 90 millimeters lens gives excellent compression.

It brings everything quite close, but not too close so that it distracts the viewer.

In my opinion, 90-millimeter compression is absolutely the best for food shots.

I love it.

So, this is why I think the Tamron 90-millimeter lens is the best lens for shooting food.

Pros

Excellent sharpness.
Less distortion.
Image stabilization.

Cons

Dim corners.

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Sigma 105mm F2.8: (Best lens for close-up shots Canon)

This is the best lens for B roll, released in 2011.

It has a maximum aperture of F 2.8 with nine rounded aperture blades.

All this means is that it renders a really smooth and aesthetically pleasing bokeh being one of Cygnus DG lenses designed with full-frame cameras in mind.

Although it will work on APSC size DSLRs, with that 1.6 times crop also being a sigma lens, it’s available for both Canon and Nikon cameras.

It comes with an impressive four stops of image stabilization which on a short telephoto lens like this is important as without it.

Even the slightest adjustments on the camera are noticeable as the camera shakes your shots, and finally comes the switchable macro focus abilities on this lens.

When enabled, it has a minimum focus distance of just 31 centimeters, with a one-to-one magnification.

It has a clever enough focusing mechanism that minimizes the distortion you get with macro shots, which renders an actual and distortion-free super close shot.

The HSM autofocus motor is allowed one, and that image stabilization, it’s good but too much handling, and you’re going to notice some camera shake.

But all those minor points are far outweighed by the beautiful images it can render when this lens is used correctly.

The Sigma 105 macro is genuinely a beautiful lens to use with a bit of care and setup time.

You can get some truly stunning results from it, both for macro shooting and those compressed telephoto B cam locks you can get for interviews.

The build quality is superb.

It’s a weighty bit of glass coming in, around 725 grams for me for a premium lens. That’s quite a reassuring quality to have when you hold it in your hand.

It feels like a premium bit and I love all of the controls.

The switches and the focus ring are well-built and pleasant to use.

The only drawback of the build quality is that it isn’t weather-sealed, which isn’t an issue as we’re mainly shooting indoors in a studio.

But it is something to bear in mind for some outdoor video shooters.

Once you spend a little time and care setting up a short, you can get some truly stunning images.

With its four stops of image stabilization, beautiful bokeh, and excellent optical quality, it is a hard lens to beat for B-roll product videography or even a B-cam lens for interview-style pieces.

That’s a tool for a stunning and specific Look, it’s a tool for filmmakers with a little more experience, and they can spend a little more time setting up their shots.

So given the right conditions and a little care, how you use it.

This lens will render you some truly stunning results for video, either as a macro lens for product videography B roll or as a B cam lens for interview pieces.

This lens offers something unique and, in truth, is a lens I’ve loved every second of using.

Pros

Excellent optics
Fast & relaible autofocus
Dust, splash, and fluorine protection

Cons

No image stabilization

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Nikon 85mm F3.5: (Best lens for closeup portraits)

The Nikon 85-millimeters F3.5 is a fantastic lens for portrait and close-up photography.

If you’re looking to expand your photography into shooting small subjects with crisp detail or portraits of your friends and family, this lens is a must-have for your arsenal.

This DSLR lens also touts advanced vibration reduction to keep your photos steady and sharp.

This dx micro Nikkor provides a one-to-one reproduction ratio when focusing on a close-up or small object.

This microscope, like the lens, is perfect for shooting photos of flowers, insects, and portraits with detail and sharpness.

Nikon’s VR technology is an important feature that assists in handheld shooting.

Using motion sensors, the lens can detect motion before and during the photograph’s exposure, shifting the image and compensating for any shakiness in the shot.

No photographer can be perfectly still when shooting, so this feature is ideal when working without a tripod and eliminates any blur you’d typically get from handheld shooting.

It’s essential to remember that this only compensates for your movement and doesn’t help when your subject is in motion.

The best DSLR lenses have an autofocus feature, but the DX micro Nikkor adds its silent wave motor, which autofocuses the lens without a peep.

Unlike most autofocus DSLR lenses, there isn’t a button to shift from auto to manual focus.

Instead, turning the focus ring on the lens to quickly switch to manual focus is essential for microphotography, where precise focus is key to getting a clear shot.

This lens is best used with the Nikon dx line of cameras, APS C.

Using the lens on the Nikon full-frame FX line will cut off the corners of your photos.

The good news is that dx lenses and cameras are inexpensive.

If you don’t mind lying on the ground to shoot tiny insects or plants or start a portrait for a business, this Nikon lens offering is a valuable option.

Pros

Lightweight & compact.
Excellent sharpness.
Image stabilization.

Cons

Some barrel distortion.

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Nikon 105mm F2.8: (Best lens for product videography)

This lens is fantastic if you’re in the market for a lens for product videography.

This lens is sharp. It has VR.

It has a big focus ring. I use this lens a lot for product videography.

In many videos, I post when I’m reviewing lenses, I use this lens when shooting up close on the product.

I want that super fine detail shot of the product.

So if you’re in the market for a macro lens for your Nikon cameras, get the 105 millimeters 2.8 g VR Nikon lens, guys.

This is an incredible lens that has excellent sharpness as well.

It’s a pretty decent portrait lens too.

It’s very sharp.

This lens is very sharp and razor-sharp.

It’s a go-to lens if you’re shooting a lot of jewelry, and let’s say, in wedding photography, the wedding rings, you can get close up to that diamond to see how many carats it is and if it’s authentic.

If you’re shooting many detailed stuff, deathcore flowers, and you want to get up close, it’s just the perfect lens.

And the VR is unique handheld; it helps lower shutter speed.

The focus is fast and quiet.

The build quality is the solid, not too big, not too small perfect size, and it’s not that heavy.

So guys, when you’re doing product videography & photography, it’s always smart to carry around an excellent support system.

Pros

Lightweight & compact.
Extremely sharp.
Less distortion.
Image stabilization.

Cons

The short working distance for 1:1 photography.

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Nikon 40mm F2.8: (Best lens for product photography)

I enjoyed using this lens over the past eight months.

At a 40-millimeter focal length, that gives you a one-to-one magnification.

I bought this lens for one specific purpose: product photography and the photography of wristwatches in particular.

And for me, a 40-millimeter focal length or 60-millimeter full-frame equivalent focal length is perfect.

It is a perfect portrait lens.

For example, F 2.8 can also blur the background very nicely.

This is a dx lens, meaning you can only use it with a Nikon camera on full-frame cameras.

This lens is made entirely of plastics, I was impressed with the built quality, but it feels pretty sturdy.

Fortunately, the mount is metal.

The first is for turning autofocus on and off, but you can use the manual focus, even with autofocus.

So I leave that on all the time.

And the second switch can limit the focus distance from 20 centimeters to infinity, which is supposed to make autofocus faster, but I honestly don’t think it makes a significant difference.

There is also a window with a focus distance scale and a focus ring in the front.

The feel of the ring isn’t the best.

The resistance is quite heavy, but you can still focus very precisely using manual focus.

The lens’s front element also extends quite a bit when you focus closely.

It is not image stabilized, and I do miss the image stabilization.

Because at this focal length, the owners will probably want to take handheld shots, and image stabilization would help a lot, mainly when focusing on a small subject.

I will say right away that sharpness is the biggest strength of this class; it might be the sharpest excellence that Nikon makes.

It is very sharp from wide open at F 2.8, the sharpest point is from F4 to F 5.6, and it is still very sharp at F 11.

Beyond that, the sharpness starts to decrease.

I have also tested this last unusual testing landscape; of course, chromatic aberration is relatively insignificant.

It can be removed entirely in boast in most pictures; the same is true about the distortion.

I also like the color studies lens generally produces excellent optical qualities of these lines.

I have nothing to complain about in macro photography and product photography.

I enjoy the sharpness while taking pictures of wristwatches because they are handmade and hand-finished, and many details aren’t always visible to bear great.

And this lens lets me capture the detail in an awe-inspiring quality.

The autofocus of this lens in the viewfinder mode is quite fast.

I have to say that I like this lens.

The focal length is very suitable for my purposes, it is plastic, and it frankly feels pretty cheap, but fortunately, it seems that cost spirit on build quality was used on the optics.

I liked the image quality so much that I kept my Nikon D5500 because of this lens.

So this will probably stay in my main product photography setup for a long time.

Pros

Lightweight & compact.
Extremely sharp.
Affordable in price.

Cons

No image stabilization.

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Nikon 60mm F2.8: (Best lens for flower photography)

It’s an ideal focal length for flowers, portraits, and landscape photography.

This lens is a microlens; it will focus only a couple of inches.

So, This is a lens you want in your camera to get shots of flowers, insects, food, and what have you.

When you first get this lens, you will be amazed by its abilities because it will enable you to see the world differently.

You can stroll around your house and take pictures of relatively mundane household items like coffee beans or black pepper, and you will be amazed at the detail captured by this lens.

It’s incredibly sharp. It has a fairly bright f 2.8 aperture, making a beautiful portrait lens with beautiful bokeh.

I love the color rendition of this lens. Again took photos of flowers, and I think the colors are gorgeous.

I appreciate the higher-quality construction of this lens.

It just feels like it’s built to last.

You can use it as a portrait lens.

You can use it just as a general walkabout lens.

It’s great for street photography.

It’s great for landscape.

It was not expensive.

This is the kind of lens that you go to when you want to get the shot.

I love the close-focus distance of this lens.

I love the macro abilities of this lens.

It’s a great travel lens because of its versatility.

I don’t think you’ll find a much sharper lens with a more pleasing buttery bokeh and can focus any closer than this lens.

Now, if you’re a hardcore macro enthusiast and want a little bit of a longer focal length, perhaps you want a 90 or 105-millimeter macro lens, but I’m happy with this 60-millimeter.

This is another example of the relatively inexpensive lens you can pick up from the Nikon system that is just a stellar performer.

Once again, Nikon has given us a sharp lens for the money.

I couldn’t be more pleased with the quality of the imagery it produces.

So that’s a look at the Nikon 60-millimeter f 2.8 micro D lens.

Pros

Excellent sharpness
Lightweight & compact.
Less distortion.

Cons

Some vignette.
No image stabilization.

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Canon 100mm F2.8: (best lens for close-up makeup shots)

More of a makeup artist than a photographer?

This specialty lens can help up-close and dramatic with every closeup made.

Get stunning shots of mascara, lipstick, and more!

This lens includes all of Canon’s newest technological developments to give its user bragging rights as likely having one of the sharpest, crispest optics available on any lens today.

It only utilizes 10% or less of its full zoom capability (i.e., around 15x).

It also features USM technology which provides fast and precise autofocusing without any perceivable noise.

This is an ideal lens for close-up shots and makeup photo sessions.

It’s fast f 2.8 and lets in a lot of light without necessarily having to use flash.

Its construction features 15 elements in 12 groups, spacing between each component versus being stacked and squashed together.

This gives more control over shooting and ensures no distortion when doing up close and personal portraits with some popular cosmetics brands.

It can focus quickly and quietly without making you wait endlessly for it to catch up so you can get back to doing what is most important – impressing people with your beautiful face!

This lens also features Canon’s sophisticated image stabilization, making it one of the safest lenses on the market if you are serious about your work!

Pros

Excellent sharp images.
Image stabilization.
Affordable in price.

Cons

Color fringing.

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Rokinon 135mm f2.0: (Best lens for closeup face shot)

The Rokinon 135mm f2.0 is the best lens for close-up face shots, with a fast framerate of f2.0-f22 and 9 diaphragm blades for clean, inhumane backgrounds!

This is the perfect choice for any portrait photographer looking to take close-up shots of faces and body parts.

The 135mm is a brilliant lens for portraits.

For full-frame compatibility, those using the 18.8-degree angle of view on full-frame cameras or a 12.4-degree angle when shooting APS-C cameras will love this great lens!

It’s an all-encompassing lens, capturing a subject from head to toe with enough bokeh and sharpness to rival any other lens on the market.

A minimum focusing distance of 2.6 feet keeps your subjects close by, making this an ideal option for shooting photos at just about any event – from weddings to family reunions, it can’t be beaten!

It’s easy to see why this lens has such a huge following.

It is best used for close-up shots of faces when you want to make them pop!

This lens is an excellent choice for those looking to create high-quality closeup face shots with the convenience of an ultra-sharp, fast aperture and multiple coatings that reduce glare and distortion to produce vibrant images.

For when you want to get up and close tight with the people in your photos.

This lens is perfect for portraits, group shots, and candids with some depth of field.

Built with Rokinon’s proprietary UMC coating system on a well-built metal body, this lens shoots tack-sharp images with vibrant colors to its widest aperture of 2.0!

It has a minimum focusing distance of 2.6 ft, making it easy to get very close to the person in front of you without worrying about camera shake.

This lens is for those professional photographers who need to take close-up shots of faces.

This lens has a high clarity because it provides a focal length that matches the ratio of human eyesight and can accomplish clear pictures without distortion.

It’s perfect with a wide-open aperture, which blurs the background so you can concentrate on capturing your subject’s details.

Close-ups are essential to any photographer’s arsenal because they give the viewer a personal sense of connection with their emotions.

Your best projects will have proximity to beauty by allowing them to see every emotion—joyful happiness or deep sadness—with exquisite precision.

Pros

Best wide aperture.
Excellent sharpness.
Minimal distortion.

Cons

Some fall-off at f/2.
Omits autofocus and image stabilization.

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Laowa 100mm f/2.8 2:1: (Best Sony lens for close-up shots)

Ever wish you could see the person before you clearer than ever?

Laowa’s 100mm f/2.8 2:1 lens is here to solve that!

This lens is a must-have for portrait photographers, especially those trying to get extreme close-up shots. It will even get you results near 2:1 magnification!

This new 100mm f/2.8 lens has a high-speed, super bright aperture that can take full-frame sensor size and focus from 2:1 magnification to infinity!

Once you have this product in your hands, the sharpness of the 12 elements in 10 optical design groups is evident because it is crystal clear.

This lens for close-up portraits will work well on any camera with a full-frame sensor.

Now you can take great photos of your loved family and friends as they grow up, especially young babies born into the world!

And if you want to focus on working out some new ideas for your photography, this 100mm f/2.8 is also perfect for shooting products at a close distance.

Laowa 100mm f/2.8 makes an ideal companion for the pro or beginning photographers looking for versatility in different projects without sacrificing quality.

The lens is also a creative way to take stunning photos of people, pets, food, plants—anything that makes your heart flutter!

A perfect fit for macro photography enthusiasts with just as good optical quality as a high-end portrait or macro lens at a fraction of the cost!

It’ll be worth every penny!

Pros

Solid build quality.
Affordable in price.
Excellent colors & contrast.
Excellent chromatic aberration control
Excellent macro performance.

Cons

Flare prone
Bokeh can be slightly busy at certain focus distances

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Tamron 18-200mm f/3.5-6.3: (Best zoom lens for close-up shots)

This versatile zoom lens can cover a wide variety of scenes, landscapes, and subjects.

This is why it’s great for travel photography or storytelling.

This lens is a perfect companion for any camera.

This lens allows you to shoot great detail from faraway objects up close without changing lenses.

It doesn’t introduce distortion, so your photos look just like they’re supposed to be round, clean, and beautiful.

Don’t ever worry about cropping too much or not being able to get closer because this is the lens that solves those problems right out of the gate!

This lens offers a whopping 10x optical zoom with VC for sharp images while shooting handheld and is compatible with DSLR cameras no matter what brand or type!

A powerful optical design in 17 elements in 12 groups provides excellent edge-to-edge sharpness throughout the zoom range for beautiful close-up shots.

Or, at any distance, you want to capture the moment and live the way it should be seen!

(VC – Vibration Compensation) helps provide sharper handheld images, especially with its image stabilization system, where vibrations are compensated to provide clear photos.

Even when your hands are shaking after photographing a photo session.

The built-in macro mode will allow you to zoom in close, and every inch of your image will be sharp.

Tried and true waterproof with this zoom lens. Design lets you take your shot when the conditions get a bit messy. It’s fast too!

Shoot up to 6 frames per second at 18-200mm focal lengths w/o compromising image quality.

This lens is an ideal choice for on-the-go shooting.

It’s got everything to create well-rounded photos without carrying a heavy load!

Get the perfect close-up shots of what you love, fast and easy, with our Tamron 18-200mm f/3.5-6.3 Lens.

Pros

Extremely sharp.
The excellent image stabilization system.
Good flare resistance.
Excellent value for money.

Cons

Lower edge sharpness.
CA at edges.

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Which Canon lens is best for close-up shots?

Every photographer has their own needs and favorite lenses, but here are some of the most popular options: -Canon EF 100mm f/2.8L IS USM Macro Lens – This lens is ideal for shooting in dimly lit environments or when capturing detailed images up close; it’s also great for portraits because it allows you to get close without using flash.

Which is the best Nikon lens for close-up shots?

The Nikon AF-S NIKKOR 105mm f/2.8G IF-ED VR Macro Lens is great for shooting macro images from as close as 1 cm away from an object. The focal length of this lens is equivalent to 150 mm on a 35 mm camera, making it ideal for photographing small objects like insects or flowers with extreme detail.

Which lens is best for Macro photography?

The Canon 100mm F2.8 is a fantastic Macro lens because it has excellent optics and includes image stabilization (IS). IS will help you achieve sharp pictures even with low light or when your hands are not as steady as they should be. This is a fantastic option for those looking to do more than take photos of their kids at playtime!

What lens do you need for close-up photos?

If you’re looking to take close-up photos, you need a lens that can focus on objects very close. A macro lens is a perfect choice for these types of images because it has a narrow depth of field, giving your subject sharpness and clarity while blurring all background distractions away.

What type of lens is used for close-up photography?

It’s important to know what type of lens is best for close-up photography. The most popular lens for this type of photography is the macro lens. This will allow you access in closer and capture more detail than any other type of lens would be able to do, as well as give you some gorgeous bokeh that can make your photos pop!

Are close-up lenses any good?

Yes! Close-up lenses are great for several reasons.
1) They can help you take better pictures with your camera.
2) They make getting a close-up shot of an object easier without risking getting too close to it.
3) You don’t need a tripod or other equipment like that, making taking photos on the go much more accessible.

What mm lens is best for close-up shots?

If you’re a photographer looking for the best lens to take close-up shots, there are plenty of options.
The two main questions you need to ask yourself are these:
1) what is your camera?
2) what type of photography do you want to use this lens with?
For example, if you have an SLR and like macro photography, 60mm or 100mm will work well.
But if you have a point & shoot camera and want something that can get more light into the frame (to help with low-light pictures), then try out the 40mm lenses instead.

What size of Lens is best for close-up shots?

A Sigma 105mm F2.8 size lens is best for close-up shots. It has a most aperture of F 2.8 with nine rounded aperture blades. All this indicates is that it renders a sincerely smooth and aesthetically beautiful bokeh being one among Cygnus DG lenses designed with full-body cameras in mind. It comes with an impressive four stops of photograph stabilization which on a brief telephoto lens like that is virtually vital as without it. My wife has a deep love for her near-up pictures, as she owns a splendor channel. I click on her photographs with this Lens commonly.

What focal length is best for close-up portraits?

Nikon’s 85mm F1.4 focal length is a fantastic lens for portrait and close-up photography. This microscope, just like the Lens, is best for capturing pix of vegetation, insects, and photographs with element and sharpness. With motion sensors, the Lens can locate movement earlier than and throughout the image’s exposure, shifting the picture and compensating for any shakiness within the shot. I’ve used it many times to get incredible effects with only a click. It portrays the precise image of my subject as that element, or a person is just in front of the one who watches that click.

CONCLUSION:

Alright, guys, that concludes all the lenses we will discuss today in this article.

Do you guys have any experience with these lenses? What are your thoughts on them?

Which is your best lens for close-up shots?

Is there a lens I didn’t mention in this article that you love using for close-up shots?

Would you please leave your thoughts and comments below?

Related posts:

Best lens for newborn photography:

Best macro lens for Nikon:

Best lens for insect photography:

Sharon Advik

I am a professional photographer born in the USA. I have been in this field of photography for 22 years now, and in these years, I used many photography lenses, which I want to share here on this website about my experience of it. The idea for Bestoflens.com is to provide honest information about different Lenses products in the format of a “Best lenses for AYZ” list. I want this website to be the last destination for people to pick the best lenses to fit their needs. You can find our unbiased reviews here on Bestoflens.

Close-up Lenses - Canon Cyprus

LENSES

Close-up photography doesn't always require a specialist macro lens. Find out about close-up lenses, which screw on to the front of your existing camera lens and make it possible to focus closer than normal.

Close-up lenses don't attach to your camera's lens mount, but instead screw into the filter thread at the front of a camera lens. Because of this, they are sometimes called close-up filters. However, since they do not filter light, this is not strictly correct. You will also see them referred to as supplementary lenses because they are used in addition to another lens.

Whatever you call them, a close-up lens takes up very little room, yet can transform the capabilities of your other lenses, enabling them to focus closer than normal, much as if you attached a magnifying glass. It is an ideal accessory to carry when you want to travel light.

Over the years, Canon has made a range of different close-up lenses with two designs − single element and double element. The double element kind are identified by the letter D. Both kinds have been available in a range of focal lengths including 240mm, 250mm, 450mm and 500mm − this determines the magnification. They also come in different filter thread sizes such as 52mm, 58mm, 72mm and 77mm, but not every permutation of focal length and thread size is available.

The most important factor when choosing a close-up lens is performance, and this depends on the construction. Single element close-up lenses are relatively inexpensive and may be adequate for occasional use, but they are not as good as their double element equivalents. In simple terms, all single element lenses show aberrations, usually chromatic. By adding a second element, the aberrations from the two elements can be made to cancel each other out. The resulting double-element or "doublet" lens may not be completely free of aberrations, but it will usually be a lot better than a single element lens.

The improved performance is particularly noticeable at the edges of the image. This means that if you are photographing a flower, where the subject is mostly in the centre of the frame, a single element close-up lens might be adequate. However, if you are shooting a flat subject that extends to the edges of the frame, such as a postcard or stamps, a doublet lens will give much better sharpness at the edges, especially at wider lens apertures.

A close-up lens helps you to fill the frame with your subject and has the advantage that it does not reduce the amount of light reaching the camera's sensor. This means that you can retain a fast shutter speed to help reduce the effects of camera shake and subject movement.

Canon's 500D close-up lens (not to be confused with the EOS 500D camera) comes in several thread sizes to fit different lenses. This one fits lenses with a 77mm filter thread, such as the Canon EF 16-35mm f/4L IS USM lens.

Most cameras have a symbol on top of the body indicating the position of the sensor. This helps you determine the focusing distance – which, when you're working close-up, can be very different from the distance between the subject and the front of the lens.

Facts and figures

When you attach a close-up lens to your camera lens it acts a little like reading glasses for a far-sighted person. The camera is no longer able to focus on infinity, but it has a clear vision of close subjects that were previously outside its focusing range. For general guidance, the Type 250D close-up lens is designed for camera lenses with focal lengths from 35mm to 135mm. However, good results are possible using the close-up lenses with focal lengths outside of this range.

The power of close-up lenses is sometimes expressed in dioptres. The dioptre power is calculated by dividing 1,000 by the focal length of the close-up lens. This means that the Type 250 lens has a power of +4 dioptres.

Working distance is the distance between the front surface of the close-up lens and the point of the subject on which the lens is focused. Do not confuse this with the focusing distance, which is the distance between the focal plane and the subject. Most cameras indicate this film or sensor position with a symbol – a circle with a line through it – on the top of the body. If you are shooting with a close-up lens on the front of a telephoto lens, the difference between the two distances can be considerable.

The focusing distance is needed in some close-up calculations, while the working distance lets you know how much space there is between the front of the camera and the subject, so you can position any lighting.

It's not generally recommended to use a Speedlite on-camera for close-up work. First, the minimum working distance for most Speedlites is around 0.7 metre. Second, at close distances the difference in position of the Speedlite and the lens means that most of the light from the flash is likely to miss the main area of the subject. Even if you use a Speedlite with a flash head that can be angled down by a small amount, you run the risk of the subject being in the shadow thrown by the lens.

One solution is to use the Speedlite off-camera, either connected wirelessly to the camera or via the Off Camera Shoe Cord. With the Speedlite away from the hot-shoe, you can tilt it so that the light is aimed directly at the subject. You can also move the Speedlite back (up to 60cm from the camera with the Off Camera Shoe Cord) to bring it within its normal working range. Using the flash away from the camera has the benefit of producing better texture lighting on the subject.

The camera's built-in flash is also unsuitable for many close-up shots, because of the risk of the illumination being partially obstructed by the lens barrel.

For simple photographs with a close-up lens, the best illumination is daylight. The camera's normal exposure metering is not affected by the addition of the close-up lens and no increase in the amount of exposure is required. It's a good idea to use a tripod, though, to avoid the effects of camera shake at the increased magnifications.

The lens used here focuses quite close as it is, but what if you want to get even closer? Taken on a Canon EOS 250D with EF-S 18-55mm f/4-5.6 IS STM lens at 55mm, 1/4 sec, f/11 and ISO200.

The same lens with a Canon Close-Up Lens 500D gives that crucial increase in magnification with no loss in image quality. Taken on a Canon EOS 250D with EF-S 18-55mm f/4-5.6 IS STM lens with Close-Up Lens 500D at 55mm, 1/4 sec, f/11 and ISO200.

Calculating magnification

Fitting a close-up lens to a camera lens increases the maximum size of the image that can be produced. The size of the image compared to the size of the subject is called the magnification (even though the image is usually smaller than the subject).

For example, if the image is one-tenth the size of the subject, the magnification is 0.1x. If the image is one-half the size of the subject, the magnification is 0. 5x. When the image and the subject are the same size, the magnification is 1x.

When using a close-up lens, it is very easy to calculate the magnification for a camera lens set to infinity focusing. Simply divide the focal length of the camera lens by the focal length of the close-up lens.

Magnification = focal length of camera lens / focal length of close-up lens

Conveniently, the focal length of the close-up lens is in its name. So if you are using a 100mm camera lens with a Type 250D close-up lens, the magnification at infinity focusing is 100/250, which is 0.4x. The same close-up lens with a 200mm lens will give a magnification of 0.8x.

If you're using a zoom lens, base the calculation on the zoom setting you've chosen. For example, the Canon EF-S 55-250mm f/4-5.6 IS STM lens can be used with the Canon 58mm Close-up lens 250D. If you're using the 55mm end of the zoom range, then you'll get a magnification of 55/250 = 0.22x. If you zoom to the 250mm end of the range, the magnification will be 250/250 = 1x.

As you can see, the magnification increases with the focal length of the camera lens. Even greater magnifications are possible if the camera lens is focused closer than its infinity setting.

Magnification at different focus settings

So how can you determine the magnification that a close-up lens gives when attached to a lens at a particular focusing distance? With the close-up lens in place, set the focus on the camera lens to the value you want (maximum or minimum are the best values).

Find a ruler that has a clear scale marked in millimetres. Position the ruler at right angles to the lens axis, and move the camera back and forth in front of it until the scale on the ruler comes into sharp focus. Move the centre of the viewfinder over the middle of the scale, so that the millimetre markings run at least the full width of the frame. (Don't try aligning the zero point of the ruler with the edge of the viewfinder – because of parallax error and the difference between the image frame and the viewfinder field of view, you risk ending up with a gap between the frame edge and the start of the scale. ) Now take a picture.

Take a look at the processed result and count the number of millimetres visible. Let's say there are 72. The width of a full-frame sensor is 35.9mm, so the magnification is 35.9 divided by 72, which is 0.499. This means that the magnification for that setup is 0.5x.

Without the use of an additional close-up lens, this is about as close as we could focus. Taken on a Canon EOS 250D with EF-S 18-55mm f/4-5.6 IS STM lens at 48mm, 0.4 sec, f/16 and ISO200.

Using the same Canon EF-S 18-55mm f/4-5.6 IS STM lens at 48mm with the addition of a Canon Close-Up Lens 500D, our formula tells us that the magnification is 48/500 = 0.1x. Close-up lenses have a greater effect when used on lenses with a long focal length than on shorter lenses.

Close-up lens or extension tube?

If you're travelling and space in your kitbag is critical, then you might prefer a close-up lens, which is much more compact than an extension tube. Otherwise, the choice depends largely on what lenses you have and what magnification you want to achieve with them. Close-up lenses have more effect when they are used on a camera lens with a long focal length than on shorter lenses. This is exactly opposite to the effect of extension tubes, where the amount of magnification decreases as the camera lens focal length increases. In practice, this means that extension tubes are more useful with short lenses (up to 100mm, for example) whereas close-up lenses are more useful with longer lenses.

When you require greater working distance, the combination of a telephoto lens with a close-up lens will usually be the best choice. If you use an extension tube on a wide-angle lens, you may find you're having to work extremely close to the subject to get it in focus. In addition, close-up lenses do not reduce the amount of light reaching the sensor, whereas extension tubes do. This can sometimes be critical when you need a reasonably fast shutter speed or a small aperture (or both).

If you have a long telephoto zoom, you can make good use of a close-up lens – and in practical terms it is a better option than using extension tubes with a telephoto lens. If you use extension tubes with zooms, you will find that the focus changes as you zoom in and out, which means you continually have to re-focus. This doesn't happen with close-up lenses. Once you have focused, you can change your composition by zooming in and out, just as you can with any zoom used normally. Always use the camera on a tripod – the increased magnification will also increase the effects of any camera shake.

If you have a macro lens, you can make good use of a close-up lens to bring about even larger magnifications, although a close-up lens typically loses effectiveness at shorter focal lengths (less than about 35mm). If you're aiming for really high magnifications, try using a macro lens + extension tubes + a close-up lens.

Written by Angela Nicholson

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Close-up Converters

Close-up Converters - Canon Ireland

LENSES

Close-ups don't always require a dedicated macro lens. Learn about close-up converters that attach to the front of your existing camera lens and allow you to focus at shorter distances than usual.

Close-up converters do not attach to the camera lens mount but screw into the filter thread on the front of the camera lens. Because of this, they are sometimes called close-up filters. However, since they do not filter light, this is not entirely correct. You may also notice that they are called accessory lenses because they are used in addition to another lens. nine0003

Whatever they're called, close-up converters don't take up much space, but they can expand the scope of your lenses, allowing them to focus closer than usual, just like attaching a magnifying glass. This is the perfect accessory for traveling light.

Over the years, Canon has developed a number of different close-up converters with two designs, single element and dual element. The dual element type is designated D. Both types are available in a variety of focal lengths including 240mm, 250mm, 450mm and 500mm - this setting determines the magnification. They are also available in various filter thread sizes such as 52mm, 58mm, 72mm and 77mm, however not all focal lengths and thread sizes are available. nine0003

The most important factor when choosing a close-up converter is the quality, which depends on the design. Single-element close-up converters are relatively inexpensive and suitable for occasional use, but they are not as good as their two-element equivalents. Simply put, all single element lenses exhibit aberrations, usually chromatic. With the addition of the second element, the aberrations of the two elements cancel each other out. The resulting two-element or "two-lens" lens is not entirely free of aberrations, but is usually much better than a single-element lens. nine0003

The improvement is especially noticeable at the edges of the image. Thus, when shooting a flower, when the subject is mostly in the center of the frame, a single-element close-up converter will also work. However, when shooting a flat subject that extends to the edges of the frame, such as a postcard or stamp, a two-lens lens will give much better edge sharpness, especially at wide apertures.

The close-up converter helps fill the entire frame with the subject, and has the advantage of not reducing the amount of light reaching the camera's sensor. In this way, you can keep a fast shutter speed to reduce the effects of camera shake and subject movement. nine0003

The Canon 500D Close-up Converter (not to be confused with the EOS 500D) comes with different thread sizes for different lenses. It is suitable for lenses with a 77mm filter thread, such as the Canon EF 16-35mm f/4L IS USM.

Most cameras have a symbol on the top of the housing to indicate the position of the sensor. It helps determine the focusing distance, which in close-ups is very different from the distance between the subject and the front of the lens. nine0003

Facts and data

When a close-up converter is attached to the camera lens, it works like reading glasses for a far-sighted person. The camera will no longer be able to focus at infinity, but it will have a clear view of objects up close that were previously out of focus range. In general, the Type 250D close-up converter is designed for camera lenses with focal lengths from 35mm to 135mm. However, good results are possible when using close-up converters with a focal length outside this range. nine0003

The power of close-up converters is sometimes expressed in diopters. The optical power is calculated by dividing 1000 by the focal length of the close-up converter. Thus, the Type 250 lens has a power of +4 diopters.

Working distance is the distance between the front surface of the close-up converter and the point on the subject where the lens focuses. It should not be confused with focus distance, which is the distance between the focal plane and the subject. On most cameras, the position of this film or sensor is indicated on the top of the body with a circle symbol with a line through it. When using a close-up converter attached to a telephoto lens, the difference between the two distances can be significant. nine0003

The focus distance is needed for some close-up calculations, while the working distance allows you to know how far the front of the camera is from the subject, allowing you to position any light sources.

It is generally not recommended to use the Speedlite on the camera when shooting close-ups. First, the minimum working distance for most Speedlites is about 0.7 meters. Second, the difference in position between the Speedlite and the lens at minimum distance means that most of the light from the flash may not reach the main part of the subject. Even when using a Speedlite with a flash head that can be tilted slightly, there is a risk that the subject will be in the shadow cast by the lens. nine0003

One solution is to use the Speedlite as an off-camera flash connected to the camera wirelessly or via an off-camera shoe cable. By positioning the Speedlite away from the hot shoe, you can tilt it so that the light hits the subject directly. You can also move the Speedlite backwards (up to 60 cm from the camera using the off-camera cable) to return it to its normal operating range. Using the flash away from the camera provides better textural illumination of the subject. nine0003

Also, the camera's built-in flash is not suitable for many close-up shots due to the risk of light being partially blocked by the lens barrel.

Daylight is best for simple shots with close-up converter. Adding a close-up converter does not affect the normal metering of the camera, and no increase in exposure is required. However, it is recommended to use a tripod to avoid the effects of camera shake at higher magnifications. nine0003

The lens used here focuses pretty close, but what if you need to get even closer? Taken on a Canon EOS 250D with an EF-S 18-55mm f/4-5.6 IS STM lens at 55mm, 1/4 sec, f/11 and ISO200.

Same lens with shooting converter close-up The Canon 500D provides a substantial zoom without sacrificing image quality. Taken on a Canon EOS 250D with an EF-S 18-55mm f/4-5.6 IS STM lens, 500D close-up converter at 55mm, 1/4 sec, f/11 and ISO200.

Magnification calculation

Attaching the close-up converter to the camera lens increases the maximum image size. The size of the image compared to the size of the object is called magnification (even if the image is usually smaller than the object).

For example, if the image size is one-tenth the object size, the magnification is 0.1x. If the image is half the size of the object, the magnification is 0.5x. If the image and object are the same size, the magnification is 1x. nine0003

When using the close-up converter, it is very easy to calculate the magnification for a camera lens set to infinity focus. Simply divide the focal length of the camera lens by the focal length of the converter for close-ups.

Magnification = focal length of the camera lens / focal length of the close-up converter

For convenience, the focal length of the close-up converter is indicated in its name. So if you use a 100mm camera lens with a Type 250D close-up converter, the magnification at infinity is 100/250, or 0.4x. The same close-up converter with a 200mm lens will give you 0.8x magnification. nine0003

When using a zoom lens, a calculation must be made based on the selected zoom setting. For example, the Canon EF-S 55-250mm f/4-5.6 IS STM lens can be used with the Canon 58mm 250D close-up converter. At the end of the 55mm zoom range, you get a magnification of 55/250 = 0.22x. When zoomed to the extreme position of the 250 mm range, the magnification will be 250/250 = 1x.

As you can see, the magnification increases with the focal length of the camera lens. If the camera lens is focused closer than its infinity setting, even higher magnifications can be obtained. nine0003

Magnification at various focus settings

So, how can you determine the magnification that a close-up converter gives when mounted on a lens at a certain focusing distance? After installing the close-up converter, set the desired focus value on the camera lens (the best values are maximum or minimum).

Take a ruler with a clear scale in millimeters. Position the ruler at right angles to the lens axis and move the camera in front of it back and forth until the scale on the ruler is clear. Move the center of the viewfinder to the middle of the scale so that the millimeter marks extend at least across the entire width of the frame. (Don't try to align the zero point of the ruler with the edge of the viewfinder—due to parallax error and the difference between the image frame and the viewfinder's field of view, there is a risk of gaps between the edge of the frame and the start of the scale.) Now take a picture. nine0003

Look at the result and count the number of visible millimeters. Let's say there are 72. The width of the full frame sensor is 35.9mm, so the magnification is 35.9 divided by 72, which is 0.499. So the magnification for this setting is 0.5x.

Without an additional close-up converter, we were able to achieve the maximum focus around this. Taken on a Canon EOS 250D with an EF-S 18-55mm f/4-5.6 IS STM lens at 48mm, 0.4 sec, f/16 and ISO200.

Using the same Canon EF-S 18-55mm f/4-5.6 IS STM lens at 48mm in combination with a Canon 500D close-up converter, our formula yields a magnification of 48/500 = 0.1x. Close-up converters are more effective when used with long focal length lenses rather than short ones.

Close-up converter or extension tube?

If you are traveling and space is limited in your bag, a much more compact close-up converter may be preferable to an extension tube. Otherwise, the choice largely depends on what lenses you have and how much magnification you want to achieve. Close-up converters are more effective when used with a camera lens with a long focal length rather than a short one. The effect of extension tubes is the opposite - in this case, the degree of magnification decreases as the focal length of the camera lens increases. In practice, extension tubes work better with short throw lenses (up to 100mm for example), while close-up converters work better with long throw lenses. nine0003

When a longer working distance is required, it is generally best to combine a telephoto lens with a close-up converter. When using an extension tube with a wide-angle lens, it may be necessary to work extremely close to the subject in order to focus on it. Also, unlike extension tubes, close-up converters do not reduce the amount of light reaching the sensor. When a fast enough shutter speed or a wide aperture (or both) is needed, this can be critical. nine0003

If you have a telephoto telephoto zoom lens, using a converter for close-ups is effective - from a practical point of view, this is a better option than using telephoto extension tubes. When using extension tubes with zoom lenses, you'll find that the focus changes as you zoom in and out, meaning you'll have to keep refocusing. When working with converters for shooting close-ups, this problem does not exist. After focusing, you can recompose by zooming in and out, just as with any normal zoom. Always use your camera on a tripod - higher magnification will also increase the effects of camera shake. nine0003

If you have a macro lens, you can effectively use the close-up converter to get even more magnification, although the close-up converter usually loses its effectiveness at shorter focal lengths (less than 35mm). If you need really high magnification, try macro lens + extension tubes + close-up converter.

By Angela Nicholson

LENSES

Lens Extension Tubes

The extension tube is an accessory that increases the magnification of the lens. In this article, you will learn about the principles of operation and compatibility of these devices.

Learn more
LENSES

Lens Extenders

Lens extenders (also known as teleconverters) increase the effective focal length of a lens. Find out how extenders can enhance your telephoto lens and come in handy, especially when you can't get close to your subject.

Learn more
ARTICLE

Canon's Best Macro Lenses

Four photographers share a selection of Canon's best macro lenses, including the excellent Canon RF 100mm F2.8L Macro IS USM. nine0003
Learn more
FLASH

Wireless flash control

Learn how to use the Speedlite off-camera and learn how to wirelessly control it for creative photo effects.

Find out more

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