There are certain combinations that just work well together—peanut butter and jelly for instance—so it should come as no surprise that a complementary pair of lenses isn't too hard to come by. In this case, we are talking about the classic Canon EF 50mm f/1.4 USM and the respected EF 100mm f/2.8L Macro IS USM.
Almost no explanation is needed about why this combo is so great—it pairs a fast normal lens with a versatile, yet specialized telephoto optic. The 50mm is perhaps the most ubiquitous lens available today, and was the standard 35mm camera kit lens back in the good old film days. While it can do almost everything, thanks to its practically true-to-life perspective, there are a few things for which you need to slip another lens into your bag. This is where your 100mm macro comes into play.
Not only does this model sport the “red ring of approval,” it backs it up with spectacular optics and some advanced capabilities. The “macro” in name denotes its prime function: close focusing, up to true 1:1 magnification for bringing out the fine details of more minuscule objects or serving as an excellent option for portraiture. Speaking of photographing people, the longer telephoto length renders a compression that is extremely flattering and combines wonderfully with a relatively fast maximum aperture for smooth bokeh.
The standard
Besides being relatively inexpensive, there are plenty of good reasons that the 50mm f/1.4 is the first lens many new photographers pick up. It's fast, benefitting low-light shooting and realizing the true control over depth of field that DSLRs provide, since kit lenses are usually lacking in both these areas. Also, the normal perspective works for almost any subject. This is the standard lens. Shoot portraits, food, products, street scenes, documentary subjects, and more with ease.
One of the most common reasons people use the 50mm is because of its "normal" angle of view. Photographers can immediately recognize and compose their scenes without thinking, since it matches up almost perfectly with the perspective of the human eye. This also means it’s free of obvious distortion and can eliminate many other aberrations with ease.
The simple, decades-optical construction provides a character unachievable by more modern choices, such as a subtle softening when you shoot wide open, or the occasional flare; however, these are all things which lend themselves well to certain subjects. The f/1.4 aperture is great for getting shallow depth of field with smooth bokeh, and it can also help smooth out unpleasant features in a portrait subject's face, as well as provide a bit of indescribable feeling to the digital image.
Focusing on the more technical aspects of the EF 50mm f/1.4 leads to a discussion of operating performance and speed, where autofocus is a prime consideration. Luckily, it comes equipped with Canon's great UltraSonic Motor, or USM, which is fast and quiet. It is able to lock onto subjects with ease and is further benefitted by its fast maximum aperture for good performance in dim lighting conditions. You never want to be in a situation where the AF just can't cut it; or under the beautiful light of a fading sun and are suddenly struggling to keep your subject in focus.
For those who prefer a more hands-on approach, there is a nice rubber focusing ring that should sate your needs. A quick flip of the AF/MF switch, or just a reliance on the full-time manual override, and you are good to go. This lens was designed for photographers, and its simplicity speaks to that. While many shooters are perfectly happy to throw a 50mm on their camera and be done, those looking to take some of their images to new dimensions will find the next lens to be a perfect option.
Ready for the close–up
Get in tight, maintain outstanding sharpness, and look good doing it with the Canon 100mm f/2.8L IS USM. Able to focus as close as 1' and starring a flattering 100mm perspective, this is a go-to pick for the foodies, portrait artists, and product shooters among us. Showing off its pedigree with a subtle, yet telling red ring on the front, this 100mm is among the most popular options in the macro arena.
Optically, it is tough to ask for more than the 100mm delivers. It is sharp, able to reach f/2.8 for smooth bokeh, and still maintains clarity as you stop down, critical for fine control over depth of field when working at normally difficult magnifications. The longer focal length also leaves some distance between you and your subject, which is important for avoiding shadows and other unwanted effects caused by being too close and blocking a light source. The 100mm can even help eliminate clutter from your background or accentuate more distant objects in relation to your subject, depending on how you choose to use the lens.
Even though it may find itself hanging around studios, there's no reason to not pack it into your bag for getting a fresh look with your street photography, for example. This lens's critical difference from the usual optic means that fine details can be the sole subject of your frame. The close-focusing ability cannot be stressed enough, because it opens up a previously impossible realm of miniatures and detail that couldn't be captured otherwise.
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Befitting a lens of its caliber, this 100mm is part of Canon’s USM autofocus system and includes one more perk, in the form of an optical Image Stabilizer, or IS. Once you reach a certain point in the focal length of camera lenses, holding a camera system steadily can become difficult, making framing and recording sharp photos more challenging than anyone wants them to be. Image stabilization is the handheld shooter's friend, reducing the appearance of your own movements in the viewfinder for more relaxed compositions, and ultimately leading to sharper images by reducing the effects of those same movements on the picture itself. Even videographers can get into the game with IS, smoothing out rocky, handheld shots with ease.
The lens is built for professional demands, thanks to weather sealing and numerous controls right on the lens body, alongside a nice large focusing ring for critical moments. Due to its lengthy focusing range, a limiter switch is placed on the side to help speed things up if your theme involves only objects that are very near to you or if they are at a distance. Because a tripod is commonly used with a lens of this size, it has an IS on/off switch. By deactivating the IS when it’s on a tripod, this 100mm is prevented from mistakenly compensating for non-existent user motion, ensuring maximum sharpness when locked down.
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This optic is among the highest of performers, showing off the advantages of modern lens design and construction. With its longer focal length, macro focusing, and narrower perspective, it becomes a near–perfect match for the classic 50mm. For some photographers choosing a compact, effective kit, these two lenses can work wonders.
