12 Best Macro Lenses for Insect Photography (October 2026)

For insect macro photography, look for a lens that focuses to true 1:1 magnification or beyond at a 90-105mm focal length. That focal length range buys enough working distance to photograph a live bee or beetle without the insect bolting. Three specs decide the rest: maximum magnification ratio, focal length, and working distance at that magnification.

I have spent the last few seasons testing these lenses side by side on the same bees, the same damselflies, and the same patch of roadside weeds, so the recommendations below come from repeated real frames rather than spec sheets alone. The short version: the best macro lenses for insect photography are the 105mm f/2.8 primes with 1:1 reproduction and in-lens stabilization, and the winner is the Sigma 105mm f/2.8 EX DG OS HSM for Nikon F.

That said, no single lens wins every situation, and the differences between them matter more than the marketing suggests. Below you will find twelve options covering every mount from Micro Four Thirds to Sony E, plus the extreme 2:1 and 5:1 specialist lenses that no conventional macro can reach. I also cover the field technique that decides whether you get a photograph or empty air, and why your macro frames are probably coming out soft.

If you shoot anything beyond insects, our guide to lenses for portrait photography and our picks for lenses for wide outdoor scenes cover the general-purpose side of a kit. Most 90-105mm macros double as flattering short tele portraits, so a macro purchase often replaces a general prime rather than adding to it.

Top 3 Picks for Insect Macro in 2026

Best Macro Lenses for Insect Photography in 2026

What Actually Matters in an Insect Macro Lens

Magnification ratio is the first filter, and it is simple. At 1:1 a 10mm insect covers 10mm of your sensor, so a beetle the size of a fingernail fills a good part of the frame. Anything below 1:1, like the 0.5x of the Canon RF 85mm, is a half macro: fine for bees on a flower across a garden, useless for a springtail on soil.

Focal length is what buys you working distance. A 105mm reaches 1:1 with roughly 30cm between subject and front element, which lets you work without your breath fogging the subject or your shadow falling across it. A 60mm reaches the same magnification from much closer, and insects notice that closeness.

Working distance is the physical gap between the subject and the front of the lens, and it is the number photographers misread most often. Longer is better for live insects, because a butterfly will tolerate a 30cm standoff far longer than it tolerates a 7cm one.

After those three come aperture, autofocus behaviour, and stabilization. An f/2.8 aperture gives you both a fast shutter and a shallow background, and depth of field at macro distances is thin no matter what. Autofocus matters more than most people expect on live subjects, and in-lens stabilization is what makes handheld frames possible at 1/60 second.

Two things never get asked but should be. A focus limiter switch, which stops the lens from searching the full range and makes acquisition dramatically faster, and whether the lens will hold its aperture electronically on your specific body, because some fully manual designs cannot do that and shoot wide open on certain cameras.

1. Sigma 105mm f/2.8 EX DG OS HSM Macro – Best All-Rounder for Nikon F

This is the lens I reach for first with a Nikon DSLR, and it has the largest owner base of anything in this roundup at 2370 reviews. Owners consistently point to sharpness at full 1:1, effective stabilization, and the simple comfort of a 105mm working distance when an insect is alert.

The optical stabilizer is what separates it from older 105mm macros. Without it you are handholding at 1/60 second at close focus, which is a coin flip. With it, I can hold a damselfly on a stem at 1/80 second and still get a usable frame.

Sharpness at 1:1 is genuinely good, and the extra magnification headroom over a 90mm means a small spider or a hoverfly fills the frame without cropping. The 62mm filter thread takes inexpensive circular polarizers and step-up rings, which matters if you plan on stacking adapters for lighting.

Autofocus is fast enough for insects that are feeding or stationary, and less useful for anything that moves erratically. It hunts a little when the subject is at the very edge of the frame, which is my main complaint about a focus limiter that is absent on this design.

Who this lens suits

It suits a Nikon F photographer who wants one lens that covers insects, flowers, and portraits, and who values proven reliability over the newest features. It is also the easiest recommendation to make, because the sample size is huge and the failure reports are rare.

If you also shoot video, note the focus motor noise. It is audible in quiet rooms, less so outdoors where wind usually covers it.

Who should skip it

Skip it if you own a modern Nikon Z or Sony body and want a sealed lens with a focus limiter. It is also the wrong choice if you need magnification beyond 1:1, because no amount of cropping creates detail the optics never resolved.

If you want the sharpest modern optic, save toward the S-Line model further down. If you want the cheapest route into insect macro, the Tokina 100mm covers the same magnification for less.

2. Nikon AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED – The Proven Nikon F Reference

This is the lens that defined what a 105mm macro feels like, and after years of field use it still resolves more detail than its specification sheet suggests. The 0.314 m minimum focus distance and 1.0x reproduction ratio put it in the same class as the Sigma, with an edge in flare control thanks to ED glass.

Internal focusing means the barrel does not extend, so it balances well on smaller bodies and the front element never gets close to a wet leaf. VR II is rated up to 4 stops, which in practice is enough to handhold a perched insect at slow shutter speeds.

Reviews rarely mention a single flaw, which is unusual for a lens this old. The recurring theme is physical rather than optical: it is a big, dense lens, and on a lightweight body the whole assembly wants to tip forward as you focus in.

The absence of a focus limiter is the practical miss. Without one, autofocus runs the entire near-to-far range, which lengthens acquisition time on a subject that might only sit still for two seconds.

Who this lens suits

It suits a Nikon F shooter with a full-frame body who wants the optical quality of ED glass and does not mind the weight. It is equally at home on portraits, which is why so many of these lenses end up permanently mounted.

If your Nikon kit is a crop-sensor body, this lens gives you roughly 157mm equivalent, which is superb for insects that stay put and limiting for anything that moves fast.

Who should skip it

Skip it if pack weight matters, or if you have moved to a Z body and want a native mount with sealing and a limiter switch. On APS-C Nikon bodies a dedicated 60mm macro gives you more depth of field for a smaller, cheaper package.

3. Canon RF 85mm f/2 Macro IS STM – Best Value Hybrid for Canon RF

Be clear about what this lens is. At 0.5x maximum magnification it is a short tele with close-focus ability, not a true macro, and it will not fill the frame with a small beetle. What it does give you is an f/2 aperture, superb bokeh, and enough magnification for bees, butterflies, and hoverflies on flowers.

The Hybrid IS is a real technical asset here, compensating for both angular and shift shake. Shift shake is the component that ruins macro frames at close focus, and having it handled in the lens changes what you can handhold.

Owners describe this as an overachiever, frequently reporting that image quality rivals professional-tier glass while costing a fraction as much. Several replaced an EF 85mm f/1.8 and found the new lens cleaner and sharper, with better control of background blur.

The focus motor is the sticking point. Reviews report it as audible, and slower than native non-macro lenses, which is why I would not chase a moving dragonfly with it. Static subjects and slow-moving insects are where it shines.

Who this lens suits

It suits a Canon RF owner who wants one fast short tele for portraits, events, and general insect work rather than dedicated macro. It is also a strong first lens, because the aperture does the heavy lifting on background separation.

Buyers who photograph food and product detail will find the f/2 aperture more useful than extra magnification, which is why it pairs well with our picks for photography backdrops.

Who should skip it

Skip it if you photograph small crawling insects, springtails, or anything under about 15mm. Skip it if you shoot video in quiet rooms, and skip it in the rain, since it carries no weather sealing.

4. Sigma 105mm f/2.8 DG DN Macro Art – Best for Sony E Owners

This is the Sony E answer to the 105mm question, and the optics are the strongest part of the package. Owners frequently rank it as sharper than the native Sony 90mm alternative, with consistent rendering right into the corners at 1:1.

The two switches are what make it practical in the field. The focus limiter can be set to the macro range only, which stops the lens from racking through the full distance and improves acquisition speed on a subject that may only linger for a moment.

The clicked and de-clicked aperture ring with a lock switch is a genuine advantage for video and for anyone who wants to know exactly where f/8 is without looking at a screen. The lock prevents accidental changes when you are handling the lens in vegetation.

Autofocus is the most common complaint. Several owners describe it as merely adequate, and some shoot close-ups manually as a result. It also hunts occasionally in low light, where the f/2.8 aperture is doing the most work.

Who this lens suits

It suits a Sony E owner who cares most about sharpness and control layout, and who is comfortable focusing manually when a subject is fully settled. For flowers, static insects, and staged arrangements it is excellent.

Stabilized Sony bodies handle the lack of in-lens VR well. On an unstabilized body you will want a support for anything below 1/125 second.

Who should skip it

Skip it if you need fast, dependable autofocus on live insects, or if you carry a small compact body and 715 g is too much. It is also not sealed, so keep it away from heavy rain and blowing sand.

5. Nikon NIKKOR Z MC 105mm f/2.8 VR S – Top Rated for Nikon Z

At 4.8 stars this is the highest-rated lens I tested, and reviewers repeatedly call the S-Line optics the sharpest thing available in the Nikon Z lineup. Edge-to-edge performance at 1:1 is what separates it from every other 105mm here.

The focus limiter switch speeds up acquisition at macro distances in exactly the way that matters for insects. Combined with in-lens VR, it means you can work handheld at shutter speeds that would otherwise be a coin flip.

One technical detail deserves attention. The f/2.8 rating applies beyond roughly 1.7 m; at closest focus the effective aperture falls to about f/4.5. Owners report this as confusing rather than disappointing, once they understand that it is normal macro behaviour.

Manual focus is focus-by-wire, with no mechanical feel. Reviewers who prefer a traditional manual ring find it artificial, and that is worth knowing before you buy expecting the manual focusing of a Laowa or a Laowa-style specialist design.

Who this lens suits

It suits a Nikon Z owner who wants the best optical performance available and shoots in conditions that reward sealing. It also doubles well as a portrait lens, which the reviews mention often, so it earns its place in a general kit.

If you own a smaller Z body, the 1.4 pounds of glass is noticeable but manageable, particularly with in-lens VR absorbing the handshake.

Who should skip it

Skip it if you want a lighter kit, or if you prefer a mechanical manual-focus ring. It also costs more than several 105mm alternatives without offering the extra magnification that the Canon RF 100mm provides.

6. Canon RF 100mm f/2.8 L Macro IS USM – Best for the Smallest Subjects

If your subject list includes springtails, tiny beetles, and small flies, magnification beats everything else, and this lens has 1.4x. That is 40 percent more subject on the sensor than a 1:1 lens at the same focal length, and it is the difference between a blurry crop and a framed shot.

The fixed f/2.8 aperture is unusually valuable at high magnification. Many lenses lose light as they focus closer; a fixed aperture means your exposure does not shift as you push past 1:1, which keeps shutter speed consistent.

Hybrid IS is the quiet hero here. It compensates for both angular and shift shake, and shift shake is the component that grows as magnification climbs, so it is the feature that makes 1.4x handheld work possible at all.

The spherical aberration control ring lets you shape the character of out-of-focus areas rather than just blurring them. Reviewers mention this as a genuine creative tool, especially for a single insect against a green background.

Who this lens suits

It suits a Canon RF photographer whose subjects are genuinely small, and who pairs the lens with a high-resolution body to take advantage of the extra detail. For entomology documentation it is the natural choice in this roundup.

It also suits anyone who frames a small subject once and shoots many frames of it, because the 1.4x means you move less and wait less.

Who should skip it

Skip it if you mostly shoot bees and butterflies, since a 1:1 105mm already fills the frame there. At 730 g it is a pack-weight decision, and the narrow angle of view makes moving subjects harder to keep in frame.

7. Tokina atx-i 100mm f/2.8 FF Macro – Sharp Value for Canon EF

The Tokina 100mm reaches full 1:1 reproduction at 30 cm and costs a fraction of the OEM equivalent, and reviewers say the sharpness holds up. At 515 g it is also one of the lighter 100mm macros here, which matters on a long walk.

Manual focusing is the best part of the experience. The throw is short and precise, which is what you want at close distances, and it is far easier to use for insects than a long, geared ring on a heavier lens.

The One-Touch Focus Clutch lets you switch between auto and manual from any position on the barrel without hunting for a switch. It is the detail that makes this lens pleasant to carry, because you can adapt to a subject in seconds.

The common guidance from owners is to shoot close-ups manually and use autofocus for portraits. Autofocus speed is simply not competitive with modern 100mm macros, and it hunts a little at the 30 cm limit.

Who this lens suits

It suits a Canon EF photographer who already owns EF glass, wants true 1:1, and would rather not pay for a professional body. The 55mm filter thread is small, which is a small win for filter cost.

It also suits anyone who prefers manual focus and wants the control that comes with it, particularly for static insects and studio arrangements.

Who should skip it

Skip it if you need fast autofocus on moving subjects, or if you shoot in rain, since it has no sealing. On mirrorless bodies you need an adapter, and manual focusing through an adapter can feel less direct.

8. Laowa Venus Optics 100mm f/2.8 2X Ultra Macro APO – The 2:1 Specialist

This is the lens that changed how I think about insect macro. At 2:1, a 5mm subject becomes 10mm on the sensor, so a small fly’s wing or a beetle’s head fills the frame with no cropping and no stacking.

The apochromatic design is what makes that magnification usable. Owners praise the sharpness and the absence of colour fringing on high-contrast edges, which is exactly where cheaper 2:1 designs fall apart.

It is manual focus only, with no stabilization, and at 2x that is a hard combination. Without a support rail or a tripod you will miss focus on anything but a large subject, and the 638 g weight makes handheld framing genuinely tiring.

Depth of field is the other wall you hit. At 2x the thin slice of sharp zone gets very small very fast, which is why stacking or a focus rail is close to mandatory rather than optional for this lens.

Who this lens suits

It suits a photographer whose subjects are genuinely tiny and who is comfortable with a support system. If you shoot insects on a light table or a focus rail, this is the tool that gets you there fastest.

It also suits Canon EF shooters who want a second macro with a completely different character from a 1:1 prime, since the 100mm f/2.8 still renders portraits well.

Who should skip it

Skip it if you photograph insects that move, or if you want to work handheld. Manual focus with no stabilization is a real learning curve, and if you are new to macro, start with a 1:1 autofocus lens instead.

9. Venus Laowa 25mm f/2.8 2.5-5x Ultra-Macro – Maximum Magnification for Specimens

This is the highest magnification lens in the roundup by a wide margin, reaching 5:1. At that ratio a 2mm feature covers 10mm of sensor, so you are photographing texture rather than an insect, and the images look like laboratory photography.

That makes it superb for entomology work, specimen detail, and anything static that you can bring to the front of the lens. The 1.6 inch working distance lets you get close enough to see surface texture on a wing scale.

The rating is the lowest in the group at 4.1, and the reviews explain why. The manual-focus-only design, the extremely thin depth of field, and diffraction arriving past f/8 make it a specialist instrument rather than a general macro lens.

Enthusiasts who pair it with a focus rail and flash stacking rate it very highly. Others report internal dust or light leak issues, so inspect the sample carefully and test it before committing to a long session.

Who this lens suits

It suits a photographer documenting specimens, scales, and fine surface detail on dead or motionless material. It also suits anyone already comfortable with a focus rail, because the technique it demands is the same one stacking uses.

The 16 ounce weight is negligible next to the magnification it delivers, so the kit cost is a support, not the lens.

Who should skip it

Skip it for live insects entirely. A 1.6 inch working distance means the subject can see you, and no insect tolerates that, which is why the shallow depth of field and the lack of stabilization are more than minor inconveniences here.

10. Tamron 90mm f/2.8 Di III VXD 1:1 Macro – Lightweight True Macro for Sony E

The Tamron 90mm is the Sony E option for people who want true 1:1 without carrying a heavy lens. Owners emphasize portability first, then sharpness, and the flat-field performance is what keeps corners crisp at full reproduction.

VXD autofocus is fast and tracks well for its class, which means it can follow a butterfly along a flower stem at a pace most macro lenses cannot manage. On a moving subject that is the difference between frames and gaps.

There is no stabilization in the lens. That is not a problem on a stabilized Sony body, and on an unstabilized one it simply means you work at 1/125 second or faster, or you find support.

A small minority of reviews place image quality slightly below the rest of the Tamron lineup, which is a fair warning if you are comparing it directly against the Sigma Art 105mm.

Who this lens suits

It suits a Sony E owner who wants a true macro at a weight they will actually carry on every walk, and who shoots on a stabilized body. For food, product, and flower detail it is an easy recommendation.

If your photography is travel-led and general rather than entomology-led, this lens gives you a usable 90mm portrait focal length as well.

Who should skip it

Skip it if you need maximum working distance on alert insects, because 90mm sits closer than a 105mm. On a crop-sensor Sony body the equivalent view tightens further, which helps small subjects and frustrates moving ones.

11. OM SYSTEM M.Zuiko 60mm f/2.8 Macro – The Lightest True Macro in the Roundup

At 185 g this is the smallest package here, and it reaches true 1:1 at a 7.4 inch minimum focusing distance. Reviewers consistently single out the portability as the reason they keep it mounted, which for field work is not a small thing.

Internal focusing keeps the lens length constant, so it balances on a small body and the front element stays away from damp ground. Dust and splash sealing matters more than most spec sheets suggest when you are kneeling in a wet meadow.

There is no lens-based stabilization, which matters less on Micro Four Thirds bodies that typically include in-body stabilization. The trade-off is the 120mm full-frame equivalent angle of view, which is a shorter working distance than a 105mm.

Who this lens suits

It suits a Micro Four Thirds owner who prioritises pack weight above maximum working distance, and who wants a lens that is always there. It is also a strong choice for travel macro, where every gram is counted.

For insects, the shorter working distance means a steadier approach and more risk of startling the subject, so it suits butterflies and bees more than ground crawlers.

Who should skip it

Skip it if you are on a full-frame system, since the mount is fixed and not adaptable. Skip it if you work at high magnification on tiny subjects, where the shorter working distance becomes a real obstacle.

12. Venus Optics Laowa 25mm f/2.8 2.5-5X Ultra-Macro for Sony E

This is the Sony FE version of the 2.5x to 5x ultra-macro, and it is the natural pairing for focus stacking. Because the lens is manual, you move the camera rather than the focus ring, which is exactly the workflow stacking requires.

Owners report impressive sharpness and edge-to-edge clarity even at maximum magnification, which is unusual at 5:1 and the main reason this lens is worth the effort.

The narrow barrel is a practical advantage with flash. Diffused light reaches the subject more easily because nothing shadows the aperture, and several owners note that stacking results are noticeably better as a result.

Diffraction is the ceiling. Softening begins around f/8 and gets worse toward 4x and 5x, so a stacked frame at f/4 to f/5.6 and a raised ISO is the working combination for most subjects.

Who this lens suits

It suits a Sony E owner who already stacks and wants magnification beyond anything the OEM range offers. Paired with a rail and a diffused flash it produces detail that reads as laboratory imaging.

It also suits anyone documenting fine structure, such as wing venation or seed pods, where the subject is motionless and depth of field can be stacked rather than fought.

Who should skip it

Skip it for live subjects, for video, and for anyone who wants a general-purpose lens. The field of view is tight even on full frame, so framing a small moving subject is awkward by design.

How to Find and Approach Insects in the Field

The most common frustration in insect photography is not equipment, it is that the insect leaves before you focus. A perfect lens cannot help with an empty frame, so field method matters as much as magnification.

Go where insects are active, not where they are visible. Search shaded leaf undersides early in the morning, sunlit umbellifers and bramble blossom from late morning onward, and damp ground near water where springtails and ground beetles concentrate.

Watch first, approach second. Find a subject that is feeding or resting rather than travelling, and note how it moves. Bees that are stationary on a flower are workable; a bee in transit is not.

Approach from downwind. Insects detect your scent and breath long before they see you. Moving in from the downwind side, slowly, with the lens already at working distance, gives you a much better chance than walking straight in.

Kill the wind. A breeze you barely notice will move an insect far more than it moves you. A jacket or a pop-up screen between you and the subject makes a measurable difference on a still, sunny day.

Use light and flash deliberately. Overcast light is kind to macro because it is soft, but a diffused flash or a small LED panel at low power gives you shutter speed, which is what stops a walking insect turning into a smear. Diffuse it or you will flatten the subject.

Be patient and shoot bursts. Insects settle more often than you expect, and a burst of frames costs nothing. Set a single focus point, pre-focus, and hold.

Why Your Macro Photos Look Soft

Depth of field collapse is the usual answer, and it is not a defect in the lens. Depth of field shrinks roughly in proportion to magnification, so at 1:1 on a full-frame body a slice only a few millimetres deep can be sharp. At 2:1 that slice becomes almost nothing.

Diffraction is the second cause and the one people misdiagnose. Small pixel pitch and aggressive stopping down reduce contrast, so stopping down to f/16 for a tiny subject can make the image look worse even though more is technically in focus.

Focus plane is the third. At macro distances the tolerance is smaller than the depth of a human hair’s breadth, so a subject that has rotated slightly between focusing and firing will miss. Single-point AF and manual focus with a magnified view solve it.

Subject movement is the fourth, and it is a shutter speed problem, not a lens problem. The working rule for field macro is to keep the shutter fast enough to freeze the insect and raise ISO to get there, rather than stopping down for exposure.

Stabilization does not fix any of these. It cancels shake in your hands and in the camera, not motion from the subject or the collapse of depth of field. Treating it as a softness cure is the most common misreading in the format.

Insects in Flight Need a Telephoto, Not a Macro Lens

A true macro lens is the wrong tool for an insect in free flight, and no amount of magnification fixes it. A 1:1 lens reaches life size at roughly half a metre, and a flying insect will simply be gone before you focus.

The reasoning is straightforward. A long telephoto, say 400mm, needs about 3.5 metres of distance to fill the frame, which is far enough that a hovering insect’s motion stays within your depth of field and your focus tolerance.

The trade is light. Long glass and fast apertures demand higher ISO and disciplined shutter speeds, and you may find yourself accepting more background clutter in exchange for a subject you can actually get.

Practical field approach: pre-focus on a fixed point, use continuous autofocus with a wider or subject-tracked area, burst a single frame at a time, and accept a low hit rate. Shoot flight in bright light for the shutter speed, and consider a high frame-rate body.

Forum photographers on the DPReview boards reach the same conclusion, and the rule of thumb repeated there is to carry both: a 100-180mm macro for insects on flowers and a 300-400mm tele for anything airborne.

How to Choose: Camera System, Budget and Subject Size

Start with the mount you already own. Every mount is well served here, and adapting a manual lens works but costs aperture control and often autofocus. The only lenses here that are not native to a major mount are the two ultra-macro 25mm models, and both come in more than one version.

Then match the tool to the subject. Bees, butterflies, and dragonflies on flowers are covered by any 1:1 90-105mm macro. Ground crawlers, small beetles, and anything under 10mm need the 1.4x of the Canon RF 100mm. Specimen-level detail on dead material is where the Laowa 2:1 and 2.5-5x options earn their place.

Decide how much the system matters. If you already own full-frame glass, a 105mm f/2.8 is the single most useful addition you can make, since it covers insects, flowers, food, and portraits. If your kit is crop-sensor, a dedicated 60mm-class macro is a different argument entirely: you get more depth of field and a smaller, cheaper package.

Budget tiers. The value end of this list is genuinely good value rather than a compromise: the Tokina 100mm and the two Laowa 25mm options reach 1:1 or beyond without premium pricing. The middle is where most buyers land, with the Sigma 105mm and the Tamron 90mm. The premium tier is the Canon RF 100mm, and you are paying mainly for 1.4x magnification and the Hybrid IS.

Used and APS-C. Older 105mm f/2.8 designs hold their value well and are a sensible way into the format. On a crop-sensor body, a full-frame 105mm behaves like a roughly 157mm lens, which helps with working distance and hurts with depth of field. The trade is usually worth it for insects.

Before you buy a macro, consider the alternatives. Extension tubes on an existing prime give half-macro results with a lot of trial and error, and they make manual focus effectively mandatory. A clip-on smartphone lens gets you a frame of a bee and nothing more. If you are serious about insects, buy a real macro lens.

Do not expect stabilization to be enough. In-lens or in-body stabilization makes handheld 1:1 possible, which is a genuine benefit in the field. It will not rescue a frame at 1/250 second, and it does nothing for depth of field.

Frequently Asked Questions

The Bottom Line for Insect Photographers in 2026

If you shoot Nikon F, the Sigma 105mm f/2.8 EX DG OS HSM is the best macro lens for insect photography you can buy today, because 1:1 reproduction, in-lens stabilization, and a 12.3 inch closest focus distance cover almost every field situation. On Nikon Z, the Z MC 105mm f/2.8 VR S is sharper, sealed, and rated highest in this group. On Sony E, the Sigma 105mm Macro Art wins on optics and the Tamron 90mm wins on weight and autofocus.

Match magnification to subject size instead of chasing a single winner. 1:1 handles bees and butterflies, 1.4x handles ground crawlers, and 2:1 or beyond handles specimen detail on motionless material. Insects in flight need a 300-400mm telephoto, not a macro lens at all.

Whichever you choose, bring the field method with it: approach from downwind, shoot in soft light or with diffused flash, keep the shutter fast, and be patient. That habit is worth more than any single specification on any of these lenses.