What a wide-angle lens is needed. Perfect solution for landscape shooting

Wide-angle lenses (increasing the angle of review)

In the photo, wide-angle lenses firmly occupied their far from last. Along with telemetutments and portrait lenses, lenses with a wide range of review are included in the top three most common as among professional photographers.

Articles and Lifehaki.

Reading the characteristics of the camera installed in the smartphone, often we can meet the mention that the lens in it is wide angle.

It almost always applies to, over the past couple of years, which has turned into a steady trend even on budget models.

On the other hand, not always we are talking About the "native" technician of the device: it may well mean a special accessory. We will try to figure out all the vault of information associated with this issue.

Why do you need a wide-angle lens

The main purpose of such optics is to obtain panoramic pictures.

Intrusion can be called several areas in which such optics just essential:

• Shooting interiors of premises: museums, shops, exhibitions.
• Getting high-quality images of architectural structures.
• Photographing landscapes, landscapes.
• Photos of large-scale events: concerts, sports competitions, folk festivities.

That is, any situation when you want to capture as many details as possible.

Specialized lenses called "Fish Eye" or Fish Eye include specialized lenses. Thanks to the defective distortion with their help, you can get the effect of the "round" image of the space.

Main settings

The key characteristic of the lens determining the angle of its review is. However, it is not too critical for smartphones, since they are installed by default optics with a constant short focus: 27-35 cm.

Therefore, if a lens with an angle of view from 52 ° to 82 ° is considered a wide-angle camera, then in mobile devices, this value is much higher in: 100 - 120 °.

For panoramic survey, especially in enclosed premisesis very important good lights. That is why it is usually highly higher in wide rollers than in "telescopes": F / 1.7-1.8 against F / 2.0-2.4.

In two-module chambers

Use two modules with various characteristics To a certain extent, I solved the problem of a fixed focal length in mobile device lenses.

The most common in modern high-quality gadgets is a combination of two modules: wide-angle with high light and telescopic, which has a smaller aperture.

Moreover, in most cases, it is a wide-roller, whose survey angle can reach 125 °. As a result, the resolution of the TV sensor in budget devices can be significantly less than that of Shirika.

Lovers of selfie

The viewing angle can be quite critical for Selfi fans, it is clear that in this case it applies already to.

On the one hand, lenses with a wide angle allow you to capture as much interesting details of the background, on which shooting is made: details of the structure, natural landscape, etc.

On the other hand, in the frame can "fit" several people at once, which is very relevant in large companies.

At the same time, it is necessary to remember the depth of field, because otherwise you can get unplanned. Usually this problem is solved using autofocus, but sometimes it is necessary to dig in the settings.

Removable lenses

To compensate for the shortcomings of smartphone optics, an accessory is created for mobile devices, which is a nozzle fixed directly on the gadget housing. He is still known as Clip Lens.

The set of such "clothespins" includes several different lenses that can be quickly replaced by specific situation. Among them are usually wide-angle.

It should be said that the quality of snapshots obtained using such nozzles suffers significantly: distortion arise, sharpness is lost on the edges.

But in many cases you can get effects that are fundamentally inaccessible to the regular optics of mobile devices, such as the same "fisheye" or macro shot.

Finally

Every year mobile devices chamber are becoming more perfect. Developers make maximum effort to circumvent restrictions imposed on optics with dimensions.

This makes it possible to obtain high-quality panoramic pictures almost in any conditions.

Special progress in this respect was achieved with wide distribution Double cameras who have removing an ultimative requirement of the versatility of the lens optics.

After all, as you know, universal tool Makes a lot, but it is equally bad. As a result, users of gadgets now do not have to choose between an angle of review and image scale.

This time you are waiting for an acquaintance with superhumagol optics.

For a full-frame chamber, the superwatch is a lens with a focal length in short, 24 mm (15 mm for cameras with the APS-C matrix) and an angle of view of more than 80 degrees diagonally.

Everything will fit in the frame!

Often, in the room you want to take a more general plan, but it is impossible to move away from the object of shooting - the walls or other obstacles interfere. A super-wide-organized lens comes to the rescue. It is used in, a reportage shooting, indispensable when filming interiors.

Frame made by a 50mm lens

Frame made on a focal length of 14 mm

Perfect solution for landscape shooting

If you want to capture the entire surrounding landscape in the frame, and not just his fragments, then without wide-angle optics it is not necessary. When shooting landscapes, all types of lenses are used, even television. But the main tool of the photographer-landscape player is an ultra-wide-organized lens.

Nikon D810 / Nikon AF-S Nikkor 18-35mm F / 3.5-4.5G ED Installation:

Makes come close

"If your photos are not good enough, then you approached not enough." This quotation of one of the most famous photojournalists of the mid-20th century Robert Kapa.

Nikon D810 Settings: ISO 1100, F3.5, 1/250 C, 18.0 mm eq.

The superwatch lens allows and even forces to shoot at a minimum distance from the object of shooting, the foreground. If you move away, all items in the frame will be equally small.

The picture turned out to be used by the use of an ultra-wide-organized lens and. I made this frame on the steep slope of the mountain, literally "hanging up" above the cliff. To show peonies in the foreground, I had to get into a small grove and remove with a very close distance (from the lens to the colors less than a meter). The wide-angle lens allowed the flowers, and the textured trunks of old trees, and the sunrise.

Pronounced perspective

The wide range of overview and shooting with minimal distances affects the transfer of perspective in the frame - promising distortions appear. Objects located in the foreground are visually increasing in size, and more remote decreases.

Nikon D810 / 18.0-35.0 MM F / 3.5-4.5 Settings: ISO 50, F22, 3 C, 18.0 mm eq.

But people on high-rolled optics are better to shoot in full height. Insert your heroes to the surrounding plot, and classic portraits do on more.

Nikon D810 / 18.0-35.0 MM F / 3.5-4.5 Settings: ISO 640, F3.5, 1/2500 C, 18.0 mm eq.

Optimal choice for shooting starry sky

Removal starry sky, Northern Lights is becoming more popular. Of course, photographers seek to capture as many space as possible in the frame, and without a wide angle of the review it is not to cope here.

Nikon D810 / Nikon AF-S Nikkor 18-35mm F / 3.5-4.5G ED Installation:

Nikon D810 / Nikon AF-S Nikkor 18-35mm F / 3.5-4.5G ED Installation:

Removing a starry sky - the task performed at the limit technical capabilities Photographic equipment. To capture the maximum of light from the distant stars, the lens must have a high light and give good sharpness even along the edges of the frame. These parameters are answered by many Nikon ultra-wideggles, but especially I would like to note the Nikon AF-S 14-24mm F / 2.8G ED and the Nikon AF-S 20mm F / 1.8G ED Nikkor.

Nikon D810 / Nikon AF-S 14-24mm F / 2.8G ED Installation:

Distortion of geometry. Lenses without distortion and fisha

In addition to promising distortions, characteristic of all short-focus lenses, there are also geometric distortions that different models Optics are manifested in different ways. Distsiscy is a geometric distortion in the frame. It is especially noticeable when shooting plots with straight lines. Geometric distortions are extremely undesirable, for example, when shooting architecture, as it does not want to get a curved house on a snapshot or a refrigerated interior. There should be no high-quality supermarital lenissions to resist.

On the other hand, severe geometric distortion can be used to create. For example, in Fish-lenses (English Fish-Eye - Fisheye), distortion is not adjusted.

In the Nikon optics line there are several such lenses: classic Nikon 16mm F / 2.8D AF FISHEYEE-NIKKOR, designed for use with full-frame cameras, Nikon 10.5mm F / 2.8G ED DX FISHEYE-NIKKOR for sprinkled cameras, as well as New - Nikon AF -S Fisheye Nikkor 8-15mm F / 3.5-4.5E ED, which can be used both in full frame and on Krope.

Superwatching Nikon lenses

How to choose a superwater lens? We give a small overview of the most interesting models from Nikon.

Let's start with models designed for use with full-frame cameras.

Nikon AF-S Nikkor 14-24mm F / 2.8G ED - the standard of superwater optics. Thanks to the focal length of 14 mm, it has a record illite. But for high lights and excellent optical characteristics you have to pay: the lens weighs almost a kilogram, and because of the impressive front lenses, it will not be possible to install standard threaded filters. Gorgeous sharpness and high luminosity makes Nikon AF-S 14-24mm F / 2.8G ED convenient for work in any genres: from wedding to architectural photography.

Nikon AF-S Nikkor 16-35mm F / 4G ED VR - more compact solution. The lens has a slightly narrower viewing angle and a smaller light. The lack of the latter partly compensates for an effective image stabilizer that allows you to take pictures without a tripod, even at shutters in the area ¼-½С. It is very useful when shooting landscapes "on the run", because there is no time to decompose the tripod. In addition, the presence of a stabilizer is excellent insurance against obtaining lubricated frames. The lens is relatively compact and allows the use of threaded filters with a diameter of 77 mm.

· 02.06.2017

Article text updated: 10/18/2018

I do not care if I say that absolutely all visitors of my blog have experience in shots: in smartphones there is a lens with an equivalent focal length (EFR) 25-28 mm. Only here, not everyone gets masterpieces. I suggest today to analyze how to photograph to wide-angle optics so that the UG does not come out.

First, we'll figure it out with the abbreviation "UG" - "dull g ..o." When a novice photographer acquires its first wiring, he piles with tons in the social network and specialized photographers forums approximately such frames.

What is good in this picture? Probably, only the line of the fence, the leading view of the viewer to the SBCC (plot-important composite center, if anyone has not yet read the Lydia textbook breathing "conversations about photomasteria"). And why do I think this photo of UG? Someone will say: "Because the building is shot near and presents distortion" (in this case, the lines tend to fall into one point, although they are in parallel). Why a distortion appears when shooting on the wiring, if we tilt the lens axis, it is considered in detail and with the schemes in the photo) "Why I need a full frame" (link to this article and others that will be mentioned in the course of the conversation can be seen at the very bottom).

But I do not agree that distortion here is the main evil. Upload an image in Photoshop, make a duplicate layer, set the guides, in the "Editing - Transform - Perspective" menu. More or less equalizing the wall of the structure. It became better (if it was shot in the face, the result would be a little more qualitative). All the same UG ...

So, the reason is different. I believe that this photo is poor quality, because there is medium plan (near the corner of the building), rear (far corner and bell tower), but no front. If there was some interesting object in the near plane, the viewer would not even pay attention to the distortion.

Want an experiment? I take the original photo with curved walls and make a simple photo collage.

I bet, you didn't even immediately notice that I additionally bent the walls of the structure in the editor ...

Features of the wide-angle lens

Wide-angle optics have two characteristics that distinguish it from other types of lenses. Firstly, Shirik stretches the future (enhances): the foreground items are obtained very large, and objects in the back - quickly decrease in size.

Photo 5. Train wagons, you can believe me, also have the same height in front and rear, although due to the prospects enhanced wide-angle lens, they look not very realistic. But effectively ... 1/160, -1.67, 8.0, 450, 14.

Secondly, wide-angle lenses Gives a picture that English-speaking photographers characterize as "inclusive", that is, "including, interpenetrable". In Russian, I would say, "tightening the viewer in inside," or "interactive."

Agree when you look at these flowers, it seems, they stand behind the glass, you can reach them. Unusual feeling. Neither a portrait, nor the telephoto lens of such a feeling give you to you - this is the "magic" of wide-angle optics.

Errors that allow newcomers when shooting on a wide-angle lens

Experienced photographers allocate four types of shortcomings in the pictures obtained by amateurs for wide-angle photographecks:

1. There is no object located close to the lens.
2. No clearly dedicated BCC.
3. Attempting to accommodate too many objects into frames.
4. Distorted faces on portraits.

Let's try to analyze each of these items.

1. The object is located away from the lens of the camera

In my opinion, the first error is the cause of 90% of weak pictures and it is closely intertwined with the following two.

Most of the best frames removed on the wide-angle lens are obtained from a distance of less than a meter (if we talk about large objects) and even from several centimeters (if we are talking about small). For example, flowers in the picture number 6 I photographed somewhere from 10 cm.

To get interesting frames, we must have a greater depth of the image (in other words, strengthen the perspective), that is, should approach the shooting object to the minimum short distance.

We do experience. We will remove the photo with a street sculpture on the full frame of Nikon D610 with a reportage zoom Nikon 24-70 mm F / 2.8 on the wide end of the FR \u003d 24 mm. First, I approach a very short distance: literally half the meter.

It seems to me that the car will now jump off the screen on the computer! I go on a little further, literally at 50-70 centimeters and ... Magic is lost.

Well, if you extend a couple of meters, then our object is completely lost in the picture. Charm disappears completely.

I believe that in the example above, the circle of the paving slaves more or less serves as the foreground. If it were not, the perception of the image would be more stronger.

But for those who hate the widths, I will give an example of the same plot, but filmed on a long focal length.

Pay attention to the size of the windows in the background in the picture obtained on the wide-angle lens and on the telephoto lens. It is clear now, why when photographing on the background of a mountain or monument, it is better to ask the fashion model to move away from it and to shoot a lens with a big focal length?

In the article with a story about why I need wigs and why television, I paid attention to: if on Canon 70-200 mm f / 2.8, remove the frame with FR \u003d 200 mm and FR \u003d 180 mm, then the change in focus will be only 10% and, Most likely, it will not be noticeable to the viewer. And on the photo taken on the Canon 16-35 mm F / 2.8, with a Fr \u003d 35 mm, and then at a FR \u003d 16 mm, despite the fact that the focal length changed only by only 19 mm, the relative change was 219%.

The same story with a change in distance to the subject of the shooting: Remove on the telephoto lens - by going to step, we practically do not get changes to the transfer of the prospects, on wigs - there is a significant jump ...

No need to forget that there are wide-angle lenses (FR \u003d 24-35 mm for fullframe, and FR \u003d 15-22 mm for krop), and there is ultra-wide-organized (FR \u003d 14-24 mm for FX, and FR \u003d 10-14 mm for DX) - They are many times more sensitive to photographer errors allowed when building a frame.

The situation as in photo №12 and №13, professionals are described as "the arrangement of the elements of the composition at the same distance from the lens and, as a result, the loss of BCC."

Well, maybe here I picked up not very good exampleSince the car in the background is located 30 meters away. If she was standing in 5 meters from the bear, both subjects would have merged and seemingly placed in almost one plane ...

How it works? Read the photoerial about the differences of Krophop and Ful Freum - there are schemes and formulas (the link is posted at the end of this article).

Here I will tell you briefly. If in the photo №11, the distance to the bear is 1 m, and to exactly the same teddy bear in the background - 5 m, then the difference in changing their linear dimensions of the image in the picture is δ \u003d ((5/1) * 100% -100% ) \u003d 400%. When the photographer departs from the first bear by 2.5 m, then δ \u003d ((5 + 2.5 / (1 + 2.5) * 100% -100%) \u003d 114% ...

In practice, this means that in the first case the perspective is expressed very strongly: the bear in the foreground will look in the picture 4 times more larger than the sculpture of the same size, separated from it at a distance of 5 m. In the second situation, such bears will differ in the picture In size from each other only 1.14 times.

This means that such a trick, how to move away, lift a photo on stores, and then cut the object, will not work without losing the magic of a wide frame. Indeed, in this case, the prospect will be expressed weaker.

For comparison of perception: let us remove the same plots on the telephoto lens from the distance first 20, and then 22.5 meters. Then the change in the sizes of the bears would be in the first case Δ \u003d ((25/20) * 100% -100%)) \u003d 25%, and in the second ((27.5 / 22.5) * 100% -100%) \u003d 22.2%. First, the dimensions of both sculptures in the photographs of the TV differ from each other significantly less than when using wiring (compare 25% and 400%), i.e. The prospect is expressed weaker. Secondly, the change in the distance to the shooting object also does not lead to dramatic differences: 25% / 22.2% \u003d 1.13 against 400% / 114% \u003d 3.51 ...

Therefore, again: you want beautiful pictures on the wide-angle lens, come closer to strengthen the future, that is, the difference in size between the front and rear plans. Here's another practical example. I went to the sculpture at 30cm.

It seems everything is fine, the picture is tightened. And what will happen if the distance is reduced by 15cm?

I note that the examples here are impermanent from the point of view of the composition. I also learn and infrequently I can remove my masterpiece with the width. In particular, in this example And on the frame with bears, ugly cut down the bottom. In the photo report, I would probably have left the previous image to make the stove on Earth fully entered the frame. Well, more couplers for demonstration postulates: it is better to photograph with a small distance to wide-angle optics.

2. No clearly dedicated object in the frame when shooting with a wide-angle lens

The requirement to have in the frame of the SBCC, which draws the attention of the viewer, interconnected with the previous paragraph: a little departed - the audience "lost".

Dear reader, I'm sorry if my tone turned out somewhat instructive. I repeat once again, I also do not know how to shoot with widths, I only study. And in the blog posting my "lectures' abstracts". I know that it often happens that this SBCC is difficult to find and designate that sometimes it is not possible to get closer, etc.

To revive such a frame, it is vital to find something that will cling to the eye of the viewer: a stone, the inscription, crack in the foreground.

Think, why do I travel to my wife on a long-scale country? I need her to bring the "Human Element" ("Human Element") into the composition.

My theory here is as follows: On these frames, the main object is not a person, and the environment surrounding it, and it, as you need, is located close to the photographer.

3. Attempting to place in a picture too much

Shirik has a very large viewing angle. It helps when we want to show, for example, the habitat of our facility. But it prevents the composition of the composition, as there may be too many secondary details that distract from the main one in the picture. There is only one advice: to know the measure and be careful, choosing the frame border.

4. Shooting portraits on a wide-angle photo lens

Surely, you met a lot of rigorous recommendations many times: portraits of people are not removed on the styles, as the proportions of the face and body are very distorted.

The first frame is photographed from a distance of 15 cm, the second - with 30 cm.

I would make refinement here. When you write a girl, fashion model: "Dear photographer, remove the portfolio, please," it's probably better to take a portrait of Canon 50mm F / 1.4 or Canon 85mm F / 1.4. And if you go down the street and remove the street photo, you can get very interesting pictures on the wide-angle lens with the effect of the viewer involving.

Conclusion

Let's summarize. Without a wide-angle lens, it is very difficult, and sometimes it is impossible to remove a professional report from the wedding, birthday, parties and travel. If only because the installation frame is needed with common plan, giving a viewer an understanding where the event occurs (see the lesson "How to photograph photoInform").

So that the pictures with the chickens were not hub, you need to follow simple rules: 1) come close; 2) Show the viewer clearly, who is the main object; 3) not to do "messenger" from thousands of subjects, to be easier; 4) If you want the natural proportions of the human body, large focal length is used, but for Street-photo and humor, you should not be shy to shoot on shirits.

I understand that I am not authority in the photo, but try to carefully think about those theses that I put out here. Then go to mywed website and analyze the best frames - 30% of wedding photos are shot on wigs. Then type in Google phrase "Kommersant, the best photos of the year". There, too, a third of the plots are obtained on a wide corner. Analyze each photo, compare with what is in your portfolio, and then will also take the masterpieces to the wide-angle lens. Good luck friends!

I also want to add that all of the above does not mean that we should always use wiring, and there are exceptions when we do not follow the rules described in the article. I also draw attention that in the photo report it is desirable to alternate frames made different types Lens: If all the pictures are removed on the wide-angle lens, the viewer comes bomp.

Notice that when shooting at this type of optics, the lines in the frame are extremely important? Almost everywhere, they are very chained "capture a glance" and lead the viewer where the photographer needs. It is necessary to be very careful when building the composition.

In this article, we saw pictures removed on the superwater lens SAMYANG 14MM F / 2.8. Such a lenses have a relative:

For the photographer, there is nothing better for a landscape player than to capture the harmony and beauty of nature. Whether it is a waterfall, forest or foliage-covered Polyana. On the magnificence of nature can be told via photograph, but for this you need to choose the right lens.

In other words, every good landscape is a high-quality wide-angle lens. Moreover, when it comes to the shooting of nature, the lens is the most important detail Cameras. Today, the market has a huge number of high-quality wide-angle lenses, which we will talk about. From micro 4/3 to APS-C and fullframes, the possibilities are now practically endless.

Corner view

If we speak in general, wide-angle lenses are lenses with full-frame focal lengths wider than 35mm. Of course it is not strict RuleSince much depends on the perspective. If, for example, remove the forest from a distance of several meters, it is best to use a 14mm lens to make everything fit in the frame. And if you remove the same forest from a distance of several kilometers, and you will need a 50mm lens. In general, with the help of most wide-angle lenses, you can get an angle of view from 114 to 122 degrees. A little more and the lens already enters the territory of Fish-glasses, and less than 110 degrees - standard.

In addition, the type of matrix in the chamber will determine what it will be to be considered a wide angle for a particular camera. We take four standard types of matrixes for chambers with replaceable glasses - full-frame, APS, micro 4/3 and inch (in order to reduce size). APS is divided into APS-H (for some Canon cameras), APS-C and APS-C for Canon.

Matrix / Increase Type

• Full-frame - X1
• APS-H (Canon) - x1.3
• APS-C - 1.5X
• APS-C (Canon) - 1.6x
• Micro 4/3 - 2x
• Inch - 2.7x

If you take a lens that is designed for a full-frame matrix and put on the APS-C, the part of the light passing through the lens will be blocked. Thus, an increase in the focal length is created. An 35mm calculated lens will receive Crop from x1.3 to x1.6 depending on the type of APS-C matrix. Accordingly, the full-frame glass 24mm on APS-C will be equivalent to 36mm lens. Because of this factor, the focal length of the lens on the chamber can become standard from the full-frame. If this perfectly helps those who shoot on telephoto lens (300 mm turns into 450mm), it is not at all suitable for wide-angle lenses.

Fortunately, each type of cameras has a very large selection of various lenses. It should be borne in mind that since the matrix on the APS-C is less, and the focal length is different, the manufacturers typically indicate all distances in the characteristics of the lens. Wide Agricultural Sigma 8-16mm F / 4.5-5.6 DC HSM for APS-C cameras, for example, on fullframe will receive a distance of 12-24 mm.

The smaller the matrix, the greater the crop factor. Micro 4/3 is half a full-frame matrix, so the 8mm lens for micro 4/3 will have a focal length of 16mm, 12mm - 24mm and so on.

With an inch matrix (for example, on the Nikon 1 chamber), its crop factor is x2.7. That is, the lens is 8 mm will be equal to 21.6mm. Similarly, the equivalents of the focal length for the full-frame matrix manufacturers indicate the instructions.

Lens structure

Everyone who looked at the prices of the lenses, noticed that they vary greatly for cheap and expensive models. To speak in general, the price is due to the quality and values \u200b\u200bof the lens. But this does not mean at all that it is impossible to find budgetary high-quality lenses and not the best samples of expensive.

Many details both inside the lenses and outside, affect its performance. It should be noted that, according to the design, even the zoom lenses differ from lenses with a constant focal length. And zoom lenses consist of much more Elements both in direct and figurative sense: often in the description to the lens can be read "consists of 14 elements in 12 groups. Three aspherical lenses, four LD and 2 ELD. "

The latest abbreviations are optical functions that are aimed at improving the light render. The most common, which come across including in the name of the lens are LD (low dispersion), ELD (ED) (Extra Low Dispersion), SLD (Spec. Low Dispersion) and UL (Ultra Low Dispersion), HRI (Sylopracy) ASP (aspherical). Some manufacturers have their own terms that characterize those or other properties of the lens. The lenses of the same type are collected in groups, and groups of different, as a rule coexist in one lens, successfully covering several functions immediately.

The structure, quality and price of the lens depends on other factors. For example, the speed of the lens. The faster the lens, or the wider, its maximum aperture is usually better. However, it is not always possible to ensure that F / 2.8 will be more qualitative than cheaper F / 4. This often depends on the inner design.

There are two types of zoom lenses - with a fixed and variable aperture. In the first case, the maximum aperture remains unchanged on each focal length. In the second, it changes accordingly. More expensive, at the same time, are lenses with a fixed aperture.

Well, choose a lens, as always, comes from the requirements, budget and cameras. Fortunately, there is plenty to choose from.

Canon EF 16-35mm F / 2.8L III USM and Canon EF 24-105mm F / 4 IS II USM

These lenses are an excellent continuation of the line of Canon lenses for a full-frame matrix. The first lens consists of 16 elements comprising an aspherical lens. A special advantage is the coating of fluoroplast. In addition, the lens has a fixed aperture F / 2.8.

The second model similarly has a fixed aperture, but f / 4, because it costs a little cheaper.

These lenses are an excellent choice for shooting nature, as they allow you to get high-quality pictures with great saturated colors.

Fujifilm's XF 16mm F1.4R WR

For Fujifilm cameras, this lens is suitable for the rest. With a focal length equivalent to 24mm, it consists of two aspherical and two ED elements. Thanks to nano coating glass, refractive is corrected and highlights and reflections are removed. The minimum focal length of this lens is less than 6 inches, in addition, it has a quickly focusing motor.

Summaron-M 28mm F / 5.6

The legendary Leic also received an update for Digital Cameras of the M. Series, it should be noted that for the first time this lens came to the market in 1955 and only the modern version of its version is adapted to modern cameras with M Bayonet. This lens focuses at about 90 cm. Symmetric optics are six elements in four groups. The iconic is for this lens and the effect of vignette, which made its original model.

SL 24-90mm F / 2.8-4 ASPH

For those who shoot at the LEICA SL series, SL 24-90mm f / 2.8-4 ASPH is ideal. It consists of 18 elements in 6 groups, including 4 aspherical elements. 11 of 18 elements are made of glass, which reduces chromatic aberrations. The price of this lens is about 280,000 rubles.

AF-S Nikkor 24-70mm F / 2.8E ED VR

This lens includes all the newest technologies, that is, four steps of image stabilization, an electromagnetic aperture (for continuously maintaining the aperture with serial shooting), ASP / ED elements and a lens coating that reduces reflections and glare. More a budget option For landscape shooting from Nikon - AF-S Nikkor 24mm F / 1.8G ED. Due to the aperture F / 1.8 and aspherical and elements and ED elements with extra low dispersion.

For DX Nikon - cameras with the APS-C matrix feature AF-P DX NIKKOR 18-55mm F / 3.5-5.6G VR. This lens provides the focal length of 27-83mm and has built-in image stabilization. The stepping motor provides smoother and quiet work of autofocus. A little cheaper (approximately 2500 rubles), you can purchase an option without VR, but it is better not to save.

Olympus M.ZUIKO DIGITAL ED 12-100mm F / 4.0 IS Pro

With a focal length of 24-200mm on a full-frame matrix and a constant aperture, this lens consists of 17 elements in 11 groups. The lens is coated with a coating, the lens has a built-in stabilization, is protected from weather conditions. The lens is best suited for the OM-D series.

Panasonic Leica DG Vario-Elmarit 12-60mm F2.8-4.0 ASPH Power Ois

Despite the name, this lens is not at all designed for Leic chambers, but it is the result of cooperation between Panasonic and Leica, designed for micro 4/3 matrix. On the full-frame matrix he will give a focal length of 24-120mm, thereby allowing adapting to any situations. Plus, the lens is protected from weather conditions and is able to operate at a temperature of -10 degrees C.

Lumix G Leica DG Summilux 12mm F / 1.4 ASPH

Another product of Panasonic and Leica's cooperation is a micro 4/3 focal length of this lens will be equal to 24mm and with aperture F / 1.4 lens allows you to shoot with extremely low lighting. The lens body is protected from droplets of water and dust, it includes both aspherical and ED and UED elements. Plus, it includes a diaphragm of nine petals for smooth background defocusing.

HD PENTAX-D FA 15-30MM F / 2.8 ED SDM WR

For cameras with the Pentax K-1 system, this lens is ideal for landscape shooting. The design includes ED lenses, a coating, absorbing glare and allows a quick focus with the stabilization of the image that works perfectly with K-1 and has five steps.

SAMYANG 20MM F / 1.8 ED AS UMC

For almost any bayonets, there is an option of this lens (Sony UB Sony A, Canon, Nikon, Pentax, micro 4/3 and Fuji x). All lens models operate on hand focus and consist of 13 elements in 12 groups. The minimum focal length is about 30 cm.

Sigma 12-24mm F / 4 DG HSM Art

This is one of the top lenses of Sigma, which has options for Canon and Nikon cameras. The lens includes highly flax aspherical lenses that provide brightness and clarity of the image. Elements have an FLD dispersion and lens focusing at a distance of 20 cm at a focal length of 24mm.

For Sony cameras, SIGMA 30mm F / 1.4 DC DN is suitable, which is equipped with aspherical and double-sided aspherical elements. The lens has 9 diaphragm petals and focuses at a distance to 30 cm.

Sony Fe 24-70mm F2.8 GM

A nano lens protecting against highlights and reflections, XA elements and nine petals of a diaphragm to create a smooth bokeh. An individual plus is a silent mechanism.

Tamron 18-200mm f / 3.5-6.3 di II VC

For Canon, Nikon and Sony will fit this budget lens from Tamron. It is one of the easiest zoom lenses and is great for landscape shooting.