Wide Angle Lens. "Eyes Wide Open"

It would seem that everything is simple and clear with wide-angle lenses - more objects in the frame, the ability to shoot nature and city streets, and much more. However, even they can be used incorrectly.

Often beginners in photography purchase a quality wide-angle lens (most often on someone else's advice), a 50mm lens, and a zoom lens in the hope that with such an assortment of lenses they will cover all bases. In principle, this is true, but it is always worth considering that even the most extensive collection of accessories and cameras does not guarantee that the pictures will be successful. That's why we're going to talk about the five most common mistakes beginners make when shooting with a wide-angle lens.

So, first you need to understand what exactly a wide-angle does. Its main function is to expand the space in the frame. That is, it distorts space, thereby deepening the perspective. That is, what is closer to the camera will look significantly larger than what is further away, even if the objects in reality are the same size.

Another result of using a wide angle lens is the curvature of straight lines. That is, all the buildings, if they are removed from below, will, as it were, converge into a circle at the top.

These functions in the hands of a good photographer will help the photo to take on more deep meaning, because the wide angle the lens allows you to create a sense of immersion - the viewer sees himself as if part of the image.

What is the correct way to use a wide-angle lens?

The main thing is to know when and how to apply the lens in order to create an attractive image and delight the viewer. BUT The best way figure out how to do it right - consider the most common mistakes.

Everything in the image is at the same distance from the lens

Once again, carefully re-read the paragraph about what results a wide-angle gives. Perspective distortion and stretching. Therefore, to get the desired effect, the main subject or the center of the composition must be closer to the lens. Much closer!

The most impressive photos taken with a wide-angle lens are those in which the subject is a few inches away from the camera.

Below are two examples of photographs taken of the same object - a bicycle. In the photo on the left, nothing particularly stands out from the frame, so the photo practically does not carry any meaning and the essence of the image is not fully understood.

The second photo - on the right, on the contrary, highlights the bike, that is, it is closer to the camera and the picture is taken from it in perspective. Bokeh appears, and more highlighted, contrasting space.

Of course, from the outside you can look very suspicious, but anonymity and stealth are rather enemies when shooting with a wide-angle lens.

In order to make the shot more interesting, it needs to add depth and perspective, and for this you need to get closer to the subject. That is, the center of the composition should be closer, the secondary element - a little further away, and the farthest - the background. Thanks to this approach, a multi-layered picture is created, you want to look at it longer, consider and explore what is happening in the frame.

The absence of the main character (or subject)

This error goes hand in hand with the previous one. When all objects are at the same distance from the camera, everything looks equally small and insignificant (or everything looks equally large, but this, in turn, nullifies the significance).

For example, two photos below. In the first photo, only the depth of field plays a role, so the picture is built solely on the texture of the wood and metal that are in focus. However, the image is missing something.

And this is what the image looks like when you focus on a leaf that grows through the boards. In the photograph, light immediately begins to play, the center of the composition shifts to the leaf, which also stands out in color and interacts with the sun shining from above.

It is also worth noting here that sometimes it is better not to cling to the original idea of the frame, but to adapt to the conditions and right on the spot, with a camera in hand, look for the most good options. They are known to appear in the most unexpected places.

Remember that even professionals do not shoot masterpieces the first time.

On the contrary, first a frame is taken, then it is carefully evaluated, and then a decision is made whether it is worth leaving it, or is it better to change something. The composition is based not only on strict rules but also on intuition and instincts. They are worth working with.

Trying to fit too much detail into the frame

Less is more, a rule that works great in photography and fits even better with a wide-angle lens. This mistake is perhaps the most common, because it directly follows from the primary function of the wide angle.

For example, while traveling, you are walking through an open street market and you decide to capture a vendor with a variety of fruits and vegetables laid out in front of him. Of course, the first thing to do is ask permission to shoot. Well, then the responsibility lies with the photographer. Immediately it is worth remembering the rules that are listed above - choose one main object, secondary elements and a background. If there is too much going on in the frame, the viewer will be distracted from the main idea.

So never be afraid to simplify the essence of photography.

You can always say more with fewer details.

Pictures of people from bad angles

Remember the dealer we just asked for permission to shoot? What you definitely shouldn't do is stick the camera right in his face. The result will definitely not please anyone.

A very common mistake is shooting portraits with a wide angle lens. Since one of the main functions of width, as we have already said, is distortion, photographs of people are very unattractive - a long and disproportionate nose, an elongated head, large cheeks - not at all the photo that you put in a frame. So, if you want to shoot flattering portraits, forget about the wide-angle lens and choose from our selection of the best portrait lenses.

It is very important to remember that each glass has its own functions and is suitable for certain genres. Wide angle is good for landscapes and nature, not for artistic or psychological portraits.

However, this does not mean that portrait photos cannot be taken at wide angles at all. If your goal is a funny or humorous shot, a wide angle can, on the contrary, play into your hands. Like the photo below:

Sometimes a wide angle works well in reportage photography:

Wide angle shots just for the sake of shooting

Photography is, of course, first and foremost a process. But any process must serve some purpose. That is why you should not shoot with a wide-angle lens just like that. Choose subjects that, in terms of meaning and setting, require the kind of effects that can be achieved with a wide angle. Lead the viewer to the compositional center of the image, deliberately distort the size of the subject to indicate its importance, curve the lines to create an immersive effect.

And most importantly - try not to make the above mistakes and shoot, shoot, shoot!

For a landscape photographer, there is nothing better than capturing the harmony and beauty of nature. Whether it's a waterfall, a forest, or a leafy clearing. The magnificence of nature can be told through photography, but for this you need to choose the right lens.

In other words, behind every good landscape painter is a quality wide-angle lens. Moreover, when it comes to shooting nature, the lens is the most important detail cameras. There are a huge number of high-quality wide-angle lenses available on the market today, which we will talk about. From Micro 4/3 to APS-C to Full Frame, the possibilities are almost endless.

Viewing angle

Generally speaking, wide-angle lenses are lenses with a full-frame focal length wider than 35mm. Of course, this is not a strict rule, since a lot also depends on the perspective. If, for example, shooting a forest from a distance of several meters, it is best to use a 14mm lens so that everything fits into the frame. And if you shoot the same forest from a distance of several kilometers, you will need a 50mm lens. In general, with most wide-angle lenses, you can get an angle of view of 114 to 122 degrees. A little more and the lens already enters the territory of fish-glasses, and less than 110 degrees - standard ones.

In addition, the type of sensor in the camera will determine what exactly will be considered a wide angle for a particular camera. We will take four standard types of sensors for interchangeable lens cameras - full frame, APS, micro 4/3 and inch (in order of size). APS is divided into APS-H (for some Canon cameras), APS-C and APS-C for Canon.

Sensor Type/Magnification

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 sensor and put it on APS-C, then some of the light passing through the lens will be blocked. Thus, an increase in focal length is also created. A lens designed for 35mm will get a crop from x1.3 to x1.6 depending on the type of APS-C sensor. Accordingly, a 24mm full frame glass on APS-C would be equivalent to a 36mm lens. Because of this factor, the focal length of a lens on a camera can go from full frame to standard. While this is great for telephoto shooters (300mm turns into 450mm), it doesn't work well for wide angle lenses.

Fortunately, there is a very large selection of different lenses for each type of camera. It should be borne in mind that since the sensor on APS-C is smaller and the focal length is different, manufacturers usually indicate all distances in the lens specifications. The wide-angle Sigma 8-16mm f/4.5-5.6 DC HSM for APS-C cameras, for example, will get a distance of 12-24mm on a full frame.

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

As for the inch sensor (for example, on the Nikon 1 camera), its crop factor is x2.7. That is, an 8mm lens will be equal to 21.6mm. In the same way, manufacturers indicate the focal length equivalents for a full-frame matrix in the instructions.

Lens Structure

Anyone who has looked at lens prices has noticed that they vary greatly between cheap and expensive models. Generally speaking, the price is determined by the quality and value of the lens. But this does not mean at all that it is impossible to find budget quality lenses and not the best examples of expensive ones.

Many details, both inside and outside the lens, affect lens performance. It should be noted that even zoom lenses differ in design from lenses with a fixed focal length. And zoom lenses are made up of much more elements, both literally and figuratively: often in the description of the lens you can read “consists of 14 elements in 12 groups. Three aspherical lenses, four LDs and 2 ELDs.”

The last abbreviations are optical features that are aimed at improving light transmission. The most common ones that come across, including in the name of the lens, are LD (low dispersion), ELD (ED) (extra low dispersion), SLD (special low dispersion) and UL (ultra low dispersion), HRI (highly refractive) ASP (aspherical). Some manufacturers have their own terms that characterize certain properties of the lens. Lenses of the same type are assembled into groups, and groups of different ones, as a rule, coexist in one lens, successfully covering several functions at once.

The structure, quality and price of a lens also depends on other factors. For example, lens speed. The faster the lens, or the wider its maximum aperture, the better, as a rule. However, it is not always possible to guarantee that f/2.8 will be better than the cheaper f/4. This often depends on the internal design.

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

Well, as always, you have to choose a lens based on the requirements, budget and camera. Fortunately, there are 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 a great addition to Canon's line of full frame lenses. The first lens consists of 16 elements, including an aspherical lens. A special advantage is the PTFE coating. In addition, the lens has a fixed aperture of f/2.8.

The second model similarly has a fixed aperture, but f/4, which is why it costs a little less.

These lenses are an excellent choice for nature photography as they produce high-quality images with gorgeous, rich colors.

Fujifilm's XF 16mm F1.4R WR

For Fujifilm cameras, this lens is better suited than the rest. With a focal length equivalent to 24mm, it consists of two aspherical and two ED elements. Thanks to the nano-coated glass, refraction is corrected and glare and reflections are removed. This lens has a minimum focal length of less than 6 inches and has a fast focusing motor.

Summaron-M 28mm f/5.6

The legendary Leica also received an update for M-series digital cameras. It should be noted that this lens first hit the market in 1955 and only its modern version has been adapted for modern cameras with an M mount. This lens focuses at a distance of approximately 90 cm. Symmetric optics are six elements in four groups. Significant for this lens is the vignette effect that made its original model popular.

SL 24-90mm f/2.8-4 ASPH

For those shooting with the Leica SL series, the SL 24-90mm f/2.8-4 ASPH is the perfect choice. It consists of 18 elements in 6 groups, including 4 aspherical elements. 11 of the 18 elements are made of glass, which reduces chromatic aberration. The price of this lens is about 280,000 rubles.

AF-S NIKKOR 24-70mm f/2.8E ED VR

This lens incorporates all the latest technologies, i.e. four steps of image stabilization, electromagnetic aperture (to maintain constant aperture during continuous shooting), ASP/ED elements and a lens coating that reduces reflections and flare. Nikon's more budget-friendly option for landscape photography is the AF-S NIKKOR 24mm f/1.8G ED. With f/1.8 aperture and aspherical and extra low dispersion elements.

For DX Nikon cameras with an APS-C sensor, the AF-P DX NIKKOR 18-55mm f / 3.5-5.6G VR is great. This lens offers a 27-83mm focal length and has built-in image stabilization. The stepping motor ensures smoother and quieter autofocus performance. A little cheaper (about 2500 rubles) you can purchase the option without VR, but it’s 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 sensor and constant aperture, this lens consists of 17 elements in 11 groups. The lens is covered with a nano coating, the lens has built-in stabilization, weatherproof. 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 designed for Leica cameras at all, but it is the result of a collaboration between Panasonic and Leica, designed for Micro 4/3 sensors. On a full-frame sensor, it will give a focal length of 24-120mm, thus allowing you to adapt to any situation. Plus, the lens is weatherproof and capable of operating in temperatures as low as -10 degrees C.

Lumix G Leica DG Summilux 12mm f/1.4 ASPH

Another collaboration between Panasonic and Leica, the Micro 4/3 focal length of this lens will be 24mm and with an aperture of f/1.4 the lens will allow you to shoot in extremely low light. The lens body is protected from water drops and dust, it includes both aspherical and ED and UED elements. Plus, it includes a nine-blade aperture for smooth background defocus.

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 photography. The design includes ED lenses, a coating that absorbs glare and allows for fast focusing with image stabilization that works perfectly with the K-1 and has five stops.

Samyang 20mm f/1.8 ED AS UMC

For almost any mount, there is a variant of this lens (Sony UB Sony A, Canon, Nikon, Pentax, Micro 4/3 and Fuji X). All lens models are manual 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 Sigma's top lenses and has options for Canon and Nikon cameras. The lens includes high quality aspherical lenses that provide bright and clear images. The elements have FLD dispersion and the lens focuses up to 20cm at a focal length of 24mm.

For Sony cameras, the Sigma 30mm f/1.4 DC DN is suitable, which is equipped with aspherical and double-sided aspherical elements. The lens has 9 aperture blades and focuses up to 30cm.

Sony FE 24-70mm F2.8GM

Nano anti-reflective coating, XA elements and nine aperture blades for smooth bokeh. A separate plus is the silent mechanism.

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

For Canon, Nikon and Sony, this budget lens from Tamron is also suitable. It is one of the lightest zoom lenses and is great for landscape photography.

I often hear that the criterion for choosing a camera is the presence of a wide-angle lens. The larger the angle of coverage, the better. And then, - they tell me, - I wandered along the narrow streets, and there is such a luxurious architecture, but I could not take anything off. In general, the classic situation: I want the Tsar Cannon. And even a flea - so shoe it so that it does not slip on the ice, but the fact that it stopped moving its paws - the horseshoes are heavy - is forgotten. With ultra wide-angle lenses, the situation is very similar, although this is certainly a very interesting thing. But a large angle often leads to completely different results, which are subconsciously expected from it. We wanted to capture everything at once, but in the photograph there is a building that is difficult to recognize. The problem is exacerbated by the fact that when we go beyond the limits of natural perception, the usual rectilinear projection ceases to be natural.

First, let's repeat some elementary truths. The image obtained with an ordinary lens is equivalent to the image obtained with a pinhole camera, the hole of which is at a focal length from the plate. The human eye covers approximately 40 degrees with a fixed pupil, which corresponds to the focal length of a 50 mm lens working with a 24x36 mm frame. There are no problems with longer lenses, both with imaging and with perception. After all, the situation is quite natural: binoculars, spyglass, keyhole, after all. With wider-angle lenses, things are not so obvious. You can quickly rotate your eyes, you can look into a crooked mirror, but in the case of a rectilinear projection, the extreme rays will practically slide over the photographic plate, and the image will be greatly distorted, although the lines will remain straight. I do not dwell here on the features of digital photography, when it is very difficult for the matrix to register grazing rays. This problem has long been solved in the design of the so-called, and although the image in them corresponds to a hole located very close to the plate, in reality the rays leaving the lens are no longer parallel to the incoming ones, and fall on the matrix not under such acute angle. The problem of a catastrophic deterioration in quality at the edges of the frame when working with ultra-wide-angle lenses is not so much related to the imperfection of the lens design, but to the very formulation of the problem: we are trying to register grazing rays. It seems to me that the desire to make ultra-wide-angle lenses that work in normal (rectilinear, and in some articles it is called rectangular) projection is connected with the desire to maintain the usual projection in unusual conditions. An alternative is fisheye lenses, which give a completely different projection, but with computer processing, one projection can be easily converted to another, and the need to immediately obtain the desired image ceases to be a decisive argument when choosing a digital camera lens. Those. in digital processing, fisheye lenses can be successfully used instead of ultra-wide-angle lenses that build an image in rectilinear projection. Let's compare two lenses with close focal lengths, but different principles building an image. The focal length of the Mir 47 lens and the Zenitar lens differ by only 4 mm. Externally, the optical schemes seem similar, but the results are strikingly different.

I draw your attention to the fact that although the filters for both lenses are placed after the rear lens, for Zenitar it is placed instead of a plane-parallel plate. Since the thickness of the plate and the filter are the same, there is no change in the path of the rays. Without a filter or plate, this lens will not be able to focus to infinity. At the Mir-47 lens, filters are set as additional element, their thickness is small enough not to introduce significant changes in focusing.

Zenitar is a " Fisheye", and it builds an image in accordance with the principle: an equal angle corresponds to an equal segment of the image in the focal plane. As a result, the edges of the frame appear to be drawn in more detail. With fisheye lenses, the problems of deterioration in quality at the edges of the frame are really related to the complexity of the design and the difficulty of creating an ideal optical design.

In Canon's catalog, the widest "normal" lens has a focal length of 14mm and a long-side angle of view of 104°. If you look at the MTF given in the book Canon TF Lens Work II, lens EF 14 mm f / 2,8L USM, we will see that not only at a distance of 20 mm from the center, the contrast of fine lines drops to almost zero, and does not even save iris, but also the contrast change curve has several local minima in the interval between the center and the edge of the frame. The next lens in Canon's catalog has a focal length of 20mm and an aperture ratio of 1:2.8. Its MTF is also reminiscent of the dancing of drunken caterpillars and does not inspire optimism about the quality at the edges. According to formal features, our hero, Mir-47, has exactly the same characteristics: a focal length of 20 mm, an angle of view of 94 ° diagonally, 84 ° horizontally and 62 ° vertically, the relative aperture is even slightly better, 1: 2.5. The only thing known about the pedigree is that a small batch was produced by the Krasnogorsk plant in 1982. According to the website of the Krasnogorsk plant, the calculation was made by GOI. And the LOMO lens was produced, and then its production was transferred to the Vologda Optical and Mechanical Plant (), whose products I am testing today. By design, the Vologda lens differs from the Krasnogorsk lens.

For its lens, it indicates the resolution according to the center / edge specifications: 60:17 lines / mm. Unfortunately, I don’t have this TU, and GOST 25502-82 involves plotting a dependency graph and, given the rapid deterioration of resolution towards the edge of the image, information such as center / edge, when it is not known where this edge is, becomes little informative, because if 17 lines /mm at a distance of 19mm from the center of the frame, then the lens is comparable to Canon products; and if at a distance of 21 mm - then much better. Let me remind you that the diagonal of the frame is 43 mm, i.e. the very-most corner is at a distance of 21.5 mm from the center of the frame.

Finishing the description of the design, I will dwell a little on the mechanics. For lenses with threaded connection M42, when the aperture selection ring is rotated, its diameter does not change, but only the limiter stop moves. The design is designed in such a way that it is not the rotation of the ring that moves the aperture blades, but the rod that the device presses at the moment the shutter is released to close the aperture to the working position. When using the adapter ring EOS-M42, the stem is pressed all the time and the diaphragm is always closed to the working position. In this case, when the aperture ring is rotated, the petals often stick, the hole loses its correct shape, and the aperture values are not always set the same. Since automatic aperture closing is not used when used with digital cameras, in my copy I removed the pusher mechanism and installed a more powerful spring. As a result, when the aperture ring is rotated, the hole diameter will change more predictably :-)

To illustrate the possibilities of wide-angle optics, Sergei Shcherbakov and I took a Canon 5D with a full-size 24x36mm sensor and a Canon 350D with a 14.8x22.2mm sensor and our collection of wide-angle lenses. A building was removed from one point. After that, the obtained images were compared. Since the lenses used gave images in different projections and distorted the perspective in different ways, in this case, “for the purity of the experiment”, we decided to compare photos only in a rectilinear projection, with the maximum possible computer correction of distortions. As a rule, we used programs based on the package developed in 1998 by a professor of physics (Helmut Dersch).

Canon 5D

Here's what the Canon 5D camera sees from the point of view through a fisheye lens.

And such a coverage angle can be pulled out of this lens in a rectilinear projection

Original photo.

The miniature scale is 13% of the original.

Apply the Lens Correction plugin from the program Adobe Photoshop

And after editing the perspective distortion and distortion, we get:

The thumbnail corresponds to 13% of the original size.

There are many ways to transform an image taken with a fisheye lens.

For example, use the plugin.

It is possible to correct both the projection and perspective distortions at the same time, however, the range of vertical perspective correction is a bit lacking to obtain vertical wall lines.

You can, as in the above example of correcting a picture taken by Mir-47, use Lens Correction:

However, in this case, it is not possible to correct barrel distortion in one step. And there is, as in the previous case, the need to apply the plugin again to the already converted image.

More promising, in my opinion, is the use of the Remap plugin for converting to a rectilinear (Normal) projection:

HFOV - horizontal field of view

The result is the following image:

The thumbnail corresponds to 13% of the original size.

Now fix the vertical perspective with Lens Correction or PTPerspective

and as a result we get:

The thumbnail corresponds to 13% of the original size.

Naturally, you have to pay for everything, and if you convert the image obtained by the Fisheye lens into a rectilinear projection, the use of the sensor area is not as efficient as when shooting with a conventional lens.

But what does the lens give Sigma 24-70 at a focal length of 24 mm.

The thumbnail corresponds to 13% of the original size.

Canon 350D

Now let's see if we can get similar viewing angles on the smaller Canon 350D sensor. Naturally, there are no circular Fisheye lenses for it, but we are now considering only normal projections, and if you wish, you can get an image of the type given by 8 mm Bearing on a 24 × 36 matrix on a smaller matrix using a attachment for a longer focal length lens.

The thumbnail corresponds to 13% of the original size.

Maximum coverage in rectilinear projection can be obtained using the PTLens plug-in, however, the quality of the edges will be unsatisfactory

Since I do not suggest comparing this option with others, the thumbnail size is 19% of the image after conversion.

You can moderate the ardor and not try to get the maximum coverage in this plugin or use the Remap and Lens Correction plugins.

The thumbnail corresponds to 13% of the image obtained after the conversion.

The thumbnail corresponds to 13% of the original size.

The thumbnail corresponds to 13% of the image obtained after conversion by the PTLens and Lens Correction plugins.

Using this image as an example, I will show that Adobe Photoshop is not the only add-on that allows you to work with PanoTools. You can use the graphical interface to the tools for creating panoramas "". For optimization, load a single frame into it and select control points that lie on horizontal and vertical lines. For example, in the left image we select the upper section of the drainpipe, and in the right image we select the lower section of the same pipe, and note that these points lie on the same vertical line.

We start the optimization and save the resulting result in a rectilinear projection:

Thumbnail corresponds to 13% of the image obtained after conversion using the Hugin program.

F=18 mm.

The thumbnail corresponds to 13% of the original size.

After perspective correction with the Lens Correction plugin.

After perspective correction with the Lens Correction plugin:

Since it is this lens that is the main hero of this article, let's use this image as an example to see how effectively chromatic aberrations can be eliminated programmatically. I prefer to eliminate them at the stage of converting RAW files. Here's what happens if you use Adobe Camera RAW:

The image has been doubled in size.

As can be seen from the above pictures, a small matrix itself does not interfere with obtaining images with the same viewing angles as a large one. Obviously, images in the center do not depend on the size of the sensor, but only on the resolution of the lens and the pixel size. At the edges, the situation is much less clear, because with a large matrix, the edge / center difference is more significant. Let's compare the display quality of the same objects located in the center and on the periphery of the frame when shooting with different lenses and cameras. If shooting is carried out with one lens and different cameras, then it is obvious that the objects are at the same distance from the center, i.e. for 5D this is by no means the very edge. For ease of comparison, smaller images are enlarged so that the scale of objects is the same everywhere. Naturally, zooming in does not improve quality, but sometimes a smaller picture when zoomed in gives more sharp image than a large one taken with a "soft" lens. However, if you need to choose a lens for shooting from a fixed point for printing a large format photo, then this approach has the right to exist, since it is difficult to predict what a small and sharp image will turn into when it is enlarged.

Subjective impressions of the resulting table.

Approximately equal angle gives the Sigma 24 mm lens on a large matrix and Zenitar on a small one. Zenitar is a sharp lens with a very good resolution. The small pixel of the Canon 350D allows it to realize its potential better. If we need a coverage angle of 50 degrees, then I would arrange the photos in the following order: Mir-47 with a 5D camera, Zenitar with a 350D, Canon 18-55 (F=18 mm) with a 350D, Sigma 24-70 (F=24 mm ) with 5D, Zenitar with 5D. In a pair of Zenitar with 350D and Canon 18-55 (F = 18 mm) with 350D, I gave the advantage to Zenitar due to best quality in the center and a larger viewing angle, other things being equal. Once again, I note that everything is very subjective, since these are not worlds, and changing cloudiness greatly influenced the contrast of individual image details. In a pair of Canon 18-55 (F = 18 mm) with 350D and Sigma 24-70 (F = 24 mm) with 5D, the latter lost due to the larger frame area; towards the edge, its performance degradation turned out to be more significant. In these shots, the window really is at the very edge of the frame, and the slightly larger viewing angle of Sigma did not allow it to win in the competition for shooting a specific building :-) In any case, when shooting with a wide-angle lens, you will have to put up with uneven quality across the image field. Unfortunately, when shooting landscapes, the important part of the plot often occupies the entire area of the frame. In the light of the above, if you look at the picture taken with the Mir-47 lens and the 5D camera from a slightly different angle, when the window falls on the very edge of the picture, then in my opinion the results are better than expected :-)

Mir-47 - the very edge of the frame

In conclusion, a few pictures that show effective use huge depth of field given by the Mir 47 lens.

Wide angle lenses are often misused or chosen for the wrong reasons. Many beginners buy a really good wide angle lens, a 50mm (because someone suggested) and a longer zoom lens. But the biggest mistake is not understanding how they work, why you need each one specifically, and for what situation.

In this article, we will look at wide-angle lenses. What they do, how to use them, and how to avoid the following five most common mistakes photographers make.

Everything in the image is at the same distance from the lens.
There is no clear subject.
The wide angle lens is only used to fit more objects into the frame.
Taking bad pictures of people.
Shooting with a wide-angle lens for no reason.

What is a wide angle lens?

Technically, this is any lens that has a wider field of view than the human eye. Back in the days of film, a 50mm lens was considered "normal" because it gives a picture that is closest to what a person sees. Now with "digital" it's a little more complicated - 50mm is considered normal for full frame cameras, which corresponds to approximately 35mm for APS-C or crop sensors (for the same angle of view).

Therefore, focal lengths greater than 50mm (full frame) or 35mm (APS-C) are considered wide-angle lenses. The smaller the focal length, the wider the frame will be, for example; 15mm which is ultra wide (full frame) or 10mm (special lens made only for APS-C cameras). Even wider lenses are considered fisheye lenses, and the image becomes almost round when shooting.

What does a wide angle lens do?

Wide-angle lenses distort objects and improve perspective: objects closer to the camera appear larger than those farther away, even if they are the same size in reality.

Look at the photo of the subway sign above; notice how much larger the part closer to the camera is compared to the part farther away. This is the result of a wide-angle optical lens. The same can be seen in the photo with the Brooklyn Bridge from above and with the buildings below.

Let's compare the images below, taken with wide angle and telephoto lenses respectively.

17mm lens on full frame camera (you need to use 11mm on APS-C to get this angle of view)

A 75mm lens on a full frame camera (a 50mm lens on an APS-C camera will give you about the same angle of view)

Look at the size of the tractor in the two images. Notice how visually larger the tractor in the first photo is compared to the object in the background. See how the aspect ratio has changed in the second image? The tractor did not move between shots, the distance between objects did not change either. The only thing that has changed is the lens used by the photographer, as well as the distance between the subject and the camera.

5 Beginner Mistakes When Using a Wide Angle Lens

Everything in your image is the same distance from the lens

To use a wide angle lens properly, you need something close to the lens.

This was shot with a 24mm lens. There is no object here because all the elements are at the same distance from the camera. Compare with the tractor image above, especially with the wide-angle shot: the tractor literally comes to life on it

Now look at the two images of the bike below. There is nothing that stands out in the picture on the left. As he approaches, he switches to a bicycle. The photographer was only a few inches from the front tire when he took the second shot.

You can't be invisible when you're shooting wide-angle. To make your shots more interesting, to have more depth and perspective, you need to get closer to your subjects. Try to find an object at a very close distance to the lens, something else at an average distance, and leave the background even further away. This will give your photo depth.

The image above was taken from the hip (literally) as the photographer crossed the street in New York. The finished image was cropped and processed as follows.

The true New York is a bustling hub of activity. And the perspective obtained with the help of a wide-angle lens takes the viewer into the thick of it. Do you feel the chaos through the photo?

One more example.

A beautiful sunrise, but it may seem like something is missing

It is best to add a person to the frame, proximity to the camera brings depth

There is no clear object in the image

This error is closely related to the first. When everything is an equal distance from the lens, . As soon as you get close to make the object in the frame larger, it will begin to visually stand out.

In these examples, the photographer started with 17mm and a very low angle. He wanted to emphasize the perspective through the converging lines of the railroad tracks.

In the first shot (above) this was not achieved, it does not have a clear object on which the viewer could hold his eyes. Then the focus was on a nail that was sticking out of the board. It turned out better, but then it turned out sticking out of rotten boards yellow leaf. Backlit by the sun, it really stood out in the photo. The leaf has become the focal point of the image, not only because of its size in the frame, it is bright warm color, not centered, but also on it in a certain way.

What story do you want to tell in your photography?

Use all your senses to become aware of what is happening around you when you are photographing. How can you link this to your image?

The image above was taken at Notre Dame Basilica in Montreal.

A wide angle lens was used to focus more on the statues and pulpit and less on the main altar. The viewer's eye "goes" to them because of their size in the frame.

Finally, consider composition and lighting. If the subject is not placed in the center, the photo will be more interesting. Make sure it's well lit and the background doesn't distract the viewer.

Mistake #3 - Trying to fit too much into a frame

Street vendor in Havana, Cuba; 17mm lens (full frame)

Pick something interesting on the counter to focus on while the rest of it acts as a backdrop. It is necessary to choose one object, and not the whole room, market or other place. Your message will be diluted if you try to fit as many things into the frame as possible.

Simplify - simplify - simplify. Often in photography, less is more. Say more with less things in your images. See how simple, but at the same time graphic, the photos below?

Taking bad pictures of people

Wide-angle lenses distort objects in the frame. Thus, the nose of the person in the photo will lengthen, the jaw will stick out, and the head will look just huge!

17mm lens - not great Good photo models

This type of shooting is generally not suitable for most people. If you want to photograph a person successfully, just don't use a wide-angle lens. You need to understand what effect it will have on the photo and use it wisely.

35mm is a little better

70 mm is another matter. 85mm is the common focal length for portrait photographs. The face looks pleasing, less background is shown, the viewer's attention is focused on the model's face

160mm - great for head shots

Experiment with all the lenses that you have, think if you were photographed, then you would like to end up with an image taken with which lens? Take pictures with him.

Use a wide angle lens to photograph people who show their surroundings (think of the shop owner in the example above), add some fun or even a bit of humor, tell a story. But be aware that this photo will probably not be flattering for the model.

If you're going for a model-flattering portrait, choose a lens slightly longer than normal at short telephoto (85-135mm full screen, 60-90mm APS-C).

The wide-angle view shows the whole picture. This is a travel guide and shaman in Peru playing Machu Picchu. The background in this case is very important - it tells part of the story.

Humor and wide-angle photography go hand in hand

Children are a very important subject that you can have some fun with. Let the spirit of explorers wake up in them, and they approach the wide-angle lens. This will add a sense of playfulness and fun to all photos.

Shooting with a wide-angle lens is good just "because it's good"

The final mistake is to use a wide-angle lens just because "it's cool". Often, when people buy a new lens, they only use it for a while, and where they need and don't need it.

Success with a wide lens

Choose your lens based on the effect you want in your shots.

converging lines long corridor lead the audience to the stage

Get closer, find a well-defined and understandable subject, don't try to fit as many things into the frame as possible, photograph people correctly with a wide-angle lens, and make informed decisions about its use in general.

First, let's take a look at some of the surprises and downsides of this lens.

If you use this lens correctly, you can make the viewer feel like they are in the middle of the scene.
You, as a photographer, can get much closer to get fantastic pictures. If you can't get close enough, forget the wide angle.
This lens tends to exaggerate things, including objects, phenomena, and emotions. People, faces, or terrain - it all seems to overwhelm the frame, if it is correctly composed and processed.
Composition really matters when it comes to this lens, minimal movement with the camera and positioning yourself within the scene can make a dramatic difference in photography. Avoid grabbing your legs while framing.
Shooting portraits with wide-angle lenses, of course, requires a lot of practice and a certain amount of skill. Believe me, even professionals sometimes find it difficult to get a decent portrait shot. It must be taken into account that a person can lose proportionality and take measures to prevent such a phenomenon. Remember that this is not a portrait lens.

In this article, we will discuss with you the benefits wide angle photography, as well as some interesting methods for shooting and the negative aspects of wide-angle photos.

Distortion

Distortion in the lens causes a defective image. There is practically no optics that does not cause some amount of distortion in the image. But when we are talking about wide-angle lenses, this point should be taken especially carefully. As a rule, stretching occurs in the corners of the photograph, due to which the object or subject loses its real shape and looks deformed in the picture. It is quite difficult to avoid this, but you can still use such a disadvantage in favor of the image. In addition, this issue is easily solved if you resort to better equipment. There are many methods available to correct frame deformities.

Photo: Todd & Sarah Sisson

framing

Be clear about what your object is inside, that is, what frames it. Ideal accommodation subject is the center of the frame. Thus, you can avoid a huge amount of distortion, which is typical for the corners of the picture. In addition, there is a clearer idea of the nature of the image and an excellent wide-angle photograph is obtained.

Photo: Kevin McNeil

The position of the photographer and the composition of the frame

You can move a little or tilt the camera as little as possible and still get a significant change within the frame. it good opportunity improve the look of the scene. To do this, keep experimenting and take more test shots to get great results. The ability to introspection and patience will also come in handy.

Photo: Jared Ropilato