Lens Flash
Photography – Choosing the right lens
Slowly but surely, the value of the fixed focal length lens (or objective) the non-professional photographer is being eroded by the increasing perfection of zoom technology to the goal. The days when you pack your camera bag with 28mm confidence 50mm, 85mm, 105mm, 180mm and even the glasses disappear quickly. Why bother when you can go for something like all-purpose Nikon-Nikkor DX VR 18-200mm zoom and know that you have both flexibility and speed of light at your fingertips?
The truth is that, while the beach focal length can be increased within a single optical zoom, no lens is used while still likely to occur at eqivalent lens of choice for its range complete focal lengths.
Zooms are designed with the glass much more than what is found in a core objective, and for this reason they "swallow" more light than the corresponding target in the same focal length. If you're not shooting in bright light, the necessary increase the length of time the shutter and zoom lenses can make the difference between a good image, which is ruined by the camera lens oscillation.
Although there is much to be said for carrying a lens, and leaving it attached to your camera, rather than carry five separate lenses and having to miss photo opportunities that arise when you change targets.
But think of fixed focal length lenses can be instructive. When We plunge into photography with a zoom lens, the focal continuum effort is likely to blur the distinction between photographs taken at different wavelengths lengths. Historically, this was simply not a problem. Economy has demanded that the lenses you purchased were quite distinct, focal length wise, and therefore an assessment of their individual characteristics was easy.
50mm
It used to be the case that the objective Kit for a 35mm SLR was generally 50mm objective lenses. The 50mm lens reproduces the field of vision that comes close to normal vision, with a coverage angle of about 50 degrees. But it is also partly the reason why the 50mm lens receives only a fraction of the respect it merit. Because when you look at the scene captured by an image of 50mm, we will not see something that we would not see for ourselves. It There is no means of optical effects to draw us into the image, so that the material submitted must be strong enough to hold our attention.
Despite the fact that the 50mm lens kit has been replaced with an optical zoom (usually around 28-80mm these days) the objective 50 mm has a lot to him. On the one hand it is usually very rapid. My kit lens 50mm (picked up a few decades ago) is a Nikkor f/1.4. Composing to greater openness, you can just not use the flash to take photographs inside with natural light. This means your photos are more natural, and have a depth to them that the faded images captured with flash can not match. You'll also be able to draw quickly. The equivalent focal length zoom in maybe two or three stops slower.
If you plan to use your camera to record Most family plans, and you'll be a light inside a large fraction of the time, you may want to seriously consider picking a 50mm f/1.8, f/1.4 or even if you have money to spend. To read a fine essay on the under-appreciation of the 50mm lens, I recommend the Lens forgotten by Gary Voth.
28mm
Open a book on photojournalism and you'll discover a slew of images captured with great lenses angle as 28mm prime lens. Wide Angle Prime remarkable show pronounced curvature on the front lens that can be drawn in the light of all the edges of a scene. This has two main consequences.
The first is that a much larger proportion of the scene before you is taken. Extremely short focal length primes, such as 8mm, are known as fisheye lenses because the angle of coverage exceeds 180 degrees. While facing the camera is found in image!
The second consequence is that cramming more of the scene in the picture distorts the image to some extent. Straight lines in the real world, like the horizon and the edges of walls, bend. Most of the time this is acceptable because the capture the entire scene is the most important factor.
Using a 28mm wide angle as the first is necessary when you try to capture images in confined spaces. To get all members of the board at the annual meeting as they sit on the conference table, and get all the tables and the discussion around it, needed a wide angle lens. The other situation that calls for a wide angle arises when you are trying to photograph a very large object that will be not quite within the framework. If you take a photo of someone standing at the base of the Eiffel Tower, using a wide angle lets you help to fill the frame with the subject and the tower.
85mm to 105mm
I mentioned the usefulness of the 50mm objective is to portraits. However, the goal most often mentioned in connection with the portraits is the first 85mm, usually with an f/1.8 maximum aperture, or faster, even f/1.2
The 85mm is sometimes regarded as a short telephoto. Unless your goal is to capture the entire upper torso of your subject, or just their faces when they were closer, you'll need to backtrack to enter the subject from head to foot. This means that you can often discreet and spontaneous portrait shots simply by being close to your subject as they go about their activities.
But the real strength of 85mm, 105mm, or even the, the first lies in the ability of the lens to get close to and highlight the characteristics the subject's face. The context of these plans is not less important, and opening itself to the maximum aperture, you can throw the background completely out of focus. Focus is critical in this situation, then concentrate on the subject's eyes that can not be blurred portrait shots in acceptable.
180mm
There are always times when you can not approach the scene you want to photograph. Here the telephoto useful. medium telephoto lens, like that provided by the prime 180mm is useful for photographing local sporting events, where one can approach the edge of the field.
Prime telephoto capture only a small part of the scene before you, then, to take in enough light that you can see the scene properly, the size of the lens must be developed. In other words, your 180mm lens would you weigh a bit. For this reason, even if you shoot at maximum aperture, it is a good idea to use a monopod to stabilize your shot. A hand holding a telephoto lens is fast becoming not only a chore, but a great way to reduce the likelihood of a sharp image. This is where the addition of technology to reduce vibration of the lens (Or image stabilization, as it is also known), can be very advantageous (but extremely expensive for telephoto lenses).
As already discussed short telephoto, focusing becomes even more critical here. Unless your subject is still relatively, or lens is capable of self rapid development, a certain amount of actual practice is required before you can pull action plans with a large telephoto. On the other hand, the results are worth it.
So, in conclusion, I have summarized the characteristics and uses several different focal length lenses. Try to keep these characteristics in mind when shooting with a zoom lens that covers part or all of the lengths focal discussed here. If you think about your plans based on these characteristics different focal length, you'll be better able to exploit to improve photos.
To help you choose a suitable digital camera to start, I put together an article for you on how to find good beginner digital camera.
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About the Author
Stephen Carter is a web developer and creator of the review site application Review Foundry. He is also the creator of Best Digital Camera Discounts His interest in photography spans decades.