Therefore, if your camera has a smaller sensor, and there's a good chance it does, you'll need to consider this when deciding which lens you need. If you're using a full frame camera there's no calculation needed, a lens will give you the field of view you'd expect from its number. On a Nikon 1 it would act like a 95 mm lens does on a full frame camera. Lenses with larger maximum apertures slightly confusingly these are the ones with lower numbers are capable of gathering more light.
As a F1. Some zoom lenses have a variable maximum aperture meaning that it changes depending on focal length. So, while a mm F3. It goes without saying that you want to buy a lens that will attach on your camera, and this is known as the lens mount.
Camera manufacturers generally make lenses with proprietry mounts which will only fit their devices, sometimes having multiple lens mounts for different camera lines. The major exception to this is Micro Four Thirds lenses which can be used on respective Olympus and Panasonic cameras. Third party manufacturers also make lenses with mounts to fit various brands.
It's important to know which mount your camera uses before heading out to buy a lens. In addition to being able to mount the lens on your camera, you need to be sure it will produce an image big enough to cover the image sensor. Because different cameras use different size sensors , manufacturers produce specific lenses to work with them. Meanwhile, FX lenses cover the full frame and can also be used on DX and even Nikon 1 cameras with an adapter. This is done because lenses designed for smaller sensors can be physically smaller and lighter themselves.
Lenses are generally categorized by their focal range or specific function if they're a specialist lens. Below we've taken a look at a few of the most common types of lens, thought about the characteristics their images are said to have, and considered how they can be used.
What they are: Ultra Wide angle lenses have a focal length of around less than 24 mm in 35 mm-format , this means they can take in a wider scene than is typical, though they're not only about getting all of a subject into a shot. Rectilinear ultra wides help keep straight lines, just that, while fisheyes will reproduce buildings with curved walls.
Image characteristics: Because of the wide field of view, shots with ultra wide angle lenses typically feature a large depth of field. Images tend to pull in subjects that are close, and push away more distant ones making them appear further apart. Perspective distortion of ultra wides can give falling-building-syndrome where vertical lines converge but this can be corrected in post-processing, or minimized with good technique.
What they are used for: While often seen as a specialist lens, ultra wide angles can be used in a number of ways. Typical uses include landscape, architecture and interior photography. Even the distortion can be used creatively, especially when using fisheye lenses. What they are: Typically covering a focal length between 24 mm and 35 mm, Wide Angle lenses are available as primes or zooms and come with either variable or fixed maximum aperture.
Offering a wide field of view, they often also boast close minimum focusing distances. Image characteristics: Wide angle photographs can magnify the perceived distance between subjects in the foreground and background. Wide angles suffer less distortion than their ultra wide counterparts, but you still get an exaggeration of lines and curves which can be used artistically. What they are used for: Many people only reach for a wide angle lens when trying to get the whole of a subject in frame, whether that's a building, a large group of people or a landscape.
However, while those are perfectly good uses of one, they can also be used for interesting portraits where you want to place a subject in a situation.
Just be careful not to distort faces unflatteringly by shooting too close. What the are : The kit lens your DSLR or interchangeable lens mirrorless camera came with is probably an example of a standard zoom lens, covering a focal range of around mm.
Ones with better optics and faster maximum apertures are also available. Many photographers consider a 50 mm prime in mm-format as a normal lens, as it's said to reproduce an image with a angle of view which feels "natural" and similar to what you see with your eyes - even thought this isn't technically true.
Image characteristics: Standard zoom lenses and normal primes sit between wide angles and telephotos in terms of image characteristics and are much more like you see with the human eye. Normal prime lenses tend to have faster maximum apertures which can allow for a shallow depth of field and lower light shooting.
What they are used for: As their name would suggest, normal or standard lenses are versatile lenses which can be used for almost all sorts of photography whether street, documentary, landscape, or portrait. Because normal prime lenses tend to feature faster maximum apertures, they allow you to shoot with a shallower depth of field and in lower light. What they are: Telephoto lenses are those with a focal length in excess of 70 mm, though many people would argue that "true" telephoto lenses are ones which exceed mm.
They focus on a much narrower field of view than other lenses, which means they are good for focusing in on specific details or distant subjects.
They are generally larger and heavier than equally specified wider lenses. Image characteristics: Because they have a narrower angle of view, telephoto lenses bring far away subjects closer. They can also have the effect of compressing the sense of distance in a scene and making objects appear closer together. A narrow depth of field means that a subject can be in focus with a blurred background and foreground.
What they are used for: In addition to being used to photograph subjects you can't or don't want to get close to - like sports or wildlife - telephoto lenses can be used for shooting portraits and even landscapes where their normalization of relative size can be used to give a sense of scale.
What they are : Superzooms are do-it-all lenses which cover focal lengths from wide to telephoto. They can be good for uses in situations where you can't or don't want to be changing lenses and they normally change in length as you zoom. Image characteristics: Because compromises have had to be made producing a do-it-all lens, superzooms do not have the same image quality of more dedicated lenses and often have slower and variable maximum apertures.
What they are used for: Offering a one-lens package, superzooms come into their own if you can't or don't want to change lenses. This could be when in situations where it wouldn't be safe to switch lenses, or when travelling - you don't necessarily want to be weighed down by five lenses when on holiday with the family. What they are : One of the more specialist lenses, marco lenses are technically those which are capable of reproduction ratios greater than However, the term is frequently used to refer to any lens which can be used for extreme close-up photography.
Macro lenses typically have focal lengths somewhere between mm. Image characteristics: Macro lenses normally have excellent image sharpness, though it's worth noting that when working at close distances they also have a tiny depth of field. You can often end up with a shot of an insect where only a fraction of it is in focus. What they are used for: Though normally used for close-up photography at which they excel , macro lenses can also be great for portraits thanks to their typical sharpness and focal lengths.
With changes in focal length and maximum aperture come another set of lens changes, namely size, weight and price.
Ideally we'd all be wielding a mm F1. Unfortunately, not only does physics dictate that such a lens would need to be huge and very heavy, it would also cost a fortune to produce, if it was even possible.
As such, any lens is going to make compromises to fit into a package of a size and weight which suits its users. Extreme focal lengths and larger apertures mean bigger and heavier lenses, which along with the bigger price-tags is why they are typically used by professionals who can justify purchasing them. There are a number of other features which you may want think about, regarding your next lens.
Image stabilization allows for use of slower shutter speeds without suffering camera shake though some brands incorporate this into camera bodies rather than the lens. Stabilization is also very handy if you're shooting lots of video, in which case you might also want to think about lenses with power zooms which can zoom at adjustable speeds.
Weather-sealing means you can use your lens assuming your camera is equally weather-sealed in extreme weather conditions and normally also means a higher level of build quality. Other considerations include the use of special lens elements and coatings which can improve sharpness and reduce image problems such as chromatic aberration. It's also worth thinking about whether you would benefit from a higher number of aperture blades which can give a more pleasing bokeh, and if you need lenses with internal focus motors, or indeed only manual focus.
While the majority of photographers buy lenses from the same firm as their camera, there are a number of third party manufacturers such as Sigma, Tamron and Tokina which produce lenses for DSLRs and mirrorless interchangeable lens cameras. Why do you need a new lens, how much should you spend, and where does it fit into the big picture of your gear acquisition?
Once you are clear on these points, it makes the process of deciding which lens or lenses to buy next much easier. But, no matter what your budget, hold that figure in mind while you read this article. You may see things in a different light afterward. My approach is to own as few, good quality lenses as possible. Keep the big picture in mind.
What lenses would you eventually like to own for your camera? How does your next purchase fit into this plan? Ideally, you should have a good idea of which lenses you need, and then you can plan accordingly. This type of thinking can lead to a big shift in what lenses you decide to buy. For example, a few years ago I became frustrated with the size and weight of my Canon system. I was also thinking ahead to some travel plans I had coming up, and realized it was important to keep my kit as lightweight as possible hand luggage allowances are very low and strictly enforced in New Zealand airports.
That led to the decision to switch to the Fujifilm X-Series system. I now have the lightweight kit required for traveling. Most manufacturers offer both APS-C and full-frame cameras in their ranges.
But this makes buying lenses even more confusing. But at the back of your mind you think you might one day buy a full-frame body. That raises the question — do you buy a lens that works on APS-C bodies only the advantage being that it is probably smaller and lighter than a lens that would fit a full-frame camera or one that fits a full-frame body as well which will probably be larger and more expensive?
Lens distortion can end up being slightly distracting from your photo and start to change the look of a scene. That way the scene looks more true to real life. With this in mind, you could read and compare different lenses and their distortion for the rest of your life. One of the biggest factors in what makes a good camera lens comes down to chromatic aberration.
Every ray of light that enters your camera is made up of a series of colors. As light passes through the glass elements in your lens, the camera focuses the light to a single point on your sensor. With some lenses, they can have a hard time focusing all the colors of light leaving a certain color range out of focus. Chromatic aberration is a telltale sign of a low-quality lens. Many modern lenses have gotten better at dealing with chromatic aberration, but higher-end lenses tend to do a better job of eliminating it completely.
If you were like me, the first camera you bought came with a kit lens. What lens should you buy after your kit lens? A wide-angle zoom lens offers a little more versatility than a kit lens with a longer focal range and usually a faster aperture. With better zoom capabilities and enhanced performance in low light, this is a no-brainer to fully replace your kit lens. In terms of overall value and enhanced shooting performance, a wide-angle zoom is a great lens to buy after your kit lens.
To give you some extra lens ideas, here are other great options to consider at a reasonable price tag:. Instead, a telephoto only covers longer focal lengths, often above 70mm. If you feel content with what your kit lens does for you, a telephoto lens is a great way to expand what you can capture. Rather than being physically close to the action, a telephoto allows you to zoom in from far away.
By adding this lens to your camera bag, you can now shoot everything from a wide-angle scene with a kit lens, to the moon rising over the horizon with a telephoto. Trying to figure out what lens to buy first is an exciting time in your photography. Using the tips outlined here, I hope you can make a more confident decision in your buying process! Hey, I'm Brendan! I'm a professional photographer and photo retoucher who prefers dogs over cats.
Around here my mission is to help you improve your photography, photo editing, and graphic design through easy-to-understand tutorials that maximize your creativity. Versatile Focal Lengths Focal length is essentially the zoom capabilities of a lens.
A Wider Aperture The aperture is a small hole inside of your lens that can adjust in size to change the effect on your images. Has Image Stabilization Image stabilization is a feature some lenses will have that helps to keep the image sharp, even with a slow shutter speed.
Limited Amount Of Chromatic Abberation One of the biggest factors in what makes a good camera lens comes down to chromatic aberration. I would narrow it down to one of two options: the wide-angle zoom or a telephoto lens.
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