Lens function camera
The Camera Lens-Types of Camera Lenses and Focal Lengths
The camera lens can be called the "eye" of the camera and is probably the most important part of the camera. The camera lens consists of several variously curved pieces of glass (or plastic) held together by what is called the "barrel" of the lens. Each piece of glass is called an element of the lens.
Function of the Camera Lens: The basic job of the camera lens is to gather and focus the light reflected from a scene or subject. As the reflected light rays enter the camera lens and pass through the elements, they are directed to the camera's image sensor.
The function of the camera's image sensor is to "capture" the colors and intensity of the light rays that enter the camera through the lens.
The captured light can then be reproduced as the exact image that was seen through the camera's viewfinder or LCD screen when the camera's shutter release was pressed.
Lens Aperture Diagram Showing F Stops (Click to Enlarge)
Lens Aperture: The lens aperture is the part of the camera lens that determines how much light is allowed reach the image sensor. The lens aperture opening can be adjusted to make it smaller or larger. The different aperture settings are called F Stops.
Take a look at the aperture diagram for examples of how changing the F Stop affects the size of the aperture opening.
The camera lens aperture setting can also affect the depth of field in an image. Depth of field is a reference as to how much of the area around your subject will be in or out of focus.
Camera Lens Focal Lengths: An important feature you should know about any camera lens that you are planning to use is its focal length.
The focal length of a lens is the distance from the optical center of the camera lens all the way back to the image sensor (when the camera is focused to infinity).
The focal length of a camera lens is usually expressed in millimeters, such as a 50mm lens or a 70 to 200mm lens.
|
45mm Focal Length |
245mm Focal Length |
Different focal lengths give different fields of view. As you can see from the above photos, a 45mm focal length view is much wider than a 245mm focal length view. On the other hand, a 245mm focal length view is narrower than a 45mm view and will produce greater magnification of the subject than a shorter focal length lens.
Camera lenses are categorized as wide angle, telephoto, and standard focal length lenses. (there is some overlapping when categorizing the lenses) Camera lenses with focal lengths that are lower than the 45mm to 50mm range are classified as wide angle lenses. Camera lens focal lengths from around 50mm to 85mm are mid range lenses, and lenses above 85mm are called telephoto lenses.
A standard or "normal" lens lens is loosely defined as one that will give a field of view similar to what the human eye sees. However, what is "standard" can vary depending on what type camera, lens and image sensor is being used. The 50mm lens field of view from the old 35mm film cameras is practically the same as the view from today's full frame image sensor digital cameras. (when equipped with a 50mm lens)
So, a 50mm lens is considered a standard or normal lens for those types of cameras. Note: The Canon 6D Markll is an example of a Digital Slr with a full frame sensor.
A standard lens for a Digital Slr camera with an APS-C size image sensor would be around 35mm because that size lens would produce a field of view pretty close to that of a 50mm full frame digital camera. (or a 35mm film camera) There is a little more about this subject towards the end of this tutorial.
The main types of camera lenses are zoom lenses and prime lenses.
Zoom Lenses: A zoom lens makes it possible to photograph different views of a scene (closer or further away) without changing your position or changing the camera lens.
Zoom lenses can be used at various focal lengths and are also called variable focal length lenses. These types of lenses are found on both fixed lens cameras (meaning the lens cannot be changed or removed) and interchangeable lens cameras.
The magnification capability of a zoom lens is usually expressed as a range. For instance, 18-55mm and 55-250mm focal lengths are two common zoom lens ranges. The magnification, or focal length range of a lens can usually be found right on or around the barrel of lens. The two images below show examples of areas where the focal length and maximum aperture openings can be found on the camera lens.
|
Click Image to Enlarge |
Click Image to Enlarge |
The maximum aperture opening of a zoom lens (or any other lens) is usually included in the description of the lens. For instance, a typical description of a zoom lens would be an 18-55mm, F3.
5-F5.6 lens. (the F3.5-F5.6 are lens aperture settings. They represent the widest aperture opening that can be used at the shortest and longest focal lengths of the lens) For more on zoom lenses please check
You will find that camera manufacturers will also market camera lens focal length ranges as multiplication factors such as 5X, 20X or even 50X. Describing camera lens focal length ranges that way is commonly used for Basic Compact Digital cameras and is not used too often when describing Digital SLR camera lenses
In any case, the actual zoom range in millimeters of a compact digital camera lens can still be found on or around the barrel of the lens.
.
Prime Lenses: These are camera lenses that have a single focal length and are also know as fixed focal length lenses. When using a prime lens, the view or perspective only changes if the distance between the camera lens and the subject changes. In other words you will have to move in closer or move further away from your subject to get different views when using a prime lens.
Although prime lenses have fixed focal lengths, they are available in wide angle, standard, and telephoto focal lengths. These are removable lenses and should not be confused with a "fixed" camera lens which refers to the lens being permanently attached to the camera.
Prime lenses are very sharp focusing lenses compared to some zoom lenses. That is partly due to the fact that there are fewer elements in a prime lens for the light to pass through on its way to the camera image sensor.
These types of lenses are lighter and not as bulky as zoom lenses which makes them more convenient to carry around. Prime lenses are generally less expensive than zoom lenses and will give you high quality images without breaking the bank.
Many prime lenses have large aperture openings such as F1.8 and F2.4 which make them great for shooting in low light. They also come with a much more affordable price than zoom lenses with comparable aperture openings. Check out the variety of Prime Lenses available at Amazon.
com
The only slight disadvantage to using a prime lens is that you may have to move in closer or move further away to frame a subject to your liking. (unless you choose purchase more than one in different focal lengths)
With that being said, just know that primes lenses are available in a wide variety of popular focal lengths such as 28mm, 50mm, 85mm, 135mm and 200mm to name a few. There are also many Macro prime lenses available to use for close up photography. Please read the tutorial Prime Lenses for more on these types of lenses.
35mm Focal Length Equivalent: There may be times that you will see the focal length of some camera lenses referred to as 35mm equivalent. The term 35mm equivalent refers to the field of view seen through a digital camera and its lens as compared to the field of view seen through the older 35mm cameras which used film.
The image below shows what is meant by different fields of view.
Image Sensor sizes shown are not actual sizes.
Sizes shown here are for comparative purposes only.
Red Rectangle: The entire area that is framed in the red rectangle represents the field of view that you would see through a 35mm film camera or a digital camera that uses a full frame image sensor. The image capturing area of film and a full frame image sensor measures 36mm X 24mm.
Yellow Rectangle: The area inside the yellow rectangle represents the field of view seen when using a Digital SLR camera like the Nikon D5600 which has an APS-C image sensor. (23.5mm X 15.6mm)
Blue Rectangle: The area inside the blue rectangle represents the field of view of a Mirrorless Camera like the Panasonic Lumix GX85 which uses a Micro Four Thirds size sensor, (17.3 mm X 13.0mm)
Pink Rectangle: The area inside the pink rectangle shows the field of view of a basic Compact Digital Camera like the Canon Powershot Elph 190IS which has a 2/3 size image sensor.
(6.16mm X 4.62mm)
The primary reason for the differences in the field of view is because todays digital cameras use different sized image sensors to capture light whereas the older 35mm cameras used a standard size film. Also, many of the digital camera lenses are smaller than the lenses used with 35mm cameras.
The light capturing area of most image sensors is smaller than the area on film that captures light. However, high end digital cameras like the Nikon D750 DSLR use what are called full frame image sensors. Those types of image sensors are about the same size as 35mm film.
Therefore, a digital camera with a full frame sensor will produce the same field of view as a 35mm film camera. That is, as long as the same size lens and focal length is being used.
In order to compensate for a loss of viewing area due to smaller sensors and lenses, today's camera manufacturers equip their digital cameras with wider angle lenses. A compact camera with a 1 2/3 image sensor and a lens set at 4mm can actually show a field of view equal to a full frame Dslr camera lens set for 28mm.
A Digital SLR camera with an APS-C sensor and the lens set to 18mm will give the same field of view as a full frame sensor Dslr camera with the lens set to 28mm. So that is why digital camera lens focal lengths are called 35mm equivalent.
So to conclude, the 35mm camera lens field of view is the standard to which current digital camera lens views are compared. For more about this subject take a look at the tutorial, 35mm Equivalent Focal Lengths.
Camera Lens Guide (Parts, Functions and Types Explained)
Without a lens, your camera body would not be able to capture images.
Choosing the right lens is important because it helps you to reach the maximum capacity of your camera. Without a good camera lens, you will see a loss in image resolution and quality.
Read our camera lens guide to find out all the information you could know about lenses.
Is a Camera Lens More Important than the Body?
Camera lenses, like it or not, are the most important part of your kit.
A camera lens denotes the aperture range you can use, the possible depth of field, and the focusing distance.
Camera bodies allow other settings such as ISO and shutter speed. They influence the quality of the image through resolution. But they are not as important as lenses.
Usually, your lens is not able to resolve as much information as your camera can provide. The quality of the lens determines how much detail it can manage. You can have a 40-megapixel camera and still not be able to take advantage of it. Generally, it’s better to buy an expensive lens for a not-so-expensive body. This way, you can maximise the image resolution.
The Anatomy of a Camera Lens
Lens elements are shaped glass pieces that bend light in specific ways. Each element has a different function, and they work together in harmony.
Some of these pieces are fixed to the barrel of the lens, and others are movable. These allow you to zoom, focus, or assist in image stabilization.
What Is Focal Length?
When light travels through your camera, the image is flipped upside down. This is the same way our eyes see the world. In our case, our brain rotates the image.
Inside the camera is a pentaprism that flips the image the right way up. As you can see, there is an intersection inside the lens. This intersection is the convergence between the lines of light that we get from our subject.
In optics, this crossing point is called the ‘point of convergence’. The distance between this point of convergence and your image sensor or film is the focal length.
Why Is Focal Length Important?
The focal length of a lens determines its field of view. This is what makes a lens wide, standard, or telephoto.
Consider the placement of the point of convergence. The closer it is to the imaging sensor, the smaller the object appears.
Imagine the point of convergence was much farther away from the imaging sensor.
This would make the subject seem much larger.
As you can see, a short focal length creates a wide field of view. Lenses with a shorter focal length are known as ‘wide angle‘ lenses.
The opposite is also true. A long focal length creates a narrow field of view. These lenses are known as telephoto lenses.
How Do Crop Sensors Affect Camera Lenses?
The film plane in 35mm film cameras came in one size. This 24x36mm hole allowed the film to be exposed correctly. Nowadays, with digital cameras, these sensor sizes have quite a range.
Here, we will be talking about how the size of the camera’s sensor affects the cropping of your scene.
What is the Crop Factor
You may hear the terms full frame, 35 equivalent, APS-C, or cropped sensor thrown around. The big difference is what you are actually capturing from your scene.
A full frame or 35mm equivalent is the same thing. If a camera is listed as a full frame, it has the same size sensor as 35mm analog cameras: 36x24mm.
APS-C, Micro Four Thirds, and 1” sensors are all cropped when compared to a full frame sensor
- APS-C (except Canon) has a size of 25.1×16.7mm. To get to 36x24mm, you need to multiply the number by 1.5. This gives APS-C a crop factor of 1.5x.
- APS-C (Canon) has a size of 22.5×15mm. To get to 36x24mm, you need to multiply the number by 1.6. This gives APS-C a crop factor of 1.6x.
- Micro Four Thirds (MFT) has a sensor size of 18×13.5mm. To get to 36x24mm, you need to multiply the number by 2. This gives Four-Thirds systems a crop factor of 2x.
The way a crop sensor works is that it magnifies the focal length of the lens. A 35mm lens becomes 50mm with a Nikon 1.5x crop factor.
Difference Between Zoom and Prime Lenses
Whether wide-angle, standard, or telephoto—every lens falls into one of two categories; zoom or prime.
Zoom lenses allow the point of convergence to move closer or further away from the sensor.
A lens with a fixed focal length is a prime lens.
The complexity of zoom lenses results in quality loss. Also, they do not allow you to open your aperture as wide as prime lenses.
You must spend more on a zoom lens with the same image quality and brightness as a prime lens.
Lens Aperture
Aperture is another reason why photographers choose one lens over others. The word aperture means opening, hole or gap, and describes the size of the aperture ring of a lens.
This is where the light passes through, making its way to the camera sensor. Aperture works like the pupil in our eyes. They both control the amount of light getting into the camera or the eye.
Aperture numbers are a fraction of the aperture diameter and the focal length of a lens. We see f-stops written as f/2 or f/11.
If you are capturing a scene with a 100mm focal length lens at f/2, the diameter of your lens is 50mm across.
The f-number gets bigger, but the aperture gets smaller.
An f/2 value is bigger than f/4, which is two stops brighter than an f/8.
How Do Apertures Affect Lenses?
When it comes to choosing a lens, the most important factor is the maximum aperture. This number is written on the lens and included in its specifications.
The biggest-size aperture is an expression of how ‘bright’ the lens is. Brighter is better.
Often, a lower f-number means a better image quality. For instance, you can expect an f/1.2 lens to outperform an f/1.8 lens in terms of resolving power.
What is Variable Aperture?
Variable apertures are different maximum apertures (smallest f/stop) that your lens will use. It depends on the amount of zoom you use.
Aperture can cause some obstacles when it comes to zoom lenses. Let’s use a 70-300mm f/4-5.6 lens as an example. At 70mm, you can use the f/4 aperture. 70 divided by 4 is 17.5mm.
By zooming all the way in, we go from a 70mm to 300mm focal length. The images you capture are magnified by 4.
3%. At 300mm, your maximum aperture is f/5.6, where the diameter is 5.4mm.
But why cannot the lens be f/4 throughout the zoom range? At 300mm, an f/4 aperture would be 75mm. This is too big to fit into the slim body of the lens.
Many photographers see these lenses as inferior and avoid them. These lenses offer more variability, but they have their disadvantages too. Generally, you sacrifice image quality.
Non-variable aperture lenses offer some significant advantages. They have a better image and build quality than their counterparts.
Camera Lens Markings
The numbers you will find on a lens are all very important. The first number is usually the lens’ focal length. This number is represented in millimetres.
If you see one number rather than a range, it means its a prime lens. It could say 24mm, 50mm, 85mm, or something similar.
A focal length range will have two numbers separated by a dash. 24-70mm is a good example.
The second number you will find on a lens is usually the lens’s maximum aperture.
If you have one number, it means your zoom lens has a fixed maximum aperture.
Prime lenses do not have a variable maximum aperture.
If you have two numbers separated by a dash, it means your zoom lens has a variable maximum aperture. It will look something like this ‘f/4-5.6’.
What Other Markings Can You Find on Your Lens?
- ∞ – 0.5 m – Sometimes, you may find an infinity symbol, then a dash, and then a distance indicator. This is the focusing range of the lens. This indicates the closest focusing distance of the lens.
- IS (Canon) / VR (Nikon) / OSS (Sony) – These stand for Image Stabilization, Vibration Reduction, and Optical SteadyShot. This means that your lens has a built-in floating lens element, along with motors and electronics. These lenses sense and counteract any movement or shake.
- Ø – The ø symbol on a lens is usually followed by a number. This is the diameter of the front of the lens.
It also marks the filter size you can use on the lens. It’s necessary to know this number when purchasing screw-in filters. - Asph / ASP – This stands for Aspherical. It shows that the lens has non-circular lenses inside. These lens elements can be used to reduce spherical aberrations.
- Macro / CRC (Close Range Correction) – This marking means the lens is specifically designed to be sharp at close range.
- USM/HSM/SWM – Ultrasonic Motor, High-Speed Motor, and Silent Wave Motor are ultrasonic vibration motors that allow you to autofocus faster. The ones used in higher-end products are much quieter than those in cheaper lenses.
- DX (Nikon) / EF-S (Canon) / E (Sony) – These lenses were explicitly created for camera bodies that are smaller than full frame. APS-C size sensors have a crop factor. These lenses give you a focal length, taking the smaller sensor into account.
These are smaller and lighter than their siblings but cannot be used on full frame cameras. - Other – Lens manufacturers use a slew of markings on their lenses. Canon likes to mark their professional lenses with a red ‘L’, and Sigma uses EX for their professional and exclusive lenses.
What Is Lens Focusing?
Lenses have a point where the light rays going through them converge. It is called the focal point.
Focusing happens within the lens. This happens by moving one or more lens elements closer to or farther away from your camera’s imaging sensor.
The lens ‘bends’ the light and forces it to converge at different distances from the sensor.
The ideal convergence needs to fall exactly on your sensor. When you achieve that, you have a perfectly focused image or subject.
How Does Autofocus Work?
Autofocusing is just one way to gain a sharp focus. With this mode, the camera signals the lens, forcing it to change its focal placement.
How much of your scene is in focus falls on three different things—aperture setting, the distance between you and the elements in the scene, and their spatial relationship.
Many modern cameras have tons of focus points spread over your viewfinder. They can be moved or even work in groups to select a more progressive focus blanket.
Nowadays, you can choose between in-camera focus modes, which affect the alignment of the focus points and the speed of focusing.
How Does Manual Focus Work?
Apart from leaving the focusing to the camera, there is the manual focus option.
Refocusing is a waste of time when capturing a subject on the same focal plane and not moving closer or farther away. Your camera might also have trouble autofocusing in other situations, like very low contrast or low light scenes. Shooting through glass is an excellent example of autofocus issues. In these times you are going to need to set the focus manually.
Older cameras had a focusing screen that helped the manual focus.
Modern cameras place a red halo around objects when they are in focus. This is called focus peaking. In mirrorless systems, you can do it in the electronic viewfinder too.
DSLRs let you focus in live view mode, which means you can zoom into the picture on the LCD screen.
How to Use Autofocus with Manual?
Many lenses have a special feature, allowing you to autofocus the camera, then modify the result manually.
Some lenses will not let you manually adjust the focus when in autofocus mode. Read the user manual to see if your lens is capable of that. You can break the focus ring if you force it.
What are Internal and External Focusing?
There are two different types of focusing—internal and external. You will know if you have external focusing since the lens’s front element will extend when you focus.
This is handy to know for filters, especially polarising filters. If your lens turns when focusing, you will need to focus before setting your filters to their desired effect.
What Are Distance Indicators?
Lenses, especially analogues, have built-in distance indicators. These are to focus, especially when you need to focus to infinity. They are not exactly precise. But they are a good guide for knowing which way to turn the lens to focus at a particular distance.
What Are Depth of Field Indicators?
The lenses that have distance indicators usually have depth of field indicators too. These are marked as ’22’, ’11’ and ‘8’. These numbers may differ depending on the lens, its design, and its properties.
What these markings designate is how much of your scene will be in focus at a particular aperture. These are always in relation to the distance indicators and the aperture ring. So always check these together.
What Are Lens Mounts?
Your lens connects to your camera body via lens mounts. There are three main types of mounts—screw (in analog cameras), in medium format analogues they use a lock ring, and the third is bayonet fitting.
The first two is very rarely used these days, yet you may encounter them on vintage lenses.
The benefits of bayonet fittings allow lenses to be changed faster. They secure on the camera body in a much safer way. Bayonet fittings also allow electronic connections between the camera and the lens. This is what allows autofocusing and electronic control of the aperture.
Each camera manufacturer has their own lens mounts. This is except for the Four-Thirds mount, which is backed and used by several manufacturers. It is also possible to buy adapters so that lenses from one manufacturer can be used on other manufacturer’s camera bodies.
What is Image Stabilisation?
Many modern camera lenses have built-in image stabilization. This feature allows you to capture scenes handheld that was previously challenging. This technology utilizes the latest gyroscopic sensors and motors to stabilize any movement in the lens elements.
Telephoto lenses are the ones that feature image stabilization.
This is because longer focal lengths suffer worse from camera shake than from shaky hands. Your images might be blurred.
The rule is to shoot at a shutter speed no lower than your focal length. A 50mm lens has a limit of 1/60th of a second, and a 300mm lens has a 1/250-1/300 range. IS allows you to bring this setting down to something more friendly.
Some cameras have built-in image stabilization. This turns every one of your lenses into a stabilised eye.
Not all vibrations are reduced by image stabilization. There is a limit to how far this floating lens element can move.
On top of this, camera movements that you would like to keep might be removed. For example, panning shots would not work so well.
Image stabilization is quite power-hungry. Your batteries might not last as long as they would normally. Turn it off when not using it.
What Filters Are Good for?
Most lenses have a filter thread in the front bezel. The filters cover a range of different options, including adding tints or darkening a scene.
Filter Threads
Every threaded filter has a different size, so it is crucial to choose the right one. On the filter, you will see the threading size that will look something like Ø=68mm. The significant benefit here is you can use these filters as lens protection.
Many photographers add a skylight or UV filter at the front. This stops any scratches, paint, dirt, or bumps affecting the front lens element.
Circular polarising lens (CPL) and Neutral Density (ND) filters are the other two most commonly used filters.
Drop-in Filters
Drop-in filters or square filters fit into a holder—the holder screws into the lens bezel.
The benefit here is that each filter you use does not have to be screwed into the lens. This is a cheaper option but less versatile than filter threads.
Rear Filters
Some lenses do not accept filters at the front of the lens. This is especially true for specialty lenses, such as extreme wide-angle/fisheye lenses.
The front of these lenses is rounded, which leaves no space for a traditional front filter.
Some of these lenses have a slot at the rear of the lens where a filter can be added.
Lens Hoods
When direct sunlight hits your lens, it creates ‘flares‘ or ‘hot spots’. The sun could be hitting at an angle because you photograph the sun straight on. The lens hood stops the direct ambient light from ruining your images.
Something like this is tough to control when using a wide-angle lens with an 84° field of view. Some ultra-wide lenses have the lens hood already built-in.
Teleconverters
Teleconverters modify the behaviour of the lens you are using.
These secondary lenses sit between a camera body and a lens. They have an optical element within them, which refocuses the light.
By refocusing the light, they effectively extend the range of your focal length.
The most common teleconverters are 1.4x and 2x. A 1.4x teleconverter on your 70-200mm lens would give you an effective focal length of 98-280mm.
The downside is you lose some light as the aperture minimum also increases at the same ratio.
The f/2.8 becomes f/4 and f/5.6, respectively. This results in quality loss too.
How Can You Focus on Close Subjects?
Every lens has a minimum focus distance. This means that you can only place your lens at a certain distance to your subject before you can no longer focus.
Using macro lenses are just one way you can get closer to your subject. There are three other ways you can capture small objects at a ratio of 1:1 and closer.
How to Use Macro Filters
A close-up lens (also known as a close-up filter or macro-filter) is a way you can get close to your subjects. This secondary lens enables you to capture macro shots without the need for a special lens.
Close-up lenses work the same way as reading glasses. They allow the lens to focus more closely than it would normally. These are easy to use. Just screw on the thread at the front of the lens, and away you go.
The benefit here is that you can stack them and use multiple filters together.
A +1, +2, and +4 will give you +7 steps of closeness.
How to Use Extension Tubes
Macro extension tubes are lens spacers. They do not have optical elements inside them like the teleconverters do, which is a cheap option.
They usually come in three different sizes, 7mm, 14mm, and 28mm. You can stack them together. 7mm + 14mm + 28mm = 49mm extension spacer.
Extension tubes work by reducing the focusing range of the lens you are using. You can bring your subjects much closer to your camera. However, you lose the possibility of focusing to infinity.
How to Reverse Your Lens
The other cost-effective option is to reverse a lens you already own. This might be strange, but it works well. Take the lens off and turn it around, so the front lens element is facing the inside of your camera. Now, you will be able to focus on items very closely.
There are lens reversing rings, allowing you to connect your camera mount to your reversed lens.
What You Need to Know about Aberrations & Distortions
Aberrations
When light travels through a lens, it hits and bends when encountering the glass inside.
Not all light bends the same way. Some colors are affected more than others. They could be down to minor imperfections, diffractions, or refractions of the light.
Aberrations fit into two concepts. Those that work with color (chromatic aberrations) and with single points of light (monochromatic aberrations).
Also, vignetting means that the brightness and saturation of an image decrease towards the edges of the image.
Distortions
Every lens has a varying degree of distortion. Generally, you will find smaller amounts when using prime lenses. This is down to fewer elements needed for the lens to work.
Constantly improving technology helps to keep distortions to a minimum. Tilt-shift lenses are also great solutions to these problems.
There are two main types of distortions. Barrel distortion makes the center of the image appear closer than the edges. Pincushion distortion makes the center appear much further away than the edges do.
Wide-angle lenses are plagues with distortion.
Their wide field of view needs to fit on a small, rectangle surface. You will notice the center seems unaffected. But, expect straight lines to curve as you extend to the edges of the frame.
And if you have a mixture of the two aforementioned, you will end up with moustache distortion.
What Can Affect Sharpness?
Sharpness is crucial when you want to have quality photographs. This is why it’s important to know what and how can affect it.
Center Vs. Edges
The sharpness of your images comes down to how good your lens is. Also, for optimal sharpness, you need to use your lens correctly.
Lenses tend to be sharper in the center. The edges and corners are furthest away from the sensor and can suffer some loss. The greater edge sharpness often appears in more expensive lenses.
Zoom Range
One of the biggest problems with variable focal length or zoom lenses is their sharpness range. A zoom lens has to compromise between many features, so versatility pushes the sharpness from the top spot.
It is not always clear where the optimal sharpness lies. Some lenses are sharpest at the extremes of their range. Other lenses can be sharper around the center of the range. There are a few lenses whose sharpest areas come and go throughout the focal length range. To find out if your lens does this or not, you need to get used to reading MTF curves.
Aperture Range
The other big thing you need to understand is that a lens curve of sharpness changes with its aperture range. Shooting wide open, your area of focus is smaller.
Go down a few stops, and you will notice a huge difference. After the peak, your lens becomes less and less sharp, but it’s a gradual change.
We have to mention lens diffraction here as well. A smaller aperture can cause it, resulting in loss of sharpness when light waves meet a barrier on their way, their behaviour changes. This happens when they hit a small hole. The aperture breaks their way.
Special Lenses
Apart from zooms or prime lenses, even stepping out of the wide-angle, standard, or telephoto lens realm, there are other lenses we need to talk about.
These specialty lenses have been created for specific reasons.
What is a Tilt-Shift Lens?
A tilt-shift lens is a lens created to mimic the possibilities a large format camera gave us.
Perspective distortion is created because a large building is at increasingly different distances away from your camera. The top is farther away from you than the bottom is. A parallax error is created.
These lenses let you change the focal plane to match the relative distance of the building from the camera. This change from a perpendicular focal plane to a parallel one fixes the problem.
What is a Fisheye Lens?
Fisheye lenses are ultra-wide-angle lenses. They fall into the focal length category of anything below and including 14mm. These lenses create a very unusual perspective in photography, usually resulting in a circular image.
When we use lenses that cause barrel distortion, we correct them to create a more realistic image. We embrace the distortion and use them to create something creative.
You can use them, for example, for sports, parties, or real estate photography.
What to Know About Macro Lenses
Macro lenses are specific glassware that allows you to capture small subjects and blow them up to bigger-than-life size.
Macro lenses are telephoto lenses that have a close near point. The near point is the closest point to the lens where the subject is in focus. This is why they can focus from 1cm to infinity.
These lenses have their price, but luckily you cannot only use them for shooting macro images. They function as standard lenses.
Conclusion
Camera lenses are essential parts of your gear. They might be some of the most expensive too. It’s worth knowing what kind of lenses you need and what features to pay attention to.
Sometimes you can use filters or converters to save money and make your lens more versatile. Learning a few tricks from our camera lens guide will pay off.
Get off Auto-Mode and take Stunning photos for life with our Photography Unlocked course!
CCTV Camera Lens | The right choice
Content:
-
Introduction
-
Lens resolving power
-
Matrix fit
-
Focal length
-
Diaphragm
nine0008 -
Aperture
-
IR correction
One of the key components of the camcorder is the lens , which has a large number of its own characteristics that are directly related to the quality of the resulting image.
Even the most expensive high-end camera can be a big disappointment if the wrong lens is matched to it.
A lens is a system of lenses designed to project an image of an object of observation onto a photosensitive element of a camera. When passing through all the lenses of the objective part of the light is lost. Along with it, the clarity of the image passing through the lens is also lost.
This feature is due to the existence of two types of lenses.
Analog Lenses are medium-definition transmission lenses suitable for mounting on standard analog cameras. nine0041 Megapixel . In such lenses, the lenses are selected with high definition so that the spot size of the rays collected on the matrix is as small as possible. Aspherical lenses are often used in such lenses, providing sharp lines not only in the center of the image, but also along its edges. Such lenses are characterized by a resolution in megapixels and are selected in accordance with the resolution of the camera itself.
The good news is that today some manufacturers, not looking to save on the quality of camera components, put megapixel lenses on analog cameras, thereby allowing users to get a great picture. nine0003
Consider the main characteristics of lenses, what they are for and their effect on the image.
1. Lens resolving power
This is a characteristic of a photographic lens that reflects its ability to transmit a clear image.
The resolution of the lens is estimated by the number of reproducible strokes per 1 mm of the image that it is able to project onto a photosensitive element (film or digital camera matrix). It goes without saying that in this case the subject being photographed is in focus, and not in the sharp image zone for this lens. nine0041 To select a lens for a particular camera, it is more convenient to use the concept of lens resolution. This term refers to the maximum resolution of the image coming from the camera, which the lens can transmit without degrading the image quality.
If it is indicated that the lens is suitable for 3 megapixel cameras, this means that when installed on any camera with a resolution up to 3 megapixels inclusive, the lens will not degrade the resolution of the resulting image. Otherwise, a lower resolution image will be obtained. nine0003
2. Matrix size matching
Each lens is designed to build an image of a certain size. Therefore, it is mandatory to select a lens for the size of the matrix - if the manufacturer indicates that the lens is suitable for cameras with a 1/3 ”matrix, then you can put it on cameras with exactly this size of the matrix or less (for example, 1/4"). on a camera with a 1/2.5" sensor, part of the sensor will not be covered by the lens, and black areas will be visible at the edges of the image. nine0003
3. Focal length or distance from the optical center of the lens to the sensor plane
First of all, you need to decide whether you need a lens with a fixed focal length or with a variable one.
If everything is clear for a lens with a fixed focal length: a camera with such a lens has a sharp, focused picture when it leaves the factory. Then for cameras equipped with a zoom lens, it may be necessary to adjust the focus - focus. nine0041 Focusing means adjusting the lens to the exact distance to the subject. Adjustment is made by moving the lenses (or group of lenses) inside the lens.
With other camera parameters unchanged, the smaller the focal length, the wider the viewing angle, but the smaller the objects in the image. Conversely, as the focal length increases, the objects in the image will appear larger and appear closer, but the field of view will be narrower.
nine0003
Focal length and angle of view
Zoom lenses have one or more movable lenses that can be moved to zoom in or out as desired. To find out the degree of magnification of such a lens, you need to divide its maximum focal length by the minimum.
To perform various tasks, zoom lenses can be mechanically or motorized.
Let's take a closer look at these lenses. nine0041 Mechanical adjustment is carried out by the installer directly on the site and is associated with certain inconveniences - it is necessary either to use a special tester with a monitor, or to communicate with a partner who monitors the accuracy of the settings on the monitor. There are also cameras with a sound indication of the focus setting, but this is more of a rare exception than a generally accepted standard.
Mechanical lenses include varifocal lenses are manually adjustable lenses. When setting the varifocal lens, zoom and focus are adjusted separately. nine0041
More convenient are the motorized lenses , which are remotely controlled and adjusted after mounting. The adjustment of the lenses of such lenses is carried out using micro drives (with separate zoom and focus adjustment), which are controlled by the operator's commands. Motorized lenses are optimal when there is a need to remotely adjust the camera or when the camera is installed at a high altitude, which is associated with a risk to life.
Motorized lens , in turn, can have auto focus, in which case it is called zoom. Focusing in the zoom occurs automatically when the camera zoom is adjusted.
The zoom lens groups move relative to each other in an interconnected manner so that the image is always in focus when zooming. The zoom is considered more perfect, having three motors that control zoom, focus and aperture. But models with fewer motors (for example, two to control zoom and focus only) can also perform a wide range of tasks. nine0041 The main function of zoom lenses is not to adjust the camera, but to quickly pan when instantaneous zoom is required while tracking the subject. As a rule, such lenses are used in PTZ cameras that can change their direction and zoom, thereby surveying large areas.
4. Diaphragm
The lens aperture is selected depending on the lighting conditions, since this parameter allows you to adjust the amount of light that passes through the lens and hits the camera's matrix.
Aperture reduces the chance of image flare in strong light and image loss in low light. nine0003
Separate lenses with manual and automatic iris.
The manual iris is adjusted, respectively, manually on the camera body or via the camera menu. Manual iris lenses are used in rooms with constant lighting. It can be an office, an educational institution or a 24-hour supermarket.
The automatic iris of the video camera is controlled by a signal that comes from the camera using a special motor that is attached to the lens or using a control element built into the video camera board. That is, the camera independently processes the signal coming from the matrix, evaluates the amount of light and sends a command to the lens, according to which the required degree of aperture opening is set - thereby the lens automatically adjusts to changing lighting conditions. This allows you to get an equally good image regardless of the lighting level. Such lenses are mainly used for outdoor surveillance and in conditions of changing lighting at the facility.
nine0041
5. Aperture
This characteristic shows how much light passes through the lens and hits the matrix. When passing through the lenses, some of the light is lost, as each lens reflects some of the light that hits it. As the focal length of the lens increases, its aperture deteriorates.
To reduce light loss, thin films or several layers of films are applied to the surface of the lenses one on top of the other. This allows you to increase light transmission and enhance image contrast by suppressing glare. The larger the lens aperture, the more light will hit the sensor and the better the image quality when shooting in poor lighting conditions without using a backlight. Accordingly, in changing light conditions, the automatic aperture, which was mentioned above, becomes very useful. nine0003
6. IR correction
The selection of lenses in the lens of the surveillance camera is carried out in such a way that after the light rays pass through all the lenses (taking into account the angles of refraction), the rays are collected in a certain place.
When working in night mode with IR illumination, having a different angle of refraction, the infrared light beam shifts to the IR range, not gathering in the right place, and the focus point shifts. Therefore, at night, you can observe a slight defocusing. This problem is solved by such a lens option as IR correction, which allows you to get a clear picture both in the daytime and at night. nine0003
Image plane shift when switching to IR mode using a lens without IR correction
In conclusion, it should be noted that the selection of a lens should be approached carefully, taking into account many factors: the tasks assigned to video surveillance, camera properties, object features, its illumination, and much more. The use of an appropriate lens distinguishes truly high-quality video surveillance equipment. And when you need a crisp, clear, high-resolution image, a quality and well-chosen lens is a must. nine0003
Best Wildlife Photography Equipment
Best Wildlife Photography Equipment - Canon EuropeARTICLE
Professional wildlife photographers Marina Kano and Markus Varesvuo talk about their favorite equipment for capturing stunning images of the natural world.
Bird photographer Markus Varesvuo says the Canon EOS R5 has had a big impact on his workflow. “In late winter and early spring, I spent two weeks filming black grouse on the lek, where they do mating dances,” he says. “I've been doing this every year for several decades, and as a result I have accumulated an archive of images of these birds fighting and flying into each other. However, with the EOS R5, this event sparkled with new colors for me. This is a big step forward." Taken on a Canon EOS R5 with a Canon EF 400mm f/2.8L IS III USM lens at 1/3200 sec, f/2.8 and ISO5000. © Markus Varesvuo
Wildlife photography requires patience, perseverance, an understanding of animal behavior patterns and the ability to work on location. Also, the presence of a telephoto lens will not hurt. The Canon EOS system has a lot to offer professional wildlife photographers, from telephoto primes, zooms and super telephoto lenses to high-speed, high-quality cameras that can handle even the most extreme shooting conditions faced by photographers looking to capture shy wildlife.
nine0141
But what are the best Canon cameras and lenses for wildlife photography? We asked two Canon Ambassadors, African wildlife specialist Marina Kano and bird photographer Markus Waresvuo, to talk about the cameras and lenses they use to capture stunning images of the natural world, while Mike Burnhill, Canon Europe Professional Products Specialist, will share technical insights.
This manual introduces RF lenses for use with Canon EOS R system full-frame mirrorless cameras, and EF lenses for use with EOS DSLRs and EOS R cameras via the EF-EOS R Mount Adapter without sacrificing quality or functionality. nine0003
Do you have Canon equipment?
Register your equipment and get access to free expert advice, equipment maintenance, exciting events and special offers - join the Canon Professional Services program.
JOIN CPS
African wildlife specialist Marina Cano appreciates the fast burst shooting and autofocus of her Canon EOS-1D X Mark III.
“Together, these features allow you to quickly prepare for shooting and capture the best moments,” she says. Taken on a Canon EOS-1D X Mark III with a Canon EF 600mm f/4L IS III USM lens at 1/2000 sec, f/4 and ISO400. © Marina Cano
“When photographing wild animals, you never know what you will encounter,” says Marina. Animals can run after bushes or quickly jump between branches. However, the tracking system on the EOS-1D X Mark III allows you to keep your subject in focus.” Taken on a Canon EOS-1D X Mark III with a Canon EF 600mm f/4L IS III USM lens at 1/1250 sec, f/9 and ISO2500. © Marina Kano
1. Best DSLR for wildlife photography: Canon EOS-1D X Mark III
With high-speed autofocus, 20fps fast continuous shooting. The Canon EOS-1D X Mark III is built to last and is ideal for professional wildlife photography.
“When shooting wildlife, which in my case is Africa, the action unfolds instantly and I just don't have time to take good care of the equipment,” says Marina.
“I often leave my cameras on dusty ground or dirty floors in vehicles, and I often work in clouds of dust or slanting rain that fills the inside of a car – sometimes both phenomena can be seen in one day.” nine0003
Canon EOS-1D X Mark III
Rugged, durable and easy to use DSLR with 20.2 MP full frame sensor and 61-point AF system, the EOS-1D X Mark III lets you capture better images faster than the competition .
Learn more
“During my recent trip to Tanzania in April 2021, I captured a picture of a cheetah running through the rain between hills. I didn't have time to worry about the camera getting wet and I knew I could totally rely on the EOS-1D X Mark III." nine0003
Wildlife photographer Bruno d'Amicis took the Canon EOS R3 to the test when he traveled to Abruzzo, Italy to capture the elusive sea plovers. With the EOS R3's 120 fps refresh rate electronic viewfinder and up to 30 fps continuous shooting. With full tracking AF/AE, it's even easier for photographers to track and shoot fast-moving subjects even in low light.
Taken on camera Canon EOS R3 with lens Canon RF 600mm F4L IS USM at 1/4000 sec, f/4.5 and ISO 1600. © Bruno d'Amichis
On the EOS R3, Tracking AF recognizes birds as the main subject in all AF modes, including the new Flexi Zone AF, in which the size and shape of the AF area can be manually selected. This unique combination of capabilities makes the EOS R3 ideal for capturing fast-moving subjects such as these coastal birds. Taken on camera Canon EOS R3 with lens Canon RF 600mm F4L IS USM+ Extender Canon RF 2x and the following settings: 1/640 sec., f/8 and ISO 400. © Bruno d'Amicis
2. Best mirrorless camera for high-speed wildlife photography: Canon EOS R3
Canon's flagship full-frame mirrorless camera, the EOS R3, brings a new level of performance to professional wildlife photographers.
The EOS R3 is equipped with a Canon-developed BSI CMOS image sensor and offers continuous shooting speeds up to 30 fps. with full tracking autofocus/autoexposure. It also features an innovative eye-tracking autofocus system that allows you to move the focus point to look at a different area of the frame. nine0003
“For example, when shooting a flock of birds, this autofocus allows you to isolate the bird of interest faster than manually changing the focus point or moving the camera,” explains Mike. “The EOS R3 allows you to select a subject for the system to track by simply moving your gaze to the desired area of the frame, without you having to recompose.”
Canon EOS R3
A camera designed to capture fast-moving subjects that meets the highest demands of professional photographers with ultra-fast response, high sensitivity, reliability and durability. nine0003
Learn more
Subject tracking AF is supported for all AF area modes, including bird, cat, and dog AF, and the new Flexi Zone AF, which allows you to change the size and shape of the AF area—ideal for shooting creatures of different sizes.
The camera not only offers multiple autofocus modes, but also boasts the world's fastest focusing time of 0.03 sec. — and the most effective in low light — down to brightness levels of -7.5 EV or lower — with autofocus among full-frame cameras.*
The EOS R3 features a built-in Image Stabilizer that delivers industry-leading 8-stop-equivalent performance with select RF lenses attached to the EOS R3, providing unrivaled flexibility when shooting at long focal lengths.
“The wide maximum aperture of the Canon EF 400mm f/2.8L IS III USM makes it my go-to choice when shooting in low light,” says Markus. "It's also the best when it comes to capturing fast movement." Taken on a Canon EOS R5 with a Canon EF 400mm f/2.8L IS III USM lens at 1/4000 sec, f/3.2 and ISO4000. © Markus Varesvuo
The Canon RF 400mm F2.8L IS USM lens is also an excellent choice for low light photography. “The EF 400mm f/2.8L IS III USM design team was also involved in the development of the RF lenses,” says Mike.
Therefore, these models share many technologies and electronic components.” Taken on camera Canon EOS R5 with lens Canon RF 400mm F2.8L IS USM at 1/4000 sec, f/2.8 and ISO 200.
3. Best Canon Lenses for Low Light Wildlife Photography: Canon RF 400mm F2.8L IS USM and Canon EF 400mm f/2.8L IS III USM
A fast f/2.8 aperture and quality optical components make the Canon EF 400mm f The /2.8L IS III USM and its counterpart in the RF range, the Canon RF 400mm F2.8L IS USM, are excellent choices for capturing superb images even in the most adverse conditions.
“The EF 400mm f/2.8L IS III USM is a must for bird photography during the Finnish winter,” says Markus. “Only its combination of fast focusing and high aperture allows me to photograph birds in flight in low light conditions.” nine0003
Canon RF 400mm F2.8L IS USM
Super telephoto lens with high optical performance and class-leading portability, performance and image quality.
Learn more
Tele focal length separates the subject from the background and, together with a maximum aperture of f/2.8, makes these professional 400mm lenses ideal for capturing shots that focus the viewer's attention on the animal or bird of choice. “I used the EF 400mm f/2.8L IS III USM at f/2.8 to shoot the meerkats and the background got a soft blur effect,” says Marina. nine0003
With comparable technologies and features, the Canon EF 400mm f/2.8L IS III USM and the Canon RF 400mm F2.8L IS USM offer similar optical performance, so you can be confident that you will be taking quality photographs when used as full-frame mirrorless cameras of the EOS R System and digital SLR cameras. “Both of these lenses are also much lighter than their counterparts,” adds Mike.
However, the Canon EOS R3's 12-pin RF lens mount allows for faster lens-to-camera communication, as well as a wide bandwidth that enables faster communication for more efficient focusing when using the RF 400mm F2.
8L IS lens with the EOS R3 USM. nine0003
The Canon EF 600mm f/4L IS III USM lens offers five stops of image stabilization and fast ring-type USM autofocus, which is useful when tracking fast-moving subjects like this screamer eagle. “I use this lens to capture a wide variety of wildlife including elephants, lions, caracals, eagles and herons,” says Marina. Taken on a Canon EOS-1D X Mark III with a Canon EF 600mm f/4L IS III USM lens at 1/3200 sec, f/4 and ISO640. © Marina Cano
The Canon RF 600mm F4L IS USM super telephoto lens captures close-ups of even the most shy animals with exceptional image quality in all conditions. Taken on camera Canon EOS R5 with lens Canon RF 600mm F4L IS USM at 1/800 sec, f/4 and ISO 800.
4. Best Canon bird lenses: Canon EF 600mm f/4L IS III USM and Canon RF 600mm F4L IS USM nine0160
Marina and Markus chose the Canon EF 600mm f/4L IS III USM as their must-have lens. “It offers unimaginably high quality,” says Marina.
Markus needs maximum magnification to shoot so he can stay away from the shy birds he photographs. “The EF 600mm f/4L IS III USM is the lens I use the most,” he says. “When needed, I also use the EF 1.4x III Extender and EF 2x III Extender, mounting them on EF 600mm f/4L IS III USM and EF 400mm f/2.8L IS III USM lenses without any loss in quality. The extra focal length allows you to photograph even the most shy birds from a distance.” nine0003
Canon EF 600mm f/4L IS III USM
Incredibly lightweight 600mm f/4 lens with 5-stop Image Stabilizer for exceptional image quality and pro-level performance.
Learn more
With class-leading portability and performance, the Canon RF 600mm F4L IS USM lens with RF mount is becoming the go-to lens for professional nature photographers. Attached to the Canon EOS R3, the RF 600mm F4L IS III USM becomes even more effective in bird photography with bird AF mode and the new Flexi Zone AF mode, which allows you to choose the size and shape of the AF area, especially for those who taking pictures of small birds.
nine0003
For more affordable super telephoto lenses for wildlife photography, you can also consider the Canon RF 600mm F11 IS STM and even the Canon RF 800mm F11 IS STM. “Until now, 800mm lenses were too expensive, too big and heavy—you had to plan where and when you would use them,” explains Mike. “However, this lens is lighter than a water bottle and can easily be carried in your equipment bag.”
The compact size of the EF 100-400mm f/4.5-5.6L IS II USM lens makes it an excellent choice for wildlife photographers who often travel light. Taken on a Canon EOS-1D X (Next generation now available at: Canon EOS-1D X Mark III) with lens Canon EF 100-400mm f/4.5-5.6L IS II USM at 400mm, 1/125 sec, f/5.6 and ISO800.
“The Canon RF 100-500mm F4.5-7.1 L IS USM is easy to hold and the image quality and focus are outstanding,” says Markus. It also allows you to focus on subjects as close as 1.2 meters with the 500mm focal length, allowing Marcus to get as close as possible to capture this skittish brown-headed nut.
Taken on a Canon EOS R5 with a Canon RF 100-500mm F4.5-7.1 L IS USM lens at 472mm, 1/160 sec, f/7.1 and ISO250. © Markus Waresvuo
5. Canon's Most Versatile Wildlife Lenses: Canon RF 100-500mm F4.5-7.1 L IS USM and Canon EF 100-400mm f/4.5-5.6L IS II USM
Versatile zoom range, optical components exceptional quality and a portable, weatherproof design make the Canon RF 100-500mm F4.5-7.1 L IS USM and Canon EF 100-400mm f/4.5-5.6L IS II USM lenses excellent choices for handheld wildlife photography .
Both the EF and RF models are equipped with 3-mode Image Stabilizer, however the EF 100-400mm f/4.5-5.6L IS II USM supports four stops slower than lenses without IS, while the RF 100-500mm F4. 5-7.1 L IS USM provides an effect equivalent to five stops of exposure. nine0003
Canon RF 100-500mm F4.5-7.1 L IS USM
L-series build quality and 5-stop image stabilization make this lens an exceptional performance lens, while UD lens elements and an ASC coating provide unparalleled contrast and clarity to create the highest quality images.
Learn more
“A 500mm lens is a great entry point for bird photography,” says Mike. What's more, the RF 100-500mm F4.5-7.1 L IS USM is also compatible with RF extenders. Autofocus on the Canon EOS R3, EOS R5 and EOS R6 models works in such low light that the camera will easily focus even when the aperture is closed, including at f/22.” nine0003
If you're on the budget, consider an even more versatile lens, the Canon EF 200-400mm f/4L IS USM Extender 1.4x. “It offers a 200-400mm focal range with a constant f/4 aperture and a built-in extender,” says Mike.
“The EF 70-200mm f/2.8L IS II USM [newly available: EF 70-200mm f/2.8L IS III USM] is one of my favorite lenses,” says Markus. “I have been working with him regularly for several years, and he becomes my companion when I go to shoot birds and landscapes, such as this image of the Great Owl.” Taken on a Canon EOS-1D X Mark III with a Canon EF 70-200mm f/2.8L IS II USM lens at 100mm, 1/2000 sec, f/10 and ISO10000.
© Markus Varesvuo
6. Best Canon Lenses for Non-Profile Wildlife Photography: Canon RF 70-200mm F2.8L IS USM and Canon EF 70-200mm f/2.8L IS III USM
Shorter telephoto zoom lenses such as the Canon RF 70- The 200mm F2.8L IS USM and the EF 70-200mm f/2.8L IS III USM are great additions to a wildlife photographer's kit as they allow you to capture an animal while preserving its surroundings. A constant f/2.8 aperture makes these professional zoom lenses perfect for wildlife photography in low light, too. nineThe 0003
RF 70-200mm F2.8L IS USM has the advantage of a more compact body than its EF counterpart, and is equipped with a 5-stop Image Stabilizer.
Canon RF 70-200mm F2.8L IS USM
This high-performance F2.8 telephoto zoom lens is the third in a trio of new RF lenses, with a compact body and exceptional image quality for use in any shooting situation.
Learn more
“When you fly on an airplane, you want to fit as much equipment as possible in your hand luggage, so size and weight really matter,” says Mike.
“The RF version is significantly smaller and lighter, and offers lightning fast focusing.”
Marina took this shot with a Canon EF 16-35mm f/2.8L II USM lens (newly available: EF 16-35mm f/2.8L III USM) to capture the majestic sky. “Telephoto lenses are great for wildlife photography, but they provide a compressed perspective,” says Mike. “A wide-angle lens, in turn, adds depth to the composition and makes it more voluminous.” Taken on a Canon EOS-1D X Mark II (now succeeded by the Canon EOS-1D X Mark III) with a Canon EF 16-35mm f/2.8L II USM lens at 1/500 sec, f/ 5.6 and ISO 1000. © Marina Kano
7. Best Canon Lenses for Capturing Wildlife in Their Surroundings: Canon EF 16-35mm f/2.8L III USM and Canon RF 15-35mm F2.8L IS USM
using an ultra wide angle lens such as the Canon RF 15-35MM F2.8L IS USM, but if you can do it, you can capture the animal in its natural surroundings. The ability to control a Wi-Fi-enabled EOS camera using the Canon Camera Connect app on a smartphone or tablet makes these lenses ideal for setting camera traps.
nine0003
Marina uses a Canon 16-35mm f/2.8L II USM (the next generation is now available: Canon EF 16-35mm f/2.8L III USM). “I love how this magical lens captures the small silhouette of a giraffe or elephant against a skyline or skyline,” she says. “This creates an immersive effect that reflects the scale of Africa.”
Canon EF 16-35mm f/2.8L III USM
Premium ultra wide-angle zoom lens with a constant f/2.8 maximum aperture for superior image quality even in low light. nine0003
Learn more
The EF 16-35mm f/2.8L III USM's state-of-the-art optical design delivers edge-to-edge clarity, while the RF 15-35mm F2.8L IS USM offers a number of additional features. “They are similar sized lenses that offer comparable image quality, but the RF model adds a lot more, including a 5-stop Image Stabilizer,” says Mike.
Canon RF 100mm F2.8L Macro IS USM and The EF 100mm f/2.8L Macro IS USM offers hybrid image stabilization.
“Handheld macro photography will move the camera up, down, right, and left instead of tilting and panning,” explains Mike. “Therefore, the hybrid system is designed to compensate for both types of vibration.” Taken on camera Canon EOS R5 with lens Canon RF 100mm F2.8L Macro IS USM at 1/160 sec, f/7.1 and ISO 6400. © Oliver Wright
8. Best Canon lenses for close-up wildlife photography: Canon RF 100mm F2.8L Macro IS USM and Canon EF 100mm f/2.8L Macro IS USM
When it comes to small wildlife, there is nothing better than a comfortable macro lens with high image quality. The Canon EF 100mm f/2.8L Macro IS USM short telephoto lens delivers true-to-life reproduction of the subject at 1x magnification when shooting from a distance where you can't scare away dragonflies or other insects. nine0003
Its counterpart in the RF range offers 1.4x magnification at the same time. “The difference between 1x and 1.4x does not seem to be that significant,” says Mike.
“However, in fact, this is almost a 50% increase in the size of the object.”
Canon RF 100mm F2.8L Macro IS USM The
RF 100mm F2.8L Macro IS USM is a professional macro lens with class-leading 1.4x magnification and spherical aberration control for fine bokeh.
Learn more
“Another advantage of the Canon RF 100mm F2.8L Macro IS USM is the focus breath reduction feature,” adds Mike. “It will make it easier for you to stack images on top of each other, using the focus stacking technique to create macro photos with increased depth of field.”
When paired with the Canon EOS R3 camera, the RF 100mm F2.8L Macro IS USM lens offers maximum flexibility with up to 8-stops of stabilization for crisp macro photography even handheld at high magnifications. nine0003
By Marcus Hawkins
Only for photography with f/1.2 lens, excluding RF lenses with Defocus Smoothing (DS) coating, using center AF point and single-servo AF at room temperature and ISO 100.
ARTICLE
Brent Stirton Conservation Photography
The award-winning photojournalist talks about his motivation for creating wildlife stories, his equipment and the importance of covering a story in great detail.
Find out more
ARTICLE
Wildlife's most extreme shoots
Five of the world's leading wildlife photographers talk about their toughest shoots and how they got the images they want.
Find out more
ARTICLE
Canon EOS-1D X Mark III Photographing Rare Desert Animals
Marina Cano captured curious creatures and fearful endangered species in the Kalahari Desert as part of the Canon EOS-1D X Mark III's first wildlife shoot.
Learn more
ARTICLE
Shooting birds of prey at dusk with the EOS-1D X Mark III
How does Canon's flagship action camera perform when used to capture fast birds in low light? Wildlife photographer Markus Varesvuo figured it out for you.
