Wide-Angle Lenses

0 Views ·Posted 09/08/2022
FUJIFILM has just released the ultra-wide-angle GF 20-35mm f/4 R WR Lens for the medium format FUJIFILM GFX system. This compact lens (no larger than a full-frame camera lens) is the GFX System’s widest-ever optic (prime or zoom) with a full-frame equivalent field of view of 16-28mm and a constant f/4 maximum aperture. Like the other lenses in the GFX System, this new zoom lens is designed to provide spectacular results for landscape,
0 Views ·Posted 08/08/2022
Sigma is adding two wide-angle prime lenses to its premium Art lens family—the Sigma 20mm f/1.4 DG DN Art and the Sigma 24mm f/1.4 DG DN Art lens for Sony E-mount and L-Mount full-frame digital cameras. With features designed to control sagittal coma flare, special lens coatings
0 Plays ·Posted 08/12/2021
On this week’s episode of the B&H Photography Podcast, we welcome back an old friend of the show, photographer Mark Mann. Mann is known for a catalog of portrait work that includes celebrities, musicians, and politicians of the highest regard. In our previous episode with Mann, we discussed photographing Bill Murray
0 Plays ·Posted 07/29/2021
Photographer Sally Davies embodies a beautiful creative spirit, and I think that spirit also resides in the homes of the 72 New Yorkers she photographed, who are included in her wonderful portrait book, appropriately titled, New Yorkers. If this spirit does not exist and Davies is not in tune with it, how could she have captured such wonderful stories of people and their places and done it so efficiently, in some cases in just minutes? We
0 Views ·Posted 04/20/2021
Sony has just announced the fourteenth lens to join its coveted G Master lineup: the ultra-compact, ultra-fast, and ultra-wide 14mm f/1.8 GM Lens. Ideal for capturing landscape, architecture, and astronomical subjects, as well as creative portraits and close-ups, this low-distortion prime delivers the optical quality that has come to characterize Sony’s top tier of lenses while remaining impressively compact and
by Allan Weitz ·Posted 04/19/2021
A friend of mine once described his favorite wide-angle lens as his “gateway to landscape photography,” and that’s a pretty good metaphor for wide-angle lenses if I ever heard one. Wide-angle lenses and ultra-wide-angle lenses naturally lend themselves to capturing landscapes with a sense of depth. They also tend to capture a sense of drama that you seldom get when photographing landscapes with longer focal length lenses. Photographs © Allan Weitz 2021 Wide-angle lenses feature angles of view (AoVs) ranging from about 63° to about 74°, which
by Todd Vorenkamp ·Posted 04/19/2021
When it comes to capturing the world’s scenic vistas, there is nothing quite like photographing natural or urban beauty with a premium high-end landscape lens. The traditional “landscape lens” for generations of photographers has been the wide-angle prime lens. While the modern prime lens cannot be beat for its optical quality and performance,
by Todd Vorenkamp ·Posted 03/25/2021
Many new photographers find that their images lack a certain feel or “pop.” While it is tempting to think that buying the newest version of your DSLR or mirrorless interchangeable lens camera is the key to unlocking your hidden photographic potential, it is not. If you want to move your photos from “meh” to “wow!” there are two things you should focus on (no pun intended): composition and upgraded optics. This
0 Plays ·Posted 03/04/2021
On today’s episode of the B&H Photography Podcast, we welcome wedding and portrait photographer Kesha Lambert. We are excited to speak with Lambert about her approach to wedding photography on today’s show, but she is also speaking at the upcoming 4th annual Depth of Field Portrait, Wedding, and Event Photography Conference, which is a
by Allan Weitz ·Posted 02/12/2021
I’ll never forget the first time I looked through the viewfinder of a camera fitted with a 20mm ultra-wide-angle lens. Everything looked amazing and I blew several rolls of film shooting everything I saw along the way. Prior to using this “exotic” lens, I had never shot with anything wider than the 50mm normal that came with my first 35mm camera. The sobering part came when I developed the film and started eyeballing the results of my first outing. In a word, they were underwhelming, but I kept at it until I figured out how to use ultra-wide-
by Allan Weitz ·Posted 02/12/2021
Macro photography never ceases to amaze me. Show me the face of a jumping spider reproduced at life-size or greater and I’ll undoubtedly stop what I’m doing and stare at it for a while. What’s interesting is how ultra-wide-angle lenses, which are available for DSLRs and
by Allan Weitz ·Posted 02/10/2021
In addition to its innovative image-processing abilities, the recently introduced Zeiss ZX1 is also notable as being the first camera to wear the Zeiss nameplate in five decades. This Classic Camera review is about the last camera to wear the Zeiss nameplate—the Zeiss Ikon Hologon Ultrawide (1969-71), which was as technically remarkable as its 21st-century follow-up act. Although this article is a classic “camera” review, the story is really about
by Allan Weitz ·Posted 01/28/2021
Fifty-five years ago, Leica introduced a groundbreaking high-speed normal lens for Leica M-series cameras. It was called the Noctilux 50mm f/1.2, and it remains the gold standard among photographers who shoot in low light, to this very day.   In a nod to its fabled heritage, Leica is introducing an updated 2021 edition of this lens—the Leica Noctilux-M 50mm f/1.2 ASPH. Leica has been reaching into its archives of classic glass and
0 Plays ·Posted 01/14/2021
On this week’s episode of the B&H Photography Podcast, photographer Matt Price describes skate photography as the “perfect blend between studio and sports photography” and, from our engaging conversation, this idea will be made clear. Price knows of what he speaks—in addition to an acclaimed freelance career, he has been a staff photographer and editor for The Skateboard Mag and is currently Brand Director at CCS Skateshop and
by Allan Weitz ·Posted 12/15/2020
Filtering ultra-wide-angle lenses, which are generally defined as lenses with diagonal angles of view of 90° or greater, can be challenging. And the greater the AoV, the more challenging filtering can become. The big problem has to do with vignetting, which in the case of filtering ultra-wide-angle lenses means seeing the edges of the filter in the corners of the frame. In the case of full-frame cameras, this is seldom an issue with lenses in the 18mm to 21mm range (approximately 90° to 100° AoV) assuming you are using threaded, thin-mount