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Capture In-Action Portraits Using a Wide Angle Lens

Capture In-Action Portraits Using a Wide Angle Lens

Photographing a couple from up close can drastically change the way your image feels. Getting up close with a wide angle lens creates a sense of action and aliveness that draws the viewer in.

Today, I’ll be photographing Jacob and Ravena using the Canon RF 28-70mm f/2 and the RF 70-200mm f/2.8 on the Canon EOS R5 to show you the differences in storytelling between both of these lenses. This is one of my favorite techniques when photographing engagements, so let’s dive into how to put it into action.

From Far Away With a Telephoto Lens

Capture In-Action Portraits Using a Wide Angle Lens 1

To get my composition, I had to be quite far away, and I instructed Jacob and Ravena to walk in my direction.

Capture In-Action Portraits Using a Wide Angle Lens 2

I love the depth from the focal length and aperture. However, these images just feel too far away. I don’t feel the excitement in these images. Let’s switch it up by using the wide angle lens instead.

Up Close With a Wide Lens

Capture In-Action Portraits Using a Wide Angle Lens 3

A 24mm or 35mm prime is perfect for this technique. If not, a good wide angle zoom will do the trick.

Capture In-Action Portraits Using a Wide Angle Lens 4

To get the same composition, I got up close to Jacob and Ravena. The scene already looks better.

Capture In-Action Portraits Using a Wide Angle Lens 5

I asked Ravena to lead Jacob to create depth and direction in the movement. I recommend using Face Detect if your camera includes that feature to help with staying in focus.

Capture In-Action Portraits Using a Wide Angle Lens 6

Here are some of the images with the wide angle lens.

The Dutch Angle

Capture In-Action Portraits Using a Wide Angle Lens 7

Image by Lin & Jirsa

The Dutch Angle can be cliché and overused, but if used properly, it can help emphasize the organic and spontaneous feeling we’re trying to achieve here. The slight slant to the photos helps make the image feel like it was captured on a whim and emphasizes the sense of authenticity.

Capture In-Action Portraits Using a Wide Angle Lens 8

Here are the final images using the Dutch Angle.


Capture In-Action Portraits Using a Wide Angle Lens 9

Check out our final shot compared to where we first started. Notice how much more alive the image feels. That’s the power of a wide angle lens.


Next time you’re with a couple, try out this technique and see for yourself the massive difference in how the image captures the action when you’re up close with a wide angle lens! For a full course on photographing couples, check out Engagement Photography 101, available on SLR Lounge Premium. In addition, check out Visual Flow for intuitive lighting-based presets such as the Modern Pack, which we used for our final images. Thanks for joining us this week, and we’ll see you next time!

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Fujifilm Introduces The Instax Link Wide Smartphone Printer

Fujifilm Introduces The Instax Link Wide Smartphone Printer

The Link Wide from Fujifilm creates prints in a large format, using Instax Wide instant film, a first for the brand’s smartphone printer category.

Instant Printer

Link Wide


Fujifilm has updated its line-up of instant printing devices with a printer that will produce large format instant prints and is designed to sit alongside the Instax Mini Link smartphone printer introduced in 2019.

Link Wide creates instant prints from the photo roll on a smartphone via the Instax Link Wide App which can be downloaded for free. Plus, it’s also compatible with the Fujifilm  X-S10 mirrorless digital camera.

The Link Wide transfers an image and starts the print in about 12 seconds, supports continuous printing, and is capable of generating about 100 Instax instant prints per battery charge. Two printing modes are available:  Instax Rich and Instax Natural along with 30 filters, collage options, a cropping tool, the ability to add text, frames and in-app stickers. 


Link Wide


Pricing And Availability

The Instax Link Wide smartphone printer is available in two colours, Ash White and Mocha Gray, and is available for purchase on 22 October 2021 at a manufacturer’s suggested retail price of £129.99.

Instax Wide Black instant film, which has a black border instead of the usual white frame, will be available for purchase in late October 2021 at a manufacturer’s suggested retail price of £9.99.

Visit the Instax website for more information. 

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Fujifilm Instax Link Wide Smartphone Printer Announced

Fujifilm Instax Link Wide Smartphone Printer Announced

October 13, 2021

Fujifilm has announced the new Instax Link WIDE smartphone printer, a wireless Bluetooth printer that prints onto Instax WIDE film, the same film used by the Fujifilm Instax Wide camera. It will also support printing from the Fujifilm X-S10.

Fujifilm has also announced a new film pack with black background, priced at just £9.99 for a film pack.

The Instax Link Wide will be available from the 22nd October, priced at £129.99

Instax Link Wide in Hand

From Fujifilm:  Taking Smartphone Image Printing to New Widths

Fujifilm Introduces the instax Link WIDE Smartphone Printer

FUJIFILM Corporation announces the much-anticipated launch of its instax Link WIDE smartphone printer (Link WIDE), the latest in the instax line-up of instant printing devices. Built to complement the successful instax mini Link smartphone printer introduced in 2019, Link WIDE creates the ability to print images in a large format, on instax WIDE instant film, a first for the brand’s smartphone printer category.

“This product came to life thanks in part to tremendous positive feedback from our instax and photographer communities,” said Toshi Ida, President FUJIFILM Europe. “After enjoying all the image printing capabilities available from the instax mini Link, so many of our consumers reached out, enthusiastically requesting an instax WIDE photo printer option as well, in order to print their smartphone or digital camera images on a larger scale. With its updated features and ease-of-use, we’re confident that Link WIDE will delight our consumer base while satisfying their desire for a wide option for printing images taken on smartphones or digital cameras.”

Link WIDE creates high-quality, wide instax instant prints from the photo roll on a smartphone via the free instax Link WIDE App (required for full functionality)*1, connecting with the printer via Bluetooth*2. The App provides users with a variety of fun and creative features and options in printing their smartphone images, and Bluetooth allows a quick and seamless transfer from the phone to the Link WIDE printer.

In addition to smartphone compatibility, Link WIDE is also compatible with the FUJIFILM X-S10 mirrorless digital camera, allowing photographers to send their images directly from the camera to the Link WIDE printer.

Instax Link Wide QR Print

The main features of Link WIDE include:  

Lightweight design built for portability and speed

Surpassing the functionality offered by other smartphone printers in its class, the lightweight, handheld Link WIDE transfers an image and starts the print in about 12 seconds, supports continuous printing, and is capable of generating about 100 instax instant prints per battery charge. Link WIDE provides two printing modes; instax Rich, accentuating deep, warm colors, and instax Natural, which emphasizes the inherent tones of the image.


Dedicated Link WIDE app designed for intuitive operability

The Link WIDE App has been designed for ease-of-use with a variety of useful image printing options. The App features editing tools including cropping, approximately 30 filters, collage capabilities, adding text to the printed image, as well as in-app stickers and frame templates. Additional App features include:

  • Sketch, Edit & Print – import sketches and handwritten text, add them to photos, add sticker icons, and print.
  • Printing photos from videos – select a frame within a video and print it.
  • QR Print Mode: add a QR code to scan with a Smartphone to your photo, with the ability to:
    • Record sound
    • Link to a website
    • Tag your location on the print
    • Record a hidden message


Instax Wide Film Black Frame

New film variety available

Also accompanying the launch of Link WIDE is the new instax WIDE Black instant film, a new contrast on the traditional white-bordered look. The stylish black border provides eye-catching contrast against the printed images. instax WIDE Black instant film will be available in a single pack with 10 exposures.

New instax WIDE accessories available

The instax Link WIDE will be complemented by a number of snappy accessories to help users share their favourite instax photos in creative ways.

Whether you want to keep things cool with printable instax WIDE Magnets for your fridge, celebrate special occasions with unique and personalised instax WIDE Greetings Cards, or create beautiful collections of up to 40 photos with the instax Peel & Stick WIDE Album, there’s a host of options to help you share your most treasured memories with your nearest and dearest in a fun and inventive way. 

Instax Link Wide in different colours

Pricing and availability

instax Link WIDE smartphone printer

The instax Link WIDE smartphone printer is available in two colors, Ash White and Mocha Gray, and is expected to be available for pre-order on 13th October 2021, and for purchase on 22nd October 2021 at a manufacturer’s suggested retail price of £129.99. instax WIDE Black instant film will be available for purchase in late October 2021 at a manufacturer’s suggested retail price of £9.99.

instax Link WIDE accessories

  • instax WIDE magnets / pack of 10 has a manufacturer’s suggested retail price of £8.99
  • instax WIDE Cards / pack of 10 has a manufacturer’s suggested retail price of £8.99
  • instax Peel & Stick Album / holds up to 40 WIDE photos has a manufacturer’s suggested retail price of £17.99

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New gear: Fujifilm Instax Wide smartphone printer

The new Fujifilm Instax Link Wide Smartphone printer.

Fujifilm’s new smartphone-friendly Instax printer—the Instax Link Wide—has officially landed. As the name suggests, it makes use of the brand’s largest format instant film, Instax Wide, and is the first Fujifilm printer to do so. It’s designed to be complementary to 2019’s Instax Mini Link, and so many of the specs are the same, just bigger.   

Instax Link Wide Key Features

The Instax Link Wide smartphone printer makes prints in approximately 12 seconds and can generate about 100 prints per charge. It connects to your phone via Bluetooth and within its dedicated “Instax Link Wide” app, you can choose a variety of printing options. Options include access to editing tools and 30 different filters. You can also use the app to choose and print still frames from a video and/or add text or a QR code to an image.  

The new Fujifilm Instax Link Wide Smartphone printer.
The new Instax Link Wide printer is a little bigger than a standard portable hard drive. Fujifilm

Additionally, it allows users to choose between two printing modes: “Instax Rich,” which boosts deep, warm colors, or “Instax Natural,” which emphasizes the image’s natural tones.

Although it’s bigger than the original Instax Mini Link, it’s still compact and lightweight enough to make it easy to travel with. At 5.5 inches by 5 inches by 1.3 inches, the printer it’s only slightly larger than a portable hard drive and comes with a convenient stand for your desk. 

First Impressions

A sample print from the new Instax Link Wide printer
We’re big fans of the “Instax Rich” printing mode, which boosts warm tones. Jeanette D. Moses

Prior to launch, we got our hands on an Instax Link Wide and so far we’re impressed. The “Instax Rich” printing mode makes the colors on the final prints pop considerably. And the ability to print larger (than Instax Mini) gives users more flexibility when collaging images together or adding text elements (see below).

The premade editable templates within the app make it easy to create elegant-looking prints that could easily double as thank you cards, wedding announcements or holiday cards. And if you are design-savvy, you can import your own text elements. Although the collage modes and ability to add text to the images is fun, where the Instax Link Wide really shines is in simple print mode. 

A sample print from the new Instax Link Wide printer
The dedicated app offers a lot of creative freedom to create collages and/or trick out your prints with text and more. Jeanette D. Moses

In terms of operation, the Instax Link Wide is incredibly easy to use. You load the film in through the back of the printer, charge via USB and press the large button on the top of the printer to turn it on. Everything else is done through the app which has intuitive edit modes and shows you how many pieces of film are left in the printer, as well as how much battery is left.

Within the app’s menus, you will also find options for selecting print modes and Bluetooth settings. There’s also the option to create and print QR codes onto your images. These can link to a Website, location tag or audio recording.

Instax Wide cost per print

Expect to pay about $1 per print with the Instax Link Wide printer. Color film packs contain ten shots and film tends to be sold in a 2-pack (20 shots) for $20. However, there are deals to be had on bulk pack purchases. Black-and-white Instax Wide tends to be a bit pricier at $15 for a single pack (10 shots).

The new Fujifilm Instax Link Wide Smartphone printer.
Choose betweenAsh White (shown) or Mocha Grey for $149.95. Fujifilm

Instax Link Wide price and availability

There’s a lot to love about the Instax Link Wide and we suspect this smartphone printer will be highly sought after this holiday season. It comes in Ash White or Mocha Grey and will be available by the end of the month for $149.95.

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Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 10

Fujifilm has announced the Instax Link Wide Smartphone Printer. The Link Wide prints images in a larger format, specifically on Instax Wide instant film, a first for the company’s smartphone printer lineup.

Fujifilm says the Link Wide will create high-quality, wide photo prints using images from a smartphone camera roll, transferred to the printer via the Instax Link Wide App. The printer connects to a smartphone via a Bluetooth connection.

In addition to smartphone compatibility, the Link Wide is also usable with the X-S10 and will allow photographers to send images directly from the camera to be printed on the Link Wide printer.

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 11

Fujifilm says that the main features of the Link Wide printer hinge on its lightweight design which it says is built for portability and speed. The company also says that it surpasses the functionality of other smartphone printers “in its class” and is able to transfer an image and start a print in about 12 seconds. It also supports continuous printing and is capable of generating around 100 Instax instant prints per battery charge.

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 12

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 13

The Link Wide has two print modes: Instax Rich and Instax Natural. Rich is touted as accentuating deep, warm colors while Fujifilm says that Natural emphasizes the inherent tones in the image.

Fujifilm says that in addition to providing printer functionality, the app — which is required in order to fully take advantage of the printer — also has a variety of “fun and creative” features and options. It has some editing tools including cropping, about 30 filters, collage creation capabilities, offers the ability to add text to a printed image, and also has digital stickers and frame templates. It additionally allows users to import sketches and handwritten text and add them to photos before printing. The app also allows users to select a frame within a video file and print it as if it were a still photo.

Prints can also be embedded with a QR code that, when scanned, links to a website where a recorded sound, tagged location, and message can be shared.

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 14

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 15

Also accompanying the launch of Link Wide is the new Instax Wide Black instant film that Fujifilm says is a new contrast on the traditional white-bordered look and provides more contrast against printed images. The Instax Wide Black instant film will be available in a single pack with 10 exposures for $22.

Fujifilm Unveils the Instax Link Wide Portable Smartphone Photo Printer 16

The Link Wide Smartphone Printer is available in Ash White or Mocha Gray and is expected to be available for purchase in late October for $150.

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When 300mm Is a Wide Lens

There’s no real upper limit to how large a camera sensor or film can be. “Full frame” cameras are smaller than medium format digital, which itself falls behind most medium format film – and so on. At the high end of the scale are Ultra-Large Format (ULF) film cameras.

What is an ultra-large format camera? It’s any camera with an imaging area larger than 8×10 inches. In other words, each individual sheet of film – and it is film rather than digital, unless you’re NASA – is substantially larger than a standard sheet of printer paper. Even a basic 1200 PPI scan of ultra-large format film is going to be hundreds of megapixels… not that most scanners can fit such large sheets of film in the first place.

As the name implies, ultra-large format is massive compared to typical 35mm “full frame” sensors or even medium format. Relative to the sensors in a phone, the difference is astronomical.

I chose that term – “astronomical” – because comparisons to astronomy are easy to make with cameras this large. For example, here’s the relative size of the Earth versus the Sun:

Earth vs Sun Size To Scale

And here’s the largest sensor on the iPhone 13 Pro Max versus ultra-large format film (16×20, not even the largest standard ULF size):

iPhone Sensor Size vs 16x20 Ultra Large Format Film Camera

Many digital photographers have at least heard of 4×5 or 8×10 film cameras, which are large cameras in their own right. But those aren’t ultra-large format. They’re not big enough. Instead, the usual classification goes like this:

  • Typical digital cameras through 6×9 cm film: Medium format and smaller
  • 4×5 through 8×10 inch film: Large format
  • Anything larger: Ultra-large format (ULF)

These days, the most popular formats of ULF cameras are 11×14, 14×17, 16×20, and 20×24. There are also more panoramic sizes like 7×17, 8×20, and 12×20. (All of those dimensions are the inch measurements of the film for the camera; by comparison, a full-frame sensor is about 1×1.5 inches.)

For many ULF photographers, shooting with this sort of camera is a hobby in and of itself. Think of the differences between off-road Jeepers, vintage car restorationists, and minivan parents. All of them can technically get you from Point A to Point B, but they’re not really after the same things. That said, it’s still about photography at the end of the day, and you can get some stunning images from ULF cameras with enough effort.

By the way, here’s what an ultra-large format camera looks like:

Ultra Large Format Camera

That one, admittedly, is a bit extreme. It’s a 4.5×8 foot camera that was the largest camera in the world in the early 1900s. No surprise, that’s large enough that you’d have to build one from scratch today rather than buying from an established company. But it goes to show that these cameras can be as big as you can build them.

If you’re wondering, there are some working professional photographers who use ultra-large format cameras today (generally not quite 4.5×8 feet) and even a few companies that still make them new. I want to push back on the idea that ultra-large format cameras are nothing but antiquated collectibles. Nor are they just “let’s test my woodworking skills” builds. Here and there, a few photographers still put in the extraordinary effort required to use these cameras because the results can be impossible to achieve any other way.

And what results are those? For most photographers, it’s all about contact printing – placing the negative directly on a sheet of light-sensitive paper and getting a one-to-one print. Contact prints are remarkably faithful to the original negative (if you want them to be) and are capable of more detail than any other type of print. However, it’s an all-analog process with a lot of hoops to jump through before it turns out right.

Why You Shouldn’t Get an Ultra-Large Format Camera

I know that by writing about ultra-large format cameras on a popular site like Photography Life, I may be tempting some photographers who never even knew such cameras existed to get that twinkle of GAS in their eyes. But to the vast majority of photographers, I urge against buying one. They’re remarkable cameras, but they’re also deeply impractical in almost every way.

If you’re feeling adventurous, there’s a better solution: Go for a large format 4×5 or 8×10 camera instead. Those formats are already slow and difficult to use – easily enough to fill your daily quota of tribulation. But at least they’re nearly reasonable. With 4×5 or 8×10 cameras, you have a good selection of lenses, film, spare parts, and accessories, and you should be able to troubleshoot any problems pretty easily. By comparison, the ultra-large format realm is like pulling teeth from a chicken while simultaneously herding cats.

Ansel Adams with 4x5 Camera
Ansel Adams was smart and used 4×5 or 8×10 for most of his life. 4×5 shown above.

An unavoidable fact of ultra-large format cameras is that they are large and heavy. Take the smaller end of things, for example: 11×14. Typical 11×14 cameras weigh about 20 pounds, not counting at least an additional 3-5 pounds of weight for a lens and a two-shot film holder. Even the lightest 11×14 cameras on the market (aside from rare custom builds) weigh about 13 or 14 pounds, body only.

If you plan to carry such a camera beyond view of your car, good luck finding a backpack that can hold it comfortably – or even fit the camera in the first place. I’ve seen some photographers repurpose cumbersome kayaking backpacks for the job because at least those bags are big enough. Other photographers, even today, carry these cameras on a horse or mule.

Pack Horse
Henry Raschen, CC BY-SA 3.0, via Wikimedia Commons. California miner.

What ultra-large format lacks in practicality, it makes up for by being fiendishly expensive. Some “alternative” films aren’t so bad – like repurposing x-ray film from the medical industry – but a single 11×14 sheet of a standard B&W film like Ilford FP4+ is about $12. The cost of developing the negative is another few dollars for the chemicals if you do it at home, or $10 at one of the few remaining labs which still develops 11×14. That’s $15-20 per photo! It better be good. (Color film at this size does exist, but only via special order from Kodak, and the minimum order costs about as much as a new car.)

For crying out loud, the Wikipedia page on ultra-large format photography has a dedicated section called “encumbrances.” Beware, beware, when ULF is in the air.

So, I Got One

How could I resist something like that? Meet my new 11×14:

11x14 camera in the field

I’ve been saving for this camera since I first learned about ultra-large format photography several years ago, and it just arrived this week. Yes, it’s difficult to use (to put it mildly) and yes, digital cameras have a million advantages over it. But for a number of reasons (I’ll talk about them in a later article) I couldn’t be happier with this for my landscape photography.

Cumbersome though the 11×14 format is, I’ve done as much as possible to keep my 11×14 setup in the “backpackable” weight range. I sacrificed a bit of stability to go with a lighter 13-pound camera, along with three double-sided film holders – meaning that I can take six shots before needing to change film – and two relatively light lenses. I’ll be developing each sheet of black and white film myself to keep costs down.

It’s tricky to find lenses that cover such a large format, especially if you want them to be lightweight and inexpensive. I chose a 305mm lens for my wide-angle, equivalent to about 28mm on a full-frame system. My other lens is 762mm, equivalent to about 75mm. Combined, the two lenses weigh 4.2 pounds / 1.9 kilos, which is as light as I could find for such a setup. I’m not concerned about the gap between these focal lengths but could always add a 450mm or 480mm eventually.

Below is a photo of my 11×14 camera compared to a Nikon Z7 for scale. Next to both of them is the 4×5 camera that I’ve been using as my main landscape photography setup in recent months:

11x14 vs Nikon Z7 vs 4x5
From left to right: 11×14, Nikon Z7, 4×5

You read that right – I’ve moved to large-format 4×5 for my dedicated landscape kit and have been using the Nikon Z7 for all other travel photography needs. The 11×14 camera is for special occasions when I have time to set everything up and wait for the right shot.

I know that Photography Life has an almost exclusively digital audience, which is why I’ve avoided talking about my experiences with large- and ultra-large format film so far. But it’s become such an important part of my photography that I’ll surely write about it some in the future.

In the meantime, I don’t yet have any sample photos from the 11×14 camera to share with you. (I’ve taken a few but am still working on my film development system.) So for now, I’ll leave you with a few previously unpublished images from my 4×5 camera that I took over the past months. These are the same sorts of landscapes that I’m planning to capture with the 11×14 over the next few years – assuming I spend enough time in the gym that I can carry it beyond my car.

4x5 Monochrome American Basin Mountain
Chamonix 4×5; Nikkor 300mm f/9 @ f/25, 2 seconds, Ilford FP4+ 125; No movements; Epson V850 scan
Crater Lake Smoky Sunset 4x5
Chamonix 4×5; Nikkor 90mm f/8 @ f/20, 1 second, Kodak Portra 160; Slight front shift down; Epson V850 scan
Great Sand Dunes Golden Light 4x5
Chamonix 4×5; Rodenstock Sironar N 150mm f/5.6 @ f/32, 1 second, Kodak Portra 160; Front tilt and swing; Epson V850 scan
Yosemite Telephoto Black and White 4x5
Chamonix 4×5; Nikkor 300mm f/9 @ f/20, 1/8 second, Ilford FP4+ 125; Slight front shift up; Epson V850 scan

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5 Helpful Tips for Photographing Landscapes With a Wide Angle Lens

5 Helpful Tips for Photographing Landscapes With a Wide Angle Lens

When it comes to landscape photography, a wide angle lens is most often the tool chosen for a given scene, simply because most scenes have a lot to take in. However, wide angle lenses come with their own unique challenges and pitfalls. This great video tutorial will show you five helpful tips for improving your landscape images when working with a wide angle lens. 

Coming to you from Photo Tom, this awesome video tutorial will help you take better landscapes photos when using a wide angle lens. By far, the most common mistake I see photographers make when using wider focal lengths is not including a foreground element of some sort. The danger is that wide angle lenses tend to push the background away, and without something in the foreground to give the viewer’s eye a place to enter the frame and travel to other elements, it can feel like an empty expanse. Including even just a small element, like a well-placed rock or flower, can make all the difference. Check out the video above for the full rundown. 

And if you really want to dive into landscape photography, check out “Photographing The World 1: Landscape Photography and Post-Processing with Elia Locardi.” 

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The best wide angle lens for your camera

Camera capturing a landscape

The best wide-angle lens is more versatile than you may realize. Technically, wide-angle lenses allow you to fill the frame with more content than other lenses but they also provide tools to create dramatic effects, especially at low or close angles. 

From ultra-wide to mid-range, wide-angle glass expands both the creative and practical aspects of picture-taking. While standard and telephoto lenses often are the more common components of your camera kit, a wide-angle lens (or two), will complement other focal lengths with their unique perspective.

Things to consider when choosing a wide-angle lens

Like any photography equipment, selecting the best wide-angle lens depends on how you plan to use it and, importantly, what camera you’ll be shooting with. Landscape photography is often the first genre that comes to mind when thinking about a wide-angle lens and while landscapes are one of the most common uses of wide-angle lenses, there are many more including street photography, environmental portraits, architecture/real estate, underwater and night sky photography.

For example, 14mm lenses are ideal for underwater photography and night sky images. Street photography and environmental portraits are often best served by 35mm lenses since they’re wide enough to include a subject’s surroundings without distorting people’s faces. You have more flexibility when you choose a wide-angle lens for landscapes and architecture since the optimal field of view depends on the scope of the scene.

Wide-angle lenses are generally considered to be any lens that is wider than 50mm on a full-frame camera. Multiply the focal length by 1.5x or 1.6x (Canon) for APS-C models and 2x for Micro Four Thirds cameras (Olympus and Panasonic). Obviously, you’ll need a wider lens for a  cropped sensor camera than a full-frame model to meet the “wider than 50mm” criteria.

Other criteria to consider is whether you want (or need) a prime lens or a zoom. While a zoom lens, of course, provides a broader range, a prime lens may be smaller and lighter and sometimes offers a faster maximum aperture (maximum aperture stops down when you zoom on some lenses). A faster maximum aperture, like f/2.8 or faster, translates to a shallow depth-of-field for times when you want a soft, beautiful background. 

If you’re flush with cash and want to pursue architectural photography, you can opt for a tilt-shift prime lens to offset skewed perspectives.

To help sort out the best wide-angle lens for your particular camera, we’ve sorted our “best” selection by brand.

Things to consider when choosing a Canon lens. 

The first consideration when choosing a Canon wide-angle lens is what mount your camera uses. Canon offers full-frame (EF), APS-C (EF-S) and two versions of mirrorless models: EOS-M (EF-M), which fit the more entry-level APS-C mirrorless models, and EOS R (RF), Canon’s full-frame mirrorless models. If you already have a stash of Canon DSLR glass, pick up an adapter to fit them to R cameras. 

Keep in mind that, although Canon EF lenses fit on Canon APS-C cameras (you’ll get the 1.6x APS-C crop when you do), the reverse isn’t true: you can’t mount a Canon APS-C lens (EF-S) directly onto a full-frame camera. It’s a little confusing so be sure to research lens compatibility and availability of adapters before you make a purchase.

Best Canon wide-angle lens: Canon EF 16-35MM f/2.8L III

Canon 16-35mm zoom lens is the best wide angle lens.

Canon cannon

This wide-angle lens is fast and sharp. Canon

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Designed for full-frame Canon DSLRs, this lens is also compatible with its APS-C DSLR siblings, this lens offers a versatile focal range. Edge-to-edge sharpness and weather sealing help push this wide-angle lens to the top of the list. The new Canon RF version looks promising, too.

Also consider: Canon RF 15-35mm f/2.8 L IS USM and Canon Canon EF-M 11-22mm f/4-5.6 STM.

Things to consider when choosing a Nikon lens

Nikon offers more cross compatibility than Canon for its DSLR and mirrorless camera lines. Full-frame and DX (APS-C) lenses are interchangeable within their individual DSLR and mirrorless Z models. It’s important to note, however, that full-frame lenses produce a cropped image when used on DX cameras. When mounting a DX lens on a full-frame camera, you can set the menu to automatically recognize a DX lens and switch to an APS-C crop.

If you already have one or more F-mount lenses and plan to switch to a Nikon Z mirrorless camera, be sure to pick up the FTZ (F mount to Z mount) adapter for full compatibility. We’ve used the FTZ adapter and it functions very well with no slow down of AF.

Best wide-angle lens for Nikon cameras: Nikon 14-24mm f/2.8G ED

Nikon wide-angle zoom is the best wide angle lens.

Rugged and ready

A constant f/2.8 aperture adds to this zoom lens’ versatility especially in low light. Nikon

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This lens is best matched with a full-frame Nikon DSLR to maximize its wide-angle benefits of view but it delivers equally impressive sharpness on DX DSLRs as well, although with a cropped field of view. Designed to reduce flare and ghosting, the Nikon 14-24mm f/2.8G ED lens delivers fast autofocus and edge-to-edge sharpness.

Also consider: Nikon Z 14-24mm f/2.8 S 

Things to consider when choosing a Micro Four Thirds lens. 

In addition to thinking about the genres with which you’re going to be shooting, it’s critical to remember that Olympus and Panasonic Micro Four Thirds (MFT) cameras double the effective field of view. That’s because they use a different sensor format than full-frame and APS-C cameras. 

Fortunately, the math is easy—just multiply the focal length that’s on the lens times 2 to get the 35mm (or full-frame) equivalent. While that doubling is great for telephoto lenses since you get double the focal length, giving you a lens that’s smaller and lighter than its full-frame or APS-C equivalent. The bottom line is that it’s more challenging to reach the wide-angle perspective you want with MFT. And, most of the MFT wide-angle lenses are zooms. Not that there’s anything wrong with that but it’s something to keep in mind.

Best Micro Four Thirds wide-angle lens: Olympus M.Zuiko ED 7-14mm f/2.8 PRO 

Olympus wide-angle zoom lens is the best wide angle lens.

Micro Four Thirds wide-angle lens

A fast aperture and a solid wide angle range make this lens a perfect fit for MFT users. Olympus

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One of the widest angle MFT zooms, the M.Zuiko ED 7-14mm f/2.8 PRO offers a wide-angle field of view at both ends of the zoom. It’s splashproof, dustproof and has a dedicated programmable Fn button.

Also consider: Olympus M.Zuiko 17mm f/1.8  

Things to consider when choosing a third-party wide-angle lens

While your camera’s manufacturer offers a wide range of wide-angle lenses, there are third-party options that may present a more appealing focal length, extra features or sometimes even a better price. But don’t let price alone be the driver of your choice. 

There are some really inexpensive options that tend to prove the point that you get what you pay for so be sure to read reviews if a lens sounds too good to be true. Importantly, check specifications to make sure that the lens delivers the same compatibility—especially autofocus—as a native lens.

Best third party ultra wide-angle lens: Sigma 14-24mm f/2.8 DG HSM/A

Sigma wide-angle lens is the best wide angle lens.

Team player

Rugged and protected from the elements, this fast wide-angle lens delivers excellent performance and images. Sigma

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A constant, fast f/2.8 aperture and speed, accurate autofocus are complemented by well-controlled distortion which is non-existent when focused at infinity. It’s a bit heavy but well worth the extra weight. Available for Canon, Nikon (which comes with a rear filter holder) and Sigma mounts.

Here are some other lenses to consider.

For Canon and Nikon DSLRs (FF & APS-C): Tamron 15-30mm F/2.8 DI VC USD G2   

For MFT, Sony E-mount, Canon EOS M mount and L Mount: Sigma 16mm f/1.4 DC DN C  

Things to consider when choosing a budget wide-angle lens

Like all lenses, the best place to start is with the focal length that best fits your needs. After that, budget lenses generally require a little bit of extra research to make sure that it will deliver the best possible image quality and performance for a lens in its class. Keep your expectations in line with the price point—you may not get the edge-to-edge sharpness or responsive autofocus with a budget lens that you would with a much more expensive lens.

At the same time, if you’re just starting to explore wide-angle photography, a reasonably priced lens will help you discover what works (and doesn’t work) for your style of photography. The good news is that some of the least expensive wide-angle lenses—such as those 35mm-equivalent models—are perfect for everyday photography. And, they’re often small and light enough that they won’t weigh you down when you’re out and about shooting.

Best budget wide-angle lens: Canon EF-S 24mm, f/2.8 STM

The Canon EF-S 24mm, f/2.8 STM is the best budget wide-angle lens.

Little buddy

This pancake lens is as fast as it is small. Canon

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Designed for Canon APS-C DSLRs, this little lens offers a 35mm-equivalent focal length of 38mm. Given its size, weight and good-for-everyday field of view, the Canon EF-S 24mm f/2.8 STM lens is perfect for street photography as well as environmental portraits and even cityscapes—all for less than $200.

Here are some other options to consider.

For MFT:  Panasonic LUMIX G II Lens, 14mm, F2.5 ASPH

For Nikon APS-C: Nikon AF-S DX 35mm f/1.8G

For Fuji X-series (APS-C): Rokinon 12mm f/2.0 NCS CS


Q: What is the best size for a wide-angle lens?

That depends. If you want the ultimate in wide-angle, choose a 14mm equivalent focal length (or zoom). This is perfect for landscapes with broad vistas. And 14mm is a favorite among underwater shipwreck photographers as well as those who spend their nights capturing starscapes and the Milky Way. But if you’re more likely to photograph street scenes or subjects at work or play, then a 35mm equivalent lens is a better option.

Q: What is the advantage of a wide-angle lens?

Simply put, a wide-angle lens allows you to fit more into a single frame—more landscape, mountains, more buildings, more anything. Just be careful if you’re photographing a large group of people since those towards the edge of the frame are likely to be distorted.

Q: Should I get a wide-angle lens?

The short answer is yes. A wide-angle lens adds versatility to your creative options. But choose your focal length carefully. You may not need an ultra-wide 14mm lens. Instead you may want to start out with a wide-angle lens (35mm or so) and then see if you need or want a broader field of view.

A final word about the best wide-angle lens

Regardless of your camera’s format—full-frame, APS-C or MFT—there are any number of wide-angle lenses from which to choose at a variety of price points. Adding a wide-angle lense (or two) to your camera gear can motivate you to add versatility to your image-making. And the best wide-angle lens may give you a whole new perspective on the world.

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Common Wide Angle Lens Mistakes in Landscape Photography

Common Wide Angle Lens Mistakes in Landscape Photography

When it comes to landscape photography lens choices, the default choice is almost always a wide angle lens. Making successful photographs with one is tricky, however. This great video tutorial discusses some of the challenges and pitfalls of shooting with them and what you can do to improve your work when using one.

Coming to you from Mads Peter Iversen, this awesome video tutorial discusses common mistakes landscape photographers make with wide angle lenses and how to fix them. By far, one of the most common mistakes I see is not including a proper foreground element. The problem is that wide angle lenses tend to push anything in the background away from the lens and make it look smaller, and when you do not have something compelling in the foreground, the resulting image can feel like it has a lot of empty space. A good leading line or foreground element can do a lot to balance out the composition and make a more interesting image. Check out the video above for the full rundown from Iversen.

And if you really want to dive into landscape photography, check out “Photographing The World 1: Landscape Photography and Post-Processing with Elia Locardi.” 

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Canon launches compact RF 14-35mm F4L IS USM wide zoom

Canon launches compact RF 14-35mm F4L IS USM wide zoom

Canon has launched a pro-spec optically stabilised ultra-wideangle zoom, in the shape of the RF 14-35mm F4L IS USM. Designed as a smaller, less expensive alternative to the RF 15-35mm F2.8L IS ISM, it accepts 77mm filters and will cost £1,750 when it goes on sale in late August. Together with the RF 24-105mm F4L IS USM and RF 70-200mm F4L IS USM, it provides Canon EOS R users with a trio of premium lightweight zooms covering a 14-200mm range.

Optically Canon has employed 16 elements in 12 groups, including three glass moulded aspherical elements and three constructed from UD glass to deliver maximum detail across the frame while suppressing chromatic aberration. In addition, Sub Wavelength structure Coating and Air Sphere Coating are employed to combat flare and ghosting.

Canon launches compact RF 14-35mm F4L IS USM wide zoom 17

The Canon RF 14-35mm F4L IS USM includes a lens control ring in front of the zoom and focus rings

With a minimum focus distance of just 20cm, the lens provides a very respectable 0.38x maximum magnification at the 35mm setting. It employs a nano-type ultrasonic motor for autofocus, and delivers 5.5 stops of optical stabilisation, increasing to 7 stops when used on the EOS R5 and R6 bodies that feature in-body stabilisation.

Physically the lens is reasonably compact, measuring 10cm in length and weighing in at 540g. It boasts dust and moisture resistant construction, with a fluorine coating on the front element to repel grease and water. Like the firm’s other RF lenses, the zoom and manual focus rings are joined by a lens control ring that can be used to change exposure settings.

Canon RF 14-35mm F4L IS USM: Full Specifications

  • Price: £1750
  • Filter Diameter: 77mm
  • Lens Elements: 16
  • Groups: 12
  • Diaphragm blades: 9
  • Aperture: f/4 – f/22
  • Minimum focus: 0.2m
  • Length: 99.8mm
  • Diameter: 84.1mm
  • Weight: 540g
  • Lens Mount: Canon RF
  • Included accessories: Front and rear caps, pouch, EW-83P hood

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