Why is a wide angle lens so popular with professional photographers? Choosing a Wide Angle Lens for Canon
Based on our experience, we've put together the top tips and tricks for shooting with a wide-angle lens to make your photos more interesting and recognizable, both in terms of composition and content. By the way, all smartphones have just such lenses, which means that these tips will be useful to all lovers of mobile photography.
Landscape, architecture, narrow spaces and streets of old towns, travel, street photography and even portrait photography. The use of a wide-angle is possible in any genre and direction. However, wide-angle photography can be both a nightmare and a pleasure depending on how well you learn to apply the tips and tricks below.
What is a wide angle lens
First of all, in photography there is no clear reference relationship between the lens category and its focal length. There are some conditional boundaries that each photographer can in some way "adjust" for himself personally. If we take the notorious Ken Rockwell, then he distinguishes for himself as many as three categories only for wide-angle lenses:
In this article, for ease of perception, we propose to simplify everything and dwell on the following: by a wide angle we will understand any lens with a focal length of less than 24 mm (in full-frame equivalent). When you're in the market for one of these lenses, we recommend checking out our picks for the best wide-angle for Canon and picks for the best wide-angle for Nikon. In each article, we select the main contenders in the category of interest to us, analyze in detail their weak and strengths, which allows you to ultimately recommend you a specific model for purchase.
#one. Choose an interesting foreground
The wide angle is able to fit a significant distance in front of you into the photo and to make it interesting for the viewer to look at your photo, so that he does not get bored of the huge empty space - he needs to show something in the foreground. This is especially useful for landscape photography.
#2.Shoot at the minimum focusing distance
As a general rule, "widths" allow you to focus much closer than standard, and even more so, telephoto lenses. Really close! On average, this is 20-24 cm and this distance is not considered from the front lens, but from the matrix of your camera, i.e. there will be a distance of about 10 cm to the object being photographed. It turns out something like a wide-angle macro, and often with background blur.
#3. Use distortion to your advantage
When framing your shot as you shoot, make sure that the distortion that wide-angle lenses have will work well for your future photography and your vision. The closer to the edges of the frame and closer to the lens are objects, the more distortion they are subjected to. This will be most striking for human figures.
This does not mean at all that a wide-angle portrait is impossible. On the contrary, you can get very interesting and spectacular pictures. If you want to maintain the normal proportions of the person being photographed, simply place the person in the center of the frame.
#four. Use converging lines
Converging lines are a very powerful and often used compositional technique. Lines force the viewer to look where you need to and eventually end up at the intended point or on the intended subject, which is the central semantic point of your photo. Very often this technique can be found in wedding photographs taken indoors or on city streets.
The wide-angle lens further enhances the perspective, stretches out all the lines, and with a little practice, you can find them almost anywhere. By the way, the lines do not have to be straight, for example, a path, tree trunks, river or stream banks are also great.
#5. Change the shooting point
This tip works great for all other lenses as well. By changing the point of view, you have a chance to show the viewer an unusual point of view, and this is always interesting and makes you stop looking. Try to take a few shots of ground level, then raise the camera high above your head, a couple more shots, and then look at the result. Please note that the lines that are present in your frame and which we wrote about a little earlier have lengthened even more.
#6. Watch your exposure
Since there is a large area in the frame, in which there can be both dark and light areas, it can be very difficult for the camera to understand what is the main subject of the picture. This part falls entirely on the photographer, who does not have many options for this situation.
- Make an exposure correction, thereby overexposure / underexposure of a certain area in the photo and then try to correct it in the editor.
- Compose the frame in a different way, excluding the object that stands out from the exposure.
- If we are talking about shooting a landscape, then option 3 appears - you need to use a gradient filter that will reduce the brightness of the sky in the photo. In this option, you once again say thank you to us, because. in our articles, when choosing the best wide-angle ( and ), we pay attention to lenses whose front lens does not rotate when focusing.
- Shoot during normal hours, just after dawn or shortly before sunset. Not only will you get a beautiful soft light that will look great in a photo and that everyone loves so much, it will also lead to a decrease in the difference in the exposure of the earth and sky.
#7. Have you ordered sunbeams?
Wide angles are quite prone to this kind of flare when you shoot against a light source (called backlight). As a result, a sunny hare can easily appear on your photo, which will be almost impossible to remove in post-processing.
If you don’t want to see hares in your photo, then you need to remove it at the time of shooting and this is quite simple to do. It is necessary to gradually change the angle of shooting and it disappears by itself. If there is no light source in the frame, then you can try to block the lens from it with your free hand. However, remember that this hare technique can be used to your advantage, it all depends on whether you like this effect and whether it will be appropriate in the photo.
#eight. Where is your shadow?
When you photograph with a light source behind you (which is more than half of all your photos), it is very easy to overlook the fact that your own shadow will be present in every photo. Be sure to follow this and change the shooting point if necessary.
#9. Consider Depth of Field
Another feature of wide-angle lenses is a very large depth of field, i.e. DOF - depth of sharply depicted space. For example, take the amateur series Nikon cameras or Canon (Nikon D3000+, D5000+, D7000+ series; Canon series 1000D+, 550D+, 70D+ and so on), put on a wide-angle and set focal length at 16mm, aperture to f/5.6, and focus on an object 2.5 meters away from us. Depth of field will start from 1.2 meters and go to infinity! If you want to play around with the depth of field yourself, just write the words “DOF calculator” in the search engine, and it’s best to verify this on a real lens.
Friends, in conclusion, I would like to once again draw your attention to the fact that all the techniques and tips listed above can both harm and spoil the photo, and can be used to create an atmosphere, spectacular shots and more viewer involvement. The result of your shooting with a wide-angle lens will depend entirely on you, your experience and your creative vision.
If you know any useful technique and we forgot to mention it, you want to tell and draw attention to it - be sure to write about it in the comments.
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A wide-angle lens is one of the most popular tools for landscape photographers. However, using it correctly is not so easy. The angle of view of wide-angle lenses is so different from what the human eye is used to that an inexperienced photographer can easily make annoying mistakes when shooting with such a lens. On the other hand, proper use of a wide-angle lens can help you get a spectacular photo. So how do you take pictures with a wide-angle lens? This article brings together all the key points you need to know to successfully shoot with a wide-angle lens.
If this is your first time picking up a wide-angle lens, you will immediately notice that it noticeably exaggerates linear perspective.
We are accustomed to the fact that the closer we get to an object, the larger its image in the picture, up to the fact that only some separate part of the object being shot will fit in the photo. The angle of view of wide-angle lenses is so wide that it allows you to be incredibly close to the subject and still fit it completely into the frame.
Of course, the actual perspective of the shots doesn't really depend on the lens used, but on the distance between the photographer and the subject being photographed. However, wide-angle lenses change perspective more than other lenses, allowing you to shoot objects closer than usual.
But do not forget that exaggerating perspective is a double-edged sword. On the one hand, it allows you to get a rich and detailed foreground image. On the other hand, everything that is beyond the foreground is incredibly compressed. For example, if you shoot mountains with a wide angle lens, you will get large and detailed images of objects in the foreground in the photo, while the mountains themselves will look tiny and completely devoid of grandeur.
It is this feature that is the main problem that photographers face when using a wide-angle lens for landscape photography. Therefore, before taking a photograph of a landscape, evaluate the scene being shot - if there are large objects in the frame in the background, the scale of which you would like to convey, then the wide-angle lens will not the best choice for these purposes.
For clarity, compare the two photos below. The first was taken with a 20mm lens. As you can see, the mountain range in the background looks nondescript and somehow small:
Photo at 20 mm. NIKON D800E + 20mm f/1.8 @ 20mm, ISO 100, 3/1, f/16.0 © Spenser Cox
The second photo was taken with a 70mm lens. Evaluate how the same mountains look on it. As they say, without comment:
Photo at 70 mm. NIKON D800E + 70-200mm f/4 @ 70mm, ISO 100, 1/25, f/11.0 © Spenser Cox
This brings us to another key point to remember when shooting with a wide-angle lens: always pay attention to the foreground. If objects in the foreground are larger and more detailed, then it is natural that they should be interesting and eye-catching for the viewer.
Take another look at the foreground of the first photo above. He's frankly boring. All we see is the usual grass bushes and chunks of rock, which are obviously not important enough to take up half of the photo.
Despite these features, wide-angle lenses are ideal for many types of landscape photography. If you have a good foreground, then feel free to use a wide-angle lens - it will make the viewer feel like they can enter the photo. To achieve a similar effect using telephoto lenses - more suitable for shooting distant objects - is almost impossible.
Features of shooting with a wide-angle lens: Wide view
Many photographers believe that it is not worth using a wide-angle lens as a means to fit all the desired subjects in the frame. But one can disagree with this opinion.
Sometimes a picture may open before your eyes, which can only be captured with a wide-angle lens (or take several shots with a telephoto lens and “stitch” a panorama from them in the editor). Obviously, you will need to pay close attention to the foreground and background, but the result is worth it. An example of such a situation is when you notice. If you want to capture this amazing sight against the backdrop of the landscape, then the best choice becomes a wide-angle lens.
A wide angle of view sometimes confuses photographers who start shooting landscapes with a wide angle lens. When they see a beautiful view, they shoot it at the widest angle available on their lens. Then, when they open the resulting photos on a computer, they see large blank areas in the captured frames, and try to figure out what went wrong.
When shooting with a wide-angle lens, always pay attention to the composition of the shot, making sure that there are some interesting elements in each area of the photo. In most cases, your wide-angle lens will fill large areas of the photo with grass and sky. Agree that such images, most likely, will not be very effective.
Remember a simple rule: using a wide-angle lens is justified when there is a need to fit a lot of interesting objects into the frame, and each area of \u200b\u200bthe image will contain something that can attract the viewer's attention. To be honest, these situations are rarer than you might think.
How to take pictures with a wide angle lens: Negative space
Another option for using a wide-angle lens is to create photos with a lot of negative space.
What is negative space? In photography, negative space is an area of the image that is not occupied by anything and does not attract the attention of the viewer. If your photo is of a lone low tree surrounded by a snowy field, then there will be a lot of negative space in that image.
Wide-angle lenses do a great job of filling a photo with negative space, but more often than not, this happens against the photographer's wishes. If you want to capture the beauty of a distant mountain, then you don't want 3/4 of the frame taken up by an empty sky that few people look at.
However, for some images, negative space is incredibly powerful. It allows you to highlight your subject by surrounding it with an empty area.
Negative space gives the photo an air of loneliness and emptiness. If you are trying to show the insignificance of the subject being photographed in the world around you, then negative space is exactly what you need.
Of course, in landscape photography, this technique is rarely used. And the decision to use it depends solely on the creative intent of the photographer.
Conclusion
Wide-angle lenses are one of the most popular tools in landscape photography for a reason. Only they allow the photographer to shoot close to the subject without worrying that it will not fit into the frame. In addition, if you are shooting a scene filled with many interesting and aesthetic elements, then a wide-angle lens can become the best way to capture her.
Wide angle lenses are not easy to use. They tend to add a lot of negative space to the frame, which is not always desirable. At the same time, they reduce the area of the background of the photo in relation to the rest of it. Since wide-angle lenses produce an image that is very different from what the human eye is used to, many photographers use them incorrectly.
If you learn to deal with the difficulties and quirks of using wide-angle lenses, they will have a place in your arsenal for a long time to come. In addition, the longer you shoot with a wide-angle lens, the more you learn and use it more effectively.
How do you use wide angle lenses? Share your experience in the comments below.
As a traditional bonus, we offer you an interesting video about shooting with a wide-angle lens:
Sourced from photographylife.com. Author and photo: Spencer Cox.
- Severe perspective distortion(you need to learn how to correct them in the editor, or use them as a creative technique)
- distortion(relatively easy to edit in Adobe Lightroom)
- Lack of dynamic range(from the corner large field well-lit objects will fall into the frame, as well as objects in deep shadow - master HDR)
- When using manual lenses, you need to get used to manual mode
Under ultra wide angle within the framework of this article, we will mean any lens with a focal length of less than 20 mm (in film equivalent). Two types of lenses fall under this category - an ordinary ultra-wide angle and a fisheye. The article will focus not on the technical capabilities of these lenses, but on the creative possibilities - "super-wide" opens up the possibility for us to see the world in a completely unusual perspective, which is undoubtedly fertile ground for various creative experiments.
"Eyes Wide Open"
I have experience with two ultra wide angle lenses - fisheye Zenitar 16/2.8(on crop and full frame) and with a lens Samyang 14mm f/2.8. I must say right away that both of these lenses perform best on a full-frame camera, however, there are "super-wide" ones for sale specifically for crop - their focal length is 8-10 mm at the short end, which in terms of a full frame gives 12-16 mm , so my experience will be quite applicable to these lenses. Nevertheless, let's immediately agree that further I will operate with "full-frame" focal lengths.
What is the insidiousness of the ultra-wide angle?
At first glance, it might seem that a wide angle offers a huge advantage when shooting architecture and other large objects at close range. It would be very convenient to take pictures during the tours! While the owners of standard lenses are pressed against the walls to fit the entire object into the frame, you are quite calmly photographing architectural ensembles and the interiors of cathedrals and museums. But you have to pay for convenience... To begin with, I will give two examples of photographs of a certain object, which were taken with the help of 14 mm and 50 mm lenses so that the scale was approximately the same.
How different photos of the same object! As you might have guessed by now, the left photo was taken with a 14mm lens almost point-blank. Perhaps, for such "creative" objects, this style of shooting is acceptable, but when photographing classical architectural compositions, such an aggressive perspective quickly becomes annoying.
The left photo was taken with a 14mm lens, the right photo was taken with a 16mm fisheye lens.
Of course, with the help of Adobe Photoshop Lightroom, you can partially compensate for the effect of perspective...
But at the same time, objects are obtained with terribly distorted proportions - incredibly stretched upwards and flattened on the sides! In addition, to maintain the proportions of the frame, it had to be significantly cropped. Thus, the resolution of the photo suffered.
You can also "straighten" a photo from Zenitar16 in Lightroom by applying a lens profile to it Canon 15mm f/2.8 fisheye. It will turn out approximately the same, but with a noticeable blurring of the corners (in fact, because of this, I changed the fisheye to an ordinary ultra-wide-angle, which initially gives a "smooth" picture).
Ultra wide angle for architecture - are you sure this is a good idea?
Often on sites with lens reviews, in particular on photozone.de, ultra-wide angles are positioned as almost special lenses for shooting architecture. Personally, this idea does not seem very good to me.
As already mentioned, if you photograph buildings at close range and from a low point with a wide-angle lens, they will turn out to be "falling" backwards. One more example:
Perspective can be straightened in Photoshop, but this does not always work out well - with strong compensation for the effect, the shape and proportions of objects in the upper part of the frame will suffer greatly.
If you want to get really high-quality photos of architecture, if possible, do not use the ultra-wide angle. Look for a vantage point where the subject will fit into the frame when using a "normal" lens (40-50mm) or even a telephoto lens. Horizon line - the closer to the middle of the frame, the less perspective distortion.
Here is an example of a photograph of an architectural object taken at a focal length of 105 millimeters from a long distance.
No falling walls, curved lines and distortion of proportions! Agree, looking at such photographs of architectural objects is much more pleasant than these:
Or like this:
Of course, it is not always possible to use a telephoto lens for shooting architecture. It often happens that architectural objects are located very unsuccessfully - they are covered by trees, billboards, other buildings. There is nothing to do here - salvation is only in the wide-angle. But still, try to shoot at the maximum focal length possible under the given conditions.
p.s. It's not about artistic photographs, in which perspective distortions play the role of an artistic technique.
Shooting nature
Landscape shooting is the true strong point of ultra-wide-angle optics! The angle of view of a 14mm lens at full frame is about 120 degrees horizontally, roughly equivalent to what a person sees with both eyes.
When shooting nature, in contrast to the urban landscape, a strong distortion of perspective is not as critical as when shooting buildings. On the contrary, an aggressive perspective gives the picture additional dynamics and depth.
When composing a frame with an "upper horizon", the frame gets a large number of foreground objects (sometimes even the photographer's feet). This makes you take a more responsible approach to choosing a shooting point. But the photographer has the opportunity to convey in one frame all the splendor of the landscape in all its details - from grass or water under the very feet to the horizon line.
When shooting a landscape with an ultra-wide angle, the background objects turn out to be very small - such is the specificity of such a small focal length, but often this turns into a huge advantage. Landscapes with clouds are especially good with an ultra-wide angle. If with a conventional lens clouds were just a background that complements the composition, then with an ultra-wide angle they often become full-fledged key objects.
But such a photo turned out on a 24 mm lens:
Agree, with a 14mm lens it turned out more interesting!
Even if there is no foreground as such, the “cloud pattern”, a little enhanced in Photoshop, can be made the main motif in the landscape.
Of course, with this angle, we will encounter a blockage of vertical objects due to the effect of perspective. The original version of this photo looked like this:
The perspective distortion at the bottom of the image looks disastrous! What did you expect? Nobody canceled the laws of optics. About how to fix such a disaster without cropping the edges of the picture (as in the photo with the bell tower), you can ask me a question at Photo Courses, I will gladly tell you everything and show you. Perhaps in the foreseeable future there will be video tutorials.
Horizon in the middle - a deviation from the generally accepted rules of composition or a useful artistic technique?
You may have read or heard that you should by all means avoid the horizon in the middle of the frame. At least in many textbooks, the middle horizon is characterized as a lack of composition. But photography is not physics or mathematics! Rules can and should be broken. But, nevertheless, this should be done with caution, carefully weighing the pros and cons.
For a long time I was an opponent of the middle horizon in the landscape, however, relatively recently I changed my mind on this matter. The main reason for this was the replenishment of my arsenal with an ultra wide-angle lens with a focal length of 14 mm. In a short period of time, a lot of successful photographs were taken with this lens, the horizon on which was located, as if in a mockery of all the rules and canons, exactly in the middle of the frame. Here are some examples:
Gorokhovets, view from Bald Mountain:
Evening in Vorsma (1):
Evening in Vorsma (2):
I tried to understand why the middle horizon in these photographs does not hurt the eyes at all, but, on the contrary, provides a kind of presence effect? And it seems to have figured it out...
A 14 mm lens on a full frame has a field of view angle comparable to the angle of view of a person (with 2 eyes, taking into account peripheral vision) - 115-120 degrees. In the normal state, we keep our heads straight and it is quite obvious that we are used to seeing the horizon line in the middle! That's the whole clue. That is why, in photographs taken with such a wide angle of coverage, the horizon line dividing the frame in half is a completely reasonable compositional move.
From this we can boldly conclude that the classic rules of composition (which came to photography from painting) on ultra-wide-angle lenses are not so unshakable! It's the same as Euclid's geometry and Lobachevsky's geometry, or classical mechanics and quantum :)
Conclusion
In conclusion, I want to say that photographing an ultra-wide-angle lens is not as easy as it might seem at first glance. You will almost always be accompanied by such difficulties. Many are disappointed in such optics, due to a number of its features:
If you successfully master the ultra-wide angle and "permeate" it, huge creative possibilities will open up for you!
A wide-angle lens is indispensable when shooting landscapes, architecture, or interior photography. Only with a wide-angle lens can you show the full picture, giving the viewer a truly wide view of things. But which wide-angle lens should you choose? Our today's article is devoted to the answer to this question. The review simultaneously presents the best wide-angle lenses from Canon and Nikon.
Let's first decide which lens is considered wide-angle. 27mm focal length (full-frame sensor) is considered to be wide-angle, but this is just the starting point in the world wide angle photography, because there are so-called ultra wide-angle lenses, their focal length is 10mm, and 12mm. It is worth noting that ultra wide-angle lenses are much more expensive than standard wide-angle models.
To better understand the terms, read the explanations of the abbreviations for lenses and .
The best wide angle lens. Nikkor AF-S DX 10-24mm f/3.5-4.5G ED
The Nikkor DX 10-24mm is an excellent high quality wide angle lens that pairs well with DX format cameras. Mounted on a DX camera, the lens will have a 15-36mm equivalent range, which is best suited for capturing attractive wide-angle landscapes or working in tight spaces. In addition, the lens provides autofocus even with entry-level DX cameras. Today, this is not the most popular model, since almost five years have passed since the release.
The best wide angle lens. Canon EF-S 10-22mm f/3.5-4.5 USM
The Canon EF-S 10-22mm USM is one of the best ultra wide angle lenses available. The lens will work with both crop and full frame cameras, having an equivalent range of 16-35mm. The distance is ideal for capturing wide landscapes and photographing large structures. You can buy the Canon EF-S 10-22mm f/3.5-4.5 USM for $850.
The best wide angle lens. Nikkor AF-S 14-24mm f/2.8G ED
The Nikkor 14-24mm is a superb ultra wide angle lens designed for shooting with any DX or FX format camera. A constant aperture of F2.8 allows you to work with the camera even in difficult conditions when there is not enough light. The lens may seem relatively large, heavy and expensive, but great quality assembly and components of the model, justifies both the high price and the dimensions of the model. At the moment, this is one of the best wide-angle lenses. The Nikkor AF-S 14-24mm f/2.8G ED costs almost $2,000.
The best wide angle lens. Canon EF 16-35mm f/2.8L II USM
Canon EF 16-35mm F2.8L II USM is latest version professional Canon wide-angle lens. The lens operates at a constant aperture of F2.8 for fast, quiet focusing. It costs a lot of money to buy a lens, but the Canon EF 16-35mm f/2.8L II USM is worth every penny. The Canon EF 16-35mm f/2.8L II USM is priced at around $1,750.
The best wide angle lens. Nikkor AF-S 16-35mm f/4G ED V
If you are looking for a high quality ultra wide Nikon lens, but you can't afford the Nikkor AF-S 14-24mm f/2.8G ED yet, this model is what you need. The Nikkor AF-S 16-35mm f/4G ED VR costs almost half the price of the Nikkor AF-S 14-24mm f/2.8G ED optics mentioned above, has a smaller constant aperture but still allows you to shoot at fairly wide angles . The quality of the lenses used in the lens is excellent, and there is also an ED glass that contributes to a high-quality image. It is worth mentioning that this is one of the few wide-angle lenses that have optical stabilization. You can get the Nikkor AF-S 16-35mm f/4G ED V for around $1250.
The best wide angle lens. Canon EF 17-40mm f/4L USM
The Canon EF 17-40mm f4.0L USM is a relatively affordable and high quality wide angle lens. The optics can work in combination with full-frame cameras, providing an incredibly wide angle of view. The lens focuses quickly and quietly, the constant f/4.0 aperture is not as good as the f/2.8 in the Canon EF 16-35mm f/2.8L II USM, but still bright enough. The model is perfect for those masters who cannot afford expensive optics. Canon EF 17-40mm f/4L USM is around $850
The best wide angle lens. Nikkor AF-S 28mm f/1.8G
The Nikkor AF-S 28mm f/1.8G is a classic wide-angle lens that offers an excellent wide angle of view. fast lens with a large field of view will be a good helper when shooting indoors, where there are often problems with the illumination of the frame. In addition, the f/1.8 aperture allows for excellent shallow depth of field and high quality lenses helps in accurate reproduction of colors and shades. The lens is not cheap, but the high price of the model is fully justified by the quality of the lens. The lens works great with DX cameras, but if you buy a full frame camera, it will still be relevant. The Nikkor AF-S 28mm f/1.8G is priced at around $750.
The best wide angle lens. Canon EF 8-15mm f/4L Fisheye USM
The Canon EF 8-15mm f/4L Fisheye USM is a unique lens offering a 180 degree field of view. The optics are compatible with APS-C, APS-H and full-frame cameras. In addition, on a full-frame sensor, users will enjoy an even wider viewing angle. This makes the model very flexible for those with multiple Canon cameras, with different matrix formats. The lens features amazing build quality and lenses. The Canon EF 8-15mm f/4L Fisheye USM is priced at around $1,700.
The best wide angle lens. Nikkor AF DX Fisheye 10.5mm f/2.8G ED
Another fisheye from Nikon is the Nikkor AF DX Fisheye 10.5mm f/2.8G ED. The fisheye covers a large field of view, and deliberately distorts reality for even greater effect. It is designed exclusively for DX-format cameras, but provides a 180-degree view and provides greater depth of field and close focus distance for more penetrating results. It is worth using the lens with DSLRs with a built-in focus motor; with models such as the D40, D60 and D3000, it will be possible to focus only manually. The Nikkor AF DX Fisheye 10.5mm f/2.8G ED costs around $850.
A wide angle lens is a device that has a shorter focal length than a normal lens. Such devices cover a much larger angle of space than is accessible to the human eye. Due to the fact that the frame does not exceed the usual size, all objects that appear in it will be smaller than when shooting with a traditional lens. In terms of expressiveness and optics, a wide-angle lens allows you to get a noticeably more interesting result, since with its help the effect of removing shots from each other is much more noticeable when shooting. Such devices are characterized by a greater depth of field than standard models.
Peculiarities
A wide-angle lens has key features such as a wide angle of view, as well as a shorter minimum focusing distance. The main characteristics cannot be called unique. This category of lenses also includes ultra wide-angle lenses. This type does not have any restrictions, but photographers usually refer to it those devices for which the focal length is below 24 millimeters. Due to certain specific properties of this category of devices, shooting with them has a number of features. Perspective distortion is considered one of them, that is, objects that are closest appear much larger than those located in the background. This effect will be maximized if you get close to the main subject, while including the one in the foreground in the picture. This distortion is especially appreciated when shooting landscapes, which allows you to give the scene extra volume. But because of this feature, you can’t take pictures of people, since the proportions of the body and head will be significantly distorted.
Usage
A wide-angle lens is useful for shooting architectural objects, but it is important to remember one detail. It is impossible to allow the axis to tilt relative to the horizon, otherwise, due to the large number of vertical lines, the space will be noticeably distorted. The so-called effect of falling buildings will be obtained in the picture. Often, professionals use this technique as an additional technique to get an interesting shot. Architectural structures should be photographed using a special type of lens that can change the optical axis by tilting or shifting, which makes it possible to correct the perspective distortion. For example, a Nikon wide-angle lens is able to cope with such a task with high quality. Such devices are almost indispensable for shooting in limited enclosed spaces, since the photographer will not be able to step back to properly capture the scene.
Canon's wide-angle lens has design features and technical capabilities that make it vulnerable to flare and ambient light. Because of this, you have to use a protective hood when shooting, which protects the front lens from sun rays, as well as reducing the likelihood of flare in the picture.
