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What Is the Best Focal Length? 5 Important Focal Lengths to Try

07 Sep

The post What Is the Best Focal Length? 5 Important Focal Lengths to Try appeared first on Digital Photography School. It was authored by Jason Checkla.

What is the best focal length in photography? What are the uses of different focal lengths? And – most important of all – what focal length should you use in your own photos?

In this article, I aim to address all of those questions and more. I’ll share several key focal lengths, and I’ll make sure to explain why they’re great, what you can do with them, and who should consider using them. I’ll also include plenty of examples, so you can see the different focal lengths in action.

Note that whether you shoot with zooms or primes is unimportant. All the focal lengths in this article are achievable through either lens type, so no need to fret if you prefer zooms over primes or vice versa. Instead, just focus on the focal lengths I mention – and how they can improve your images.

Let’s get started.

1. 24mm

The best genres for 24mm lenses: landscapes, astrophotography, group portraits, and event photography

24mm is a beautiful focal length, one that offers a wide-angle field of view without taking you into ultra-wide territory. It’s easy to experiment with, not only because there are many affordable 24mm prime options available, but also because you’ll find this focal length at the wide end of many zoom lenses, such as a 24-70mm f/4 or f/2.8. Also, many kit lenses feature a 24mm wide end once you account for the APS-C crop factor.

A 24mm prime lens will be sufficiently wide and remarkably sharp, making it an ideal candidate for landscape photography. Zooms are wonderful for landscape photography, too, but the locked-in field of view (on a 24mm prime lens) will force you to think carefully about your compositions.

The 24mm focal length also excels in low-light situations. That includes astrophotography, where 24mm lenses with wide maximum apertures (i.e., f/2.8) will facilitate shots of the Milky Way, as well as event photography, where you’ll have an ample field of view for environmental, contextual shots, plus the wider maximum aperture will facilitate sharp shots indoors and at night.

Additionally, the 24mm focal length is wide enough to capture group portraits with minimal perspective distortion. Just don’t get too close and be sure to watch the edges of your frame.

2. 35mm

The best genres for 35mm lenses: street photography, event photography, environmental portraits, and casual portrait photography

35mm is a classic focal length for many photojournalists and street photographers. Why? For one, the field of view requires you to get close to the action for a more immersive perspective, plus it provides plenty of useful context. On the other hand, 35mm isn’t too wide; you can use it to photograph natural-looking people, close-up details, and more.

This same philosophy applies to wedding or event photography, which is why these photographers love the 35mm focal length, especially when combined with a wide maximum aperture such as f/1.8 or even f/1.4. Note that 35mm prime lenses, like 24mm lenses, tend to be impressively cheap – so if you’re on a budget, 35mm is a great place to start.

Another nice thing about 35mm: it’s great for environmental portraits, especially those casual, spur-of-the-moment portrait opportunities that come up at family gatherings and dinner with friends. For instance, I often use 35mm to shoot portraits across the dinner table:

Any wider, and my subject’s face might suffer from feature-exaggerating perspective distortion; any narrower, and I’d have had to get out of my seat to back up for the shot.

3. 50mm

The best genres for 50mm lenses: street photography, full-body portrait photography, walk-around shooting

50mm primes are the lenses for the photography beginner for a whole host of reasons. In fact, if you don’t own a 50mm lens, I recommend purchasing one right now – they really are that useful.

So what makes 50mm primes so special? For one, they’re insanely cheap. You can purchase a brand-new 50mm lens for most camera systems for a little over $ 100. I’m not talking about shoddy, low-quality optics, either; the 50mm f/1.8 lenses that cost in the $ 100 USD to $ 200 USD range tend to offer surprisingly good performances, especially for the price.

Also, 50mm lenses produce an image that is normal (i.e., most like the image that we produce with our own eyes). Therefore, it’s often easy to “see” in 50mm.

The 50mm lens really is a classic, and a big part of it is that the area in the frame is often just right. It’s narrow enough to create balanced compositions with ease, but still wide enough to create interest beyond your subject. That is why you will find a 50mm lens in the bags of most street photographers (and indeed, most portrait and event photographers, as well).

4. 85mm

The best genres for 85mm lenses: portrait photography, event photography, and sports photography

You’ll find 85mm lenses in the bags of many wedding and portrait photographers, and for good reason: they create beautiful portraits that flatten one’s features (this is generally flattering!), plus they offer beautiful subject-background separation.

The field of view isn’t so tight that you’ll need to be outdoors to shoot with an 85mm lens, but you’ll still get a nice working distance that allows you to sneakily capture candids at weddings and family gatherings.

That working distance is great for full-body shots when you’re on the sidelines of a sporting event, too. And 85mm lenses also offer a nice distance for photographing your kids and pets.

Of course, every focal length has its drawbacks, and 85mm is no exception. Such lenses are expensive to get ahold of, and the tighter field of view isn’t ideal for street photography or contextual portraits.

However, for serious portrait and event photographers, 85mm is a must-have.

5. 135mm

The best genres for 135mm lenses: Headshots, portrait photography, and wedding photography

When you need to get in close or you just love bokeh, a 135mm lens is a great pick – especially a 135mm prime with a wide maximum aperture.

You can use a 135mm lens for details and headshots that bring your subject to life. Plus, the background separation is fantastic due to the increased telephoto compression. The flattering flattening effect (say that five times!) makes this lens great for head-and-shoulder shots, senior portraits, candids, and more. You’ll have fun shooting wide open to create magical separation between your subject and the surroundings.

Is there a drawback to the 135mm focal length? Of course.

You do need a lot of working room, and you also need a lot of light. Remember the 1/focal length rule for shutter speed (also known as the reciprocal rule)? Well, you wouldn’t want to shoot a 135mm lens any slower than 1/135s (without a very steady hand or a tripod). So when light or space becomes a problem, it’s nice to have an 85mm lens to fall back on.

The best focal length: final words

Chances are you will love some of these focal lengths and dislike others, but you’ll never know until you give them all a shot!

So think about your favorite options from this list. And see if you can get your hands on each of the focal lengths – by renting, buying, or borrowing lenses (from a friend).

Now over to you:

Which focal lengths do you like best? Are there any focal lengths you’d like to test? Share your thoughts in the comments below!

The post What Is the Best Focal Length? 5 Important Focal Lengths to Try appeared first on Digital Photography School. It was authored by Jason Checkla.

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Hasselblad’s new XH Converter 0.8 reduces focal length, increases aperture of HC/HCD lenses on X system cameras

03 Nov

Hasselblad has announced the XH Converter 0.8, a new Speedbooster-style adapter that makes it possible to use H system lenses on Hasselblad’s mirrorless X system while reducing the focal length by 0.8x and increasing the maximum aperture of the adapted lenses by two-thirds of a stop.

The XH Converter 0.8 works similarly to other focal length reduction adapters, such as Metabones’ popular Speedbooster line of adapters. Thanks to the extra flange distance going from a mirrored body to a mirrorless body, Hasselblad is able to pack not only the adapter components inside the unit, but also five optical elements in three groups. This differentiates the XH Converter 0.8 from Hasselblad’s previously-released XH Lens Adapter, which simply keeps the focal length and apertures the same across the board with adapted lenses.

Hasselblad has created a thorough chart showing what effective aperture and focal length compatible H system lenses would be when using them with this adapter on a Hasselblad X system camera:

Hasselblad has also shared a collection of sample images captured by photographer Tom Oldham on a 907X 50C using the XH Converter 0.8 with various lenses:

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As tends to be the case with many adapters, not all lenses can use all of the features. The XH Converter 0.8 requires all HC/HCD lenses with firmware version 18.0.0 or later to be updated to firmware version 19.1.0 if you want autofocus compatibility, with the exception of the HC 120 and HC 120 II, which are limited to manual focus mode.

Likewise, any HC/HCD lenses that weren’t updated to firmware version 18.0.0 can’t be updated to firmware version 19.1.0 due to hardware limitations and will therefore be limited to manual focus. Hasselblad does not that since HCD lenses ‘were originally designed for a smaller format than HC lenses […] some reduction of performance in extreme corners can occur.’

Firmware version 19.1.0 for various lenses can be downloaded on Hasselblad’s website.

Hasselblad cameras must also be updated to the latest firmware, The X1D 50C must be updated to firmware version 1.25.0 or later, while the X1D II 50C, 907X 50C and 907X Special Edition models require firmware version 1.4.0 or later to work with the adapter.

The XH Converter 0.8 is made in Sweden and is available today for $ 950 on Hasselblad’s online store.

Press release:

HASSELBLAD LAUNCHES XH CONVERTER 0,8 UNLOCKING A WHOLE NEW SET OF LENSES

The XH Converter 0,8 brings new opportunities to Hasselblad photographers with the ability to unlock a whole new set of H System lens capabilities. The XH Converter 0,8, used on HC/HCD lenses attached to an X System or 907X camera, reduces the focal length of the lens by a factor of 0,8x, which delivers a wider field of view and improves the maximum aperture of the lens by two-thirds of a stop. Additionally, the XH Converter 0,8 improves lens performance in terms of contrast and apparent sharpness across the entire frame.

An impressive combination for maximizing aperture is achieved when attaching the XH Converter 0,8 to the HC f/2,2 100mm lens, transforming the aperture and focal length to f/1,8 and 80mm, respectively. This creates an extremely large aperture that proves even faster than the XCD f/1,9 80mm lens, which until now has been the highest aperture lens option for X and 907X camera systems. An example of reducing focal length with the XH Converter 0,8 is when combined with the HCD f/4,8 24mm lens, it creates an aperture of f/3,8 with a 19mm focal length. This results in an even wider lens option than the existing XCD 21 lens, the widest lens in the X System.

The XH Converter 0,8 joins a range of Hasselblad adapters and converters, including the XH Lens Adapter which allows the usage of all 12 H System lenses as they are on X and 907X camera systems. The addition of the XH Converter 0,8 to the existing accessories lineup now provides these systems with enhanced functionality for H Lenses. In addition, H System users who decide to branch into the X or 907X systems gain more versatility from their current HC/HCD Lens options.

All H System lenses with firmware 18.0.0 or later must be updated to the newest version 19.1.0 to work with the XH Converter 0,8 and to get auto focus (HC 120 and HC 120 II can only be used in manual focus mode). Other H System lenses (except HC 120 and HC 120 II) with firmware older than 18.0.0 will work but only in manual focus mode. Please note that only HC/HCD lenses with firmware 18.0.0 or later can be updated to 19.1.0. Lenses with older firmware have older hardware and therefore cannot be updated. Additionally, the X1D-50c must be updated with firmware 1.25.0 or later and the X1D II 50C, 907X 50C and 907X Special Edition cameras must all be updated with firmware 1.4.0 or later.

The XH Converter 0,8 is available now for purchase with a MSRP of €959 / £859 including VAT and $ 944 excluding sales tax. See more at www.hasselblad.com/x-system-accessories/xh-converter-0-8/.

Download H System Lens Firmware Update 19.1.0 here.

Articles: Digital Photography Review (dpreview.com)

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Video: How to choose your focal length for landscape photography

06 Sep

Every landscape scene offers a collection of compositions just waiting to be framed by the proper focal length, but how do you choose what one to go with? While the answer will always be subjective, photographer Nigel Danson has shared a video showing how he goes about choosing the best focal length for certain scenes.

The video is a longer watch, coming in at just under 27-minutes, but through it, Danson explains how he chooses a specific focal length and shares example photos captured at different focal lengths to show what tends to work best with different lenses, from a 14mm ultra-wide-angle lens to a 200mm telephoto lens.

It’s a fantastic deep dive into the selection process for landscape photos and even Danson was surprised when he looked through what his most-used focal length was — 24mm. He notes this focal length is likely the most used due to it being difficult to capture portfolio-worthy shots at ultra-wide-angle focal lengths, leaving him ‘more disappointed than pleased,’ upon returning home to cull and edit the captured frames.

Despite his most-used focal length, Danson says his favorite focal lengths to shoot with are at either extreme — either ultra-wide or telephoto — due to the ability to ‘create something more dramatic […] and creative,’ despite it ‘not being easier.’

You can find more videos from Danson on his Youtube channel, follow him on Instagram and visit his website to view his portfolio of work and purchase his new 2021 calendar.

Articles: Digital Photography Review (dpreview.com)

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Oppo shows off its next-generation optical zoom camera module with 85-135mm equivalent focal length

20 Aug

Oppo has announced (translated) it’s latest camera technology, a next-generation periscope zoom camera that features improved optics, a new sensor and updated image processing algorithms.

The new camera module features an 85mm to 135mm full-frame-equivalent focal length with an aperture range of F3.3 through F4.4. To achieve this, the module uses seven elements in three groups with the two rear-most groups being the ones that move for zooming and focusing.

In addition to new optics, the camera module uses a new 32MP quad-bayer-like sensor. Both the movement of the lenses and image processing will be powered by the custom-designed 16-bit image processing chip inside the module.

Sample images from the new camera module captured with the wide angle (left), equivalent 85mm focal length (center) and equivalent 135mm focal length (right).

If we’re to assume this would be used in a smartphone with a 26mm main camera — such as the Oppo Reno 10x zoom — this new camera would offer a 3.3x to 5.2x optical zoom and presumably feature the same ‘hybrid zoom’ up to 10.4x. Even though the multiplication factor is roughly the same as that found on the Reno 10x zoom, Oppo says its new hybrid zoom technology improves image quality, as can be seen in these example images (older ‘hybrid zoom’ images on the left, new technology on the right):

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There’s no mention of when we could see this new camera tech, nor what phone it might be in, but as noted by GSM Arena, details of a forthcoming Oppo phone believed to be the Reno 10x zoom successor were revealed last month.

Articles: Digital Photography Review (dpreview.com)

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Cinematographer Newton Thomas Sigel shares his wisdom on focal length choices

02 Sep

Vanity Fair has published an interview on its YouTube channel with American cinematographer Newton Thomas Sigel – who was director of photography for Bohemian Rhapsody, X-Men: Apocalypse and The Usual Suspects amoung many others. He talks about the way different focal lengths make people and objects in the scene feel closer together or further apart, and how the sense of perspective is altered depending on the camera position and the amount of background included in the shot.

During the interview Sigel talks us through clips from Three Kings, Drive and Bohemian Rhapsody explaining what he hoped to achieve in that particular shot and the lenses he used to do it. It’s a fantastic watch with an experienced and well-spoken artist.

Articles: Digital Photography Review (dpreview.com)

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Huawei Mate 20 Pro triple cam offers focal lengths from 16 to 80mm

16 Oct

Huawei Mate 20 Pro

Huawei launched its latest flagship smartphone Mate 20 Pro at an event in London today. Like the P20 Pro, the new device comes with a triple-camera setup on the rear but replaces the P20 Pro’s monochrome camera with a super-wide-angle unit, offering the widest range of focal lengths of all current smartphones. Using a combination of optical and digital zoom the new Huawei offers a zoom range from 16 to 270mm equiv.

The 40MP main camera is the same as on the P20 Pro and comes with large 1/1.7″ sensor, F1.8 aperture and 27mm equivalent focal length. The 8MP tele-camera features a F2.4 aperture and 80mm equivalent focal length.

The new super-wide-angle offers a 16mm equivalent focal length and uses a 20MP sensor with F2.2 aperture lens. A minimum focus distance of 2.5cm allows for better macro performance.

Very high ISO values up to 51200 allow for photography in very dark conditions and a new Super HDR mode that fuses 10 frames at Raw level offers improved dynamic range. New AI features include a Portrait Color video mode that isolates human subjects by desaturating the colors around them in real-time. Spotlight Reel identifies clips with a shared theme and auto-generates a highlight montage.

The 24MP front camera support 3D Face Unlock and can also be used for the authorization of mobile payments.

In terms of non-camera specs and features the Huawei Mate 20 Pro offers everything you would expect from a high-end smartphone in 2018. Google’s Android Pie OS is powered by a Kirin 980 chipset and 6GB of RAM. 128GB of built-in memory can be expanded via a new memory card format: Huawei’s new Nano-SD is 45% smaller than a MicroSD card.

The body offers IP86 water and dust protection and houses a 6.39-inch curved OLED display with 3120 x 1440 resolution and very thin bezels. DCI-P3 HDR is supported as well.

Huawei also launched the Mate 20 which comes with a 6.53-inch LCD display and a 12MP main camera but otherwise very similar specs to its top-end cousin. The Huawei Mate 20 Pro will be available from October 16 for approximately $ 1200 (EUR 1049). The Mate 20 is slightly more affordable at approximately $ 1040 (EUR 899).

Huawei Mate 20

A Higher Intelligence: Huawei Unveils HUAWEI Mate 20 Series

LONDON, United Kingdom—October 16, 2018—Huawei Consumer Business Group (BG) today unveiled the HUAWEI Mate 20 Series, one of the most highly anticipated smartphone series of the year. Representing a momentous milestone in the history of the HUAWEI Mate Series, the HUAWEI Mate 20 Series embodies the pinnacle of innovation.

Designed with the industry’s most powerful and sophisticated process technology, the latest Huawei flagship devices set a new bar by which all 2018 smartphones will be measured.

The HUAWEI Mate 20 Series is powered by Huawei’s densest and highest performing system on chip (SoC) to date—the Kirin 980. Manufactured with the advanced 7nm process incorporating the powerful Cortex-A76-based CPU and Mali-G76 GPU, the SoC offers improved performance and an unprecedented smooth user experience. The new 40W HUAWEI SuperCharge, 15W HUAWEI Wireless Quick Charge and large batteries work in tandem to provide users with the best battery life. The Matrix Camera System includes Leica Ultra Wide Angle Lens that lets users not only see wider, but also closer with its new macro distance capability. The Hyper Optical Pattern on the glass back plays with light and shadows, producing an iridescent optical effect that is immediately captivating. The Matrix Camera System adopts the iconic Four-Point Design that exudes personality, giving the device a unique visual identity that is recognizable even at a distance. The HUAWEI Mate 20 Series is shipped with the highly customized Android P-based EMUI 9 operating system, on which consumers can enjoy all productivity and entertainment features easily and conveniently with a few simple taps and swipes.

Available in 6.53-inch, 6.39-inch and 7.2-inch sizes, the HUAWEI Mate 20 Series encompasses four devices: HUAWEI Mate 20, HUAWEI Mate 20 Pro, HUAWEI Mate 20 X and PORSCHE DESIGN HUAWEI Mate 20 RS. “Smartphones are an important entrance to the digital world.

The HUAWEI Mate 20 Series is designed to be the best ‘mate’ of consumers, accompanying and empowering them to enjoy a richer, more fulfilled life with their higher intelligence, unparalleled battery lives and powerful camera performance,” said Richard Yu, CEO of Huawei Consumer BG

Ultimate Performance and Battery Life

The SoC at the core of smartphones has a determining factor in a device’s performance and efficiency. Manufactured with the cutting-edge 7nm technology process, the SoC fits 6.9 billion transistors within a die the size of a fingernail. Compared to Kirin 970, the latest chipset is equipped with CPU that is 75 percent more powerful, GPU that is 46 percent more powerful and NPU that is 226 percent more powerful. Furthermore, the efficiency of the components has also been elevated: the CPU is 58 percent more efficient, GPU is 178 percent more efficient, and the NPU is 182 percent more efficient. The Kirin 980 is the world’s first commercial SoC to use the Cortex-A76-based cores. Huawei has

innovatively designed a three-tier architecture that consists of two ultra-large cores, two large cores and four small cores. This grants the CPU the flexibility to allocate the optimal amount of resources to heavy, medium and light tasks for unprecedented levels of efficiency, simultaneously improving the performance of the SoC while enhancing the battery life.

The Kirin 980 is also the industry’s first SoC to be equipped with Dual-NPU, granting it higher On-Device AI processing capability to support any and all AI applications. HUAWEI Mate 20 Pro is the world’s first smartphone to support the 4.5G LTE Cat. 21 standard, allowing consumers to experience download speeds of up to 1.4Gbps. It also supports the world’s fastest WiFi connection speeds–2GB footage requires only 10 seconds to download. The top-end flagship also supports dual-band (L1+L5) GPS positioning technology.

The AI GPS Satellite Selection technology enhances the positioning accuracy across a wide range of scenarios. Besides superb performance, the HUAWEI Mate 20 Series also features groundbreaking improvement on battery life. The HUAWEI Mate 20 Pro houses a large, high-density 4200mAh battery, and supports 40W HUAWEI SuperCharge, which gives the device 70 percent charge in 30 minutes. The safety of the technology is certified by TÜV Rheinland.

Moreover, HUAWEI Mate 20 Pro supports 15W HUAWEI Wireless Quick Charge, the industry’s fastest wireless charging solution, and Wireless Reverse Charge, which enables the device to work as a power bank for selected electronic devices supporting wireless charging. The HUAWEI Mate 20 X supports an ultra-large 5000mAh battery, and is equipped with a revolutionary HUAWEI super cool system that uses a combination of graphene film and vapor chamber to deliver outstanding cooling performance. With the cooling system in place, the CPU and GPU embedded in HUAWEI Mate 20 X can remain at full throttle for an extended period of time and deliver the smoothest and most satisfying gaming experience to consumers. The HUAWEI super cool system also marks the first time graphene is utilized to cool smartphones.

Matrix Camera System

Building on the foundation of HUAWEI P20 Series’ camera system, Huawei augmented the HUAWEI Mate 20 with a powerful addition—16mm Leica Ultra Wide Angle Lens. This wider perspective creates a sense of spaciousness and a three dimensional effect to the images. The new camera system also supports macro distance, which produces crisp images of objects that are placed as close as 2.5cm from the lens.

The added ultra-wide angle lens and macro support completes the feature set of the camera system, elevating it to a truly all-round camera that is ready to capture any and all action. The HUAWEI Mate 20 Pro is equipped with a 40MP main camera, a 20MP ultra wideangle camera, and an 8MP telephoto camera.

Together, the trio of lenses supports a wide range of focal lengths (equivalent to the performance of a 16-270mm zoom lens), enabling it to mimic the results from professional cameras. The HUAWEI Mate 20 Series also features an AI Portrait Color video mode. Using AI, the HUAWEI Mate 20 Series can isolate human subjects and desaturate the colors around them to dramatically highlight the person.

AI Spotlight Reel identifies clips with a shared theme and auto-generates a montage, made entirely of highlights. HUAWEI Mate 20 Pro and PORSCHE DESIGN HUAWEI Mate 20 RS both support 3D Face Unlock. The solution quickly and securely authenticates users within 0.6s at a false acceptance rate of below 1/1,000,000. Using the 3D Depth Sensing Camera System located at the front, the two devices can accurately read the facial features of a subject and recognize even small details. Besides user authentication, this suite of sensors also enables the portrait beautification effects to be realized in a more natural and effective way.

EMUI 9 Enables a Quality Life

The HUAWEI Mate 20 Series comes with EMUI 9.0, a smart operating system based on Android P. Through AI self-learning algorithms, an integrated and granular resource allocation system, and a highly optimized Android environment, EMUI 9 delivers an “evergreen” experience—it remains smooth even through extended use. EMUI 9.0 incorporates a unified, ergonomic design and a streamlined settings menu.

The new gesture navigation support allows users to effortlessly interact with their devices using just taps and swipes. It also introduces new AI features that enable the HUAWEI Mate 20 Series to perform or enhance a range of tasks from object identification to food calorie counting12 . Using 3D Live Object Modeling, consumers can even create a fun digital avatar to dance or interact with.

As a key pillar supporting Huawei’s all-connected, all-scenario ecosystem, HUAWEI Share 3.0 delivers a revolutionary improvement in device interconnection, allowing users to transfer files between smartphones and PC. This is an innovative, Huawei-proprietary solution that enables device interconnectivity. It revolutionizes the way people transfer images and videos: all it takes is one tap to establish a connection between a smartphone and PC for easy and fast file sharing3 .

Futuristic Design

As an expression of the HUAWEI Mate Series DNA, all devices carry a FullView display with a high screen-to-body ratio. Compactly engineered, every device from the 6.39-inch HUAWEI Mate 20 Pro to the 7.2-inch HUAWEI Mate 20 X can be comfortably used with a single hand. The grace of natural elements is captured on the design of the HUAWEI Mate 20 Series. In particular the HUAWEI Mate 20 Pro’s chassis is curved on all eight sides—a marvel to behold, and a pleasure to hold in the hand. For the PORSCHE DESIGN HUAWEI Mate 20 RS, Huawei and Porsche Design ingeniously combined race track elements with premium materials to create a device that exudes elegance and offers a firm, ergonomic grip.

The Matrix Camera array on the back of the HUAWEI Mate 20 Series features a four-point design with the three cameras and sensor encircled in a polished metal frame, producing an avant-garde look that is both bold and distinct. The flagship series comes in a new Emerald Green colorway, which is as brilliant as its namesake gemstone. The Hyper Optical Pattern on the glass back uses a complex hairline pattern to produce an iridescent effect that is not only highly durable, but also makes the device easy to grip and fingerprint resistant. The devices retain a clean look even when they have been used extensively.

The new HUAWEI Mate 20 Series, as well as HUAWEI WATCH GT, HUAWEI Band 3 Pro will go on sale in countries including the U.K., France, Italy and United Arab Emirates soon. The HUAWEI Mate 20 (4GB + 128GB configuration) will have a MSRP of EUR799 and the HUAWEI Mate 20 (6GB + 128GB configuration) will have a MSRP of EUR849 from 16th October, 2018.

The HUAWEI Mate 20 Pro (6GB + 128GB configuration) will have a MSRP of EUR1049 from 16th October, 2018. The HUAWEI Mate 20 X (6GB + 128GB configuration) will have a MSRP of EUR899 from 26th October, 2018. The PORSCHE DESIGN HUAWEI Mate 20 RS (8GB + 256GB configuration) will have a MSRP of EUR1695, and the PORSCHE DESIGN HUAWEI Mate 20 RS (8GB + 512GB configuration) will have a MSRP of EUR2095 from 16th November, 2018.

Embodying exquisite design, powerful performance, extraordinary capturing capabilities and nextgeneration intelligence, the new HUAWEI Mate 20 Series is the partner of choice for professionals pursuing quality of life. For more information, please visit: http://consumer.huawei.com/en

Articles: Digital Photography Review (dpreview.com)

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Working with Different Focal Lengths for Macro Photography

07 Mar

At some point in your photography journey you may be fascinated by pictures capturing living creatures in great detail, flowers close-up, and in general intimate vistas, which may go unnoticed in our daily viewing habits. Such shots are commonly described as macro photography.

Working with Different Focal Lengths for Macro Photography - red flower

The purpose of this article is to provide you with theoretical and practical insight, to help you select lenses for macro photography with focal lengths suitable for your style.

What is macro photography?

The Collins English Dictionary defines macrophotography as: extremely close-up photography in which the image on the film is as large as, or larger than, the object. Extending this definition into the world of digital, the word “film” can be replaced by “sensor”.

The terms magnification and reproduction ratio (RR) are two ways of quantifying this definition. They describe how big the capture on the sensor is as compared with the subject you are photographing.

“As large as” means that whatever object is captured it is the same size om the sensor as it is in real life (magnification of 1x or x1 and RR of 1:1).
“Larger than” means if the image on the sensor is N times the actual life size of the subject, the magnification is then Nx and the RR is N:1.

An important distinction has to be made between the image on the sensor and the printed image. 1cm of object captured on 1cm of sensor may appear on a typical 10x15cm print as much bigger than 1cm.

It is important to note that not all lenses are capable of reaching 1x (1:1) magnification, even if they contain macro in their name. So it is important during your gear selection to know what is a true macro versus a marketed as a “macro” lens. This does not mean that you cannot and will not make breathtaking close-up pictures with that lens, it just means that you will only able to reach lower magnifications and RRs (e.g. a 0.25x magnification = RR of 1:4)

Now that we have established the realm of macro photography, there are a couple of other terms that are essential in this article.

Other definitions

Minimum focusing distance (MFD). This is a lens’s construction characteristic. According to Nikon, MFD is the shortest distance at which a lens can focus. In the case of DSLR Cameras, the focus distance to the subject is measured from the focal plane mark on the camera body, not from the front of the lens. MFD is important because 1:1 or life size RR only happens at the MFD of any true macro lens.

2 focal plane mark - Working with Different Focal Lengths for Macro Photography

The focal plane mark on a D750 is shown below to the left of the strap handle.

Minimum working distance (MWD). This is the distance from the subject to the front of the lens barrel (excluding the lens cap if used), while the lens is set to its maximum magnification (i.e its MFD).

On the web, there are various tools to help calculate MWD. This is a lens and camera combination characteristic, as different cameras contribute differently to the MWD (even if minimally so). A simple graph illustrating MFD and MWD is shown below.

MFD MWD - Working with Different Focal Lengths for Macro Photography

The purpose of this article is to practically demonstrate the difference in Minimum Working Distance between two lenses of different focal lengths, as well as some implications that arise from this difference.

Gear and settings

For the examples used in this article, two macro lenses, the Tokina 35mm f2.8 and the Sigma 150mm f2.8 were mounted on a Nikon D750. This will demonstrate the MWD difference between two considerably different focal lengths (short versus long).

4 Tokina 35 Sigma150

5 D750 - Working with Different Focal Lengths for Macro Photography

The supporting platform (all-important for macro photography) consisted of a SIRUI T-025X carbon-fiber tripod, a Manfrotto 410 Junior Geared Tripod Head and a Velbon Super Magnesium Slider Macro Rail. A Nikon ML-L3 remote was used to trigger the shutter to avoid adding additional vibrations.

6 Platform tripod - Working with Different Focal Lengths for Macro Photography

Quick comparison

Let’s start with a 1:1 macro shot of an everyday item like a coin. In the photographs below the coin was shot 1:1 with both the 35mm and 150mm lenses. Rulers were placed to show the sensor size of 35.9 x 24.0 mm. The difference of a few mm is probably ruler set-up error on my part.

35mm lens

Ruler in cm and mm showing the size of the image on the sensor. This is 1:1 which would be 24x36mm.

The distance needed to shoot the coin at 1:1 with the 35mm lens.

150mm lens

1:1 shot showing the images size on the sensor, 36mm which is fully 100% for a full frame sensor 24x36mm.

The distance needed to shoot the coin at 1:1 with the 150mm lens.

I measured an MWD of 19.5cm for the 150mm and only 1.8cm for the 35mm!

To see how this big difference affects a real-world shooting scenario, the owner of a close by flower shop allowed me to use his grounds and beautiful flowers. Continue reading for more info on this.

Doing macro photography of flowers with different focal lengths

To obtain the 1:1 photo shown below, the 35mm lens needs to actually be on top of the bulb as shown in the second shot.

A similar shot was done using the 150mm lens.

35mm lens in close to get a 1:1 shot.

While getting a similar photo with the 150mm lens is much more comfortable.

The settings for both flower macro shots were as seen here.

Focal length matters even more in macro photography

Macro photography is exciting. In the words of Roman Vishniac, “In nature every bit of life is lovely. And the more magnification we use, the more details are brought out, perfectly formed, like endless sets of boxes within boxes.”

However, in my experience, macro has more gear and technical considerations than other popular subjects (e.g., portrait or landscape), especially as magnification goes up. One primary point of concern is the Minimum Working Distance of the lens used (true macro or not). This will determine significantly, in my view, the ease of use of the lens and the subsequent willingness you may (or may not) show towards doing macro photography.

Working distance issues

Apart from static subjects, where you may be okay to handle a short MWD. But if at some point you want to shoot bees or other living critters, then most probably you will want a longer MWD. This will help you to not scare away your subject and also to avoid being bitten/stung by it.

Additionally and importantly, a longer working distance will allow access to more light (natural or flash). You can imagine the limitations trying to introduce extra light to the 35mm setup shown above. Things will get even more cramped if you introduce closeup lenses or do lens reversal to reach even higher magnifications.

A rough proposed working classification of focal lengths in macro photography could be as follows:

Focal lengths up to 60mm – Useful in product photography (e.g. jewelry) and small objects that can be approached and lit in a controlled environment.
60-150mm – Usable with caution for insects, flowers, and small objects from a greater distance.
Above 150mm – Ideal for critters where additional working distance and additional lighting options are preferred.

Finally, there are other considerations, such as perspective differences due to varying focal lengths. These are more aesthetic than technical and not in the scope of this article.

The post Working with Different Focal Lengths for Macro Photography by Konstantinos Skourtis appeared first on Digital Photography School.

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How to Use Still-life Subjects to Understand Focal Lengths

11 Dec

Do you think that using an 18mm lens or a 100mm one will only zoom in or out your scene? Why are camera lenses are measured in millimeters? Do you know what those measurements mean for your photo? If you’re not sure which lens to use and why I invite you to keep reading and learn about focal lengths and how to use them.

The most common consideration when choosing your lens is whether or not you need to zoom in or zoom out. Therefore logic dictates that you would use a wide-angle lens for landscape photography and a telephoto for a detail of that landscape. Another well-known factor is the distortion of wide-angle lenses, so for example, if you want to do a portrait you would instead use a normal or a telephoto lens.

But how about shooting objects or photographing still life subjects? Which lens is better? I’ll use this subject to illustrate the characteristics of different focal lengths that normally get less attention.

What is focal length?

When light comes in through the lens, it passes through a small hole called a nodal point. The distance from that point to the sensor when your lens is set to infinity is called the focal length and this is measured in millimeters. A smaller distance gives you a wider angle of view and that’s why it’s called a wide-angle lens. Therefore a bigger distance gives you a narrower angle of view which is called a telephoto lens.

What is normal?

When you say a normal lens, it means that it will see more or less the same angle of view as the human eye. Anything longer than the normal focal length is a telephoto and everything shorter is a wide-angle lens. This measurement depends on the size of your sensor because the measure of its diagonal is what determines “normal” for that camera.

For example, in analog photography, it was a very standard measure because there were only so many negative film formats. A 35mm film had a normal lens of 50mm, this can be translated into digital cameras that have a full frame sensor because it’s about the same size as 35mm film. If you have a cropped sensor camera, that “normal” lens becomes a telephoto.

Left – longer lens more zoomed in. Right – wider lens more zoomed out.

Why is this important?

As I mentioned before, zooming in or out is the most obvious impact of the focal length. But what happens when you are shooting something where you can achieve that by getting closer or further from your subject? How do you choose your lens? Well, that’s where the other characteristics of the focal length come into play.

Compression

A photograph is a two-dimensional representation of a three-dimensional world. By changing the focal length you can compress or extend the distance between two objects, or between the subject and the background. Let me show you with a series of images taken of the same scene but with different focal lengths.

I put a measuring tape next to the objects so that you have a reference and see that they were separated by the same distance even if it doesn’t look like it in the various images.

18mm lens.

35mm lens.

55mm lens.

Notice how the distance between the shells seems to change. With wide-angle lenses, things will seem further apart from each other, compared to how they look with a telephoto lens. Now, you probably also perceived another difference between the images, and that is the focus. Which brings me to the second characteristic.

Depth of field

As you probably know, the depth of field (area in focus) depends on the aperture. A small aperture gives you a greater depth of field than a big one. But there is another factor involved and that is the focal length.

A wide-angle lens appears to have a greater depth of field than a telephoto at the same aperture. It is a common misconception that wide-angles have more depth of field than longer lenses. The reason it appears so has to do with the subject to camera distance, not focal length.

This effect is intensified by the fact that you will be physically closer or further away with each lens to achieve the same framing. Allow me to illustrate with this photos in which I maintained the same aperture but changed the focal length.

180mm - Using still-life to understand focal length

1800mm

160mm

100mm

70mm

55mm

35mm

18mm

See how the photo taken with a 180mm lens has such a shallow depth of field that the blurry background even creates a halo that comes over the sharp focus subject. After that, each image got greater and greater depth of field by using smaller focal lengths.

Conclusion

In conclusion, there is no such thing as the best lens for the type of photography you are doing. It really depends on the results you want to get.

The post How to Use Still-life Subjects to Understand Focal Lengths by Ana Mireles appeared first on Digital Photography School.

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NVIDIA Computational Zoom lets you change perspective and focal length in post

03 Aug

Researchers with the University of California, Santa Barbara (UCSB) and NVIDIA have detailed a new type of technology called ‘computational zoom’ that can be used to adjust the focal length and perspective of an image after it has been taken. The technology was detailed in a recently published technical paper, as well as a video (above) that shows the tech in action. With it, photographers are able to tweak an image’s composition during post-processing.

According to UCSB, computational zoom technology can, at times, allow for the creation of ‘novel image compositions’ that can’t be captured using a physical camera. One example is the generation of multi-perspective images featuring elements from photos taken using a telephoto lens and a wide-angle lens.

To utilize the technology, photographers must take what the researchers call a ‘stack’ of images, where each image is taken slightly closer to the subject while the focal length remains unchanged. The combination of an algorithm and the computational zoom system then determines the camera’s orientation and position based on the image stack, followed by the creation of a 3D rendition of the scene with multiple views.

“Finally,” UCSB researchers explain, “all of this information is used to synthesize multi-perspective images which have novel compositions through a user interface.”

The end result is the ability to change an image’s composition in real time using the software, bringing a photo’s background seemingly closer to the subject or moving it further away, as well as tweaking the perspective at which it is viewed. Computational zoom technology may make its way into commercial image editing software, according to UCSB, which says the team hopes to make it available to photographers in the form of software plug-ins.

Articles: Digital Photography Review (dpreview.com)

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Lomography plans convertible lens system with three focal lengths

07 May

Alternative photography brand Lomography has set out plans to produce a system that allows users to achieve three different focal lengths by switching the elements in the front half of a lens. The Neptune Convertible Art Lens System comprises a four-element barrel unit that remains attached to the camera, and three interchangeable front sections that can be switched to deliver 35mm, 50mm or 80mm focal lengths.

A click-less aperture is positioned in the rear section of the Neptune that provides a maximum F-stop setting of F2.8 when used with the 50mm front end. The same iris offers a maximum F number of F3.5 with the 35mm section and F4 with the 80mm section, according to Lomography. Each of the four-element front sections has been given a name – the 35mm F3.5 is called Thalassa, the 50mm F2.8 is called Despina and Proteus is the 80mm F4.

In addition to interchangeable front element groups the system has a collection of six shaped stops that can be inserted to interrupt the passage of light through the lens. The idea is that the shapes cut into the stops, or Special Aperture Plates, influence the characteristic of out-of-focus highlights in the image.

Lomography is using a Kickstarter campaign to fund the project, and at the time of writing had already succeeded in raising three times its target figure for production to go ahead. The manual-focus Neptune system will be available in black or silver and in Nikon F, Canon EF and Pentax K mounts. The system will also work with most compact system models via an adapter.

The company says it intends to begin shipping a limited number of Neptune systems in November this year, with the main production being available from February 2018. The full retail price is expected to be around $ 980, but early bird offers are in place from $ 690. The kit comprises a base lens unit, the three converters and the six aperture plates.

For more information see the Lomography website and the company’s Neptune Kickstarter page.

Manufacturer information

The Neptune Convertible Art Lens System

The Neptune Convertible Art Lens System is everything you need on any photography venture. A reimagination of the world’s first convertible lens system created by Charles Chevalier in the late 1830s, this unique system opens up a world of possibilities for beginners and professionals alike.

The Neptune Convertible Art Lens System consists of a lens base that’s mounted to your camera and several convertible lens components. By interchanging the front components, you can shoot photos or videos at three different fixed focal lengths — 35mm, 50mm and 80mm. An Art Lens System unlike any other; it offers you all the freedom of a zoom lens without compromising on prime lens quality, and it’s the only convertible Art Lens out there to work with a range of modern-day analogue and digital cameras. Each component is assembled by using the finest multi-coated glass and crafted to produce exceptionally sharp focus and strong, saturated colors for stunning high-definition images — even when you’re shooting close-ups at 0.25m/9.8” with Thalassa (35mm), 0.4/15.7” with Despina (50mm) or 0.8m/31.5” with Proteus (80mm). This is an Art Lens System that lets you take beautifully intimate shots, allowing you to get near enough to capture every last detail of your subject. And because it’s so small and lightweight design, you can take it with you everywhere.

And that’s not all — the Neptune Convertible Art Lens System also features two aperture mechanisms to give you all the creative freedom you need. The stopless iris diaphragm aperture mechanism in the lens base features a wide range of optimal Fstops for each focal length, but with the 35mm and 80mm lenses you’ve got the freedom to go beyond that range and experiment. You can also soften your style by inserting the special aperture plates in front of the iris diaphragm to edge your frame with delicate bokeh.

By reviving and reinventing Chevalier’s convertible lens design for modern-day cameras, we’ve created an Art Lens System that will revolutionize the way you approach photography and videography. There’s no limit to the amount of new front lenses we can produce, and we’re already designing new lens components with unique effects and possible focal lengths ranging from an ultra-wide-angle 15mm to a 400mm monocular.

Each new front lens will be just like the ones you can see on this page — small, handcrafted and compatible with the same lens base, meaning that you won’t have to break the bank by buying a whole new system every time you want to shoot with a new prime lens.

Photographers and videographers all over the world have tested the Neptune Convertible Art Lens System to make sure that we’ve created a system that performs exceptionally in any and every shooting situation. Lightweight and compact, it’s everything you need in your bag — no matter where your adventures take you.

Thalassa: 3.5/35
When attached to the base, the Thalassa lens shoots at a wide-angle fixed focal length of 35mm, making it perfect for architecture, street photography and reportage. As this is a focal length very close to that of the human eye, you can approach your subjects intimately, fill the frame, and immerse yourself in the shot. And as Thalassa has a closest focusing distance of 0.25m/9.8” and delivers exceptional sharpness, you’ll be able to capture all the gritty details that make this beautiful planet we live on so captivating. Sleek and compact, the Neptune Convertible Art Lens System is discreet enough to capture bustling street scenes off guard. Combine Thalassa with the special aperture plates to turn busy urban backgrounds into colorful bokeh frames for stunning environmental portraits, and try bypassing the optimal maximum aperture of F3.5 to add unique effects to your imagery.

Despina: 2.8/50
To shoot at a versatile fixed focal length of 50mm, attach Despina to the base. Nicknamed the Nifty Fifty for good reason, 50mm is one of the pillars of photography — a great focal length for learning, but also for constantly improving your craft. Ideal for everyday, fashion and studio photography, it comfortably captures everything from full-length portraits to editorial spreads in stunning high definition. 50mm also produces delicate bokeh — particularly when fired at the largest aperture of F2.8 and especially when paired with the special aperture plates. With a closest focusing distance of 0.4m/15.7”, Despina captures stand-out features of couture, and allows you to experiment with framing and composition.

Proteus: 4.0/80
Proteus is perfect for portraits, sports and action photography. It has a closest focusing distance of 0.8m/31.5”, and when attached to the base it shoots at a fixed focal length of 80mm. This means that the depth of field is very shallow, and as such Proteus produces beautiful, soft bokeh perfect for framing a subject and guiding your viewer to the focus of your shot. Not only is this ideal for placing your subject against a busy background to create a mesmerising headshot, but it’s also great for isolating the background to make subjects in the foreground appear closer, which makes it a popular focal length for capturing sports stars in action. And because the bokeh also turns crisp foliage into textured backdrops for snapshots of fauna, Proteus is a fantastic lens for nature photography. Add delicate effects to your background using the special aperture plates, and bypass the optimal largest aperture of F4.0 to experiment with the blurred areas in your shot even more.

Articles: Digital Photography Review (dpreview.com)

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