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Ask the staff: Pick one focal length or lens to rule them all

27 Mar

Can you guess the focal length? Photo by Wenmei Hill

We handle a lot of glass in the DPReview office, but there always seems to be a handful of lenses or fixed lens cameras that everyone is extra eager to lay some paws on. Which got us thinking of a fun hypothetical: If we could only choose one lens to use for the rest of time, what would it be?

To keep things interesting, and to vary the answers, we opened the question up to include one lens in particular or one focal length. The photograph that accompanies each answer was shot with that staff member’s chosen lens or focal length. We purposely didn’t list the gear used. See if you can guess!

Carey Rose

Any guesses what focal length Carey gravitates toward?

Before I worked at DPReview, I would have immediately chosen the 35mm focal length. Now that I’ve worked at DPReview for some time, I have to say… I haven’t really changed my mind.

Splurging on a battered old D700 after college left me without enough money to pick up anything approaching a fast zoom, so I started building up a collection of affordable Nikon AF-D primes: a 50mm F1.8, a 35mm F2, an 85mm F1.8. I quickly realized that I just wasn’t a zoom guy, and the 35mm F2 was glued to my camera most of the time. A used X100 was a natural next step for a more portable setup when I scored a good deal on one.

Even today, after using lens after lens and camera after camera for review after review, the 35mm focal length remains my go-to. It doesn’t matter whether I’m headed to shoot an event, a wedding, an environmental portrait, or just strolling around when some nice light hits, it’s more likely I’ll have a 35mm lens with me than any other.

Wenmei Hill

Wenmei likes versatility. Did she choose a zoom or a prime?

I’m going to take the easy way out and pick a zoom lens rather than a single focal length. My choice is the Nikon AF-S 24-120mm F4G ED VR, and my excuse is that the majority of shooting I do (documentary lifestyle and candid portraiture) requires a flexibility that is difficult to get with a single focal length.

I’m choosing the 24-120mm even though it’s not one of my ‘favorite’ lenses because it is relatively small, lightweight and versatile enough to get the variety of shots I look for when photographing. I am able to immerse myself in a scene at 24mm but also step back for a portrait at 120mm, using the longer focal length to get pleasing bokeh and separation from the background.

Shooting it on a DX-format body gives me even more reach at the long end (180mm equivalent) for portraits. I already use this lens as my everyday lens when I don’t have a particular creative plan and want to be prepared for anything, so it’s the one I’d choose if I had to pick just one.

Dale Baskin

Dale chose a specific focal length that he didn’t always love. Can you guess what it is?

This will probably seem like I’m going for the low hanging fruit, but I would choose 35mm. I used to be a solid 50mm guy, and if I wanted to go a bit wider I switched to 28mm, skipping 35mm entirely. My shift to 35mm began in earnest when I started shooting Fujifilm’s X100 series of cameras, which have a 35mm equivalent lens.

Now, one could argue that I’m choosing 35mm because I really enjoy the camera to which it’s attached, but that’s not the case. In fact, when I first started shooting the X100 I enjoyed it despite the focal length. It was actually the one thing I didn’t care for about the camera. However, as I continued to use it, I learned to adjust my style to take advantage of the 35mm field of view. After a few months, I found myself really enjoying it, so I decided to do a little experiment: I was about to embark on a trip to Brazil and decided to shoot my entire adventure at 35mm. The idea was both exciting and scary; I knew from experience that I would be giving up some shots by not having the right lens. However, I like to travel light, and I hate carrying camera gear, so I threw down the gauntlet and accepted my own challenge.

The upshot? I had a great trip and captured a lot of memorable images. Did I miss a few shots along the way? Sure, I did. But on the flip side, I got some great photos I would have otherwise missed because I forced myself to visualize every scene at 35mm instead of mentally switching to a different focal length. Now, no matter what camera I happen to be testing, one of the first lenses I always put on the front is a 35mm (or equivalent).

Sam Spencer

Sam chose a specialty lens. This image was shot using a similar lens, albeit with a different focal length. Do you know what it is?

Forever? Forever ever? I’m sure I could do the practical thing and say ’24-70’, or be a motorsports spectator the rest of my life and say ’70-200’, but I’m weirder than that. If it was a lens for me to shoot what makes me happy for the rest of my days, it’d be the Nikon PC-E 85mm F2.8 for product, portrait, and automotive photography. The maximum magnification of 1:2 means I can get close for product, and use the tilt to either get more of the product in focus, or isolate the focal point. I like medium telephoto lenses for the narrower field of view that makes selecting a background out of a busy environment much easier, and even F2.8 can be bright enough to blur the background at 85mm. I’m a control freak, not a speed demon, so I’ll be watching eBay for a copy…

Dan Bracaglia

Dan’s image was shot with the equivalent of his favorite focal length. The image was cropped in slightly, still any ideas what he chose?

The first and only lens I’d owned for many years was a 50mm. But as my interest in photography (and other activities) grew I found myself yearning for other lenses. If you’d asked me this question when I was 16 years old and shooting a lot of skateboarding, I probably would have said a fisheye is my favorite lens. If you’d asked me again when I was 18 or 19 years old and starting to get into photojournalism, I’d probably have said 24mm. If you’d ask me when I was 24-28 years-old, and reviewing cameras for a living, all why exploring the streets of NYC/Seattle, I most likely would have said 35mm. But these days, I’ve come full circle and 50mm is my focal length of choice if I could only shoot one lens for the rest of my life.

Sometimes overlooked or seen as pedestrian, there are plenty of reasons why a normal 50mm lens is number one in my heart and bag: For starters the nifty fifty is as practical as they come. Most manufacturers make a reasonably fast, yet inexpensive 50mm equiv. Moreover, I’d argue its the most versatile focal length of them all: in a pinch it can be used for portraiture or detail shots, in the same way a tele can. And it can also be used in some capacity as a wide-angle, if you have the room to move (I’ve shot many concerts with just a 50mm, without feeling a need for something wider). And if you get a reversal ring, you can mount a nifty fifty backward and use it for macro shooting!

For years I’ve carried a Nikon 50mm F1.8 in my bag as the ultimate backup for just about anything I’m shooting: weddings, concerts, portrait sessions, travel. It’s light cheap and versatile. But these days, the lens spends as much time mounted on my camera as glass I own costing 6x as much.

Jeff Keller

Jeff chose a workhorse zoom. Can you guess which one?

Since I’m always shooting with something work-related, I don’t get to use my EOS 5D III very often. But when I do, my daily driver is the Canon EF 24-105mm F4L IS USM. Not the most exciting choice of lens, I admit, but for land- and cityscapes that I enjoy taking, it definitely fits the bill. The image stabilization works well, it focuses silently and the weatherproofing is helpful when you’re out at Snoqualmie Falls and it’s throwing mist. Naturally, not long after I bought the 24-105, the Mark II arrived, with new optics, better autofocus and new coatings to reduce lens flare and ghosting. The lens is larger and heavier than my Mark I model, which I consider a good size for its focal length and aperture.

It’s nice to see that Canon isn’t the only one offering a lens with this focal range. Sigma’s 24-105mm F4 DG OS HSM Art lens is even bigger and heavier than Canon’s Mark II version, but the build quality is excellent. And, according to DxO, it’s also a sharper lens. And did I mention that it’s a bit cheaper?

Thus, if I was stranded in a world with wonderful landscapes and cool architecture, the Sigma 24-105mm F4 Art would be permanently mounted on my 5D III.

Vladimir Bobov

Vladimir is our newest DPR team member. He makes sure the site works properly. Any guesses what focal length he chose?

I wasn’t sure whether to bother praising the 50mm focal length. I figured that it’s so common, that talking about it would be either redundant at best or boring at worst. However, sorting my photo collection by focal length showed that I took more photos with a 50mm (on a 35mm full frame camera) than with any other lens, including the more versatile zooms.

So why pick the “normal” prime for the rest of my life? Versatility and portability. It’s the perfect lens for candid portraits in a casual setting – fast enough to use in low light, and small enough to not intimidate the subject. Wide enough for full-body and group portraits, and good enough for head-and-shoulders (especially when paired with an APS-C camera). I’ve also been able to use it effectively for landscapes, close-ups, product, and food photography. So although I’d certainly miss the other focal lengths, with enough creativity and trickery, the 50 and I could live happily ever after.

Richard Butler

Richard chose a favorite lens that doesn’t yet exist. This image falls toward the tele-end of his made-up range. Can you guess what it is?

If I have to live within the constraints of reality, then I’d be tempted to say a 35mm just for its Goldilocks-like flexibility. But, it seems only fair that if I agree to be bound by an arbitrary restriction, I’m should get to relax the need to limit myself to lenses that actually exist. The problem is that I really like 35-40mm equivalent lenses but also love something around 90mm equiv. for portraiture and a lifetime seems like a long time to have to go without.

Equally, if I have a 24 or 28mm equivalent lens, I get back into the habit of ‘seeing’ wide-angle scenes and I’m sure there’s some aphorism about making one’s life spicy. This is why I’m pushing back against reality: the need for a 90mm equiv, rules out the use of a 24-70mm equiv and, over time, the limiting equivalent aperture of an 18-55mm F2.8 on APS-C would leave me frustrated. Sigma’s 18-35mm F1.8 is a work of genius that I wish were available on mirrorless systems, so I’m going to put my faith in the men and women of Aizu and trust that they’ll make me a 16-60mm F2 for APS-C mirrorless. I mean, how hard could it be?

Allison Johnson

Allison chose a specific zoom lens, can you guess which one?

Maybe a truly bold person picks a prime to shoot with for the rest of their life, but I’m going to play it safe and pick a zoom, whatever that says about me. The Olympus 12-40mm F2.8 is not the very best lens I’ve ever shot with, but it’s fairly versatile, sturdy and relatively small. It’s the right size (along with the OM-D cameras I’ve used it with) so that it’s doable to carry around all day in my purse, and I like having a fairly wide 24mm equiv. out to 80mm for a little more reach when I want it.

Really, it’s not special in any way except that it’s a solid standard zoom for a system I like. I’ve had many happy days shooting with it, including one wonderful afternoon at a defunct nuclear power plant (seriously, it was awesome). If picking a zoom makes me basic, then so be it.

Barney Britton

Any guesses what lens Barney chose?

If I was trying to impress you, and if I wasn’t such a died-in-the-wool contrarian, my choice for ‘go-to’ camera and lens would be a Nikon D810 and a 35mm lens – something good, like the Nikon 35mm F1.4 or Sigma Art 35mm F1.4, or perhaps an old ’sleeper’ favorite, like the Nikon AF-D 35mm F2, for the hipsters. If you were to ask me what focal length I use most, I’d say that probably around 90% of my photography could be achieved with a 35mm lens. If you were to ask some of my comment-thread critics on the other hand, they’d tell you that 90% of my photography could be achieved with an iPhone, or their 5-year old daughter, or their blind grandmother, or their blind grandmother’s 5 year-old iPhone, but that’s beside the point.

But I’m not trying to impress you. Which is why I’m going to cheat a little, and make a case for a zoom lens, and one that doesn’t get a lot of love in these parts – the Nikon AF-S 24-120mm F4. The current version of Nikon’s ‘street-sweeper’ do-everything zoom, it’s true that the 24-120mm isn’t the sharpest lens in Nikon’s stable, or the best-controlled when it comes to distortion, or the toughest, and all the rest. It’s a kit zoom. A pretty good kit zoom, in my opinion, but still. So why – if I had to choose only one lens – would I pick the 24-120mm? Because it just works. I know that if I go out shooting with the D810 and 24-120mm, come rain or shine (or snow, or hail, or desert dust, or any of the other nasties I’ve thrown at it) I can capture pretty much anything I might want or need to. It’s almost boring. I wish I had more of an excuse to attach other lenses, but to be honest, most of the time I just don’t. I actually sold a bunch of my Nikon glass recently, because it wasn’t getting used.

The image above was taken just after a torrential downpour last December which turned into a hail storm. The camera and lens were – like me – soaked. Could I have taken it on something better? Maybe, but I wouldn’t have wanted to risk damaging a more expensive lens in those conditions. And would it be a better picture had I done so? Or a happier memory? No.

What would you choose?

If you could only shoot with one lens, or one focal length for the rest of your life, what would you choose? Feel free to share your answer in the comments!

Articles: Digital Photography Review (dpreview.com)

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Got focal range? Canon 24-105mm F4L II Sample Gallery

17 Jan

We took the updated Canon 24-105mm F4L II out into the elements to put the lens to the test. With a wide focal range, this lens has the potential to be the ultimate walk-around workhorse for many photographers. With that said, the real question is does the update warrant an upgrade for current owners of the previous version? Check out our sample gallery to see for yourself.

See our Canon 24-105mm F4L II
sample gallery

Articles: Digital Photography Review (dpreview.com)

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Weather-resistant Fujifilm 2x teleconverter brings 1219mm focal length to X-Series

19 May

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Fujifilm X-Series users will soon be able to purchase a 2x teleconverter compatible with two of the company’s telephoto zoom lenses, delivering a maximum equivalent focal length of 1219mm for its interchangeable lens compact system. The XF2X TC WR teleconverter will be weather and dust-resistant when used with the X-T1 and X-Pro2 camera bodies combined with the XF50-140mm F2.8 R LM OIS WR and XF100-400mm F4.5-5.6R LM OIS WR lenses.

Fujifilm says that the teleconverter will deliver an angle of view equivalent to that of a 1219mm lens on a full frame camera when it is used with the 100-400mm lens, once the crop factor of the APS-C format is taken into account.

The converter consists of nine elements in five groups and adds 30.2mm to the physical length of the camera/lens set-up. With the 2-stop light loss, the AF system of the X-cameras will revert to contrast detection with the 100-400mm F4.5-5.6 lens, but phase detection will still work with the 50-140mm F2.8. Both lenses will need a firmware update in order to operate with the new teleconverter so that adjusted aperture and focal length values can be recorded in the EXIF data and displayed on-screen.

Fuji suggests that the converter will be compatible with other lenses in the X-Series range, and has set up a website on which it promises to post information about future lens compatibility.

The Fujifilm XF2X TC WR teleconverter will be available in June priced £349. For more information visit the Fujifilm website.

Press release:

Fujifilm announces the FUJINON XF2X TC WR Teleconverter

High-performance weather and dust resistant teleconverter with excellent optical design to be added to the X-Series interchangeable lens line-up in June

FUJIFILM Corporation (President: Shigehiro Nakajima) is proud to announce that the new FUJINON TELECONVERTER XF2X TC WR, a teleconverter extending the telephoto area of some X Mount lenses*1, will be added to the mirrorless digital camera X-Series interchangeable lens line-up in June 2016.

The FUJINON TELECONVERTER XF2X TC WR is a high-performance teleconverter, capable of multiplying the focal length of mounted lenses*1 by two. It features excellent optical design with a construction of 9 elements in 5 groups to maintain the optical performance of the original lens.

In addition, thanks to the unified design when mounted to a compatible lens*1, the teleconverter is weather and dust-resistant and operates at temperatures as low as -10°C. This makes it possible to be used with confidence outdoors when used with the weather and dust-resistant X-T1 and X-Pro2 camera bodies, and the XF50-140mmF2.8 R LM OIS WR and XF100-400mmF4.5-5.6 R LM OIS WR lenses.

*1 Compatible lens (As of May 19, 2016)
XF50-140mmF2.8 R LM OIS WR = 100-280mmF5.6 with teleconverter mounted (Equivalent to 152-427mm on a 35mm format)
XF100-400mmF4.5-5.6 R LM OIS WR = 200-800mmF9-11 with teleconverter mounted (Equivalent to 305-1,219mm on a 35mm format)

1. Main Features

(1) High image quality design which maintains the optical performance of the original lens

Construction of 9 elements in 5 groups maintains the optical performance of the original lens.
By using the optimal image quality parameters for the overall characteristics of the original lens and 2x teleconverter, excellent imaging performance with great aberration suppression is still achieved.
The aperture becomes two f-stops higher when the teleconverter is mounted, and the camera displays and records information reflecting the change in aperture and focal length.

(2) Autofocus performance

Phase detection AF is still available when using the XF50-140mmF2.8 R LM OIS WR with the 2x teleconverter mounted.
Contrast Detection AF is still available when using the XF100-400mmF4.5-5.6 R LM OIS WR with the 2x teleconverter mounted.
Accurate focusing at super-telephoto focal lengths with shallow depth of field is possible thanks to the AF performed by the image sensor, thanks to the ‘Live View’ feature on the cameras.

(3) The optical image stabilization performance

The camera’s optical image stabilization performance*2 is unaffected by the addition of the teleconverter

*2CIPA guidelines, at telephoto end.

(4) Weather and dust-resistant and -10°C low-temperature operation

Using the teleconverter with a weather-resistant camera, such as the FUJIFILM X-T1 or X-Pro2 mirrorless digital camera and the FUJINON XF50-140mmF2.8 R LM OIS WR or FUJINON XF100-400mmF4.5-5.6 R LM OIS WR lens does not affect the weather resistance of the system.

(5) High-grade subtle appearance

The teleconverter’s high grade metal exterior has been designed with the X system in mind. When attached to a compatible FUJINON lens, the two products appear as one single lens.

2. Main Specification

Type	FUJINON LENS XF2X TC WR
Lens construction	9 elements 5 groups
Focal length	2x that of original lens
Max. aperture	2 additional stop
Min. aperture	2 additional stop
Focus range	Approx. same as that of original lens
Max. magnification	2x that of original lens
External dimensions: Diameter x Length (distance from camera lens mount flange)	Approx. ?58mm x 30.2mm
Weight (excluding lens caps)	Approx.170g

4. Support Information

A firmware update is required for the FUJINON XF50-140mm F2.8 R LM OIS WR and FUJINON XF100-400mm F4.5-5.6 R LM OIS WR lenses in order to provide full compatibility. This firmware is planned to be available at the beginning of June 2016. Please note that when updating firmware, make sure to update the latest camera firmware before updating the lens.

Please refer to the following website for information on how to confirm your firmware version and its update methods. http://www.fujifilm.com/support/digital_cameras/software/fw_table.html
Please be sure to check the following website as we will continue to update it with information regarding mountable lenses. http://fujifilm.com/products/digital_cameras/x/fujinon_lens_xf2x_tc_wr/

Articles: Digital Photography Review (dpreview.com)

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5 Important Focal Lengths to Know and the Benefits of Each

05 Apr

5 Focal Lengths and Why You Should Use Them 1

Please note: all focal lengths mentioned in this article are in reference to 35mm full frame sensors.

There are photographers that favor the convenience and flexibility of zoom lenses, and those that favor their sharper, lighter and cheaper counterpart, the prime lens. Note: some modern zooms do have prime-like optics. Often, it’s your line of work that will make that decision for you. Whichever variant you favor, you owe it to yourself to experiment with different focal lengths to learn where they each excel, and which ones mesh best with your style. You can achieve this with primes, or zooms if you can commit yourself to not touching that handy zoom barrel. Among the many options, five focal lengths you want to use are the: 24mm, 35mm, 50mm, 85mm, and 135mm.

Let’s look at each one at a time.

#1 – 24mm wide angle

Areas it excels in: landscapes, astrophotography, group portraits, and event photography.

This one is easy to experiment with because not only are there many affordable prime options available, but you’ll find this focal length at the wide end of many full frame zoom lenses. The 24mm prime lens is 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 (or a prime lens) will force you to think carefully about your compositions.

5 Focal Lengths and Why You Should Use Them 2

The 24mm focal length also excels in situations that don’t offer a lot of light. That includes astrophotography, where 24mm lenses with wide apertures (f/.8 or wider) will facilitate shots of the milky way, and in event photography, where you’ll have an ample field-of-view to shoot indoors and add context to your photographs. Additionally, the 24mm focal length is sufficiently wide to capture group portraits with minimal perspective distortion. Just don’t get too close, and watch the edges of your frame.

5 Focal Lengths and Why You Should Use Them 3

#3 – 35mm focal length

Areas it excels in: street photography, events, environmental portraits, and shooting-across-the-dinner-table photography.

35mm is a classic focal length for many photojournalists. Part of that reason is that the field-of-view requires you to be close to the action, but still maintains enough of the environment surrounding your subject to give an image context. This same philosophy applies well to wedding or event photography, and makes the 35mm focal length a great fit.

5 Focal Lengths and Why You Should Use Them 4

Another great thing about the 35mm prime lens is that it just so happens to be the perfect focal length for shooting a portrait from across the dinner table. Any wider and your subjects face will suffer from perspective distortion (exaggerating their facial features) and any narrower and you’d have to get out of your seat for the shot.

5 Focal Lengths and Why You Should Use Them 5

#3 – 50mm (normal) lens

Areas it excels in: street photography, full-body portraits, walk-around shooting.

There are so many reasons to try shooting with a 50mm prime lens. Perhaps the best one is that they’re cheap. You can purchase a brand new 50mm lens for most DSLR systems for a little over $ 100. Also, they produce an image that is normal, or most-like the image that we see with our own eyes. There is a common misconception about this concept. The normal perspective that a 50mm lens offers refers to the perspective distortion (or lack thereof), not the field-of-view. For this reason, the 50mm lens is great for full-body portraits and walk-around or street photography.

5 Focal Lengths and Why You Should Use Them 6

5 Focal Lengths and Why You Should Use Them 7

The 50mm lens is another classic, and a large part of that reason is that often, the area in frame is 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.

#4 – 85mm slight telephoto lens

Areas it excels in: portrait, events, and sports photography.

The 85mm focal length is one that you will find in the bag of many wedding and portrait photographers. It creates beautiful portraits with the ability to flatten one’s features, which is generally flattering, and brilliant background separation. The field of view is not so tight that you’ll feel like you need to be outdoors to use one, but it gives you a nice working distance that allows this focal length to sneakily capture candids at a wedding or family gathering.

5 Focal Lengths and Why You Should Use Them 8

That working distance is great for full body shots when you’re on the sidelines of a sporting event, too. The 85mm prime is also a great working distance for photographing your kids or pets.

5 Focal Lengths and Why You Should Use Them 9

#5 – 135mm telephoto

Areas it excels in: head-shots, portraits, and wedding photography.

When you need to get in close, or if you just love bokeh, the 135mm lens is a great pick. For details and head-shots that bring your subject to life, grab this focal length. The background separation is fantastic, due to the increased compression of the image. The flattering flattening effect (say that five times) from the compression, makes this lens great for shoulder shots, senior portraits, candids, and more. You’ll have fun shooting wide open to create magical separation between your subject(s) and their surroundings.

5 Focal Lengths and Why You Should Use Them 10

5 Focal Lengths and Why You Should Use Them 11

The drawback to this focal length is that you do need a lot of working room, and a lot of light. Remember the 1/focal length rule for shutter speed? In other words, you wouldn’t want to shoot a 135mm lens any slower than 1/135th of a second, without a very steady hand or a tripod. When light or space become a problem, it’s nice to have an 85mm lens to fall back on.

5 Focal Lengths and Why You Should Use Them 12

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. Modern zoom lenses are remarkable in their optical-quality, but you do lose the connection you feel when you are truly in sync with your focal length. The more you shoot with a 50mm lens, the more you will start to see with a 50mm perspective. Good luck and happy shooting!

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Nikon covers all focal lengths with three ‘DL’ enthusiast compacts with 1″-type sensors

26 Feb

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Nikon is entering the 1″-type premium compact market in a big way, introducing three new models: the Nikon DL18-50, DL24-85 and DL-24-500. Between them, they cover pretty much every focal length. The ‘guts’ of all three ‘DL’ models are the same, in that they share a sensor, image processor, autofocus system and support for 4K video (with clean HDMI output, no less). Parts of the design, especially the control layout and font, strongly resemble that of Nikon’s 1-series mirrorless cameras.

Sensor-wise, the DLs use what is possibly the same 20.8MP 1″-type BSI CMOS sensor as Nikon’s J5 mirrorless camera. It’s paired with the company’s new EXPEED 6A image processor, which allows for a top ISO of 12800 and 4K/UHD video recording at 30p. All three cameras have ‘Dual Detect VR’, which combines data from the cameras’ angular velocity sensors and the scene itself to reduce shake. They also have fluorine coatings on their lenses to keep moisture and oil away. Each has a manual focus ring around the lens, as well.

They also have 3″ touch-enabled OLED displays, tilting on the 18-50 and 24-85 and fully articulating on the 24-500. Naturally, they all have Wi-Fi with NFC, plus Nikon’s ‘SnapBridge’ technology, which uses Bluetooth to maintain a connection between camera and phone, so there’s no need to re-pair. Battery life on all three DL models is rated at 290 shots/charge (per the CIPA standard).

One of the features that may set the DLs apart from the other 1″-type cameras is its Hybrid AF system, which combines 105 phase-detect with 171 contrast-detect points. This allows the camera to shoot at 20 fps with continuous autofocus, which is, by far, best-in-class (spec-wise). If you can live with single AF, then the DLs can shoot even faster: 60 fps.

Nikon DL18-50

The first camera is perhaps the most interesting, as it has the widest lens of any enthusiast compact on the market. That lens has an equivalent focal length of 18-50mm and a fast maximum aperture range of F1.8-2.8. The lens has a 3-stop ND filter and is Nikon’s first compact to have a Nano Crystal Coating, which reduces flare and ghosting. The lens has seven aperture blades and has a top shutter speed of 1/1600 sec (an electronic shutter, found on all three models, maxes out at 1/16000 sec). There is also built-in perspective correction, which is especially useful when shooting architecture.

The camera has full manual exposure control, Raw support, tilting touch OLED display and aforementioned 4K/30p support. The DL18-50 also supports an optional tilting OLED electronic viewfinder with 2.36M dots. The 18-50 is the only one of the camera cameras to lack a built-in flash, though like its siblings it does have a hot shoe.

Nikon DL24-85

The DL24-85 is very similar to its wider sibling, both inside and out. The main difference is its lens, which is a 24-85mm equiv. F1.8-2.8 model, though it lacks the Nano Crystal Coating. Its standout feature is the ability to take life-size, 1:1 macro photos, with a minimum focus distance of 3cm. Macro shooters can also take advantage of focus peaking and bracketing as well as manual priority AF. Again it includes a built-in ND filter.

Nikon DL24-500

For those seeking a long zoom model, there’s the DL24-500. As its name implies, it has a 24-500mm equiv. lens, with a max aperture range of F2.8-5.6. Unlike the other two models, the 24-500 has a fully articulating display and a built-in OLED viewfinder. It’s also the only of the DL models with a mic input jack, with support for Nikon’s ME-1 shotgun mic.

All three cameras will be available in early summer with suggested retail prices of $ 649 (24-85), $ 849 (18-50), and $ 999 (24-500).

Press Release:

THE NIKON DL PREMIUM COMPACT SERIES: PUTTING POCKETABLE POWER AND LEGENDARY NIKKOR LENS PRECISION INTO THE HANDS OF PASSIONATE PHOTOGRAPHERS

Pairing a Large 1-Inch Sensor with Superior NIKKOR Lens Technology, Nikon’s New Compact DL24-85, DL18-50 and DL24-500 Will Help Capture Stunning Images and 4K UHD Video

MELVILLE, NY (Monday, February 22, 2016 at 11:01 P.M. EST) – Today, Nikon Inc. announced the new DL Series of premium compact cameras. These pocketable yet powerful imaging tools offer an elite level of imaging prowess that fits easily in one’s palm. Equipped with a variety of focal lengths optimized for different types of shooters, the DL24-85, DL18-50 and DL24-500 combine powerful NIKKOR optics with a large 20.8-megapixel (CX-format) 1-inch BSI CMOS sensor to produce stunning image quality and amazingly detailed images, even when shooting in low-light. Cameras in the new DL line will also feature powerful performance, with high-speed Autofocus (AF) and 20 frames-per-second (60 fps with fixed AF) continuous shooting capability for fast action moments, as well as 4K UHD video recording for users to tell their stories in new ways. Ergonomically designed and familiar for advanced users, all three cameras will utilize the new Nikon SnapBridge connectivity to make it easier than ever to shoot and share with ease.

“We recognize consumers’ desire for smaller cameras capable of outstanding image quality,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “With the new DL line, Nikon is proud to fuse legendary NIKKOR optics with the latest innovations in imaging to provide advanced photographers amazingly compact tools capable of capturing photos and video that even the most discerned professional would be proud of.”

The Nikon DL Series: Powerful Performance, Superior Optics

The new DL line of premium compact cameras packs innovative and powerful imaging technology into elegantly designed yet remarkably compact camera bodies, making it easier than ever to carry pure imaging prowess in the palm of one’s hand. All of these new cameras are designed with a 20.8-megapixel CX-format (1-inch) BSI CMOS sensor, which when combined with fast, high quality NIKKOR glass, help to create stunning image quality for stills or 4K UHD video. Working alongside the new sensor is the new EXPEED 6A image processor that allows for impressive noise reduction and powerful, fast performance, making it possible to capture stunning low-light street photography, beautiful portraits or spectacular landscapes with ease.

For fleeting moments and fast-action, the DL line incorporates a high-speed hybrid autofocus (AF) system featuring 105 phase detect focus areas (with 171 focus points in contrast detect AF mode), as well as continuous shooting up to an incredible 20 fps, with capability to capture up to a blazing fast 60 fps with focus locked on the first frame. The DL series also features Dual Detect Optical VR technology to compensate for camera shake while handheld or at slower shutter speeds.

Continuing the impressive legacy of NIKKOR glass, each new DL camera features a unique lens design capable of amazing resolution and beautiful background blur (bokeh), with impressively fast apertures. The lens barrel also includes a manual focus ring, giving users enhanced control over focus on any subject.

Each NIKKOR lens is also equipped with a fluorine coating that helps repel dirt, water and oil, and also facilitates easy cleaning. For the first time in a Nikon compact camera, the DL18-50’s NIKKOR lens will utilize Nano Crystal Coat to help reduce ghost and flare, particularly useful when shooting at a wide-angle. With the best NIKKOR technologies now integrated into compact camera models, users will be able to capture phenomenal images with amazing detail time and time again.

Control and Versatility

The DL24-85, DL18-50 and DL24-500 put creative control in the hands of each photographer and are all operated using the familiar Nikon DSLR menu design and an assortment of physical controls. The series also supports RAW (NEF) image capture, full PSAM manual controls and over 20 preset creative options, for use in both still and video shooting (including Picture Control, Creative mode, Multiple Exposure Lighten) to help challenge each user to expand their photographic horizons.

The DL line provides the tools to frame nearly every shot, with all three cameras sporting high-resolution 1,037k-dot OLED Touch displays. While the DL24-85 and DL18-50 allow for tilting, the DL24-500’s display provides full Vari-angle capability, vitally important when shooting from unique perspectives. Even further customization and control is possible utilizing the hot shoe/accessory shoe available on DL24-85 and DL18-50 models that allows for complete system expandability with the DF-E1 optional electronic viewfinder. The DL24-500 also sports a hot shoe and a stereo microphone input jack, while all three models are compatible with Nikon i-TTL Speedlights.

Seamlessly Shoot and Share

Nikon SnapBridge makes it easier than ever to shoot and share amazing images with friends and family. Available throughout Nikon’s newest line of premium compacts, SnapBridge utilizes Bluetooth®¹ low energy technology (BLE) to provide an “always on” connection to a compatible² smart device. Users can now seamlessly send images from their camera to a smart device (utilizing the new SnapBridge app) for easy sharing via social networks or to the cloud for instant storage. An unlimited number of thumbnails and 20 GB of storage will also be available for registered Nikon owners and SnapBridge users on Nikon Image Space, Nikon’s free image storing service. Additionally, built-in Wi-Fi3 and NFC remain available to help facilitate easy connection and sharing.

Through Nikon SnapBridge, users can also operate their cameras remotely using the app, automatically synchronize time and location information to any image utilizing the camera’s constant connection to a compatible smart device, as well as embed information on any image, including copyright or photographers’ names. Lastly, firmware updates have never been easier, as Nikon will send registered users firmware information via the new SnapBridge application, directly to their smart device.

4K Video Capability

The DL series will be among Nikon’s first compact offerings to support 4K UHD video capability [3840×2160] at 30p, affording users the ability to capture incredibly beautiful video with remarkable detail, all with a compact camera. Multimedia photographers will have free reign over their creative vision with the ability to utilize PSAM selectable exposure modes while recording, alongside popular movie features like HDMI output to an external recorder, slow motion to 1200 fps and the ability to grab stills from video. Other creative video functions available include: Full HD movie, HD movie, Motion Snapshot, Slow motion, 4-second movie, Time-lapse movie, Superlapse movie and Jump cut.

DL24-85: The Premium Compact Camera Ready for Anything

Great for travel, portraits and general photography, the DL24-85 offers pocket-sized imaging power with a fast and versatile 24-85mm focal range. Compatible with 40.5mm threaded filters, the newly designed NIKKOR lens (11 elements in 9 groups) features a 3.6x zoom range (7x with Dynamic Fine Zoom4) and a wide f/1.8-2.8 aperture, empowering users to capture a wide variety of subjects with incredible detail and natural bokeh, even in low-light. The 24-85mm offering also features Dual Detect Optical VR, AF bracketing and a tilting Touch OLED display to make composing from creative angles easier than ever.

Exclusive to this DL model is a new Super Macro Mode (1:1) that helps capture even small subjects in life-size detail. Setting manual zoom on the camera to super macro position allows the user close-up shooting at a 35mm equivalent magnification, providing amazing detail whether shooting flowers in bloom or a wandering ladybug. Macro photographers can utilize a variety of camera functions within the mode, including focus bracketing, manual priority AF (M/A) mode and peaking indication, to truly customize the look and feel of every image.

DL18-50: A Premium Pocket Camera That Can Capture It All

For landscape and architecture shooters looking for compact, ultra-wide angle DL option, the DL18-50 provides a solution that fits easily into any photographer’s pocket. Starting at a wide 18mm and expanding to 50mm (2.8x zoom, 5.5x with Dynamic Fine Zoom) the camera sports a powerful NIKKOR lens with a wide f/1.8-2.8 aperture that makes it easier than ever to produce natural bokeh in any image, while capturing tack-sharp stills and video. This lens is compatible with 46mm filters and features Nikon’s Nano Crystal Coat to help reduce ghosting and flare.

Those who choose the wide-angle DL premium compact can also take advantage of perspective controls to help compensate for image distortion, particularly for shooting tall objects from the ground like landmarks and skyscrapers. Tailored for architecture shooters, this feature helps to capture the correct perspective with ease.

For use with the DL24-85 and DL18-50, a newly designed optional DF-E1 electronic viewfinder (EVF) will be available for discerning photographers who desire for a traditional eye-level viewfinder to frame their photos. The compact DF-E1 features a 2,359k-dot resolution with eye sensor, alongside a tilting mechanism, diopter adjustment and anti-reflection coating, helping provide further clarity and versatility for DL shooters.

DL24-500: Get Close and Connect

The DL24-500 offers the longest zoom capability of any DL premium compact, reaching an incredible 500mm focal length and 21x optical zoom (42x with Dynamic Fine Zoom). Combining Nikon’s new 1-inch sensor with this impressive super-zoom NIKKOR lens, the DL24-500 is an ideal choice for users eager to photograph and share anything from concerts to wildlife. Featuring an f/2.8-5.6 aperture, this lens (compatible with 55mm filters) integrates the newest NIKKOR technologies to help render amazing images and background blur, even from afar.

The DL24-500 also features Dual Detect Optical VR, particularly useful when shooting at extremely long focal lengths or without a tripod, a built-in electronic viewfinder (EVF) with 2,359k-dot OLED display and an eye-sensor and a Vari-angle 1,037k-dot OLED screen.

Price and Availability

The new DL24-85, DL18-50 and DL24-500 will be available in early summer 2016 for suggested retail prices (SRP) of $ 649.95*, $ 849.95*, and $ 999.95*, respectively. Pricing and availability for the optional DF-E1 electronic viewfinder, compatible with both the DL24-85 and DL18-50, is TBD. For more information on these new Nikon products, please visit www.nikonusa.com.

1 The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon Corporation and its affiliates is under license.

2. WI-FI COMPATIBILITY This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera. The SnapBridge app is not yet available (coming soon in spring 2016) Apple, the Apple logo, iPhone, iPad and iPod touch are trademarks of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.

3. Wi-Fi and the Wi-Fi logo are trademarks or registered trademarks of the Wi-Fi Alliance. N-Mark is a trademark or registered trademark of NFC Forum, Inc., in the United States and/or other countries.

4. Dynamic Fine Zoom magnification is calculated from the full-wide end of optical zoom

* SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon DL18-50 / DL24-85 specifications

	Nikon DL18-50	Nikon DL24-85
Price
MSRP	$ 849	$ 649
Body type
Body type	Large sensor compact
Sensor
Max resolution	5584 x 3712
Image ratio w:h	3:2
Effective pixels	21 megapixels
Sensor photo detectors	23 megapixels
Sensor size	1″ (13.2 x 8.8 mm)
Sensor type	BSI-CMOS
Processor	Expeed 6A
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-12800
White balance presets	7
Custom white balance	Yes
Image stabilization	Optical
Uncompressed format	RAW
File format	JPEG (Exif v2.3) Raw (NEF)
Optics & Focus
Focal length (equiv.)	18–50 mm	24–85 mm
Optical zoom	2.8×	3.5×
Maximum aperture	F1.8 – F2.8
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes (4x)
Manual focus	Yes
Normal focus range	15 cm (5.91″)	30 cm (11.81″)
Macro focus range	3 cm (1.18″)
Number of focus points	171
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3″
Screen dots	1,037,000
Touch screen	Yes
Screen type	OLED
Live view	Yes
Viewfinder type	Electronic (optional)
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/2000 sec	1/1600 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Program AE Shutter priority Aperture priority Manual
Scene modes	Bird Watching Close-up Food HDR Landscape Multiple Exposure Lighten Night Landscape Night Portrait Portrait Selective Color Sports
Built-in flash	No	Yes
Flash range		5.00 m (at ISO 100)
External flash	Yes (via hot shoe)
Continuous drive	60.0 fps
Self-timer	Yes (2 or 10 secs)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±5 (at 1/3 EV, 1 EV steps)
Videography features
Resolutions	3840 x 2160 (30p, 25p), 1920 x 1080 (60p, 50p, 30p, 25p), 1280 x 720 (60p, 50p, 30p, 25p)
Format	MPEG-4, H.264
Videography notes	Slow motion: 1080/120p, 720/240p, 800 x 296 (400p), 400 x 144 (1200p)
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro-HDMI)
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	Wi-Fi with NFC and constant connection via Bluetooth
Remote control	Yes (via smartphone)
Physical
Battery	Battery Pack
Battery description	EN-EL24 lithium-ion battery & charger
Battery Life (CIPA)	290
Weight (inc. batteries)	365 g (0.80 lb / 12.87 oz)	350 g (0.77 lb / 12.35 oz)
Dimensions	106 x 63 x 58 mm (4.17 x 2.48 x 2.28″)	105 x 61 x 50 mm (4.13 x 2.4 x 1.97″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes (video)
GPS	None

Nikon DL24-500 specifications

Price
MSRP	$ 999
Body type
Body type	Large sensor compact
Sensor
Max resolution	5584 x 3712
Image ratio w:h	3:2
Effective pixels	21 megapixels
Sensor photo detectors	23 megapixels
Sensor size	1″ (13.2 x 8.8 mm)
Sensor type	BSI-CMOS
Processor	Expeed 6A
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-12800
White balance presets	7
Custom white balance	Yes
Image stabilization	Optical
Uncompressed format	RAW
File format	JPEG (Exif v2.3) Raw (NEF)
Optics & Focus
Focal length (equiv.)	24–500 mm
Optical zoom	20.8×
Maximum aperture	F2.8 – F5.6
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes (4x)
Manual focus	Yes
Normal focus range	30 cm (11.81″)
Macro focus range	1 cm (0.39″)
Number of focus points	171
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3″
Screen dots	1,037,000
Touch screen	Yes
Screen type	OLED
Live view	Yes
Viewfinder type	Electronic (optional)
Viewfinder coverage	97%
Viewfinder resolution	2,359,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/2000 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Program AE Shutter priority Aperture priority Manual
Scene modes	Bird Watching Close-up Food HDR Landscape Multiple Exposure Lighten Night Landscape Night Portrait Portrait Selective Color Sports
Built-in flash	Yes
Flash range	10.00 m (at ISO 100)
External flash	Yes (via hot shoe)
Continuous drive	60.0 fps
Self-timer	Yes (2 or 10 secs)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±5 (at 1/3 EV, 1 EV steps)
Videography features
Resolutions	3840 x 2160 (30p, 25p), 1920 x 1080 (60p, 50p, 30p, 25p), 1280 x 720 (60p, 50p, 30p, 25p)
Format	MPEG-4, H.264
Videography notes	Slow motion: 1080/120p, 720/240p, 800 x 296 (400p), 400 x 144 (1200p)
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro-HDMI)
Microphone port	Yes
Headphone port	No
Wireless	Built-In
Wireless notes	Wi-Fi with NFC and constant connection via Bluetooth
Remote control	Yes (via smartphone)
Physical
Battery	Battery Pack
Battery description	EN-EL20A lithium-ion battery & charger
Battery Life (CIPA)	290
Weight (inc. batteries)	780 g (1.72 lb / 27.51 oz)
Dimensions	123 x 90 x 139 mm (4.84 x 3.54 x 5.47″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes (video)
GPS	None

Articles: Digital Photography Review (dpreview.com)

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How to use Focal Length and Background Compression to Enhance Your Photos

17 Nov

One of the most common uses for zoom lenses is, as their name suggests, to zoom in on objects that are far away. These lenses are fantastic for getting close-up views of nature, architecture, wildlife, or anything else that might be little more than a speck to the naked human eye.

Some cameras like the Nikon Coolpix P900 let you get a close-up view of objects a few miles away. While this flexibility might seem like a rather tempting proposition for getting close to objects without physically moving yourself, there is another often-overlooked benefit of zoom lenses when taking portraits or other types of pictures with one clear subject in front of a vast spread of scenery – background compression. Understanding how this works, and how you can manipulate it, can transform your approach to portrait photography and give your pictures the type of visual boost that you might have always wanted, but never knew how to achieve.

background-compression-senior-photo

The basic idea with background compression is that you can take photos of something relatively close to you, such as a high school senior as shown in the image above, and bring elements of the background closer as well. This gives a more constrained feeling to the overall composition, and helps focus the viewer on your subject while not only bringing the background in, but often blurring it at the same time.

As an illustration of how this works, here are several photos of my dad taken at different focal lengths. Notice how he is framed similarly in each shot, but the background changes dramatically as I adjust the zoom on my camera lens.

18mm focal length, f/7.1, 1/80th of a second, ISO 100

I used an 18-270mm zoom lens to take these shots, and this first one (above) at 18mm shows my dad along with a massive background: utility poles, houses, trees, mailboxes, and all sorts of other elements make up the picture in addition to the subject. Take note of the car several hundred yards behind him, as indicated by the red arrow, and notice what happens as I change focal lengths, but keep my dad similarly framed.

70mm, f/7.1, 1/125 second, ISO 320

Here you can already see several differences from the original image. The scene is now slightly claustrophobic with many of the elements along the perimeter of the original photo disappearing altogether. Mailboxes and utility poles have been brought closer, and notice how the same stationary automobile far in the distance has appeared to creep forward, and is now much larger. The background, in essence, is getting squeezed together or compressed.

154mm, f/7.1, 1/250 second, ISO 800

At 154mm the vehicle in the background seems significantly closer, and various other elements such as trees and utility poles are now filling almost the entire frame. As I zoom in, while keeping my dad consistently framed in the shot, even the distance between the individual utility poles seems to be shortened, which further enhances the overall feeling of compression. It’s not just that things appear closer, but that the distances between all the elements of the frame look much smaller as well. This can be a powerful, and extraordinarily useful way to compose a picture, and you don’t even need a fancy camera or lens to do it. Most pocket cameras have optical zooms that can be used to accomplish the same effect.

270mm, f/7.1, 1/400 second, ISO 1600

In this final shot, the background elements virtually dominate the frame and almost overpower my subject. The vehicle just over his shoulder is about a quarter of a mile (0.4 km) away, though it appears as if it’s a mere stone’s throw behind him.

Background compression can be a good or bad thing, depending on the type of picture you are taking. The key takeaway here is to know what it is, and how to utilize it to get the type of composition you are going for. The longer your focal length, the more you will be able to add this sense of compression to your background. But, it also helps if you have a great deal of distance between your subject and the elements behind it. If my dad were standing a few feet away from something, like a tree or a brick wall, there would be virtually no compression at all, even with a very long focal length.

18mm lens	70mm lens
154mm lens	270mm lens

If the final example in the above series seems a bit extreme, here’s another set of images that show how background compression can be used effectively to enhance the overall composition, rather than overpower your subject.

35mm, f/2.8, 1/750 second, ISO 200

This is a perfectly serviceable portrait, although I purposely left a bit too much space on the right-hand side in order to illustrate the compression concept. Shot at 35mm, with a wide aperture of f/2.8, the background is nice and blurry, the focus is clearly on the smiling woman, and the background is not too distracting or bothersome. However, re-taking the same picture with a longer focal length, leads to a much more pleasing picture all around.

85mm, f/2.8, 1/750 second, ISO 200

The same compression shown in the first series of pictures is clearly evident here, though it is used to a much better overall effect. Even though the tree and cars create a background that is somewhat busy, shooting with a wide aperture blurred things out enough, that the focus is still clearly on the woman, while the background serves to add a bit of context to help put the overall composition in perspective.

One final note about compression: it doesn’t just work for foreground elements too as you can see in the following pictures.

35mm, f/11, 1/125 second, ISO 400

I purposely shot this with a much smaller aperture in order to minimize the degree of background bokeh, lest compression be confused with blur. Notice how this woman is sitting squarely in the middle of the bench with plenty of room to her right, and about 50 yards (46 meters) between her, and the trees and cars in the background. Most of the picture is in focu,s which is a direct result of the small aperture.

85mm, f/11, 1/90 second, ISO 400

Here the foreground and background have both been brought nearer to the subject. The trees and cars behind her are much closer, while the bench appears to take up almost no room on the woman’s right side. It might as well be little more than a chair in this picture, and yet, this is merely an illusion created by using a longer focal length while keeping my subject framed appropriately. Most of the picture remains in focus due to the small aperture, and you can clearly see that background compression is not always synonymous with background blur.

As one final example, here is the same woman, on the same bench, shot wide open at f/1.8 with my 85mm lens.

85mm, f/1.8, 1/1000 second, ISO 400

The overall compositional elements remain the same in this final image as the two above, except that I moved myself physically closer to the subject, while shooting at a very wide aperture of f/1.8. The background is severely compressed, and quite blurry, which leads to a rather pleasing portrait.

Background compression can be a bit tricky to understand, but if you play around with different focal lengths you should get the hang of it quickly. Then it’s just a matter of figuring out how to use it to your advantage to create the type of shot you want–especially when doing portraits.

Have you tried using this technique in your own photography? What other tips do you have to share about creative uses for background and foreground compression? Leave your thoughts in the comments below, and feel free to share any example images you have as well.

This week on dPS we’re featuring a series of articles about composition. Many different elements and ways to compose images for more impact. Check out the ones we’ve done so far:

Using Framing for More Effective Compositions
7 Tips to Improve Your Skyline Photos
33 Images that Exemplify Compositional Elements
Weekly Photography Challenge – Composition Craziness
How to Take Control of Aperture and Create Stronger Photos
How Cropping in Post-Production Can Improve Composition
Good Crop Bad Crop – How to Crop Portraits

The post How to use Focal Length and Background Compression to Enhance Your Photos by Simon Ringsmuth appeared first on Digital Photography School.

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4 Things You Should Know About Focal Length and Composition

13 Nov

Lenses are the eye of your camera. The focal length of a lens (and your point of view) determine how much of the subject your camera sees.

You may already be familiar with the basics, and understand the difference between, say, wide-angle and telephoto lenses, but let’s dive into the the topic a little deeper to see what’s really going on.

focal length and composition

There are four fundamental things to know and understand about the focal length and composition.

1. Focal length is not as important as field-of-view

There are two factors that determine the field-of-view of a lens:

The focal length.
The digital sensor or film size

Field-of-view (sometimes called angle-of-view) is far more important than focal length, because it tells you how much of the scene the lens sees. However, as field-of-view changes according to sensor size, manufacturers tell us the focal length instead. Focal length is a fixed measurement that doesn’t change (it is literally the distance from the middle of the lens to the focal plane, which is the sensor).

Here are some practical examples.

Example #1 – 50mm prime lens

A 50mm prime lens has a field-of-view of 47 degrees on a full-frame camera. This field-of-view approximates what we see with our own eyes. But what happens when you put the 50mm lens on an APS-C camera (crop factor of 1.6x)? The crop factor of the smaller sensor means that the lens now has a field-of-view of around 30 degrees, making it a short telephoto lens.

This change in field-of-view means that you have to move further away from your subject in order to fit it in the frame, which also changes the perspective (giving the compressed effect that characterizes short telephoto lenses).

If you want the equivalent of a 50mm lens on an APS-C camera you need to use a focal length of around 31mm, as it has the same field-of-view (47 degrees).

A prime lens with that focal length doesn’t exist (you could choose between a 28mm or a 35mm depending on whether you wanted a slightly wider or a tighter field-of-view), but you can set that focal length if you have a zoom.

50mm lens, full-frame camera. The lens has a field-of-view of 47 degrees.

50mm lens, APS-C camera. The same lens has a field of view of 30 degrees with this camera.

Example #2 – 21mm lens

The same applies to wide-angle lenses. A 21mm prime lens has a field-of-view of around 92 degrees. That’s a nice wide field-of-view ideal for landscape photography, or creating images with dramatic perspective.

But put it on an APS-C camera the field of view narrows to around 65 degrees. It’s still a wide-angle, but the effect is much more moderate. It now has nearly the same field-of-view as a 35mm lens does on a full-frame camera

To get the same field-of-view as the 21mm lens (on a full frame) you would use a 14mm lens (on an APS-C camera).

This photo was taken with a 14mm lens on an APS-C camera. It has the same field-of-view as a 21mm lens does on a full-frame camera.

Example #3 – 16mm lenses

It’s even possible to have two lenses with the same focal length, but different fields-of-view (on the same camera).

A 16mm wide-angle lens has a field-of-view of 107 degrees – but a 16mm fisheye has a field-of-view of 180 degrees.

They have the same focal length but each one is designed for a different purpose. The 16mm wide-angle is designed to keep straight lines straight. The fisheye doesn’t try to do that, and as a result has a much wider field-of-view.

This table shows the field-of-view of common focal lengths with full-frame, APS-C and micro four-thirds cameras.

focal length and composition

The next points explore the relationship between field-of-view and composition.

2. Wide-angle lenses are lenses of inclusion

You can think of any lens with a field-of-view wider than around 63 degrees as being a wide-angle. That’s 35mm or shorter on a full-frame camera, 20mm on APS-C, and around 18mm on micro four-thirds.

Wide-angle lenses have two characteristics that affect composition:

The wide field-of-view means that you have to move in close to your subject to fill the frame. But, at the same time wide-angle lenses also include quite a bit of the background. The shorter the focal length, the closer you need to get, and the more background is included.
Wide-angle lenses also appear to have more depth-of-field at any given aperture setting than longer focal lengths (they actually don’t, it has to do with lens to subject distance which also changes with focal length).

These two factors combine to make wide-angle lenses, ones of inclusion. You can always fit more into the frame with a wide-angle lens, no matter how close you get to your subject. The background is also more likely to appear more in focus, than it is with longer focal lengths. Getting in close, creates the dramatic perspective that some photographers love. It emphasizes line, and creates a sense of depth, that images taken with longer focal lengths can lack.

The slightest change in your point of view makes a dramatic difference to the composition of the photo. The shorter the focal length, the more this applies. As wide-angle lenses include so much background it can be difficult to simplify the composition and remove all distractions. There’s no way around it, it’s just a characteristic you have to embrace.

This photo, taken with an 18mm lens (APS-C), includes the buildings, the city wall, the reflection in the water, the city trees disappearing into the distance, and keeps everything in sharp focus.

3. Telephoto lenses are lenses of exclusion

A telephoto lens is one that has a field-of-view of around 30 degrees or less. That’s around 85mm or longer on a full-frame camera, 50mm on an APS-C camera, and 40mm on micro four-thirds.

Telephoto lenses are ones of exclusion. They have a narrow field-of-view. Fill the frame with your subject, and you won’t get much background in at all. It is also easy to throw the background out of focus by using a wide aperture, and making sure there is sufficient distance between your subject and the background.

This photo, taken with a 50-150mm lens set to 72 mm (APS-C), shows the woman’s hands and the textiles she is selling. There is not much in the background at all.

4. Normal lenses occupy the middle ground

Normal lenses, those with a field-of-view somewhere around 55 degrees, occupy the middle ground between wide-angle and telephoto. They don’t create images with the dramatic perspective that you can obtain with a wide-angle, nor do they exclude the background to the same extent as telephotos.

If you have a normal prime lens you can open the aperture up to defocus the background, sometimes quite dramatically if you get close enough to the subject. But, you can also often stop down enough to get everything within the frame in focus.

I took this photo with a 35mm lens, a normal lens on an APS-C camera. It lacks the dramatic perspective, and wide field-of-view of the photos taken with wide-angle lenses. But it includes more of the background and shows less compression than the photos taken with telephoto lenses.

Your turn

Can you think of anything else that photographers ought to know about focal length, field-of-view, and composition? If so, please let us know in the comments. I’d like to hear your thoughts.

Note: this is the second in a series of articles on dPS this week talking about composition. See: Using Framing for More Effective Compositions and look for more over the next few days.

Mastering Composition

My new ebook Mastering Composition will help you learn to see and compose photos better. It takes you on a journey beyond the rule of thirds, exploring the principles of composition you need to understand in order to make beautiful imag

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