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Posts Tagged ‘Lens’

Sony Cyber-shot DSC-RX10 III puts emphasis on lens reach and video capabilities

29 Mar

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Sony has unveiled the Cyber-shot DSC-RX10 III, surpassing the zoom range of its predecessor with a 24-600mm equiv. F2.4-4 lens. The camera uses the same 1″-type stacked CMOS sensor which produces 20MP stills as well as 4K/UHD video, and does not replace the RX10 II, which continues in Sony’s lineup.

The RX10 III’s sizable lens makes room for aperture, focus and zoom rings, as well as a focus hold button. The camera offers an XGA OLED EVF with 2.36 million dots, as well as a tilting LCD. The body is dust and moisture resistant. Sony claims that its SteadyShot stabilization system offers up to 4.5 stops of benefit.

The Cyber-shot RX10 III’s lens features eight ED glass elements, including two ED aspherical and one Super ED glass elements. A SteadyShot stabilization system provides up to 4.5 stops of benefit, according to Sony.

An updated shutter provides a fast read-out ‘anti-distortion’ electronic shutter up to 1/32,000sec as well as a silent shooting mode. Wi-Fi and NFC have also come along for the ride.

Movie capabilities

Like the RX10 II, the RX10 III features a solid video specification; offering 4K video from 1.7X oversampled, full pixel readout (without binning). The camera alsio offers the video-centric Picture Profile modes that give fine-grained control over the camera’s tonal and color responses, and include the very flat S-Log2 and S-Log3 gamma curves. Like the RX10 II, the III includes both a mic input socket for using an external mic and a headphone jack for monitoring that recorded audio.

It also offers the high frame rate ‘HFR’ videos modes that capture footage at up to 960 fps (albeit at reduced resolutions) and then play it back as 1080p/24.

The Sony Cyber-shot DSC-RX10 III will sell for around $ 1500, a $ 200 premium over the existing RX10 II.

Press Release:

Sony’s New Cyber-shot RX10 III Camera Brings Extended Zoom Capability to Acclaimed RX Line

New RX10 III Model Boasts Versatile 24-600mm¹ ZEISS Vario-Sonnar F2.4-F4 Lens, 20.1 MP² 1.0-type Stacked CMOS sensor, Internal 4K Video Recording, Super Slow Motion Capabilities and more

SAN FRANCISCO, Mar. 29, 2016 – Sony – a worldwide leader in digital imaging and the world’s largest image sensor manufacturer – has today announced an exciting new addition to its acclaimed Cyber-shot RX lineup, the high-zoom RX10 III camera.

Featuring a newly-developed 25x super-telephoto zoom lens with an extensive focal range of 24-600mm1, the new RX10 III camera is able to produce high-quality content at a variety of focal lengths and camera settings that would require three or more large, heavy and expensive lenses for an interchangeable lens camera user. It’s an outstanding choice for a shooting anything from landscapes to distant wildlife and everything in between.

The RX10 III high zoom camera is equipped with a 1.0 type stacked 20.1 MP Exmor RS™ CMOS sensor with DRAM chip and advanced signal processing, along with a powerful BIONZ X™ image processor. These components work together to ensure the highest possible image quality throughout the entire zoom range of the 24-600mm lens. Additionally, they are responsible for a variety of standout professional-caliber features including 40x super slow motion video capture at up to 960 fps, an ultra-fast Anti-Distortion Shutter with a maximum speed of 1/32000 second, high resolution 4K movie shooting and more.

“By pairing the convenience of an ultra-telephoto lens with our innovative stacked CMOS image sensor design, we’ve created a whole new image experience unlike anything else in market today,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics. “The new RX10 III offers a true ‘all in one’ package that will appeal to a wide range of amateur, hobbyist and professional photographers and videographers.”

New ZEISS® Vario-Sonnar T* 24-600mm F2.4 – F4 Lens

The impressive 24-600mm ZEISS® Vario-Sonnar T* lens on the Cyber-shot RX10 III camera features a large maximum aperture of F2.4 – F4.0, helping it achieve outstanding image quality throughout the entire zoom range, all the way up to ultra-telephoto. This differentiates it from many other high-zoom lenses that often struggle with light-gathering at longer focal lengths. The aperture unit itself has nine blades that are designed to create a near perfect circle in the F2.4 – F11 range, enabling shooters to create content with beautiful bokeh, where the subject stands out against a softly defocused background.

In total, the extended zoom lens features eight ED glass elements including one super ED glass element, five ED glass elements and two ED aspherical lenses, which all work together to minimize chromatic aberration and deliver high-contrast, ultra-sharp image quality. It also has ZEISS® T* Coating for minimizing flare and ghosting and delivering accurate, faithful color reproduction.

The new lens has built-in Optical SteadyShot™ image stabilization that helps to reduce camera shake and image blur, in particular when shooting at longer focal lengths. When active, the OSS is equivalent to shooting at a shutter speed approximately 4.5 stops³ faster than the current setting of the camera.

Additionally, with a minimum focusing distance of 72 cm (2.36 ft) and 0.49x maximum magnification at a fully extended 600mm, the new lens is capable of producing amazingly detailed tele-macro images.

High Quality Image Detail

The RX10 III features a back-illuminated 20.1 MP 1.0-type stacked CMOS sensor and BIONZ X image processing engine that allow the camera to achieves a wide sensitivity range of ISO 64⁴ – ISO 12800 and produce images with exceptionally low noise, even at higher sensitivity settings.

Additionally, the rear of the sensor has a DRAM chip that allows it to read and process large volumes of data exceptionally fast, enabling the camera to shoot super slow motion video at up to 960 fps. The powerful DRAM chip also allows the RX10 III to shoot continuously at up to 14fps with minimal blackout.

With shutter speeds as fast as 1/32000 second, the electronic shutter on the RX10 III minimizes image distortion at faster shutter speeds. It also offers silent shooting at all settings and speeds, ensuring all content can be captured quietly without disrupting the subject, a powerful feature when combined with the wide-ranging zoom lens.

High Quality 4K Movie Recording

The new RX10III model becomes the latest and most versatile Cyber-shot RX camera to offer the advantages of 4K (QFHD 3840×2160) movie recording thanks to its far-reaching 24-600mm lens, which gives videographers the luxury of shooting high quality 4K video from extreme distances.

In 4K video mode, the RX10 III camera utilizes full pixel readout without pixel binning, capturing approximately 1.7x more information than is required for 4K movie output to enhance image detail and minimize moiré and jaggies. It achieves these high-quality results through use of the XAVC S codec, which records video at a high data rate of up to 100 Mbps during 4K recording and up to 50 Mbps during full HD recording⁵.

The new camera also has a variety of other professional caliber video features including Picture Profile, S-Log2/S-Gamut, Gamma Display Assist, Time Code and more, as well as input for external microphone and output for headphone monitoring.

Super Slow Motion Video Recording

The new RX10 III also possesses the ability to record super slow-motion video at up to 40x slower than the standard rate, allowing users to capture and replay fleeting moments of action with incredible detail, resolution and clarity.

In “HFR” (high frame rate) setting, it offers the option to choose among 960fps, 480fps and 240 fps frame rates and among 60p, 30p and 24p playback formats⁶,⁷ with the option to use the movie record button as a ‘start trigger’ to begin recording once button is pressed or ‘end trigger’ to record footage up until the button is pressed.

High Speed Autofocus

The new RX10III camera is equipped with an impressive autofocus system with spatial object detection, allowing the camera to detect and predict motion of a subject before the shutter button is pressed, This helps the camera achieve an incredibly fast and efficient AF response when the shutter is halfway pressed, enabling it to lock on to a subject in as little as 0.09 seconds⁸. This is a yet another compelling technology, especially when paired with a versatile, highly capable 25x zoom lens with a range up to 600mm.

Ergonomics and Design

Aesthetically, the new RX10 III features a number of upgrades compared to existing RX10 models including triple lens rings for focus, zoom and aperture for direct, precise control. The hand grip shape has also been optimized for the new high-magnification, large-aperture lens to enhance stability when holding the camera at eye level. There is a new focus hold button on the lens barrel as well, allowing the focus to be easily locked on a subject while the shooter reframes the image.

The new model features a high-contrast XGA OLED Tru-Finder™ with approximately 2.35 million dots of resolution, ensuring true-to-life image preview and playback functionality. The camera is also dust and moisture resistant and both Wi-Fi® and NFC™ compatible, with the ability and can access Sony’s growing range of PlayMemories Camera Applications. Learn more at www.sony.net/pmca. A dedicated LCJ-RXJ soft carrying case will also be available for the new camera.

Pricing and Availability

The new Sony Cyber-shot RX10 III extended zoom camera will be available this May for about $ 1,500 US and $ 2,000 CA, respectively. The new cameras and all compatible accessories will be sold at a variety of Sony authorized dealers throughout North America.

Notes to Editors:

1. 35mm equivalent focal length
2. Approx. effective megapixels
3. CIPA standard, pitch/yaw directions, at 600mm (35mm equivalent,Telephoto)
4. Both ISO 64 and ISO 80 are expandable ISO range
5. A class 10 or higher SDXC/SDHC memory card is required for movie recording in XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps recording
6. Sound cannot be recorded when shooting slow motion. An SDXC memory card of Class 10 or higher is required.
7. In NTSC
8. CIPA standard, internal measurement, at 24mm (35mm equivalent, Wide), EV8.2, Program Auto, AF area: Centre, with NTSC mode

Sony Cyber-shot RX10 III specifications

Price
MSRP	$ 1499
Body type
Body type	SLR-like (bridge)
Body material	Magnesium alloy, composite
Sensor
Max resolution	5472 x 3648
Other resolutions	4864 x 3648, 5472 x 3080, 3648 x 3648, 3648 x 2736, 3648 x 2592, 3648 x 2056, 2544 x 2544, 2736 x 1824, 2592 x 1944, 2720 x 1528, 1920 x 1920, 640 x 480
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	20 megapixels
Sensor photo detectors	21 megapixels
Sensor size	1″ (13.2 x 8.8 mm)
Sensor size notes	Stacked CMOS sensor
Sensor type	BSI-CMOS
Processor	Bionz X
Color space	sRGB, AdobeRGB
Color filter array	Primary color filter
Image
ISO	Auto, 125 – 12800 (expands to 64-25600)
Boosted ISO (minimum)	64
Boosted ISO (maximum)	25600
White balance presets	9
Custom white balance	Yes
Image stabilization	Optical
Uncompressed format	RAW
JPEG quality levels	Extra fine, standard, fine
File format	JPEG (DCF 2.0, EXIF 2.3) Raw (Sony ARW 2.3)
Optics & Focus
Focal length (equiv.)	24–600 mm
Optical zoom	25×
Maximum aperture	F2.4 – F4.0
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Tracking Single Continuous Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes (4X)
Manual focus	Yes
Normal focus range	3 cm (1.18″)
Macro focus range	3 cm (1.18″)
Number of focus points	25
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3″
Screen dots	1,228,800
Touch screen	No
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.7×
Viewfinder resolution	2,359,296
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/2000 sec
Maximum shutter speed (electronic)	1/32000 sec
Exposure modes	Auto Program auto Aperture priority Shutter priority Manual
Scene modes	Portrait Sports Action Macro Landscape Sunset Night Scene Handheld Twilight Night Portrait Anti Motion Blur
Built-in flash	Yes
Flash range	10.80 m (at Auto ISO)
External flash	Yes (Multi-interface shoe)
Flash modes	Auto, fill-flash, slow sync, rear sync, off
Drive modes	Single-shot Continuous Speed priority continuous Self-timer AE/WB/DRO Bracketing (single, continuous)
Continuous drive	14.0 fps
Self-timer	Yes (2 or 10 sec, continuous)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±3 (at 1/3 EV steps)
WB Bracketing	Yes
Videography features
Resolutions	3840 x 2160 (30p, 25p, 24p), 1920 x 1080 (60p, 60i, 24p) ,1440 x 1080 (30p), 640 x 480 (30p)
Format	MPEG-4, AVCHD, XAVC S
Videography notes	High speed modes at 240, 480, 960 fps
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC, Memory Stick Duo/Pro Duo/Pro-HG Duo
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro-HDMI with 4K still and uncompressed HDMI output)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11b/g/n with NFC
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	NP-FW50 lithium-ion battery and charger
Battery Life (CIPA)	420
Weight (inc. batteries)	1051 g (2.32 lb / 37.07 oz)
Dimensions	133 x 94 x 127 mm (5.24 x 3.7 x 5″)
Other features
Orientation sensor	Yes
Timelapse recording	No
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Leica announces price and details of its 35mm F1.4 lens for the T system

24 Mar

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Leica has formally announced the specifications and price of the Summilux-TL 35mm F1.4 lens for its T-series mirrorless camera. The lens, which is available now, will cost $ 2395/£1650. Leica says that the lens performs at its best wide open, with maximum resolution achieved at F1.4 – though its own MTF charts suggest this is only true in the center of the imaging circle.

Designed to suit the Leica T’s compact footprint, the Summilux-TL F1.4 can also be used on the Leica SL in crop-sensor mode.

Made with a total of 12 elements in 8 groups and a closest focus distance of 0.4m, the lens acts as a standard focal length for the APS-C sensor of the T. Focus can be achieved manually as well as in auto mode, and the smallest aperture on offer is F16.

The lens measures 77 x 70mm/3.0 x 2.7in, weighs 428g/15oz without the hood and will be available in anodized black or silver. Leica originally announced that it would make the lens when it released firmware 1.4 for the T at the end of 2015. We should expect a Leica APO-Macro-Elmarit-TL 60mm F2.8 ASPH in the autumn.

For more information see the Leica website.

Press release:

LEICA SUMMILUX-TL 35mm f/1.4 ASPH.

Introducing a new reference lens in the APS-C system category

Leica Camera has today introduced a new addition to the Leica T Camera System portfolio – the Leica Summilux-TL 35mm f/1.4 ASPH. – an extremely fast prime lens with a classic focal length. Set to become the reference lens in the APS-C category, it offers exceptional imaging performance.

The Leica Summilux-TL 35mm f/1.4 ASPH. delivers maximum sharpness, and superb resolution and colour reproduction when shooting wide open, throughout its aperture range, and at all distances from its closest focusing limit to infinity. It also produces stunning pictures with that unmistakeable ‘Leica look’ and a unique and beautiful bokeh.

Considering the outstanding speed and extraordinary image performance, this 35mm lens is surprisingly compact – and, thanks to the internal focusing system, its overall length remains unchanged in use. Furthermore, the lens’ manual focusing ring enables the smoothest adjustments to be made when shooting.

As with all other Leica lenses, the Leica Summilux-TL 35mm f/1.4 ASPH. has been designed by Leica’s own specialists in Wetzlar, Germany, and represents a perfect union of optical and technical expertise. This combination of cutting-edge technology and the highest quality materials ensures consistently excellent results

As indicated by the ‘TL’ in its name, the Leica Summilux-TL 35mm f/1.4 ASPH. is the first of two new prime lenses for the Leica T Camera System that is fully compatible with the bayonet mount of the Leica T, as well as the L-mount of the Leica SL-System. The second TL lens, the Leica APO Macro-Elmarit-TL 60mm f/2.8 ASPH., will be available from Autumn 2016.

Availability and pricing

The Summilux-TL 35 mm f/1.4 ASPH. is available now in a choice of black or silver anodised finish from authorised Leica stockists in the UK, at a suggested retail price of £1,650 including VAT. A matching lens hood is also available at an SRP of £65 including VAT.

Additional information can be found at uk.leica-camera.com

Articles: Digital Photography Review (dpreview.com)

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Writer’s Favorite Lens – the Canon 400mm f/2.8

20 Mar

Being a sports photographer, covering things ranging from soccer (football) and rugby, to horse racing, I often have the Canon 400mm f/2.8L IS II USM on one of my camera bodies. It’s this lens’ focal length and fast aperture that is most helpful. I love this lens for its image quality and performance, but also its versatility.

Image courtesy of Canon.

So let’s have a look at the specs of this lens:

Focal length: 400mm (560mm APS-C approximate)
Maximum aperture: f/2.8
Maximum diameter x length: 163mm x 343mm (6.41 x 13.50″)
Weight: 3.85 kg (8.48 lbs)
Image stabilized? Yes, four stops
Minimum focusing distance: 2.7m (8.85′)
Weather sealed: Yes

PROS

Ideal Sports Lens

The 400mm focal length of this lens is ideal for many field based sports such as soccer (football) and rugby as it’s not too long, such as a 500mm for example, but at the same time it’s gives more pull than a 300mm. Its fast f/2.8 aperture is very handy when photographing in low-light situations, such as at night matches where the light is often quite low, as it allows me to use a lower ISO and still be able to maintain a shutter speed that is fast enough to freeze the action. This maximum aperture is also ideal to nicely isolate the subject from a busy background and make them pop more. Although I don’t always shoot at f/2.8 (generally hovering around f/3.5-f/4) having the ability to use f/2.8 is quite handy.

As far as focussing speed goes, this lens is blazingly quick and spot-on accurate, especially when coupled to a 1D X, for example. It easily locks on to a subject without any search or lag whatsoever.

In the following images, the 400mm focal length has been fantastic at pulling the subject in closer than what a 70-200 or 300mm for example, would be able to offer. These images have still been cropped, but not as much as would be needed if I had used a shorter focal length.

Versatility

Being quite heavy and long, with no zoom, you may think that this lens would only be suited to use on the sidelines of a sports field, attached to a monopod. However, this lens is much more versatile than that. Being the series two version of this lens, it is significantly lighter than its predecessor. This reduction in weight means that I am now able to use this lens hand-held (if I’m using it for extended period of time, I do use a monopod; it’s not that light!) which opens up more options. For example, I have photographed live concerts with this lens; a lens that is rarely used because of its long focal length. But it’s this focal length, coupled with an f/2.8 aperture, that I love. Photographing through the crowd is fantastic, as I am able to create abstract shapes through the silhouettes created by the audience, and use them to frame my subject.

The longer focal length can also be great when covering conferences, as I am able to photograph further back. This is especially helpful if the speakers are on a stage, as standing further back will reduce the angle in which you look up, and enable you to reduce the distortion that looking up can cause.

This was taken from further back. The speaker was on a stage. By standing back I was able to photograph the speaker and be closer to his level. The aperture also provided some great bokeh with the lights in the background.

400mm, 1/500sec, f/3.2 ISO 6400. The singer raising her hand is made stronger by the abstract hand being raised by the fans.

400mm, 1/500sec, f/3.5 ISO 6400. Shooting through the fans with their hands in the air adds some great foreground interest to this image.

In addition, its fast f/2.8 aperture lends itself to use with teleconverters if extra reach is needed. When adding one, you multiply the aperture and focal length by the strength of the teleconverter; so if you are using a 2x, it would make this lens an 800mm f/5.6. And because its image quality is so good, the degradation to image quality when using converters isn’t really noticeable with this lens. Its AF also does not really take much of a hit, either. So for the price of a couple of teleconverters, I potentially have three lenses in one:

A 400mm f/2.8 as it is
A 560 f/4 with a 1.4x teleconverter
a 800 f/5.6 with a 2x teleconverter

CONS

Cost

This lens is not the cheapest lens on the market; Amazon has it listed at $ 9,999 USD, so this lens is definitely not something many photographers would consider purchasing.

An alternative to this would be the Canon 400mm f/5.6L USM which sells for a much more affordable $ 1,199 USD. The biggest drawback with that lens, however, is its maximum aperture of f/5.6, which would not be very useful in low-light situations, where a wider aperture is much more beneficial.

Image courtesy of Canon.

Size

This isn’t the smallest lens either, and you will generally be very noticeable with it. Using this as a street photography lens would not be ideal, and would make you quite a target! You will also need quite a large bag to carry this in, although it does come with its own hard-case as seen here.

Weight

Even though this is the series two, and much lighter that its predecessor, at nearly 4kg (almost 8.5 pounds) this is definitely not a light lens! You will need a monopod with this lens if you intend to use if for long periods of time. Transporting it also requires quite a large bag; a roller bag being ideal as you don’t have to carry it. I transport all of my equipment in the one bag generally – a ThinkTank Photo Airport Security V2.0 roller bag. This makes carrying not only this lens, but all of my equipment much easier, and saves injuring my back.

ALTERNATIVES

This lens is not for everyone, primarily because of its high cost. If you would love to have one of these in your kit but don’t have the finances available, going second hand is an option. A used 400mm f/2.8L IS USM (non-Series II) is still a fantastic lens and can be found relatively (compared to the new version) cheaply at around $ 4,000-$ 5,000 USD.

If that’s still pushing the financial friendship a little consider these:

Canon 100-400mm f/4.5-5.6L IS II USM at $ 2,099 USD (or the original for $ 1389)
Canon 400mm f/5.6L USM at $ 1,149 USD
Or the many offerings from Sigma, Tamron and Tokina which have the 400mm focal length covered

CONCLUSION

While this is the heaviest lens it my kit, the image quality and performance from it is unmatched, and definitely make it worthwhile carting around. With a little practice using a prime super-telephoto, you can create some striking images that you just cannot achieve with shorter focal lengths. The large aperture and the bokeh it produces at 400mm is dreamy, too!

I really enjoy using this lens in areas that it typically would not be used. It doesn’t always work in those situations, but is a lot of fun nonetheless. Do you have a long telephoto lens? What do you shoot with it? Please share your thoughts in the comments below.

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Hasselblad drops 15% on lens prices until the end of March

16 Mar

Swedish medium-format camera manufacturer Hasselblad has announced it is dropping the price of all its H series lenses until the 31st March. The discount applies to all HC and HCD lenses, and gives buyers 15% off the usual prices.

The HC and HCD ranges include fixed and zoom lenses designed to be used on the Hasselblad H cameras, including the current H5D 50c Wi-Fi but also going back to the H1 film body. The savings mean the 35-90mm F4-5.6 HCD Aspherical zoom, which is the most expensive of the range will cost $ 6936 instead of $ 8160 – a discount of $ 1224 – while the standard 80mm F2.8 HC lens drops by $ 445.50, from $ 2970 to $ 2524.50.

It is hard to tell whether the offer really will finish at the end of the month as Hasselblad has a habit of announcing short-term discounts that then become the standard price. The new CEO Perry Oosting said recently that price is definitely an issue for the company and that introducing lower costs to ownership, such as the Christmas discount on the H5D 50c Wi-Fi, brings new customers to the brand.

For more information about the company’s lenses and to find a retailer visit the Hasselblad website.

Articles: Digital Photography Review (dpreview.com)

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Pros and Cons of a Telephoto Lens for Street Photography?

08 Mar

Andrew is the author of Mastering Lenses. Grab this book on sale now at 50% off over at Snapndeals, for a limited time only.

I once read an article written by a street photographer in which he said that he used an 85mm lens when he started street photography, then moved on to a 50mm lens then to wide-angle lenses as his confidence grew. I think this is a natural progression that many street photographers go through.

Street photo taken with telephoto lens

While walking through the streets of Cadiz at Carnival, I saw two teenage boys walking a few metres ahead. They both had SLR cameras fitted with long lenses. One of them behaved in an interesting way. Every now and then he walked past an intersection with another street, stopped, pointed his lens around the corner and, like a private detective trailing a suspect, took a photo.

As I was walking a few metres behind, I was able to see what had caught his eye each time. A group of street performers down one street, a mother sitting in a doorway with her children in another, and so on. Little slices of life in Cadiz.

This is one way to use a telephoto lens for street photography. Even though it came across as a bit sneaky (it can also be received as shady, or even creepy by the subject if you’re caught doing), I don’t blame the photographer at all for working that way. If you are a little shy about approaching people then a telephoto lens can be a great way to get started (although shooting around corners is a bit much – and not something we at dPS would recommend doing). Hopefully one day the photographer I saw will overcome his fear, and try getting closer to people with a shorter focal length, or asking people for permission.

Street photo telephoto lens

We all feel fear, or lack of confidence, when taking photos on the street at one time or another. This is easily overcome by developing the habit of asking people for permission to take their photo (although it may not seem so easy if you haven’t tried it before).

Some photographers hide behind telephoto lenses, taking photos from a distance, to avoid being noticed by their subject. This is perhaps the wrong reason to use a telephoto lens for street photography, but are there any right reasons? Yes, I believe there are, as are there pros and cons – let’s take a look at a few.This article mentions your favorite hats at super low prices. Choose from same-day delivery, drive-up delivery or order pickup.

PRO: You can photograph without being noticed

This happened to me in Bolivia. The indigenous people often dress in bright, colorful clothing. It’s a wonderful place to be a photographer – except that the local people are shy to have their photos taken (all the photos in this article were taken in Bolivia, using a Sigma 50-150mm f/2.8 telephoto zoom).

Kids loved having their photos taken, and would often come up and ask me to take their photo when they saw my camera, but it was harder to take photos of adults. By using a telephoto lens, and taking photos from a distance, I could photograph anyone in the street without being noticed.

PRO: Compressed perspective

Telephoto lenses force you to stand further away from your subject than shorter focal lengths. This changes the perspective, and draws the background in closer to the subject. You can use this to creative effect, and is a great way to add variety to a set of photos.

street photography telephoto lens

PRO: You can shoot in tight spots

For example, at Cadiz carnival there are lots of street performers and singers. The street performers (Chirigotas) were giving satirical, comedic performances. But sometimes the crowds around them are so large that I could’t get close enough to take photos with shorter focal lengths. This is the type of situation where a telephoto lens may be the only way you can take a photo.

PRO: Framing

It is easier to frame the subject precisely with a telephoto zoom lens. Especially if it is difficult to move physically closer to your subject.

PRO: Details

Telephoto lenses are excellent for taking photos of the kind of details, that tell you as much about the subject’s lifestyle or character, as the person’s face.

The next photo is a good example. I was in a village called Tarabuco which holds a market every Sunday. Local people came from the nearby mountain villages. Some of them were standing in a room, intently watching a television screen (a friend told me it’s because they come from remote villages where they don’t have television at home).

Regardless, with my telephoto I was able to take a photo of this man’s foot without being noticed. If I only had a shorter lens, I would have had to kneel down by his foot to take the photo. Great comedy value perhaps, but not very practical.

Street photo taken with telephoto lens

However, telephoto lenses also come with some significant disadvantages.

CON: Size and weight

Yes, these lenses are heavy. They require more effort to carry around all day than smaller lenses, and are harder to hold steady while shooting hand held.

CON: Faster shutter speeds required

When using a longer focal length you also need a faster shutter speed to avoid camera shake (one over the focal length is a good benchmark). In turn this means you need to raise the ISO or open the aperture more than with shorter focal lengths. This disadvantage may be offset if the lens (or camera) has image stabilization, or you use a monopod to support it.

street photography telephoto lens

CON: Shorter focal lengths are more versatile

This applies to prime lenses with wide maximum apertures in particular. Something like a 50mm f/1.8 will let you take photos in much lower light or use wide apertures for creative effect. In this sense, they are more versatile than telephoto zooms.

CON: It’s harder to blend into the background with a telephoto lens

Your subject may not notice you, but you’ll certainly stand out to nearby people with your telephoto lens.

CON: You don’t engage with your subject

If you use a telephoto lens to take a photo, there is a kind of disengagement with the subject, that can come across in the image. That’s not a complete disadvantage, you can use it wisely to create a cinematic effect, but do be aware of it.

Shorter focal lengths take you in closer to the subject. You are in the scene, participating, rather than outside it, observing.

street photography telephoto lens

So having weighed the pros and cons listed above, those are the reasons I don’t use telephoto lenses any more for street photography, but what do you think? What lenses do you use for street photography and why? Please let us know in the comments.

Andrew is the author of Mastering Lenses. Grab this book on sale now at 40% off over at Snapndeals, for a limited time only.

Mastering Lenses

Andrew is the author of Mastering Lenses. Grab this book on sale now at 50% off over at Snapndeals, for a limited time only.

The post Pros and Cons of a Telephoto Lens for Street Photography? by Andrew S. Gibson appeared first on Digital Photography School.

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