What lens should I choose for still life photography?
In still life photography, you can choose the lens according to your needs: 1. ** Medium telephoto lens (50mm and above)**: - This type of lens was less prone to distortion and could better restore the horizontal and vertical shape of the main body. There were two common types of fixed-focus lenses and zooming lenses. - The focal length of the fixed-focus lens was fixed, and the zooming lens had a zooming ring for zooming operation. For example, there were lenses with a focal length range of 70 - 300, and their maximum aperture may not be constant, such as 4 - 5.6. There were also lenses with a focal length of 70 - 200 mm and a maximum aperture constant at F4. Lenses with a non-constant aperture were relatively cheaper, but they were different from lenses with a constant aperture in terms of image quality and blurring effects. 2. ** macro lens **: - It could focus at a closer distance, suitable for shooting close-ups and local details in still life and food photography. The common ones were 60 macro, 80 macro, 100 macro, and so on. They could choose according to their actual situation. 3. ** Telephoto lens **: - It is suitable for very detailed topics such as flowers, leaves, and fruits. If you want to show the subtle details of the subject, you can use a telephoto lens. By getting close to the subject, set the camera to the AR (Aperture First) mode and choose the longest focal length possible to shoot. The long focal length can compress the angle of view and make the subject stand out. 4. ** Standard 50mm lens or wide-angle lens **: - If you need to shoot everything on the table, you can choose it. Read more exciting novels for free
What kind of lens should I choose for still life photography?
In still life photography, different lenses had different advantages and could be chosen according to the needs: 1. ** Medium telephoto lens (50mm and above)**: - This type of lens was less prone to distortion and could better restore the horizontal and vertical shape of the main body. There were two types of lenses, fixed-focus and zooming. The focal length of the fixed-focus lens was fixed, and the zoom lens could zoom within a certain focal length range. - For example, a 70 - 300mm focal length zoom lens may not have a constant maximum aperture, and a 70 - 200mm focal length lens with a constant maximum aperture of F4. Lenses with a non-constant aperture were relatively cheaper, but there were differences in terms of image quality and blurring effects. 2. ** macro lens **: It can focus at a closer distance. It is suitable for shooting close-ups and local details of still life and food. There are different specifications such as 60 macro, 80 macro, and 100 macro for you to choose according to the actual situation. 3. ** Telephoto lens **: suitable for shooting very detailed subjects, such as flowers, leaves, and fruits. When you need to get close to the subject, you can set the camera to the AR (Aperture First) mode and choose a long focal length as much as possible. The long focal length can compress the angle of view and make the subject stand out. However, if you want to shoot everything on the table, you can also use a standard 50mm lens or a wide-angle lens. 4. ** Large Aperture Fusing Lenses **: Able to produce a blurring effect, making the picture softer, giving a sense of transition between reality and reality, making the picture more warm. At the same time, it can avoid the messy background, and there are usually smaller and lighter options. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Still life camera lens for commercial photography in Xuannei
There were two main prerequisites for choosing a commercial still life camera lens. First, try to buy a zoom or fixed-focus head with a focal length of about 50mm, covering at least 50mm focal length. Second, the lens should have a relatively close focusing distance. There were three main reasons for choosing a 50mm focal length lens. First of all, the 50mm perspective effect was the closest to the human eye. The photos taken were flat and real, unlike the wide-angle lens, which had a large near and small far. The image had an impact but would make the viewer doubt the size and texture of the object. Secondly, the viewing angle of 50mm was just right. A lens that was too wide (such as 28mm) might cause the shadow of the photographer and the camera itself to appear on the background or objects when shooting close up. If it was shot far away, it would capture extra things in the background. If the telephoto lens was used to shoot still objects from above, it might require a very high ladder. If it was not used, it would be a few meters away, which was more troublesome to use. Finally, the control of the depth of field with a 50mm focal length was ideal. When taking pictures with a large aperture, the depth of field was obvious, which could highlight the texture of the focused objects and make the picture simple. When the aperture was reduced, the depth of field could be enlarged, which could make many things in the background and background clear. Wide-angle lenses mostly had a large depth of field (unless they were very close), and telephoto lenses could only be clear in one place, and the front and back scenes were mostly blurred. The depth of field of the two was not as easy to control as the 50mm focal length. In some cases, such as shooting very detailed subjects (such as flowers, leaves, fruits, etc.) and wanting to show subtle details, a telephoto lens was a better choice because the long focal length could compress the angle of view and make the subject stand out. However, if you wanted to shoot everything on the table, you could also use a standard 50mm lens or a wide-angle lens. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
What lens should I choose for landscape photography?
In landscape photography, there were several shots to choose from: 1. ** Large zoom lens (such as 18 - 200mm)**: This type of lens is suitable for carrying outside, but due to the large zoom ratio, the image quality is relatively ordinary. It is only suitable for daily life records, not suitable for creative and commercial use. Its aperture was small, making it difficult to shoot a dream-like blurring effect. It was also difficult to shoot with a hand in a dim environment because the amount of light entering was small. 2. ** Wide-angle lens (24 - 35mm)**: It is the most commonly used lens for landscape photography, especially the 28mm focal length. This focal length lens could highlight the background and enhance the sense of space in the picture. It could be used as the main lens for landscape photography. 3. ** Super wide-angle lens (below 24mm)**: It can expand the shooting range, better highlight the prospects, and shoot a picture with a strong visual impact. However, when using it, one had to pay attention to the perspective distortion and the glare phenomenon when shooting against the light. 4. ** Telephoto lens (70mm and above)**: Commonly used lenses are 70 - 200mm, 100 - 400mm, etc. This type of lens could compress the space, making the background and the background closer to each other, creating an artistic image. Furthermore, the telephoto lens combined with the large aperture could blur the background, making the effect ideal. However, telephoto lenses were generally heavier and had certain physical requirements. If you go out to shoot scenery works, you can consider bringing a 20 - 35mm lens, a 70 - 200mm or 70 - 300mm lens, and a 100-micro lens for shooting flowers, insects and other macro subjects on the road. Super wide-angle lens, ultra-long focal length lens, fisheye lens, etc. had their own functions and characteristics in landscape photography, but they could only be used in specific situations. They could be purchased and used according to personal shooting habits. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Getting started with photography, do you choose a single-lens reflex or a micro-lens?
For beginners, whether they chose a DSLR or a mini camera depended on their personal needs and budget. In terms of performance, if you were looking for faster continuous shooting speed, higher focus performance (such as video focus tracking ability), and higher video performance (including frame rate, bit rate, resolution, overcapture, etc.), the micro-camera was more suitable. The micro-camera had great advantages in autofocus. For example, its focus range could cover the entire screen area, and its continuous follow-up focus performance was strong. It had intelligent focus performance such as portrait face tracking, eye tracking, vehicle tracking, bird tracking, animal tracking, etc., which could identify common objects. The focus accuracy was also high. Moreover, the focus control of the modern micro-camera was simple. In most scenes, the machine could focus, and in a few scenes, it was just a click on the screen to lock the focus. In addition, the micro-phone was smaller and more portable, more suitable for daily shooting and travel. From the market trend, the performance of the micro-phone continued to improve and gradually became mainstream. However, the DSLR had its own advantages. If the main purpose was to take photos, and they didn't mind the size and weight of the camera, the DSLR was a good choice. DSLR cameras were usually equipped with size sensors that could capture more details and higher image quality. Their lens groups were very rich and could meet different photography needs. Their battery life was long and their battery life was longer. Their prices were relatively low. In short, one had to consider their own needs, budget, usage scenarios, and other factors before making a choice. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
What kind of camera lens do you choose for news photography?
There were many factors to consider when choosing a photoshoot. In terms of focal length, lenses between 70 - 300 were more commonly used. Medium telephoto lenses could complete the work without affecting the person being filmed, but individual scenes also needed to be replaced with wide-angle lenses. In fact, full-focal length lenses might be used, but medium telephoto lenses were more commonly used. At least a 70 - 200 lens was needed. If funds allowed, they could add a wide-angle lens to the two cameras. Judging from the impact of the overall performance of the camera on the choice of lens, news photography required the camera to be able to shoot continuously at high speed (about 6 photos per second), have good high sensitivity performance (at least at the time of Iso6400, the noise can meet the photo usage requirements), suitable frame (C frame or full frame), fast focusing speed, and on the basis of meeting these camera performance requirements, the lens that was suitable for it was selected. From the perspective of lens types, the zoom lens could quickly adjust the focal length on the news scene, making it easy to capture important moments. Although the fixed-focus lens was not the only choice, it could bring the advantage of image quality, focusing more on the picture, light and shadow, and composition, making the picture full of story. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Canon still life camera lens
Here are some Canon lenses suitable for still life photography: - "EF100mm f/2.8L IS USM: It is equipped with dual IS image stabilisers. It works well in macro photography. It can achieve a hand shake compensation effect equivalent to a shutter speed of level 4 at normal shooting distances. The lens body is drip-proof and dust-proof, making it more suitable for outdoor shooting environments. - "RF100mm F2.8L MCROIS USM: The first L-class macro lens in Canon's radio frequency system. The maximum magnification can reach 1.4 times, and it can achieve different visual effects by controlling spherical aberrations." In addition, the fixed-focus lens also had certain advantages when shooting still life. For example, the 50F1.8ATM was suitable for shooting portraits and still life shots, and the blurring effect was better. There was also a portrait fixed-focus lens such as the Sima 30F1.4, which had good image quality, large aperture, and excellent blurring effect. It could also be used for still life shots. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Impressionist photography lens
Impressionism photography originated from the Impressionism painting. In the early days, Impressionists used soft focus lenses to obtain soft and hazy images, which was a manifestation of the use of impressionist photography lenses. In modern impressionist photography, ordinary lenses could be used to create an impressionist style through some shooting techniques. For example, when using the lens, use the defocus method to pull the lens out of focus, use the aperture priority mode, and set the lens to the largest aperture.(Small numbers, such as f/2.4 or f/4) to obtain a very shallow depth of field, then switch to manual focus and turn the focus ring until the picture is blurred. By changing the focus of the same scene, you can find the degree of blurring that is suitable for the subject. You can also use the zoom lens to perform zooming and zooming continuous shooting or zooming blurring operations. When shooting, you can change the focal length of the lens (zooming in or out), so that the lens is blurred from the center to the outside, creating an impressionistic photography effect. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
lens flare photography
The lens halo was a common phenomenon in photography. It was caused by the lens group consisting of multiple lenses. Although the lens had high penetration, there was reflection and scattering. The light rays that did not maintain the same direction as the incident light formed a halo, and the internal reflection and scattering of the lens were the main reasons. ** 1. The factors that affect the formation of lens halos ** 1. ** Shot structure ** - The more complicated the lens structure, the more halos appeared in the image. 2. ** Focus ** - Wide-angle lenses could deal with halos better because a short focal length would make the light source look small. Telephoto lenses performed poorly and needed to be equipped with a longer hood because telephoto lenses would magnify the picture elements. 3. ** Film coating ** - Different brands of lens coating technology were different, such as Canon's NAC coating, Nikon's NCC coating, Fuji's SuperEBG coating, Zeiss 'T* coating, Pentax's Smc coating technology, etc. Multi-layer coating lens components had a greater impact on the lens halo. 4. ** Color filter quality ** - Poor quality filter would cause more light spots and ghosting in the image, which would affect the lens flare. 5. ** Dust on the lens ** - Dust inside the lens would cause more lens halos, and all lenses would accumulate dust. ** 2. Ways to avoid lens flare ** 1. ** Use the hood ** - Most lenses would be equipped with a hood, which could prevent light from shining directly on the front mirror of the lens, effectively avoiding glare, and also protect the lens in the event of a slight impact. Petal shaped lens hoods usually had a better effect than non-petal (round) lens hoods because the petal hood took into account the aspect ratio of the camera film or digital sensor. 2. ** Cover ** - When shooting, use leaves, buildings, or body parts of the character (such as the head, shoulders, etc.) to block some direct light. You can also put your hand on the lens to block the sunlight (the hand forms a "C" shape and adjust the angle until the halo disappears, but be careful not to block the lens). 3. ** Use a fixed-focus lens instead of a zoom lens ** - The structure of a fixed-focus lens was simpler than a zoom lens. There were fewer optical components and less lens halos in the image. The structure of the zoom lens was complicated. The hood could not block all stray light at all focal lengths. There were more reflective inner surfaces inside, which made it easier for the lens to glow. 4. ** Changing the angle of the camera ** - Changing the shooting angle could change the position of the light source in the lens to prevent direct sunlight from entering the lens and eliminate the lens halo. It could also be recomposed to block the light source from the elements in the picture. If the halo was strong when it was backlit, the halo would be weaker when it was changed to side backlit. ** 3. Techniques of Using the Halo of the Shot ** 1. ** Change the angle of the sun to shoot ** - When taking photos with a lens halo, you can move the shooting position left and right to block the light from the target or part of the object. If the sun was behind the subject, the subject would be more attractive under the glow of the lens. 2. ** Shooting with a zoom lens and hood removed ** - To highlight the lens halo effect, you can use a zoom lens and a wide-angle lens instead of a fixed-focus lens. 3. ** Confirm and plan the position of the lens flare in the image ** - Because the lens halo might make the photo beautiful in some corners of the picture, but not necessarily in other positions, it was necessary to outline the shooting angle and the angle of the light to take an interesting photo. 4. ** Create the required light source ** - If you can't find an ideal light source, you can create it with photography methods, such as lamps, light bulbs, studio lights, or flashes. 5. ** Find the right time to shoot ** - Light at different times had different characteristics. The light in the morning was softer. Understanding the characteristics of natural light could make interesting photos. Light at different times could bring different emotions to the image. 6. ** Backlight Shooting ** - In order to have a lens halo, the image was shot using backlighting photography, such as backlighting to create an edge light or silhouette image. 7. ** Try to move the corner to adjust the light reflection ** - Moving the corner to adjust the amount of light reflection can get the reflected light that is suitable for the image content, such as water reflection or light passing through the bridge hole. Backlight photography may require manual focus because the camera will capture areas with darker light sources. 8. ** Try different apertures ** - When adjusting the aperture, the reflected light will produce different effects. Try different apertures to get the desired effect. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Shifting lens photography
Tilt-shift photography, also known as tilt-shift photography, was a photography method that used a shift-shift lens to create a work. The characteristics of shift-lens photography were closely related to the characteristics of shift-lens. The most notable feature of the shift-axis lens was that it could shift, tilt, or rotate the main optical axis of the entire photographic lens while maintaining the position of the camera body and the film plane, thereby adjusting the perspective relationship of the photographed image or achieving full-area focusing. The reference clear image field was larger to ensure that the main optical axis of the lens could still obtain a clear image. It was also known as the "TS" lens ("TS" is the English "tilt and shift"),"oblique lens","shift lens" and so on. The main functions of shift-lens photography were as follows: 1. Correct perspective distortion: Reflect clearly in architectural photography. For example, when using a wide-angle focal length lens to shoot the shape of a building, the lines of the building's shape would converge upward due to the perspective effect of the near and far. However, when using a shift-axis lens to shoot, it could rely on its perspective adjustment function to correct this line convergence phenomenon, so that the building remained vertical in the picture, avoiding the feeling of tilting or even tilting. 2. [Realization of regional focus: Commonly used in commercial photography for product advertisements.] By combining the pan and tilt shooting functions of the lens, while correcting the perspective distortion of the subject, it can achieve a full-area focusing effect that is difficult to achieve with ordinary photographic lenses, so that the subject near and far in the picture can form a clear image. The photos and videos taken by the shift-lens photography were like miniature models, which could fully express the feeling of a "man-made city", which was unique and interesting. After using the shift-axis photographic lens on the 35mm single-lens reflex camera, it could be equipped with the function of a large-scale combined camera to control the perspective by adjusting the leather cavity, thus expanding the scope of use of this camera. It played a major role in the field of professional photography. For example, Canon's 135mm system's original, most widely used shift-axis lens, the ts-e 17mm4L, was regarded as an artifact. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Private photography lens
Generally, when taking private photos indoors, many photographers would choose 28mm and 35mm fixed-focus lenses for shooting because the distortion of the ultra-wide-angle lens was too serious. Among them, 28mm f1.4 was known as the best lens for shooting private photos. Its focal length was wide enough to achieve the blurring effect. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>