Lenses 101

Have you ever looked at a photographic masterpiece and wondered how the photographer managed to capture it? Here’s a not-so-secret secret: It’s in the lenses. How you choose and use them can make the difference between an ordinary shot and a compelling work. The first step is to know your options. Here’s an introduction to the different types of lenses and what they do.

Different lenses let you see the same scene in different ways

The features and specifications you find in DSLR and mirrorless camera bodies can help you take amazing shots, but when it comes to creative expression, the key is in the lens.

Each type of lens has its own unique set of characteristics, which you can harness for different scenes and shooting intentions. From jaw-dropping shots of vast landscapes that go on forever, mysterious close-ups of roses, the action and dynamism of motorsports, and many more, interchangeable lenses provide you with a range of visual expression not possible with a smartphone camera.

For some examples, take a look at the following.

Wide-angle lenses

EOS 5D Mark III/ EF11-24mm f/4L USM/ FL: 11mm/ Aperture-priority AE (f/8.0, 1/500 sec., EV±0)/ ISO 100/ WB: Auto
Shot with: Ultra-wide-angle lens

Wide-angle lenses capture a field-of-view that is wider than what the human eye can see. For this reason, they are often used to photograph vast landscapes.

A lens is considered to be wide-angle if its focal length is 35mm and below. If its focal length is 24mm or shorter, it is considered an ultra-wide-angle lens.

Wide-angle lenses also exaggerate perspective, i.e., they can make nearby objects look bigger and nearer, and faraway objects look smaller and even further away. This characteristic is often used in architectural photography to make buildings look more impactful.

Because of the above-mentioned strengths in capturing scenery and architecture, wide-angle (including ultra-wide-angle)lenses are great to have on hand when you travel.

Macro lenses

EOS 800D/EF-S35mm f/2.8 Macro IS STM/ FL: 35mm/ Aperture-priority AE(f/9, 0.5sec., EV-1.7)/ ISO 400/ WB: Manual
Type of lens: Macro

Macro lenses are ideal for photographing plants, insects, food, trinkets and accessories, and other small subjects.

This is because they have:

- A very close focusing distance, which means that you can photograph your subject by putting your lens very close to it
- A magnification ratio of at least 1:1, which means that you can still achieve life-size close-ups where the subject fills the frame.

Macro lenses have a very shallow depth-of-field: Only subjects that are very close to the camera will be sharp and in-focus. The surrounding areas will be out-of-focus and blurred with an aesthetic quality called ‘bokeh’, which makes subjects pop.

In fact, because of their ability to create beautiful background bokeh, macro lenses are also often used for portrait photography.

Telephoto lenses

EOS-1D X/ EF100-400mm f/4.5-5.6L IS II USM/ FL: 200mm/ Manual exposure (f/14, 1/60 sec., EV±0)/ ISO 50/ WB: Auto
Type of lens: Telephoto

Telephoto lenses “pull in” photographic subjects that are far away and make them look bigger and nearer than they really are. They are ideal for photographing wildlife, sports, car and bike races, and any other subject that is hard for you to shoot from up close.

Telephoto lenses are also known for their compression effect, which makes objects look closer to each other.

Compared to standard (normal) lenses, telephoto lenses can capture images with a larger background blur. This is due to two reasons:
i) A shallower depth-of-field
ii) Out-of-focus distant objects are also “pulled-in” and magnified, so the blurred areas look bigger.
You can use this characteristic to blur out distracting background elements and focus the viewer’s attention on your subject.

A fourth significant characteristic of telephoto lenses is that they result in less distortion compared to other types of lenses such as wide-angle lenses, which makes them ideal for portraiture.

There are three subcategories of telephoto lenses:
- Telephoto prime lenses: Prime lenses with focal length 135mm or more
- Super telephoto prime lenses: Prime lenses with focal length 300mm or more
- Telephoto zoom lenses: Zoom lenses with a telephoto end of 200mm or more

How lenses are classified

1. According to how much of a scene they can capture

i) Angle-of-view (also known as “field-of-view”)
This refers to how wide or narrow an area of the entire scene the lens can capture (= “angle-of-view” or “field-of-view”). The angle-of-view that a lens is capable of is reflected in its focal length.

Examples:
- Wide-angle lens (35mm and below)
- Standard lens (between 35mm and 135mm)
- Telephoto lens (above 135mm)

More details at (b) Wide-angle vs standard vs telephoto vs macro lenses

ii) Fixed or adjustable focal length
Zoom lenses can cover a range of focal lengths.
Prime lenses have a single fixed focal length.

More details at (a) Prime lenses vs zoom lenses

From the above, you get descriptions such as “wide-angle zoom lens” or “telephoto prime lens”.

2. The type of camera that they are made for

Camera manufacturers make lenses for different camera bodies and image sensor sizes. For example, EF-S lenses are tailored for DSLR cameras with APS-C size image sensors such as the EOS 800D.

More details at (c) EF vs EF-S vs EF-M lenses

How do these classifications work?

Understanding the common characteristics of each category of lenses will help you choose the best lens for you needs. For example, let’s say you are going on a trip, and you want a lens that you can use with your EOS 800D to capture the beautiful natural scenery at your destination.

The ideal lens for your needs would probably be all of the following:
- An EF-S lens, as the EOS 800D has an APS-C sensor.
- A zoom lens, as it can cover the same focal length range as a few prime lenses, allowing you to travel lighter.
- An ultra-wide-angle lens, which offers the best angle-of-view for photographing vast natural landscapes.

Taking all the above into consideration, you would probably choose the EF-S10-18mm f/4.5-5.6 IS STM, which falls into all the above categories.

Comparing the different types of lenses

(a) Prime lenses vs zoom lenses

- Zoom lenses allow you to adjust the angle-of-view (focal length) within a certain range
- Prime lenses have a fixed angle-of-view

Zoom lenses are very convenient because you just need one lens to cover a whole set of focal lengths. That is why most kit lenses are zoom lenses.

Meanwhile, prime lenses tend to have better optical performance, as well as feature larger (“brighter”) maximum apertures. This makes them capable of producing amazing images with beautiful, creamy bokeh. When you get more familiar with photography, you will probably find that prime lenses help to expand your creative range.

A prime lens

A zoom lens

(b) Wide-angle vs standard vs telephoto vs macro lenses

Wide-angle, standard and telephoto lenses are differentiated by their focal lengths. This reflected in the “XXmm” part of the lens name.

Canon EF lenses can be generalized into the following main categories:

- Wide-angle: Full-frame (35mm film) equivalent focal length of 35mm and below
- Telephoto: Focal length 135mm and above
- Standard (=“normal”): Focal length between 35mm and 135mm. Lenses that are 70mm to below 135mm may also be called ‘medium telephoto’ lenses

Each main category may contain subcategories, such as ultra-wide-angle lenses (under 24mm) and super telephoto lenses (over 300mm).

Macro lenses, which can magnify objects, often have the word “Macro” in their names, after the part that indicates their focal length. However, some lenses without “Macro” in their names, such as the EF24-70mm f/4L IS USM, come with a Macro mode that also allows you to focus at very close distances.

A wide-angle zoom lens

A standard zoom lens

A telephoto zoom lens

A macro lens

(c) EF vs EF-S vs EF-M lenses

These lenses are made for different Canon camera bodies. Generally,

- EF lenses are made for full-frame DSLR camera bodies;
- EF-S lenses are made for DSLR cameras with APS-C sensors; and
- EF-M lenses are made for mirrorless cameras.

However, this is not exclusive, because EF lenses can also be used on APS-C cameras, and you can also use EF and EF-S lenses with a mirrorless camera with the help of a mount adapter.

* With adapter

Note this: Crop factor

If you decide to attach an EF lens onto an APS-C DSLR or mirrorless camera, the resulting image will look like you used a longer focal length than you actually did. This is called an APS-C sensor crop factor, and you will need to take it into account in your composition.

On Canon equipment, the APS-C sensor crop factor is 1.6 times. This means that if you shoot with a 50mm lens on an APS-C or mirrorless camera, the resulting image has a focal length that is equivalent to an image shot at 80mm (50mm x 1.6x) on a full-frame camera.

What should I consider when choosing lenses?

With over 90 lenses in Canon’s EF lens line-up, users are spoilt for choice. So how do you choose the lens that best suits your needs?

1. Consider the merits and demerits of each type of lens. For example, telephoto zoom lenses can capture faraway objects close up, but they also tend to be bigger and heavier than standard lenses. Meanwhile, macro lenses provide a unique perspective but are very sensitive to camera shake, which means you will probably need to use a tripod.

A camera with a standard zoom lens (left), and with a telephoto zoom lens (right). The camera body is the same for both, but the different lenses change the total weight and how the camera feels in your hands.

2. Consider your camera, your shooting style and the kind of images you want to shoot. Most of the images here on SNAPSHOT have the name of the lens used to shoot them in the shooting information. If you come across an image you really like, study the lens that was used—even if the exact lens model is not suitable for your needs, it might help you to narrow down your options to similar models!

If you see an image you really like, look for the lens name in the shooting information.

Summing up

Ultimately, the best lens for you is the lens that helps you take the images that you envision. To find it requires knowing your needs, and knowing which lenses can meet them. The first part is a constant process of learning, exploration and self-discovery, and evolves as you grow as a photographer. The second part is about knowing your options.

In this e-book you will find some information to help with the first part. Part 1 of this e-book tells you more about each different type of lens: Their merits and demerits, unique characteristics, and how you can use them. Part 2 shares some tips and tricks you can use to make the most of your lenses. Part 3 goes further in-depth to demonstrate how you can make good use of certain types of lenses in certain scenes.

For the second part, SNAPSHOT contains many lens reviews and impressions about specific models of lenses. Hopefully, these will help you in your quest to find the perfect match.

Column: The EF lens series—supporting photography all over the world

EF lenses are interchangeable lenses designed for Canon’s EOS cameras. As of 2017, over 130 million EF lenses have been manufactured worldwide since 1987. As leaders in innovation, reliability and optical brilliance, EF lenses are often the first in the world to adopt new technologies such as in-lens image stabilisation (IS).

There are currently 93 lenses in the EF lens lineup. This includes large aperture, macro and fish-eye lenses, and focal lengths ranging from an ultra-wide-angle 8mm to a super telephoto 800mm. Together, they offer users a myriad of possibilities in photographic expression with just one EOS camera body.

Read more about the history of EF lenses in these SNAPSHOT articles:
[Part 1] The Dawn Era – Birth of the Fully Electronic Mount
[Part 2] The Growth Era – Advent of the Digital Age
[Part 3] The Transition and Enhancement Era – Lenses for High-resolution Cameras

Zoom Lenses

A zoom lens enables you to use a wide range of focal lengths without having to change lenses, making them very functional indeed. Let’s take a closer look at the different types of zoom lens and their special features. (Original text by: Tomoko Suzuki, Digital Camera Magazine)

With just 1 zoom lens, you can create a variety of expressions

Benefits
- Just one lens can cover a wide focal length range
- You don’t have to keep changing your lens

Weaknesses
- The majority of zoom lenses have a large maximum f-number (small maximum aperture)

Zoom lenses are very convenient to use—all you need to do is turn the zoom ring to change the focal length. This saves you the hassle of having to change lenses, which in turn means that you are less likely to miss shutter opportunities. It also cuts down the number of lenses you need to carry around, and lighter gear is always a bonus especially when you are travelling, or doing outdoor activities such as hiking. This is why kit lenses are almost always zoom lenses.

The range of focal lengths that a lens can shoot at (its ‘focal range’ or ‘focal length range’) is indicated on the lens. For example, a range of “18-55mm” means that you can change the focal length to anything between (and including) 18mm and 55mm. A shorter focal length gives you a wider angle-of-view. The longer the focal length, the more it allows you to close in on subjects that are far away.

One thing that you should note is that compared to prime lens, zoom lenses tend to have a bigger maximum f-number (smaller maximum aperture). This means that if you use zoom lenses to shoot in a dimly-lit location, you will probably have to use a higher ISO speed. The degree of blurring in the bokeh that you can create with the zoom lens will also be limited, compared to a prime lens capable of a bigger maximum aperture. (For more about bokeh, see the chapter on Creating Bokeh)

Key concept (1): Types of zoom lenses

There are four types of zoom lenses. 

Wide-angle zoom lenses enable you to capture a wide area of the scene. 

Standard zoom lenses and superzoom lenses cover a wide range of focal lengths including telephoto ranges. 

Telephoto zoom lenses enable you to capture close-up images of faraway subjects. 

All four zoom lens types are available in versions compatible with a full-frame DSLR camera, an APS-C DSLR camera, or an EOS M-series mirrorless camera.

You might be interested in:
Lens FAQ #9: What is the difference between an f/2.8 and an f/4 telephoto zoom lens?

Wide-angle zooms
(1) EF-S10-18mm f/4.5-5.6 IS STM
(2) EF16-35mm f/4L IS USM
(3) EF-M11-22mm f/4-5.6 IS STM

Standard zooms
(4) EF-S18-55mm f/3.5-5.6 IS STM
(5) EF24-105mm f/4L IS USM
(6) EF-M18-55mm f/3.5-5.6 IS STM

Superzooms
(7) EF-S18-135mm f/3.5-5.6 IS STM
(8) EF-M18-150mm f/3.5-6.3 IS STM

Telephoto zooms
(9) EF-S55-250mm f/4-5.6 IS STM
(10) EF70-300mm f/4-5.6L IS USM
(11) EF-M55-200mm f/4.5-6.3 IS STM

Key concept (2): A wide focal range

Zoom lenses are popular with many people because they can cover a wide focal range. For instance, you just need one standard zoom lens to cover an entire range of focal lengths from wide-angle to telephoto. Having such a range allows you to vary the look of your final image, either by to including more of the scene in your frame, or by closing in on a particular area of interest.

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 24mm/ Program AE (f/9, 1/160 sec., EV+0.3)/ ISO 100/ WB: Manual

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 50mm/ Program AE (f/9, 1/200 sec., EV+0.3)/ ISO 100/ WB: Manual

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 85mm/ Program AE (f/7.1, 1/250 sec., EV+0.3)/ ISO 100/ WB: Manual

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 105mm/ Program AE (f/6.3, 1/250 sec., EV+0.3)/ ISO 100/ WB: Manual

As the above shows, although the maximum aperture possible is different, the EF24-105mm f/4L IS USM can cover the same focal range as four separate prime lenses.

Key concept (3): Variable apertures and fixed apertures

In terms of maximum aperture, zoom lenses fall under either of two categories. On variable aperture lenses, the maximum aperture changes throughout the zoom range, whereas it stays the same on fixed aperture lenses (also known as ‘constant aperture lenses’). The latter allows you to use the same aperture regardless of the focal length used, which is ideal for some situations such as shooting telephoto in low light conditions, where you need as much light to reach the image sensor as possible (also see Key concept 4 below). However, because this involves more sophisticated lens construction, fixed aperture lenses also tend to be larger, heavier and more expensive than variable aperture zoom lenses.

Variable aperture lenses
- EF24-105mm f/3.5-5.6 IS STM 525g
- EF70-300mm f/4-5.6L IS USM 1050g

Fixed aperture lenses
- EF24-70mm f/2.8L II USM 805g
- EF70-200mm f/2.8L IS II USM 1490g

Key concept (4): Maximum aperture on variable aperture lenses

The maximum aperture on a variable aperture lens is stated as a range, such as “f/3.5-5.6”. The brighter maximum aperture (smaller f-number) applies at the wide-angle end, and slowly darkens towards the larger f-number as the focal length increases.

Example: On the EF-S18-135mm f/3.5-5.6 IS STM

Key concept (5): Maximum aperture and degree of bokeh

Variable aperture lens
EF24-105mm f/3.5-5.6 IS STM

EOS 5D Mark III/ FL: 24mm/ Aperture-priority AE (f/3.5, 1/1250 sec., EV±0)/ ISO 100/ WB: Manual

Fixed aperture lens
EF24-70mm f/2.8L II USM

EOS 5D Mark III/ FL: 24mm/ Aperture-priority AE (f/2.8, 1/2500 sec., EV±0)/ ISO 100/ WB: Manual

In the above example, at the wide-angle of 24mm, the maximum aperture possible is f/3.5 on the variable aperture lens and f/2.8 on the fixed aperture lens. The difference is approximately 1/3 of an f-stop, which may seem tiny but can result in obvious differences in bokeh effect. Note how the background bokeh is more significant in the image shot with the fixed aperture zoom lens.

For more about f-stops, check out:
Camera Basics #1: Aperture

You may be also interested in:
Lens FAQ #6: My Zoom Lens Doesn’t Have a Very Bright Maximum Aperture. How Can I Get a Large Bokeh Out of It?

Variable aperture lens
EF24-105mm f/3.5-5.6 IS STM

EOS 5D Mark III/ EF24-105mm f/3.5-5.6 IS STM/ FL: 70mm/ Aperture-priority AE (f/5.6, 1/125 sec., EV+0.3)/ ISO 100/ WB: Manual

Fixed aperture lens
EF24-70mm f/2.8L II USM

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 70mm/ Aperture-priority AE (f/2.8, 1/500 sec., EV+0.3)/ ISO 100/ WB: Manual

In the above example, at the focal length of 70mm (telephoto range), the maximum f-number is f/5.6 on the variable aperture lens, and f/2.8 on the fixed aperture lens—a difference of 2 f-stops. This larger difference has also translated to the bokeh effect—the image by the fixed aperture lens has background bokeh with more significant blurring. If bokeh plays a significant role in your shooting style, you might benefit more from a fixed aperture lens.

Prime Lenses

Prime lenses, sometimes also known as fixed-focal-length lenses, are great for creating bokeh as well as taking pictures with minimal camera shake. Let’s explore the unique features of this category of lenses, and take a look at how their huge maximum apertures can benefit our images. (Original text by: Tomoko Suzuki, Digital Camera Magazine)

The biggest appeal of prime lenses: Great bokeh, easily

Benefits
- Large maximum aperture, great for creating bokeh
- Lets you use a faster shutter speed in low light, which prevents camera shake
- Tend to be small, lightweight and therefore very portable

Weaknesses
- Have to change lenses frequently to get different focal lengths
- Cannot zoom to adjust the angle-of-view

Prime lenses are also known as single focus lenses or fixed focus lenses. As those names suggest, they have only one focal length, so it is not possible to zoom in or out to change your angle of view.

Prime lenses tend to come with a wide maximum aperture (small f-number), which makes it easy to create a good bokeh effect in the background. Such lenses are also called “fast lenses” because they allow you to achieve a faster shutter speed without having to increase your ISO speed by too much. This helps you to achieve sharp, blur-free images in low-light conditions with minimal noise and camera shake.

Compared to zoom lenses, prime lenses have a simpler lens construction, which is also why they are usually smaller, lighter and more portable. This is yet another feature that differentiates them from zoom lenses. However, have a fixed focal length, for certain scenes and subjects, you may have to carry a few lenses around and switch lenses frequently to achieve your intended shot. As this also means that you have to rely on your own ability to compose your shots, you could also say that using prime lenses helps to improve your photography skills.

Key concept (1): Types of prime lenses

There are four main categories of prime lenses:

1. Wide-angle lenses (focal length 35mm at 35mm film equivalent) and ultra wide-angle lenses (focal length shorter than 24mm at 35mm film equivalent), which can capture a wide area of a scene;
2. Standard lenses (around 50mm equivalent) and mid-telephoto lenses (85mm equivalent; also known as ‘portrait lenses’ because they are often used for shooting portraits), which can capture an angle-of-view that is close to that of the naked eye;
3. Telephoto lenses (at least 135mm equivalent) and super telephoto lenses (at least 300mm equivalent), which can capture faraway objects close-up; and
4. Macro lenses, which can capture close-up images of tiny subjects from a close shooting distance.

Ultra wide-angle lens and 2 wide-angle lenses
(1) EF14mm f/2.8L II USM
(2) EF24mm f/2.8 IS USM
(3) EF-M22mm f/2.0 STM

2 standard lenses and a mid-telephoto lens
(4) EF-S24mm f/2.8 STM
(5) EF50mm f/1.4 USM
(6) EF85mm f/1.8 USM

A telephoto lens and a super-telephoto lens
(7) EF300mm f/4L IS USM
(8) EF600mm f/4L IS II USM

Macro lenses
(9) EF-M28mm f/3.5 Macro IS STM
(10) EF-S35mm f/2.8 Macro IS STM
(11) EF100mm f/2.8L Macro IS USM

Key concept (2): Prime lenses, zoom lenses and the difference in bokeh effect

Prime lenses tend to be better for shooting images with bokeh compared to regular zoom lenses at the same focal length. The examples below were shot at 50mm. The maximum aperture available on the prime lens was f/1.4, while that of the zoom lens (at this focal length) was f/5. Note how this difference has significance on the size of the defocused area in the bokeh.

EF50mm f/1.4 USM

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/1250 sec., EV±0)/ ISO 100/ WB: Manual

EF24-105mm f/3.5-5.6 IS STM

EOS 5D Mark III/ EF24-105mm f/3.5-5.6 IS STM/ FL: 50mm/ Aperture-priority AE (f/5, 1/125 sec., EV±0)/ ISO 100/ WB: Manual

Key concept (3): Range of selectable f-numbers

Prime lenses, especially those with a large maximum aperture, provide a wider range of usable f-numbers compared to a variable aperture zoom lens set to the same focal length. For example, the maximum aperture of the EF24-105mm f/3.5-5.6 IS STM at 50mm is f/5, but on the EF50mm f/1.4 USM, you can use f/1.4, its maximum aperture. Having a wider range of f-numbers to choose gives you more options in artistic expression.

Here’s what is possible with an f/1.4 lens:
Astrophotography: Capturing Clear Starry Skies with f/1.4 Lens

Key concept (4): Establishing focus

When you use a prime lens at its maximum aperture, the depth-of-field is shallow (i.e., the area that appears to be focus becomes very narrow), and this makes it harder to achieve focus on your intended area. It will probably be good to try shooting multiple times, each with a slightly different point of focus. Also familiarize yourself with different ways of achieving accurate focus, such as AF point expansion in Live View shooting or ways to micro-adjust focus through manual focusing (MF).

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/50 sec., EV±0)/ ISO 100/ WB: Auto

When you close in on a subject that is small in size, the depth-of-field becomes extremely shallow, and your focus will also have to be pin-point precise. MF might be a very effective option depending on the scene.

Wide-angle Lenses

Wide-angle lenses can capture an astoundingly wide scope of a scene, as well as create images with a strong perspective effect. In this article, we explore the characteristics of wide-angle lenses and pick up some techniques for mastering their use. (Original text by: Tomoko Suzuki, Digital Camera Magazine)

Characteristics of wide-angle lenses

Can capture an astoundingly wide field-of-view

Can be used to emphasise perspective

Distorts image peripheries

Achieves deep focus easily

Wide-angle lenses generally refer to lenses with a 35mm film-equivalent focal length of 35mm or below. The shorter the focal length, the wider the angle-of-view. In fact, a wide-angle lens can capture more of the scene than what the human eye can see.

As wide-angle lenses also emphasise perspectives, nearby objects will appear bigger and faraway objects will appear smaller in the resulting image. This is part of the charm of a wide-angle lens, but at the same time, it may causes unwanted distortion in the image depending on the subject matter. The distortion effect is strong at the edges of the image, so you might want to place subjects in the centre of the frame if you do not want them to appear distorted.

Wide-angle lenses also have a large depth-of-field, which makes it easy to deep focus and create an image where the entire image is in-focus all the way from the foreground to the background. This wide angle also means that it is relatively resistant to camera shake, and therefore well-suited for photographing grand landscapes, narrow rooms, roads and buildings.

Main types of wide-angle lenses

L lenses for full frame cameras

EF16-35mm f/2.8L III USM

EF35mm f/1.4L II USM

IS lenses for full-frame cameras

EF24mm f/2.8 IS USM

EF35mm f/2 IS USM

EF-S/EF-M lenses

EF-S10-18mm f/4.5-5.6 IS STM

EF-M11-22mm f/4-5.6 IS STM

Canon’s wide-angle lenses can be divided into three large categories:

1. L lenses for use with full-frame cameras
2. IS lenses for use with full-frame cameras
3. EF-S/EF-M lenses

L lenses are premium lenses and tend to be bigger in size, with their premium quality reflected in the pricing.
Lenses with IS (built-in image stabilisation) are mostly prime lenses, and are much more compact in size compared to L lenses.
EF-S/EF-M lenses are dedicated lenses for use on APS-C DSLR cameras and EOS M cameras respectively, and many of them are compact and lightweight in size.

The wide-angle focal length

Wide-angle lenses with a 35mm-equivalent focal length of 24mm or less are considered ultra wide-angle lenses. The shorter the focal length, the wider the angle-of-view, and the greater the perspective effect.

Techniques for skillful wide-angle lens usage

1. Move closer to the subject to maximise the perspective effect
As covered in Perspective, how strong or weak the perspective effect turns out depends on the shooting distance, i.e., the distance of the camera from the subject. The examples below were shot with the same focal length (16mm). However, in the image that was shot from nearer the subject (right), the subject in the image foreground appears bigger and gives the image more impact. This reinforces the concept that the closer the camera to the subject, the stronger the perspective effect.

Perspective effect is weaker when further away from the subject

EOS 5D Mark III/ EF16-35mm f/2.8L II USM/ FL: 16mm/ Aperture-priority AE (f/4.0, 1/200 sec., EV-1.0)/ ISO 100/ WB: Manual

Moving closer to the subject increases the perspective effect

EOS 5D Mark III/ EF16-35mm f/2.8L II USM/ FL: 16mm/ Aperture-priority AE (f/4.0, 1/200 sec., EV-1.0)/ ISO 100/ WB: Manual

2. When shooting portraits, place your subject in the centre of the frame
When shooting portraits, be especially careful of the distortions caused by aberrations that occur particularly on wide-angle lenses. The examples below were shot at the same focal length (17mm). However, in the image on the left, which has the subject placed to the side of the frame, the subject’s face is distorted because of the above-mentioned aberrations. Such distortions become more prominent the closer to the edges of the image. This is why it is best to place human subjects in the centre of an image when you are shooting with a wide-angle lens.

Face distortion towards the edges of the image

EOS 6D/ EF17-40mm f/4L USM/ FL: 17mm/ Aperture-priority AE (f/4, 1/500 sec., EV+0.7)/ ISO 100/ WB: Daylight

No distortion when placed in the image centre

EOS 6D/ EF17-40mm f/4L USM/ FL: 17mm/ Aperture-priority AE (f/4, 1/400 sec., EV+0.7)/ ISO 100/ WB: Daylight

Use a wide-angle lens for these scenes

EOS 5D Mark III/ EF16-35mm f/2.8L II USM/ FL: 16mm/ Aperture-priority AE (f/5.6, 1/40 sec., EV-1.3)/ ISO 4000/ WB: Auto

In narrow indoor settings where you want to capture a wide field-of-view
Use a wide-angle lens for capturing a wide view of a narrow indoor setting. To further create an illusion of breadth and expanse, hold your camera tilting upward at a low position and low angle.

EOS 6D/ EF17-40mm f/4L USM/ FL: 17mm/ Aperture-priority AE (f/4, 1/100 sec., EV+1)/ ISO 100/ WB: Daylight

To make buildings look taller
The wide angle-of-view of a wide-angle lens is also perfect for making buildings look taller. Move closer to the walls of the building and aim the camera directly upwards to bring out the perspective effect. To further enhance the effect, compose using a portrait orientation.

Standard Zoom & Superzoom Lenses

With their versatility and focal range, standard zoom and superzoom lenses are very popular lenses especially for beginners. Let’s find out more about their special features. (Original text by: Tomoko Suzuki, Digital Camera Magazine)

Characteristics of standard zoom lenses & superzoom lenses

1. They can be used for a wide variety of scenes, including natural landscapes, portraits and street photography.
2. They tend to have smaller maximum apertures, which results in a larger depth-of-field.
3. Superzoom lenses are standard zoom lenses with an enhanced telephoto focal range. They thus tend to be a little bigger.

Previously, we took a look at zoom lenses and how they differ from prime lenses. Here, we will take a closer look at two popular types of zoom lenses: standard zoom lenses and superzoom lenses.

Mirrorless and DSLR camera kits usually include a standard zoom lens. These lenses cover a focal length range that includes 50mm (at 35mm film equivalent), which gives the same field-of-view as the human eye. This makes them highly versatile. Meanwhile, superzoom lenses are like standard zoom lenses with an especially powerful telephoto range. Their largest advantage lies in how just one lens can cover a focal length range from wide-angle to telephoto.

Both of these types of zoom lenses have an excellent ability to handle a wide variety of scenes. As you can very quickly switch from a wide-angle focal range to a telephoto focal range, standard zoom and superzoom lenses are also great for handling sudden, unexpected shutter opportunities.

The standard zoom and superzoom lenses that have relatively smaller apertures (larger maximum f-numbers) have a larger depth-of-field (area of an image that appears in-focus), which helps you to avoid taking images that are (unintentionally) out-of-focus. There are many such lenses that are compact and lightweight, which also makes it easier to carry them around.

Main types of standard zoom lenses

Full-frame, fixed aperture

EF24-70mm f/2.8L II USM

EF24-105mm f/4L IS II USM

Full-frame, variable aperture

EF24-105mm f/3.5-5.6 IS STM

For EF-S/EF-M

EF-S18-55mm f/4-5.6 IS STM

EF-M15-45mm f/3.5-6.3 IS STM

Main types of superzoom lenses

Around 8x magnification

EF-S18-135mm f/3.5-5.6 IS USM

EF-M18-150mm f/3.5-6.3 IS STM

Around 11x magnification

EF28-300mm f/3.5-5.6L IS USM

EF-S18-200mm f/3.5-5.6 IS

Canon’s standard zooms can be classified into three categories:

1. Fixed aperture zoom lenses have just one maximum aperture throughout the entire focal length range. This maximum aperture tends to be relatively large, which makes the lens great for creating bokeh effects. However, because of that, fixed aperture lenses also tend to be larger and more expensive.
2. Variable aperture zoom lenses tend to be more affordable and lighter than the fix aperture type. The maximum aperture varies throughout the focal length range.
3. EF-S/EF-M lenses are for use with DSLR cameras with APS-C size sensors and EOS M series mirrorless cameras respectively. Some are fixed aperture and others are variable aperture, but they all tend to be more compact and lightweight than lenses for full-frame cameras.

Superzoom lenses can be categorized by zoom magnification level. There are currently two categories: 8x zoom, and 11x zoom. Lenses with 8x zoom have a telephoto range that exceeds 200mm (at 35mm film equivalent). If this range exceeds 300mm, the lens is considered to have an 11x zoom. To capture subjects that are very far away, you would probably be better off choosing the latter type.

An illustration of focal length ranges

Standard zoom lenses usually have middle focal length of around 50mm (35mm film equivalent) and cover a range that includes wide-angle and a telephoto range of around 70mm to 100mm. Superzoom lenses cover an even wider range, from wide-angle up to as much as 300mm.

Try with your standard zoom/superzoom lens

2 tricks for getting an even better defocus effect
Compared to prime lenses, standard zoom lenses and superzoom lenses tend to have a smaller maximum aperture. To get a stronger bokeh effect beyond what the minimum f-number on the lens suggests, try either or both of the following:
1. Move as close to the subject as the minimum shooting distance (closest focusing distance) allows.
2. Choose a background that is far away from the subject.

1. Close in on the subject

EOS 6D/ EF24-105mm f/4L IS USM/ FL: 24mm/ Aperture-priority AE (f/4, 1/125 sec., EV-2)/ ISO 100/ WB: Daylight

2. Ensure the background is far away 

EOS 6D/ EF24-105mm f/4L IS USM/ FL: 105mm/ Aperture-priority AE (f/4, 1/50 sec., EV+0.3)/ ISO 100/ WB: Daylight

Standard zooms & superzooms are great…

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 105mm/ Aperture-priority AE (f/4, 1/800 sec., EV+0.3)/ ISO 100/ WB: Manual

…for when you want to travel light!
One standard zoom lens can cover both wide-angle and telephoto focal length, which makes it perfect for travelling light. For this image, I shot with the telephoto end (105mm), framing the beautiful scenery in a simple composition.

EOS 80D/ EF-S18-135mm f/3.5-5.6 IS USM/ FL: 78mm (125mm equivalent)/ Aperture-priority AE (f/8, 1/125 sec., EV-0.7)/ ISO 100/ WB: Auto

…for when you want to take casual snapshots!
A superzoom lens covers a huge range of focal lengths, which is ideal for street photography as you can casually snap away at all sorts of subjects without having to change your lens. The ability to quickly change the angle-of-view from wide-angle to telephoto (or vice versa) gives you that crucial split-second to capture sudden photo opportunities.

Telephoto Lenses

Telephoto lenses let you fill the frame with a subject and create a creamy background blur, all with little distortion. Read on to learn more about them. (Original text by: Tomoko Suzuki, Digital Camera Magazine)

Characteristics of telephoto lenses

Characteristics of telephoto lenses:
1. Let you “draw in” and fill the frame with subjects that are actually far away.
2. Shallow depth-of-field; makes it easy to create background bokeh.
3. Narrow angle-of-view; makes it easy to keep unwanted background elements out of the frame.
4. Perspective compression effect; makes elements look nearer to each other.

Telephoto lenses can generally be further separated into three sub-types based on their 35mm film-equivalent focal lengths:

Mid-telephoto lenses (also known as medium telephoto lenses): About 85mm to 100mm, or even 135mm
Normal telephoto lenses: 200mm to 300mm
Super telephoto lenses: 400mm and above

Images produced with a telephoto lens tend to be more true-to-life, with less apparent subject distortion than those shot on wide-angle lenses. When photographers prioritize the faithful reproduction of the shape of their subjects, they tend to choose mid-telephoto or normal telephoto lenses. In fact, 85mm prime lenses are also often called “portrait lenses” because they are popularly used for portrait photography.

The longer the lens focal length, the stronger their ability to “pull-in” and fill the frame with faraway subjects. (Read more about this in: Lens FAQ #7: What is the difference between a 200mm and 300mm telephoto lens?) 

As telephoto lenses also have a shallow depth-of-field and therefore can produce images with a narrow in-focus area, they are a good choice for capturing images with the background bokeh effect.

Yet another defining characteristic of telephoto lenses is their narrow angle-of-view. This makes it possible to exclude unwanted background elements from the image for a neater composition. 

Telephoto lenses are also good at making the distances between faraway and nearby elements look shorter. This is called the compression effect, and you can use it to reduce the sense of perspective in an image.

Main types of telephoto lenses

L lenses for full frame cameras

EF70-200mm f/2.8L IS II USM

EF100-400mm f/4.5-5.6L IS II USM

EF300mm f/2.8L IS II USM

Non-L lenses for full frame cameras

EF70-300mm f/4-5.6 IS II USM

EF-S/EF-M lenses

EF-S55-250mm f/4-5.6 IS STM

EF-M55-200mm f/4.5-6.3 IS STM

Canon’s telephoto lenses can be divided into 3 categories: L lenses for full-frame cameras, non-L lenses for full-frame cameras, and EF-S/EF-M lenses.

Telephoto L lenses for full-frame cameras are premium lenses that provide professional-quality performance and high durability, and which is why they tend to be heavier and cost more.

Telephoto non-L lenses for full-frame cameras also provide rather high image quality, but they are more affordably priced and tend to be relatively more compact and lighter.

Telephoto EF-S/EF-M lenses are for DSLR cameras with APS-C size sensors and the EOS M-series mirrorless cameras, respectively. They tend to be compact, lightweight and portable to match the cameras they are made for.

The telephoto focal length range

A lens is usually considered to be a telephoto lens if it has a 35mm film equivalent focal length that is longer than 70mm. The range of focal lengths considered to be “telephoto” is very large, as you can see from the above diagram. The longer the lens focal length, the more capable it is of filling the frame with subjects from even further away.

Techniques to try with your telephoto lens

1. Make the background appear closer

This is called the perspective compression effect, and the effect is stronger the longer the focal length. The examples below were shot at 70mm and 200mm respectively. Although they are of the same scene, the 200mm example includes more of the wall in the far back, which indicates that the background has been “compressed” into the image. You can use this image to crowd elements closer together for a tighter composition.

Weaker compression effect

EOS 5D Mark III/ EF70-200mm f/2.8L IS II USM/ FL: 70mm/ Aperture-priority AE (f/8, 1/60 sec., EV-0.7)/ ISO 2000/ WB: Daylight

Strong compression effect

EOS 5D Mark III/ EF70-200mm f/2.8L IS II USM/ FL: 200mm/ Aperture-priority AE (f/8, 1/160 sec., EV-0.7)/ ISO 6400/ WB: Daylight

2. Blur the background and frame the image to make the main interest stands out

The narrow angle-of-view of a telephoto lens and its ability to easily create background blur can be used to make your background appear simpler and less distracting, which also makes your main subject stand out. Indeed, adjusting the background colours and brightness can change the look and feel of your shot tremendously. One way to improve your photography skill is to pay careful attention to your choice of background and not just to the main subject when deciding on the composition.

A background defocused to look solid-coloured

EOS 5D Mark III/ EF70-200mm f/2.8L IS II USM/ FL: 200mm/ Aperture-priority AE (f/5, 1/160 sec., EV-1)/ ISO 200/ WB: Daylight

A background full of bokeh circles

EOS 6D/ EF70-200mm f/4L IS USM/ FL: 200mm/ Aperture-priority AE (f/4, 1/3200 sec)/ ISO 100/ WB: Daylight

Telephoto lenses are wonderful for…

EOS 6D/ EF70-200mm f/4L IS USM/ FL: 200mm/ Aperture-priority AE (f/4, 1/640 sec., EV+0.3)/ ISO 100/ WB: Daylight

…capturing large closeups of a subject even when you are unable to get closer to it physically
A telephoto lens is useful for when you need to photograph subjects from a distance away. Examples include animals in a zoo, or even flowers in a flower bed. For the above image, I “pulled in” the flowers with a focal length of 200mm.

EOS 700D/ EF-S55-250mm f/4-5.6 IS STM/ FL: 222mm (355mm equivalent)/ Aperture-priority AE (f/5.6, 1/400 sec)/ ISO 160/ WB: Auto

…Compressing distances between elements in a street scene so that it looks more crowded
You may also use a telephoto lens for its perspective compression effect, which is what I did for the street scene above, taken at focal length 355mm (35 film-equivalent). By leveraging on the resulting feel of compactness, I conveyed the atmosphere of the bustling street packed with shoppers.

Special Lenses #1: Fisheye Lenses

EOS 5D Mark III/ EF8-15mm f/4L Fisheye USM / FL: 15mm/ Aperture-priority AE (f/11, 1/320 sec., EV-0.3)/ ISO 400/ WB: Auto

Fisheye lenses are specialized lenses characterised by their ability to capture an overwhelmingly wider range than wide-angle lenses. They can capture photos with a 180-degree range, which lets you achieve photos with a greatly distorted periphery. Here, we learn about the two types of fisheye lens effects and how your camera sensor size and focal length affect your fisheye image. (Original text by: Teppei Kohno)

Circular fisheye v.s diagonal fisheye effects

A fisheye lens lets you capture an overwhelmingly wider range of a scene in front of you compared to a wide-angle lens. There are two types of fisheye effects that can be obtained using fisheye lenses: circular fisheye and diagonal fisheye. The type of fisheye effect actually achievable depends on your camera sensor size. The EF8-15mm f/4L Fisheye USM lens, a fisheye zoom lens, supports both full-frame and APS-C size sensors.

Read more about image sensor sizes here: The Charm of DSLR Cameras

The circular fisheye effect gives a 180-degree angle-of-view across the whole periphery (horizontally, vertically, and diagonally) with a barrel-like distortion. Vignetting occurs in the corners of the image frame, which results in a “tunnel vision” effect where the scene seems to be contained within a round circle.

You can get a circular fisheye effect at a focal length of around 8mm when using a fisheye lens on a full-frame camera. However, on an APS-C camera, you will not be able to obtain a distinctive circular fisheye effect even if you shot at 8mm because your actual 35mm film equivalent focal length would be 13mm.

On the other hand, a diagonal fisheye effect captures a roughly 180-degree diagonal angle-of-view and a greatly distorted view of the image periphery. It is obtained at a focal length of around 15mm on a full-frame camera, and 10mm on an APS-C camera. This effect is also known as a “full-frame fisheye” effect because the resulting image covers the entire frame.

Full-frame camera + 8mm = Circular fisheye

EOS 5D Mark III/ EF8-15mm f/4L Fisheye USM / FL: 8mm/ Aperture-priority AE (f/4, 1/3200 sec., EV+0.7)/ ISO 200/ WB: Auto

This was shot on a full-frame camera with a fisheye lens at 8mm, looking up toward the centre of the group of skyscrapers. When using the circular fisheye effect, vignetting occurs in the periphery of the image, so the scenery appears to be contained within the circle.

Full-frame camera + 15mm = Diagonal fisheye

EOS 5D Mark III/ EF8-15mm f/4L Fisheye USM / FL: 15mm/ Aperture-priority AE (f/7.1, 1/100 sec., EV-1.0)/ ISO 800/ WB: Auto

This was also shot on a full-frame camera, at 15mm on a fisheye lens. The trees in the periphery of the image are greatly distorted towards the top centre, which makes them look particularly strong and robust. To further exaggerate the distortion and make the image look more surreal, place your subject at the edge of the frame.

APS-C camera + 10mm = Diagonal fisheye

EOS 750D/ EF8-15mm f/4L Fisheye USM / FL: 10mm (16mm equivalent)/ Aperture-priority AE (f/4, 1/20 sec)/ ISO 800/ WB: Auto

This was shot on an APS-C camera with a fisheye lens at 10mm, resulting in a diagonal fisheye effect with a high degree of distortion. The photographer went as close as he could to the water’s edge, and the result was an image that highlights the spherical nature of this Earth.

Distortion: How are fisheye lenses and wide-angle lenses different?

Generally, the shorter the focal length, the more susceptible the lens is to distortion at the image peripheries. However, wide-angle lenses are designed to suppress distortion by using a special corrective lens element, such as an aspherical lens element.

In contrast, fisheye lenses do not suppress distortion that occurs in the peripheries. You can take advantage of this to create images with highly exaggerated distortion.

Fisheye lens at 10mm: High degree of distortion

EOS 750D/ EF8-15mm f/4L Fisheye USM / FL: 10mm (16mm equivalent)/ Aperture-priority AE (f/13, 1/320 sec., EV+1.0)/ ISO 100/ WB: Auto

Shot using an APS-C camera at 10mm (16mm equivalent) on a fisheye lens, resulting in diagonal distortion. The water’s edge appears greatly distorted due to the fisheye effect, and this is very apparent when you compare it against the horizon in the centre of the image.

Wide-angle lens at 10mm: Almost no distortion

EOS 750D/ EF-S10-18mm f/4.5-5.6 IS STM/ FL: 10mm (16mm equivalent)/ Aperture-priority AE (f/13, 1/250 sec., EV+1.0)/ ISO 100/ WB: Auto

Shot with an APS-C camera at 10mm (16mm equivalent) on a wide-angle lens. This was taken using the same focal length as the fisheye lens example. The wide-angle lens corrects distortion so the depiction of the water’s edge remains as a straight line, aligned with the horizon in the image. When you compare this with the fisheye lens image, you can see that the wide-angle lens captures a narrower range and gives a more exaggerated sense of perspective.

One fisheye zoom lens you should try!

EF8-15mm f/4L Fisheye USM
This lens lets you obtain both the circular fisheye and diagonal fisheye effects with a full-frame camera, and the diagonal fisheye effect with an APS-C camera. With the fluorine coating, dirt that adheres to the lens can easily be wiped off.

For more examples of images shot with the EF8-15mm f/4L Fisheye USM, check out the following articles:
Underwater Photography with the EF8-15mm f/4L Fisheye USM
Capturing Both the Underwater and Terrestrial Worlds in a Single Shot
Landscape Photography: Shooting Storms
Architectural Photography and Lighting Techniques
5 Ways to Frame Your Travel Photos

Special Lenses #2: Macro Lenses

Need a fresh new perspective in your photos? A macro lens might just be the key. Here's how one can help you capture the world beyond what's visible to the naked eye. (Original text by: studio9)

A macro lens changes the way you see the world, but what is it?

Macro generally means “macroscopic”, but in the world of photography, it means “capturing larger-than-life photos of small things”.

When you attach a slightly different type of lens called a macro lens for your shoot, you will be able to capture a miniature world in a big way, which would not be possible with a standard lens. It’s true — you will uncover an entirely new world through your viewfinder!

What is this “macro world” we’re talking about?

Perhaps an actual photo would better help you understand what kind of world you can capture with a macro lens.

This is what the macro world looks like.

This first photo is of an ant. I was able to make an insect as small as that look this big, giving you a sense that you have entered the ant’s world. This is something that a standard lens would not be able to do.

The second photo is of hydrangeas. Here, I took a close-up shot of the stamens of some hydrangeas. You can capture interesting photos as well by only taking parts of something that you think looks beautiful.

The third photo is of sakura blossoms. It would be difficult to make a flower this small appear so large with a standard lens.

In each photo, I have taken close-up shots of a small area, and the blurred remaining areas outside of the area of focus. You would be hard pressed to find photos taken using a compact camera or smartphone that can recreate this softly blurred, mysterious look when taken this close up.

In addition to capturing a miniature world that’s larger than life, another feature of macro photography is that it lets you blur everything outside the area of focus, as if it is melting away.

To do macro photography such as the above, all you need is an interchangeable lens camera and a macro lens!

What is a macro lens?

Have you noticed that when you try to shoot close-ups using a normal lens, it becomes hard to get focus on the subject after a certain point? That’s what a macro lens is for. It has a much shorter closest focusing distance, which lets you capture images life-size or close to it, even if your lens is very near the subject.

Let’s compare a standard lens with a macro lens.

I placed some accessories on top of a desk, and took a shot as close as possible while still in focus. For both, I shot from a focal length of approximately 100mm. The first photo was taken with a standard zoom lens (EF24-105mm f/4L IS USM), and the one after that was taken with a macro lens (EF100mm f/2.8L Macro IS USM).

A standard zoom lens would not be able to make the subject look this big, no matter how hard you try. The lens will be out of focus if you get any closer than this.

However, with a macro lens, I was able to capture the subject this big! The difference is astounding, isn’t it? This is a feature of macro lenses.

Understanding Maximum Magnification

A macro lens normally has a maximum magnification 1x. This maximum magnification can be a little confusing, so it is sufficient just to be aware of the term. For now, remember that “1x” is the maximum size you can capture. Incidentally, with a standard zoom lens, the maximum magnification is around 0.2 to 0.3x. The larger the number, the closer up you are able to shoot.

If you are not sure about your lens’ maximum magnification, refer to the manual or webpage of the manufacturer, and look under “Specifications”.

EF-S60mm f/2.8 Macro USM

It should be “1x”. If it were a standard lens, this number would be something like 0.2x.

Which macro lens would you recommend?

While it will depend on the target of your shoot, personally I would recommend a lens with a focal length of 100mm at 35mm film-equivalent, which can be used for all purposes.

However, if you are using a camera with an APS-C-size sensor, a 100mm lens might be a little too telephoto for your needs, so a lens of around 60mm should do. A dedicated APS-C 60mm lens is also affordable.

Is there anything else that I need?

The closer you get to the subject, the more pronounced camera shake can be, so it is handy if you can use a sturdy tripod.

How to find and capture the macro world

Firstly, find something that you consider to be beautiful. For example, the photo of the white hydrangea was taken at this location.

When you have found a feature that you think looks good, set up your camera, and get up close to your subject. You should be able to take a photo with a soft bokeh like the one below.

Because the subject is magnified when shooting in macro, a basic rule is to find certain parts that are beautiful. Instead of immediately setting up the camera, first look for a subject that you will likely achieve the most beautiful photos with.

Tip
First, seek out a certain feature that you find beautiful!

When you have found a feature that you think looks good, set up your camera, and get up close to your subject. You should be able to take a photo with a soft bokeh like the one below.

When you come this close, you can fully experience the macro world! The photo was also blurred nicely! However, because the focus was on several of the petals in the foreground, the subject did not turn out as beautiful as expected in the photo. People looking at this photograph might be confused as to which petal to look at.

The photo at the beginning of the article is the result of further fine-tuning of the position and angle to focus only on a single petal. The camera only focused on the petal in the bottom right!

The knack to macro photography is to focus on one point that you consider to be beautiful, and to defocus everything else. If you do that, it will be easier to convey to viewers which part you were focusing on.

Tip
When shooting in macro, focus on one point that you consider to be beautiful!

Use Aperture Priority mode

If possible, try not to use Auto mode when shooting, but instead use Av (Aperture Priority) mode. In macro photography, the degree of bokeh is important. In other words, the key is to adjust the aperture.

Start by using an aperture of around f/4.0 as a guideline, and fine tune from there. If you want more bokeh, try adjusting to f/2.8; for less, try f/5.6. Also, if you’re doing handheld shooting, you need to set quite a high shutter speed. When you come right up close as I did with the photo above, you will probably get camera shake at a speed of around 1/100 sec. Therefore, I generally recommend a shutter speed of 1/300 to 1/600 sec. When using Av mode, adjust the ISO speed yourself (increase the ISO speed for a higher shutter speed) to obtain a shutter speed that negates the effect of camera shake.

This is all you need to remember when starting off so that you can fully enjoy macro photography!

Finally, let’s recap the key steps I covered for macro photography.

Step 1: Firstly get hold of a macro lens.

Step 2: Start your shoot by seeking out a feature that you consider to be the most beautiful.

Step 3:
- If possible, use an aperture of f/4.0 in Av mode as a guideline. 
- For handheld shooting, use a shutter speed of 1/300 to 1/600. 
- If that’s not enough, increase the ISO speed to obtain a higher shutter speed.

It’s as simple as 1, 2, 3! Why not get hold of a macro lens and discover your very own Macro World!

Creating Bokeh

Bokeh, which refers to the aesthetic quality of the blur in the defocused parts of an image, is an expression technique that is unique to photography. It can give depth to an image, and is essential means of drawing attention to a subject of focus. In this article, we shall explore 4 important factors in creating bokeh, and find out how to control the bokeh effect created so that it appears as intended. (Original text by: Tomoko Suzuki, Digital Camera Magazine)

4 important factors for creating visible bokeh

There are four factors that play a part in the visibility of the bokeh effect (i.e., the degree of defocusing in the intended area): Aperture, focal length, shooting distance, and distance between subject and background. Using the right combination of these factors as appropriate for the subject and scene will help you create a bokeh effect that looks just the way you intended.

Aperture: The larger the aperture (the smaller the f-number), the more visible ("larger") the bokeh effect and vice versa.
Focal length: The longer the focal length, the more visible the bokeh effect and vice versa.
Shooting distance: The nearer the subject, the more visible the bokeh effect and vice versa.
Distance between subject and background: The further away the background, the more visible the bokeh effect and vice versa.

In other words, to get the most obvious bokeh possible, you would need to:
1. Use a telephoto lens
2. Set it to maximum aperture
3. Move closer to the subject until you are the minimum shooting distance away, and
4. Choose shooting location/position where the visible background is as far away from the subject as possible.

However, simply creating the most obvious bokeh possible does not work for every photo. Knowing how to adjust the bokeh effect so that it suits the objective and intent of the photo is an essential photography skill.

Let’s take a closer look at each of the factors influencing bokeh visibility.

Aperture

The examples below were shot from the same position, but with different apertures. At a large aperture (f/1.4), the background is obviously defocused (very visible bokeh effect), whereas at a small aperture (f/16), the entire image is in focus, including the background. This is because at a large aperture, the depth of field is shallow, which causes the background to be out of focus.

Large aperture (f/1.4)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/200 sec., EV+0.3)/ ISO 100/ WB: Manual

Small aperture (f/16)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/16, 1/40 sec., EV+0.3)/ ISO 2500/ WB: Manual

Focal length

The following images were both shot at f/2.8, but at different focal lengths. They were framed such that pillar with the name appears to be the same size in both images. At 70mm, the background bokeh effect is quite visible, but at 24mm it is significantly less obvious. This means that when you use a zoom lens, you will get a more obvious bokeh effect when you use a longer focal length.

Longer focal length (70mm)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 70mm/ Aperture-priority AE (f/2.8, 1/1600 sec., EV-0.3)/ ISO 100/ WB: Manual

Shorter focal length (24mm)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM / FL: 24mm/ Aperture-priority AE (f/2.8, 1/50 sec., EV-0.3)/ ISO 100/ WB: Manual

Shooting distance

The examples below were shot at the same aperture (f/1.4), but from different shooting distances. You can see how the distance between the camera and the subject affects the visibility of the bokeh effect. When the camera is closer to the subject (the 50cm example), the background is more defocused and the bokeh effect is more visible. When the camera is further from the subject (the 70cm example), the background is more in focus and the bokeh effect is less visible. Do note that how close you can get to the subject depends on your lens’ minimum shooting distance (also known as its ‘closest focusing distance’).

Nearer (50cm)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/50 sec., EV+0.7)/ ISO 100/ WB: Manual

Further (70cm)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/50 sec., EV+0.7)/ ISO 100/ WB: Manual

Distance between subject and background

The following examples were both shot at f/1.4, but with different distances between the subject and the background. When the background is further away from the subject (60cm), the bokeh effect is more visible; when the background is nearer the subject (30cm), the bokeh effect is less obvious. This shows that if you want an obvious bokeh effect, you would want to make sure the subject is further away from the background.

Further (60cm)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/2500 sec., EV±0)/ ISO 100/ WB: Manual

Nearer (30cm)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/3200 sec., EV±0)/ ISO 100/ WB: Manual

Important things to note when creating a bokeh effect

1. Choose an aperture that retains adequate context in the image

f/1.4
EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/60 sec., EV+0.7)/ ISO 100/ WB: Auto

f/5.6
EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/5.6, 1/50 sec., EV+0.7)/ ISO 1250/ WB: Auto

The larger the aperture, the more intense the blurring and the larger the area of defocus. Of course, this draws more attention to the main subject, but if you create more blurring than is necessary, you would end up cutting out essential information that creates context in the image, such as the location and surrounding conditions. Consider how you want to portray your main subject of interest and choose your aperture appropriately.

2. To harness the power of suggestion, use a larger aperture

f/11
EOS 6D/ EF50mm f/1.8 STM/ FL: 50mm/ Aperture-priority AE (f/11, 1/50 sec., EV+1)/ ISO 1600/ WB: Daylight

f/1.8
EOS 6D/ EF50mm f/1.8 STM/ FL: 50mm/ Aperture-priority AE (f/1.8, 1/100 sec., EV+1)/ ISO 100/ WB: Daylight

Using a small aperture puts everything in the image frame in focus. With elements so visually concrete, it becomes hard to suggest ideas and evoke images. Therefore, if your photo is intended to be more evocative than documentary, feel free to use a larger aperture and create a more visible bokeh effect. Doing so will help direct your viewers’ attention to where you want it to be, and give a clear idea of what it is that you want to show them.

The bokeh effect can help you achieve photos like this!

EOS 700D/ EF-S55-250mm f/4-5.6 IS STM/ FL: 127mm (203mm equivalent)/ Aperture-priority AE (f/5, 1/500 sec)/ ISO 100/ WB: Auto

A long focal length and maximum aperture to create the optimum bokeh effect
This was shot at a long focal length (203mm in 35mm film equivalent), at the maximum aperture of f/5. I used two of the factors for visible bokeh to create a bokeh effect that blurs the details in the sea to draw attention to the seagull.

For more information on bokeh, check out the following SNAPSHOT articles:
Portrait Photography Techniques Using Bokeh
Improve Your Travel Photos with the EOS M10 #1: Using Bokeh to Isolate Subjects
Lens FAQ #8: Where Should I Focus On to Capture Beautiful Bokeh Circles?
Photographing Flowers: How to Create Brilliant Bokeh Circle Spotlights with a Macro Lens

Bokeh Hack: Getting Good Bokeh From a Slower Zoom Lens

It is possible to get creamy bokeh with a standard zoom lens, as long as certain conditions are satisfied. Here’s how to do it. (Original text by: Kazuo Nakahara, Digital Camera Magazine)

4 conditions for obtaining bokeh

There might be some people who think that bokeh cannot be created with a standard, entry-level zoom lens because most such lenses do not have a large maximum aperture. However, this is not true. Don’t forget that the degree of defocus in a bokeh does not depend on the f-number alone.

The following factors also affect bokeh:
- Whether or not you are shooting close to the telephoto end
- How close you are to the subject
- How far away you are from the focal plane

In other words, in order to create the largest bokeh possible, a good idea would be to combine the following 4 conditions:

---------------------------------------------
Conditions to obtain a large bokeh
(1) Use a small f-number
(2) Choose a focal length in the telephoto range
(3) Get close to the subject
(4) Search for a background in the distance
---------------------------------------------

These conditions, along with a shooting angle that creates depth, can help you achieve a surprisingly creamy bokeh even if your lens does not have a very large maximum aperture. For example, use the minimum f-number (maximum aperture) to fulfil (1), and zoom all the way to the telephoto end to fulfil (2).

Hot tip: For subjects such as flowers, making sure that the photo captured is bright (e.g by using exposure compensation) can also help to make the bokeh effect appear even creamier.

f/5.6: The 4 conditions applied

EOS 750D/ EF-S55-250mm f/4-5.6 IS STM/ FL: 250mm (400mm equivalent)/ Aperture-priority AE (f/5.6, 1/320 sec., EV＋0.7)/ ISO 400/ WB: Auto

I adopted a shooting position that was level with the flowers and used the maximum aperture at the telephoto end, and managed to create depth in the background. The result: Beautiful, creamy bokeh.

 f/5.6: Bokeh conditions not applied

EOS 750D/ EF-S55-250mm f/4-5.6 IS STM/ FL: 55mm (88mm equivalent)/ Aperture-priority AE (f/5.6, 1/80 sec., EV±0)/ ISO 320/ WB: Auto

While this shot was also taken at f/5.6, the other conditions are not fulfilled. The blue and purple flowers (main subject) are too close to the yellow and orange flowers, which makes it harder to defocus and create bokeh from the yellow and orange flowers. The top-down angle also turns the dull-coloured ground into the background, resulting in colours that are less appealing.

Deep Focus

Deep focus, where all elements in an image are in focus, is a technique that is often used in landscape photography and street photography. Here, we learn about 4 factors that affect deep focus. How about trying them in your next photo shoot? (Original text by: Tomoko Suzuki, Digital Camera Magazine)

4 factors for easy deep focusing

“Deep focus” refers to a state where all elements in an image are in focus. You can call it a technique that is the opposite to creating bokeh. To do it well, you need to have a good understanding of the concept of “depth-of-field” (the area of an image that appears in focus), as well as know how to control the following 4 factors:

Focal length: Depth-of-field is greater at short focal lengths, and shallower at longer focal lengths.
Aperture: Depth-of-field is greater at smaller apertures, and shallower at larger apertures.
Depth: This refers to the distance between foreground, medium ground and background elements. The flatter the scene(less distance between the elements), the easier it is to achieve deep focus. The more depth in an image, the harder it is to achieve deep focus.
Shooting distance: The further the camera from the subject, the larger the depth-of-field. The nearer the camera to the subject, the shallower the depth-of-field.

In other words, the easiest way to ensure you achieve deep focus is to use a wide-angle lens, set it at the smallest aperture, position your camera as far away from the subject as possible, and make sure that the scene is relatively flat.

Deep focus tip: Using a narrow aperture slows down your shutter speed, which makes images taken in dim or dark places more prone to camera shake. To counter that, use a tripod and the ISO Auto mode.

Let’s take a closer look at each of the factors that affect deep focus.

Focal length

The examples below were shot at different focal lengths, but with the same f-number (f/11), and the shooting distance was adjusted so that the pillars appear to be the same size. At the shorter focal length (24mm), the depth-of-field is greater, with the elements in the background in focus. Meanwhile, at the longer focal length (70mm), the depth-of-field is narrower—note how even at f/11, the school building in the background is out of focus. This shows how using a wide-angle lens, which gives you a very short focal length, can help achieve deep focus more easily.

Shorter focal length (24mm)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 24mm/ Aperture-priority AE (f/11, 1/160 sec., EV-0.3)/ ISO 100/ WB: Manual

Longer focal length (70mm)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 70mm/ Aperture-priority AE (f/11, 1/100 sec., EV-0.3)/ ISO 100/ WB: Manual

Aperture

The images below were shot from the same position, but with different apertures. The image shot with the smaller aperture (f/16) achieves deep focus—the image is sharp all the way to the background. However, the one shot with the larger aperture (f/1.4) has a background that is very highly defocused. For images like the ones below, where the distance between the camera and the subject is short but the image has a lot of depth, narrowing the aperture all the way to f/16 enables you to put the entire image sharply in focus.

Narrow aperture (f/16)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/16, 1/80 sec., EV+0.3)/ ISO 100/ WB: Manual

Large aperture (f/1.4)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/8000 sec., EV+0.3)/ ISO 100/ WB: Manual

Sense of depth

You can increase the sense of depth in an image by adjusting the composition. I used the same wide aperture (f/1.4) for both images below, but shot the first image head-on to create a relatively flat image (no sense of depth). It is completely in focus, which shows that you can also achieve deep focus with a large aperture, as long as the image is relatively flat and you are shooting from the direct front.

In the second image, I used a diagonal composition to create some sense of depth. Notice how the parts of the image nearest to and furthest away from the camera are out of focus.

No depth (head on)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/40 sec)/ ISO 125/ WB: Manual

With depth (diagonal composition)

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/1.4, 1/40 sec)/ ISO 125/ WB: Manual

Shooting distance

The following images were both shot with the same aperture (f/5.6), but from different shooting distances. When the camera is further away from the subject (the 100cm example, left), the depth-of-field is larger. When it is nearer to the subject (the 70cm example, right), the depth-of-field is shallower. From this, we can conclude that when we are shooting a distant scene, we do not necessarily need to use an extremely narrow aperture to achieve deep focus. Somewhere between f/5.6 to f/8 should be sufficient to put the entire image in focus.

Further (100cm)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 27mm/ Aperture-priority AE (f/5.6, 1/200 sec., EV+0.3)/ ISO 100/ WB: Manual

Nearer (70cm)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 27mm/ Aperture-priority AE (f/5.6, 1/250 sec., EV+0.3)/ ISO 100/ WB: Manual

Important things to note when using deep focus technique

1. Understand that depth-of-field is about the image plane, not a point in focus

EOS 5D Mark III/ EF50mm f/1.4 USM/ FL: 50mm/ Aperture-priority AE (f/2, 1/250 sec., EV+0.3)/ ISO 100/ WB: Manual

In the example above, take note of how all the chess pieces that are arranged horizontally within the field of focus are in sharp focus, but the pieces arranged vertically are all out of focus. Why is this so? To put it simply, the camera considers all objects that are the same distance away from it to be on the same plane. As long as it is within the depth-of field, all images in that plane will be in focus, as the camera will not differentiate between different points in the same plane. Keep that in mind when you make your decision about aperture setting and how much you want the image to be in focus.

2. Using an f-number that is too large could cause image quality to deteriorate

The area in the red frame when enlarged
EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 70mm/ Aperture-priority AE (1/30 sec., EV+1.0)/ ISO 100/ WB: Manual

We learnt that using a narrower aperture (larger f-number) generally increases depth-of-field, which makes your image sharper. However, if you use an aperture that is too narrow, it could lead to an optical phenomenon called the ‘diffraction phenomenon’. Diffraction phenomenon causes an image to look less sharp.
This is what happened to the f/22 example here, which looks less sharp than the f/8 example. Therefore, keep diffraction phenomenon in mind whenever you are considering a narrow aperture setting, especially with f-numbers over f/11. The best setting is one with good balance between diffraction and size of depth-of-field, which was achieved at f/8 for this example.

Deep focus can help you achieve photos like this!

EOS 5D Mark III/ EF24-105mm f/4L IS USM/ FL: 24mm/ Aperture-priority AE(f/8, 1/400 sec., EV+0.7)/ ISO 100/ WB: Auto

A short focal length and narrow aperture to achieve deep focus
I used the deep focus technique to capture this image of the bow of a ship, with the sea in the background. Notice how the entire shot is in focus, from the foreground all the way to the back. The wide-angle end of the lens, with its short focal length, provided a large depth-of-field which made it easy to achieve deep focus.

Perspective

Perspective is the phenomenon that makes nearby objects look bigger, and faraway objects look smaller. It is one of the concepts that is central to photography, and mastering and exaggerating it can make your photos have greater impact. In this article, we introduce the three elements that affect perspective. (Original text by: Tomoko Suzuki, Digital Camera Magazine)

3 factors that affect perspective

Perspective refers to the visual phenomenon where objects that are nearer to us appear bigger, and those that are farther away from us appear smaller. In photography, it is influenced by 3 factors: Focal length, shooting distance, and shooting angle.

Focal length: The shorter the focal length that you are using, the stronger the perspective effect. Conversely, the longer the focal length, the weaker the perspective effect.

Distance from subject (shooting distance or “focusing distance”): The nearer the camera to the subject, the stronger the perspective effect. The further away the camera from the subject, the weaker the perspective effect.

Shooting angle: The more parallel your camera is to the subject (the shallower the shooting angle), the weaker the perspective effect. Conversely, if you align the camera at a steeper angle from the subject, you will get a stronger perspective effect.

In short, the easiest way to get the strongest perspective effect possible is to use a wide-angle lens, move as close to your subject as possible, and shoot from a steep, diagonal angle. The perspective exaggeration effect unique to a wide-angle lens can help to create impressive photos with a strong sense of depth, dimensionality and scale. This is a good effect to use with deep focus.

Let’s take a closer look at the 3 factors that affect perspective.

Focal length

The images below were shot from the same position, but with different focal lengths on the same standard zoom lens. At a shorter focal length (24mm), the perspective effect is quite obvious: The elements in the image that are nearer to the viewer appear bigger, and those that are further away appear smaller. Meanwhile, at a longer focal length (the 70mm example), the perspective effect is not as obvious.

Shorter focal length (24mm)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 24mm/ Aperture-priority AE(f/8, 1/30 sec., EV+0.7)/ ISO 1250/ WB: Auto

Longer focal length (70mm)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 70mm/ Aperture-priority AE(f/8, 1/80 sec., EV+0.7)/ ISO 3200/ WB: Auto

Distance from subject

The examples below were shot using the same focal length (50mm), but from different distances away from the subject. In the examples below, note how the part of the building that is closer to us looks proportionately bigger compared to when we move further away from the subject (3m example). This is obvious when we look at the lines above and below the signboard in each image. They form a triangle with the right edge of the image as the base. In the 2m example, this triangle has a broader base, compared to the 3m example where the lines converge towards each other at a more gradual angle and form a more tapered triangle with a narrower base. This shows that the nearer the camera from the subject, the stronger the perspective effect.

Nearer (2m)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 50mm/ Aperture-priority AE (f/5.6, 1/200 sec., EV+0.3)/ ISO 100/ WB: Manual

Further (3m)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 50mm/ Aperture-priority AE (f/5.6, 1/200 sec., EV+0.3)/ ISO 100/ WB: Manual

Shooting angle

The examples below were shot with the same focal length (50mm), but from different angles. Shooting the subject from a diagonal angle (the 45° example) creates a perspective effect in the windows, distorting the rectangular shape. Meanwhile, shooting from a relatively flat angle (the head-on example) results in no perspective effect—the rectangular windows are faithfully reproduced as rectangles.

Diagonal (45°)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 50mm/ Aperture-priority AE(f/2.8, 1/320 sec., EV+0.7)/ ISO 100/ WB: Auto

Flat (camera and image plane aligned)

EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 50mm/ Aperture-priority AE(f/2.8, 1/250 sec., EV+0.7)/ ISO 100/ WB: Auto

Important things to note when emphasising perspective

1. Be very aware of lines when you compose your image

Combining vertical and horizontal lines
EOS 6D/ EF17-40mm f/4L USM/ FL: 17mm/ Aperture-priority AE (f/8, 1/160 sec., EV+1)/ ISO 100/ WB: Daylight

Using leading lines to create depth
EOS 5D Mark III/ EF24-70mm f/2.8L II USM/ FL: 24mm/ Program AE (f/8, 1/250 sec)/ ISO 100/ WB: Daylight

When you are using a wide-angle lens to create a photo that makes use of perspective, be very aware of the lines in your image. Shooting from a bold angle so that the lines in building, roads, pathways, rivers and other elements appear more diagonal can enhance the perspective effect. You can also use them to give the image depth, or draw the viewer’s attention to a particular point.

2. Play with your camera position and angle

Low position
EOS 6D/ EF17-40mm f/4L USM/ FL: 24mm/ Aperture-priority AE (f/8, 1/200 sec., EV-0.3)/ ISO 100/ WB: Daylight

High angle
EOS 6D/ EF17-40mm f/4L USM/ FL: 25mm/ Aperture-priority AE (f/8, 1/80 sec)/ ISO 100/ WB: Daylight

It is not easy to get a perspective effect if you shoot at eye level. Instead, try shooting from a low position or high angle. Even simply tilting your camera up or down a little can make a considerable difference.

The perspective effect can help you achieve photos like this!

EOS 6D/ EF24-105mm f/4L IS USM/ FL: 24mm/ Aperture-priority AE (f/8, 1/30 sec., EV+0.3)/ ISO 500/ WB: Daylight
Place yourself close to the subject and shoot with a wide-angle, from a low angle

This chair in a lounge was a beautiful green colour. I moved close to it and shot it using a low angle and a wide-angle focal length. The part of the chair nearer the viewer appears big, but narrows further into the image. This showcases the depth of the room.

What is “ghosting” and “flaring”？

We are often told to be careful of ghosting and flaring when shooting into sunlight, but what exactly are they? In this article, I will explain more about these phenomena. This will help you better understand your camera and lens when shooting such photos. (Original text by: Shirou Hagihara, Digital Camera Magazine)

What is ghosting? What is flaring?

Flaring is a phenomenon that can occur when light reflects off the lens, or other elements such as the lens barrel and mirror box, making part or all of an image appear hazy or seem to lack in sharpness. Ghosting is a type of flaring caused by a strong light source being reflected repeatedly. It appears as a clear artefact that forms directly opposite the light source.

Older lenses without an antireflective coating are more susceptible to ghosting and flaring. However, depending on the subject and shooting conditions, it is also difficult to completely eliminate these effects even with the latest coated lenses.

While attaching a lens hood is the very least a photographer should do to address these effects, it is also a good idea to actively cut out flare-inducing light using objects such as your hand, a hat, or a board-shaped object if necessary.

Also, note that even though ghosting and flaring are generally regarded as phenomena that have a negative impact on images, they can sometimes be deliberately incorporated into images as a means of artistic expression.

With flaring

There is rather strong sunlight entering the frame, causing flaring and resulting in an image that appears hazy. This cannot be eliminated even by narrowing the lens aperture.

Without flaring

Here, I used my hands to shade the lens and block out the sunlight, which reduced flaring such that you can only see a bit at the top of the image.

With ghosting

The sun is to the upper right of the image. Ghosting appears in the lower left, and is located symmetrically opposite the light source. A characteristic of ghosting is the clear shape observed.

Without ghosting

I shaded the lens with my hat to prevent ghosting, and adjusted my position while checking the effect in the LCD screen. This enabled me to cut out the detrimental light, and achieve clear image quality.

(from left to right) EW-63C / ET-63

The EW-63C lens hood is compatible with the EF-S18-55mm f/3.5-5.6 IS STM standard zoom lens, while the ET-63 lens hood is compatible with the EF-S55-250mm f/4-5.6 IS STM. Note that each lens hood is shaped differently to match the characteristics of different lenses.

3 Reasons Why You Should Start Using a Lens Hood

While you often see people using DSLRs or mirrorless cameras around town or at tourist spots, you hardly ever spot them using a lens hood. This is a shame, as a lens hood is a very important item. In this article I will introduce 3 reasons why beginners especially should use a lens hood. (Original text by: studio9)

What is a lens hood?

If you look at the lenses of people using DSLRs or mirrorless cameras around town, you’ll find that most people tend to shoot with the lens alone, without attaching a lens hood. There may well be some who don’t even know such a thing as a lens hood exists, as it is not standard issue in entry-level DSLR and mirrorless camera kits. However, a lens hood is a very important item.

A lens hood is an accessory that you attach to a lens, which, if we liken it to a person, is like a hat or helmet that they would put on.

Three reasons why we wear a hat or helmet:
1. To avoid strong sunlight
2. To protect the head
3. To look good

The same applies to a lens hood as there are good reasons for using it as well.
Here, I will introduce three reasons why it is better to use a lens hood, and the effects of using one. There is almost nothing to lose from attaching a lens hood, so it would be a good idea to attach one, especially if you are a beginner.

1. A lens hood blocks strong sunlight for improved image quality

This is the original function of a lens hood. A camera lens is comprised of a combination of many convex or concave lens elements, with around 10 lens elements used for starter level lenses, and around 20 for high grade lenses.

When strong light such as sunlight enters the lens during a shoot, the light is reflected between the lens elements, which can result in phenomena that lower image quality, such as flaring and ghosting.

When you attach a lens hood, it acts as a visor, shutting out strong sunlight that enters from an angle. A lens hood can cut out harmful light not needed by the lens, allowing you to take photos that bring out the full capabilities of the lens.

EOS 5D Mark III/ EF 24-105mm f/4L/ FL: 24mm/ f/4, 1/5 sec., ISO 2500

Shot without a lens hood. Circular ghosting is visible at the top right of the photo, with flaring surrounding it.

EOS 5D Mark III/ EF 24-105mm f/4L/ FL: 24mm/ f/4, 1/6sec., ISO 2500

Shot with a lens hood.

Do note that the lens hood only cuts out light from the side and not from the front, as you can tell by its design. Therefore, depending on the scene, you might not notice any effect at all when using the lens hood. Moreover, recent lenses have a special coating on the surface, and the structure of the lens minimises reflection of light in the first place, so there may not be that many scenes where image quality is dramatically improved through using a lens hood.

That said, it’s still a good idea to attach a lens hood. I often encounter scenes where there is strong sunlight from the setting sun in the evenings, for which I was glad I had my lens hood with me. The light from street lamps can be surprisingly strong, and it is also in nightscape scenes like these—which don’t seem to require lens hoods whatsoever—where lens hoods make their effectiveness most keenly felt.

To sum up, attaching a lens hood may not improve image quality in all cases but it certainly won’t make it worse, so I recommend using one.

Lens hoods come in 2 shapes

Standard petal lens hood

The most commonly used shape is the so-called petal lens hood (also known as a tulip of flower hood), which has curved notches. This is a highly effective hood that has been cut to a size that is just big enough without the hood itself being visible in the frame.

An example of a petal hood is the lens hood that is used with the EF-S18-55mm f/3.5-5.6 IS STM kit lens (EW-63C, sold separately).

Lens Hood EW-63C

Cylindrical lens hood, often used with telephoto or prime lenses

The cylindrical lens hood is often used with a telephoto lens. An example of a cylindrical lens hood is the one that is used with the EF-S55-250mm f/4-5.6 IS II kit lens (ET-60, sold separately).

Lens Hood ET-60

2. A lens hood protects the lens from dirt and impact

With the high-functionality afforded by lenses these days, probably the biggest reason for using a lens hood is this — to protect the lens. Using a lens hood has a similar effect to what you would expect from a protective filter for your lens, as it provides additional protection.

Physically protects the lens face

Have you had any frightful experiences of banging into someone or hitting something while walking around with your camera hanging from your shoulder? If you are using a lens hood at such times, unless it is an extreme case, the lens face will be protected from any damage.

This is the lens hood I often use, and as you can see, it has a lot of fine scratches on it. If it wasn’t for the lens hood, the lens itself would have been scratched in this way instead.

Keeps fingerprints off your lens!

When shooting without a lens hood, you can inadvertently touch the lens face, leaving fingerprints behind. Have you experienced looking at your lens after the shoot to find that the lens face is rather dirty? Moreover, when photographing children or pets, they may place their hand on your lens or even lick it. A lens hood can protect your lens from that kind of dirt. Preventing your lens from becoming dirty means better image quality!

Without a lens hood, you may inadvertently touch the lens face, making it dirty. While fingerprints can be wiped off, you can feel more at ease while shooting if it is harder for the lens to become dirty in the first place. A lens hood protects the lens from impact and dirt that a protective filter alone cannot prevent.

3. A lens hood might even make your camera look cooler

The final reason is to do with fashion sense. After all, humans do sometimes wear hats to look good, don’t we?

Simply attaching a lens hood can make the camera look cool, and there are some people who personalise their lens hood by affixing stickers or other decorations. If you adorn your camera with a fashionable strap, it seems like a waste not to have anything attached to the lens.

On the left is how the lens looked with the lens hood attached during the shoot. It changes the appearance of the lens, making it look cool. On the right is how I attach the lens hood when storing the lens. The hood sticks out a bit laterally, but attaching it upside-down makes it less bulky.

So those are my three reasons for using a lens hood. As you can see, using one can bring very significant benefits. So for those of you who don’t use a lens hood, why not consider trying one out?

The Basics of Composition

Composition affects the impression viewers have of your photo. It is determined by elements such as the position of the subject in the image, shooting position (high or low) and shooting angle. Here are some basic composition principles. (Original text by: Ryosuke Takahashi)

Basic composition patterns

When we look at an image, the first thing we feel is the general impression we get from it. Unless a particularly eye-catching subject is present, we would try to sense something out of the overall balance of the image. How the subject is positioned determines whether an image conveys a relaxed or tense atmosphere. Composition consists of the position where the subject is placed as well as other factors apart from the subject.

The first step to learning the basics of composition is to determine where to place the subject. A basic composition technique that is commonly employed is the Centre Composition method, which places the subject at the centre of the image. Other types of composition include the Diagonal Composition, which places the subject on the diagonal line to guide the viewer’s attention, the S-curve Composition method for bringing out the dynamism of a meandering street or river, and the Rule of Thirds, where an image is divided (both vertically and horizontally) into thirds, and the subject is placed on one of the intersections of the horizontal and vertical lines.

Centre Composition

Useful for portraits and all sorts of other scenes, this basic layout places the subject at the centre of the image.

Diagonal Composition

In this technique, the subject is placed diagonally across the image. It is often employed in landscape shots, and is effective for subjects such as mountain ridges. For example, placing a mountain ridge diagonally helps to create a strong impression.

S-curve Composition

S-curve Composition can often be found in landscape photos. You can create a dynamic impression by including a distant S-shaped subject in the image, such as a river.

Rule of Thirds

The Rule of Thirds breaks an image vertically and horizontally into thirds, forming nine equally-divided parts. The main subjects are placed on the intersections of these lines. Being one of the most frequently used techniques, the Rule of Thirds is effective for creating a stable composition.

An example of the Rule of Thirds

Program AE (f/10, 1/320 sec)/ ISO 100/ WB: Daylight

In this example, the image is divided into thirds both horizontally and vertically, with the subjects positioned on the intersection of the vertical and horizontal lines. Without any rock in the foreground, there would be a large empty space at the bottom right, which makes the image look unstable. Here, with the rock in front, the composition is well-balanced.

An example of Diagonal Composition

Aperture-priority AE (f/10, 1/100 sec., EV -0.3)/ ISO 100/ WB: Daylight

The wheels are arranged diagonally in this image, which emphasises the depth and creates an interesting atmosphere. If taken directly from the front, the image would have looked bland. The impression a photo gives to the viewer is significantly affected by the shooting position.

Shooting angles and visual effects

In addition to how the subject is positioned, shooting angle is yet another factor that affects the composition significantly. Even when a subject is captured from the same position, it would turn out completely different depending on the angle at which the camera is placed. The illustration explains changes in the visual effects when the camera is held at different heights. It shows clearly that varying the shooting angle affects how both the subject and the background turn out.

A: High angle
B: Eye level
C: Low angle

When the photographer is standing and aims his camera straight at the subject, this shooting angle is called the eye level. If the photographer is looking down at the subject, it is a high angle, while it is a low angle if he is looking up at it.

High-angle shot

Effective for capturing the entire environment, a high-angle shot produces a straightforward depiction with only little perspective effect.

Low-angle shot

Because of the visual effect it creates, a low-angle produces shots with a stronger impact.

4 Secrets to Mastering a Standard Zoom Lens

With their coverage of the wide-angle to medium telephoto focal lengths, standard zoom lenses such as the versatile EF-S18-55mm f/4-5.6 IS STM are capable of shooting a wide variety of scenes. Here are some techniques for making the best of them. (Original text by: Kazuo Nakahara, Digital Camera Magazine)

Standard zoom lenses contain the characteristics of 3 different types of lenses

Standard zoom lenses such as the EF-S18-55mm f/4-5.6 IS STM (which is one of Canon’s most versatile basic lenses) cover the wide-angle to mid-telephoto angles-of-view, which makes them capable of handling almost all everyday scenes.

Many users tend to stand in the same spot as they shoot, and simply zoom in or out to adjust their composition. But to take the fullest advantage of such lenses, you should really should be moving around.

This is because the wide-angle, standard, and mid-telephoto focal lengths all have different characteristics. To make full use of them, you need to change your shooting spot. For example, when you shoot close to the subject using the wide-angle end, the image looks different from when you shoot from far using the telephoto end. You could even create a background blur with the right dynamics.

Some of Canon's standard zoom lenses also have a short closest focusing distance(or minimum shooting distance). For example, on the EF-S18-55mm f/4-5.6 IS STM, it is possible to focus even if the subject is only 12–15cm away from the front of your lens, which is great when you want to photograph small objects close-up.

Many Canon standard zoom lenses also come with built-in image stabilisation (IS), which is useful for shooting in low light. Recent lenses such as the EF-S18–55mm f/4–5.6 IS STM and the EF24-105mm f/4L IS II USM have as much as up to 4 shutter speed stops' equivalent IS. This technically lets you use a shutter speed that is as much as 16 times slower than what you would otherwise have to use to prevent camera shake. (For more on this, read Lens FAQ #3: How are Image Stabilization Stops Determined?)

Because standard zoom lenses are capable of so much, learning how to make the most of them will also give you a very good idea of how to use different types of lenses for photographic expression.

1. Mastering wide-angle

Use perspective to your fullest advantage

To truly take advantage of the possibilities in the wide-angle range, you need to first get rid of any preconceived notion that wide angles are used only for capturing vast landscapes. The ability to capture a wide field-of-view is just one characteristic!

The true potential of a wide-angle focal length lies in is its ability to exaggerate perspective. This creates lines that converge, which you can use to draw the viewer’s attention to a particular point of interest, and therefore make your images more dynamic. This also lets you capture a subject close-up and still include a large portion of the background in the frame.

Take note: Depending on the subject matter, this tendency to exaggerate perspectives could also work against you—elements that are already distant from each other might end up looking scattered and far apart.

18mm

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 18mm (29mm equivalent)/ Aperture-priority AE (f/5.6, 1/30 sec., EV-1.0)/ ISO 6400/ WB: Auto

18mm

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 18mm (29mm equivalent)/ Aperture-priority AE (f/4.5,1/1,600 sec., EV±0)/ ISO 100/ WB: Auto

Tip: Compose image to draw viewers’ attention to the vanishing point

The 2 images above are classic examples of compositions that make full use of the perspective exaggeration effect. Examining the second image in closer detail, we see that the subject of interest (the yellow car) was shot from a diagonal angle so that the lines of the road converge in a vanishing point to the left of the image (indicated in red below). Vanishing points such as this draw the viewer’s attention, and help to create the illusion of depth in the image.

2. Mastering standard angle-of-view

To avoid images that look too ordinary, put lots of effort into composition

The standard focal length range on a zoom lens provides an angle-of-view that is very similar to that of the human eye. Images taken with these focal lengths thus look natural and reassuring to viewers.

Take note: The natural angle-of-view can make images look mundane if you shoot aimlessly. Pay extra attention to the relationship between your main interest and secondary interest(s), and put effort into composition and the timing of your shutter release.

35mm

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 35mm (56mm equivalent)/ Aperture-priority AE (f/5, 1/1,000 sec., EV±0)/ ISO 100/ WB: Auto

33mm

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 33mm (53mm equivalent)/ Aperture-priority AE (f/5, 1/160 sec., EV+0.3)/ ISO 100/ WB: Auto

33mm

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 33mm (53mm equivalent)/ Aperture-priority AE (f/5, 1/80 sec., EV±0)/ ISO 100/ WB: Auto

Tip: Make sure your image is straight and level

This is especially important for images taken with a standard angle-of-view. If the lines are not horizontally/vertically aligned, your image could look unstable.

3. Mastering mid-telephoto

Faithful depictions of shapes; great for focusing attention on one subject

Shooting in with a mid-telephoto focal length range (about 85mm to 100mm in 35mm film equivalent terms) provide images with a field-of-view that is similar to that of a person when their attention is on a particular object. This makes the central focus immediately obvious, as you can see in the following images shot at 88mm equivalent (focal length 55mm on an APS-C camera). Unlike the wide-angle field-of-view, you cannot include much of the background in the frame, but this means less competition with your main subject for the viewer’s attention.

Another major advantage of this angle-of-view is that it is less prone to perspective distortion, and therefore capable of faithful depictions of the shapes of subjects, including faces and body shapes. Keep this in mind, and shoot with the telephoto range when you need to capture portraits of people, product photographs, or any scene where the faithful representation of shapes and structures is a priority.

55mm

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 55mm (88mm equivalent)/ Aperture-priority AE (f/8, 1/30 sec., EV±0)/ ISO 6400/ WB: Auto

55mm

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 55mm (88mm equivalent)/ Aperture-priority AE (f/5.6, 1/160 sec., EV+0.7)/ ISO 100/ WB: Auto

Tip: If you use a wide-angle focal length, you will get obvious distortion

The image below shows the same plate as the one above, but shot at the 18mm wide-angle end. You can see the effects of perspective exaggeration in the part of the plate that is closer to you—somehow, it looks bigger and the plate looks oval. Compared to this, the image shot at the 55mm telephoto end is more faithful to the actual object.

18mm

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 18mm (29mm equivalent)/ Aperture-priority AE (f/4, 1/250 sec., EV+0.7)/ ISO 100/ WB: Auto

4. Mastering bokeh

Creating a background blur (background bokeh) is not just about using a suitable f-number. There are also other factors involved, such as focusing distance, focal length, and distance between the subject and the background. You can read more about the dynamics in Creating Bokeh, but what I would like to highlight here is that as long as the following 3 conditions are fulfilled, even kit lenses such as the EF-S18-55mm f/4-5.6 IS STM are capable of creating a large background blur:

1. A relatively long focal length;
2. A short focusing distance; and
3. A relatively long distance between the subject and the background.

Let’s explore how to create a large background bokeh with this lens, step by step.

Step 1: What happens when you shoot with the wide-angle end

The image below was shot with the 18mm wide-angle end. I have used the maximum aperture, but because of the short focal length and the long focusing distance, the background blur is not quite apparent.

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 18mm (29mm equivalent)/ Aperture-priority AE (f/4, 1/50 sec., EV+0.3)/ ISO 100/ WB: Auto

Step 2: Zoom in to the telephoto end

For the image below, I stayed at the same shooting position as Step 1, but zoomed to the 55mm telephoto end. Now that I have used a longer focal length, the background blur is slightly more obvious.

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 55mm (88mm equivalent)/ Aperture-priority AE (f/5.6, 1/80 sec., EV+0.3)/ ISO 125/ WB: Auto

Step 3: Move closer to the subject

Still using the telephoto end, I moved closer to the flower that I wanted to be my main interest, so that I was the minimum focusing distance away. The background blur became more obvious. This demonstrates how a shorter focusing distance further defocuses the background.

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 55mm (88mm equivalent)/ Aperture-priority AE (f/5.6, 1/80 sec., EV+0.3)/ ISO 125/ WB: Auto

Step 4: Keep the telephoto end, change the shooting angle to feature a faraway background

Keeping the same telephoto end focal length and the shooting distance, I changed the angle so that the background of the shot was now far away. This caused the background to be further defocused, resulting in a creamy bokeh.

EOS 200D/ EF-S18-55mm f/4-5.6 IS STM/ FL: 55mm (88mm equivalent)/ Aperture-priority AE (f/5.6, 1/80 sec., EV+0.3)/ ISO 160/ WB: Auto

Featured lens: EF-S18-55mm f/4-5.6 IS STM

Focal length range (35mm film equivalent): 29 – 88mm
Lens construction: 12 elements in 10 groups
No. of aperture blades: 7
Closest focusing distance: 0.25m
Max. magnification 0.25x (at 55mm)
Image stabilisation: 4 stops
Filter diameter: φ58mm
Size: approx. 66.5×61.8mm
Weight: approx. 215g

EF-M15-45mm f/3.5-6.3 IS STM Review: Enhanced Photographic Possibilities within Lightweight 130g Body

Covering a wide-angle to mid-telephoto range, the compact EF-M15-45mm f/3.5-6.3 IS STM, a standard zoom lens for EOS M-series mirrorless cameras, possesses excellent resolving power and weighs only an approximate 130g. In the following, we introduce its features in further detail. (Original text by: Kazuo Nakahara, Digital Camera Magazine)

Expand your photographic possibilities with this one lens

The EF-M15-45mm f/3.5-6.3 IS STM is a very handy lens which covers a broad focal range of 24mm at the wide-angle end to 72mm at the mid-telephoto end, at a 35mm-equivalent. Featuring a retraction mechanism, it measures a length of 44.5mm when the lens is retracted. Weighing no more than approximately 130g, it still managed to feature a solid lens construction of 10 elements in 9 groups, including 3 aspherical lens elements. Upon testing, within its range of a wide-angle to standard focal length, it produces extremely sharp results at its mid-range with a maximum aperture, and demonstrates a resolving power more than sufficient to bring out the high resolution of the EOS M5.

Although there may be very slight aberration observed around the edges, it is not an issue as any chromatic aberration is completely corrected in the camera. It gives a soft-effect feel to pictures when shooting at the telephoto end, but is also capable of producing sharp image results when you narrow the aperture to about f/11. Updating it with the latest firmware (2.0.0), also makes it possible to utilise Combination IS, which corrects both optical and digital camera shake during movie shooting. Furthermore, when shooting stills, I observed up to 4 stops of image stabilisation, which effectively prevented blurring due to camera shake.

The lens should be more than adequate for street photography at night especially when paired with a camera capable of a high ISO speed, such as the EOS M5, although I felt that images shot with f/6.3 at the telephoto end were just a little dark. The closest focusing distance of 25cm makes it easy to take close-up photos of food or ornaments and accessories. When shooting in backlight, there is no significant deterioration in contrast. The STM (stepping motor) enables silent AF operation at a very high speed.

EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 45mm (72mm equivalent)/ Aperture-priority AE (f/6.3, 1/60 sec., EV+0.3)/ ISO 200/ WB: Auto

I shot the storefront of a shop selling a variety of colourful goods, using bokeh and the compression effect from the telephoto zoom. At an aperture of f/6.3 at the telephoto end, getting closer to the subject makes it very easy to create the bokeh effect. In the resulting picture, the colours are portrayed vividly and accurately.

EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 45mm (72mm equivalent)/ Aperture-priority AE (f/8, 1/100 sec., EV±0)/ ISO 800/ WB: Daylight

With a short closest focusing distance of 25cm, the lens is adept at shooting small objects or food placed on the table. In addition to producing a creamy, even bokeh in the background, it also creates distinctly round bokeh light circles near the edges of the screen. As we can see, regardless of whether the subject is nearby or further away, this lens is perfectly capable of capturing them with various interesting effects.

EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 15mm (24mm equivalent)/ Aperture-priority AE (f/11, 1/200 sec., EV+0.3)/ ISO 100/ WB: Auto

A wide, extensive angle-of-view at a 24mm equivalent enables you to easily depict more of the sky in your landscape photos. A notable feature of this lens is its ability to capture even a window on a distant building in high resolution. Despite the strong sunlight, the captured image boasts clear, balanced contrasts.

EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 28mm (42mm equivalent)/ Aperture-priority AE (f/5.6, 1/400 sec., EV+0.3)/ ISO 100/ WB: Auto

I captured the fleeting shadows of people walking on the street. It helped that this is a lens which shoots quickly. With its swift AF, it captures the momentary photo opportunities crucial to street photography.

Usage Tip #1: A 3mm difference in focal length is a big deal! Show the expanse of a scene using the wide-angle end

There are other standard zoom lenses in the EF-M series, such as the EF-M18-55mm f/3.5-5.6 IS STM. Contrary to what some may believe, a disparity of 3mm at the wide angle end can make a huge difference. This 3mm difference is actually approximately 5mm when you convert to 35mm-film equivalent terms—which means there is a massive contrast in the range it is able to show. The shorter the wide-angle end focal length, the wider the area the lens is capable or portraying and the more obvious the perspective exaggeration effect—a feature usually associated with wide-angle lenses, and which can give your images a unique flavour.

Choose a shooting angle that makes the most of the super wide-angle!

EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 15mm (24mm equivalent)/ Aperture-priority AE (f/5.6, 1/160 sec., EV±0)/ ISO 100/ WB: Auto

I shot at 15mm, positioned close to the tower with a low angle very close to the ground. This angle exaggerated perspective, which makes the tower look a lot taller.

Shooting at 15mm
EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 15mm (24mm equivalent)/ Aperture-priority AE (f/5.6, 1/320 sec., EV±0)/ ISO 100/ WB: Auto

This was also shot at 15mm, but at eye level The perspective effect is less obvious, and the tower doesn't look as tall. This shows how important the camera angle is.

Shooting at 18mm
EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 18mm (29mm equivalent)/ Aperture-priority AE (f/5.6, 1/125 sec., EV±0)/ ISO 100/ WB: Auto

Shooting at the same spot at 18mm completely cuts off the view on the upper part of the tower. You can see how significant the difference is when you compare the area captured.

Usage Tip #2: Use a centre composition to make the subject stand out

In addition to focusing on the subject itself, you can also further emphasise it by exaggerating perspective distances between the subject and its surroundings. For scenes that have a sense of depth, the wider the angle, the more the view appears to converge towards a point. Therefore, placing the subject close to the vanishing point, makes it easy to draw the viewer’s attention. Combining this with a centre composition further emphasizes the effect.

Shooting at 15mm
EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 15mm (24mm equivalent)/ Aperture-priority AE (f/5.6, 1/60 sec., EV±0)/ ISO 320/ WB: Auto

I shot the long, extended escalator at the wide-angle end of 15mm. Since all four sides of the picture clearly converge towards the centre, the viewer’s gaze is naturally directed toward the area of the exit.

​Shooting at 18mm
EOS M5/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 18mm (29mm equivalent)/ Aperture-priority AE (f/5.6, 1/60 sec., EV±0)/ ISO 250/ WB: Auto

I shot at the same spot at 18mm. Although the subject itself appeared larger, the perspective exaggeration effect on the surroundings is smaller, which makes it more difficult to direct the viewer’s gaze.

A silent motor operation makes it perfect for shooting videos

On the EF-M15-45mm f/3.5-6.3 IS STM, the sound produced when the AF operates is barely audible unless you place your ears close to the lens, which makes it suitable for shooting videos. Although the outer construction has been designed to be very light and is mostly made of plastic, the ridged surface design on the zoom ring and focusing ring make it easy to operate the lens. It makes a lightweight, portable pair with the EOS M5. I would recommended that you also purchase the separate lens hood if you intend to bring it out.

Lens Hood EW-53

Specification

A: Aspherical lens
B: IS unit

35mm equivalent focal length: 24-72mm
Lens construction: 10 elements in 9 groups
Closest focusing distance: 0.25m
Maximum magnification: 0.25x
Filter diameter: φ49mm
Size: approx. φ60.9 × 44.5mm (maximum)
Weight: approx. 130g

How to Get Unique Travel Photos with Your Telephoto Zoom Lens

EOS M10/ EF-M55-200mm f/4.5-6.3 IS STM/ FL: 200mm (320mm equivalent)/ Aperture-priority AE (f/8, 1/320 sec., EV±0)/ ISO 320/ WB: Auto

A telephoto lens lets you take large close-up images of faraway objects that you cannot physically get closer to. You can even use them to close in on a particularly interesting part of the object. In this article, we take a look at how to use a telephoto zoom lens to make your travel and street photos look more amazing than ever. (Photos by: Takeshi Akaogi, Edited by: Etica)

Take a unique photo—close in on interesting faraway subjects with a telephoto zoom lens

A wide-angle focal length and a telephoto focal length capture vastly different fields-of-view

When you come across a scene of interest but are unable to physically move closer, a telephoto zoom lens lets you capture close-up images of the scene. You can even fill the entire frame with a fine detail.

This building in the middle of a forest looked like it was taken straight out of a picture book. Using the shortest focal length of a standard zoom lens, I was able to portray the building standing in the midst of all the greenery. But when it came to capturing close-ups of the whimsically-shaped windows, I used the longest focal length of a telephoto zoom lens.

EOS M10/ EF-M55-200mm f/4.5-6.3 IS STM/ FL: 200mm (320mm equivalent)/ Aperture-priority AE (f/6.3, 1/320 sec., EV+1)/ ISO 1000/ WB: Auto

EOS M10/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 24mm (38mm equivalent)/ Aperture-priority AE (f/3.5/ 1/640 sec., EV+0.7)/ ISO 200/ WB: Auto

(Below) Using the longest focal length of a telephoto lens allowed me to zoom into part of the room to depict the fine details (Photo A). Using the shortest focal length of a standard zoom lens helped to portray the vastness of the room (Photo B).

Photo A
EOS M10/ EF-M55-200mm f/4.5-6.3 IS STM/ FL: 200mm (320mm equivalent)/ Aperture-priority AE (f/6.3, 1/40 sec., EV±0)/ ISO 6400/ WB: Auto

Photo B
EOS M10/ EF-M15-45mm f/3.5-6.3 IS STM/ FL:15mm (24mm equivalent)/ Aperture-priority AE (f/3.5, 1/60 sec., EV±0)/ ISO 1000/ WB: Auto

2 additional advantages of a telephoto lens

Besides allowing you to capture faraway subjects up close, telephoto lenses also have these other advantages:

1. They can photograph subjects with little to no distortion.
2. The perspective compression effect helps to make background elements appear closer to the subject. You just need to move the camera very slightly to change background captured in the frame.
3. The perspective compression effect, together with the narrower angle-of-view, helps to remove unnecessary background elements from the picture.

▼ Compared to the 15mm wide-angle picture (Photo C), the 200mm telephoto picture (Photo D) was taken with almost no distortion, and the forest in the background looks as if it was right behind the subject.

Photo C
EOS M10/ EF-M55-200mm f/4.5-6.3 IS STM / FL: 200mm (320mm equivalent)/ Aperture-priority AE (f/6.3/ 1/320 sec., EV+1)/ ISO 320/ WB: Auto

Photo D
EOS M10/ EF-M15-45mm f/3.5-6.3 IS STM/ FL: 24mm (38mm equivalent)/ Aperture-priority AE (f/3.5, 1/640 sec., EV+1.0)/ ISO 200/ WB: Auto

Tip: When using telephoto lenses, take care to to prevent camera shake.

Images taken using telephoto lenses are especially prone to camera shake. This is because a telephoto lens works by closing in and “enlarging” a subject or part of it. Even a small amount of camera shake can be magnified and result in a larger blur. Try to steady your camera properly before you shoot. Also, try to set your image stabilisation setting to “IS Mode - Continuous” from the “IS Settings” section in the menu.

When shooting, firmly grip both sides of the camera tightly and support the camera from the bottom with your left hand. Also, pulling and stretching on the camera strap gives better support and thus more stability while shooting.

To learn more about the EF-M55-200mm f/4.5-6.3 IS STM and what it can do, check out these SNAPSHOT articles:
EF-M55-200mm f/4.5-6.3 IS STM Review: A Compact, Reliable Telephoto Zoom Lens
Telephoto Lens Techniques – Creating Multiple Layers of Bokeh

Wide-angle and Telephoto Lens Techniques for Photographing Architecture

EOS 6D/ EF70-300mm f/4-5.6L IS USM/ FL: 120mm/ Aperture-priority AE (f/4.5, 1/100 sec., EV+2)/ ISO 10000/ WB: Auto
Shooting Conditions: Bright and indoors/ Location: Tokyo Station, Marunouchi, Tokyo

Buildings make for popular photography subjects, whether they are the ones you come across on walks around the neighbourhood, or the grand historical works of architecture in a foreign land. Here are some wide-angle and telephoto lens techniques to make your shots look even more impressive. (Photos by: Takeshi Akaogi, Edited by:Etica)

Which kind of lens should I use to photograph buildings?

To photograph a building in its entirety, you will need a lens with a wide-angle focal length range, whereas to capture details from a distance, you will need a lens with a telephoto focal length range. Hence, a single zoom lens that covers both the wide-angle and telephoto ranges is ideal. In addition to the lens used for the example shots here, we recommend lenses such as the EF-S18-135mm f/3.5-5.6 IS STM for APS-C camera users.

Capture expansive views in the wide-angle range

A wide-angle lens (focal length less than 35mm at 35mm film equivalent) has a wide field-of-view. They are great for capturing an entire buildings and vast rooms from a close distance, which is great when you don't have the space to move any further away from the subject.

Taken at a focal length of 26mm

EOS 6D/ EF24-70mm f/4L IS USM/ FL: 26mm/ Aperture-priority AE (f/5.6, 1/50 sec., EV+2.3)/ ISO 200/ WB: Auto
Shooting Conditions: Bright and indoors/ Location: Tokyo International Forum, Marunouchi, Tokyo

An open-style ceiling. I used the wide angle-of-view to fit the whole structure into the screen.

Use the telephoto range to close in on details

Telephoto angles-of-view (larger than 85mm at 35mm film equivalent) allow you to make a distant subject appear closer than they actually are when shooting in the telephoto range. This is useful when you want to focus on the details of a subject that is far away.

Before

Taken at a focal length of 24mm

EOS 6D/ EF24-70mm f/4L IS USM/ FL: 24mm/ Aperture-priority AE (f/4.0, 1/40 sec., EV+1.3)/ ISO 800/ WB: Auto
Shooting Conditions: Dark and indoors/ Location: Meiji Yasuda Seimei Building, Marunouchi, Tokyo

A classic reception room. I used a focal length in the wide-angle range to capture the entire room.

After

Taken at a focal length of 300mm

EOS 6D/ EF70-300mm f/4-5.6L IS USM/ FL: 300mm/ Aperture-priority AE (f/5.6, 1/320 sec., EV+1.3)/ ISO 3200/ WB: Auto
Shooting Conditions: Dark and indoors/ Location: Meiji Yasuda Seimei Building, Marunouchi, Tokyo

A beautiful lamp shade with an elaborate design. Shooting in the telephoto range allows you to almost feel the texture of the lamp shade.

When shooting exteriors, avoid using wide-angle lenses where possible

Because a wide-angle lens uses an angle-of-view that emphasises the sense of distance, a building shot in wide-angle will appear greatly distorted. To avoid distorting your subject, i.e. the building, it is best to stand as far away from the building as possible, and to use an angle-of-view that is closer to standard (i.e., closer to that of the human eye) rather than wide-angle. Moreover, taking shots of a building from the left or right side will accentuate the degree of distortion. Hence, try finding a spot where you can face the centre of the building head-on.

Before

The exterior taken up close

EOS M/ EF-M11-22mm f/4-5.6 IS STM/ FL: 17.6mm (*35mm film-equivalent)/ Aperture-priority AE (f/11.0, 1/200 sec., EV±0)/ ISO 100/ WB: Auto
Shooting Conditions: Bright and sunny/ Location: Tokyo Station (Marunouchi Exit), Marunouchi, Tokyo

The distortion is greater here because I took the shot of the building at a close shooting distance.

After

The exterior from a distance

EOS M/ EF-M18-55mm f/3.5-5.6 IS STM/ FL: 28.8mm (*35mm film-equivalent)/ Aperture-priority AE (f/8.0, 1/200 sec., EV±0)/ ISO 100/ WB: Auto
Shooting Conditions: Bright and sunny/ Location: Tokyo Station (Marunouchi Exit), Marunouchi, Tokyo

The brick station building at Tokyo Station. By taking the shot from a distance, I was able to capture the building in its entirety with minimal distortion.

About SNAPSHOT

SNAPSHOT is Canon Asia's content portal, where you can find photography tips and tutorials, product reviews, and many other articles to help you learn more about cameras and photography. Check back for new articles every week!

For more information, check out: SNAPSHOT

Author Profile

Digital Camera Magazine

A monthly magazine that believes that enjoyment of photography will increase the more one learns about camera functions. It delivers news on the latest cameras and features and regularly introduces various photography techniques.
Published by Impress Corporation

Tomoko Suzuki

After graduating from the Tokyo Polytechnic University Junior College, Suzuki joined an advertisement production firm. She has also worked as an assistant to photographers including Kirito Yanase, and specializes in commercial shoots for apparels and cosmetic products. She now works as a studio photographer for an apparel manufacturer.

Teppei Kohno

Born in Tokyo in 1976, Kohno graduated with a Social Work degree from the Department of Sociology of Meiji Gakuin University, and apprenticed with photographer Masato Terauchi. He contributed to the first issue of photography magazine PHaT PHOTO and became an independent photographer after that, in 2003. The author of many books, Kohno not only shoots all sorts of commercial photographs, but also writes prolifically for camera and other magazines.

http://fantastic-teppy.chips.jp

studio9

A photography website established in Japan in 2011. With the slogan “Bringing photography closer to you”, the site provides content that is useful for everyone who enjoys photography. Besides web content, studio9 also conducts seminars and workshops.

http://photo-studio9.com/

Kazuo Nakahara

Born in Hokkaido in 1982, Nakahara turned to photography after working at a chemical manufacturing company. He majored in photography at the Vantan Design Institute and is a lecturer for photography workshops and seminars, in addition to working in commercial photography. He is also a representative of the photography information website studio9.

http://photo-studio9.com/

Shirou Hagihara

Born in 1959 in Yamanashi. After graduating from Nihon University, Hagihara was involved in the launch of the photography magazine, “fukei shashin”, where he worked as an editor and a publisher. He later resigned and became a freelance photographer. Currently, Hagihara is engaged in photography and written works centring on natural landscapes. He is a member of the Society of Scientific Photography (SSP).

Ryosuke Takahashi

Born in Aichi in 1960, Takahashi started his freelance career in 1987 after working with an advertising photo studio and a publishing house. Photographing for major magazines, he has travelled to many parts of the world from his bases in Japan and China. Takahashi is a member of the Japan Professional Photographers Society (JPS).

Etica

Etica Co., Ltd. not only run photography classes under the name “Tanoshii Camera School”, but also edit publications and plan media and events related to cameras and photography, with a focus on themes related to child care, animals and food. Their motto is ”Photos make people happy!” and they are engaged in communicating the charm of cameras and photography.

https://etica.jp/

Takeshi Akaogi

As a photographer, Akaogi works mainly for magazines and writes books introducing photography and practical tips. He also teaches at photography workshops.

http://www.flipphoto.org