In photography, perhaps the most personal decision is the choice of lens. With so many options available, it seems impossible to find the right one. Even professional photographers change a set of lenses several times before settling on an acceptable option. There is no perfect rule for those who choose which optics to buy. But the tips in this article can shed some light on some things to consider, whether you're choosing a lens for Canon, Nikon, Sony, or another brand of camera.
Why do I have to update my optics set?
On the one hand, even if the user is happy with their lenses, there is a good chance they will need to be replaced. New models appear on the market every year, and old equipment fails after a while. In addition, the interests of the photographer are changing. If he hasn't filmed wildlife before, he will need to change his gear if he intends to go down that path.
There are, of course, professionals who have successfully used one set for a long period of time. Perhaps the most famous of thesePhotographer: Henri Cartier-Bresson. For most of his life he remained true to 50mm (although he occasionally used 35mm and 90mm). Many would like to be in a similar position - to feel so comfortable that they don't have to buy something new, assuming lens technology remains relatively constant. This is where optics tips can help.
Identifying needs
In the field of photography, everyone pursues their own interests, which is why there are so many lenses in the world. Wildlife photography equipment will rarely match up with an architecture professional. As you specialize, the choice of lens becomes more and more dependent on the objects being photographed. For example, macro photography uses optics that no one else uses.
The following is a list of the most important parameters to consider when choosing a lens.
Weight
The lighter kit is more comfortable to carry, which is desirable in almost every genre of photography.
Those who often go hiking for landscape photography will need a lightweight kit. If you carry a set of lenses in your backpack, then a difference of several tens of grams will not matter much. For example, a set of 20mm, 35mm, and 70-200mm lenses weigh a total of 1.5kg, which is reasonable for the focal lengths they cover. At the same time, the 105mm lens can be left at home, since it simply duplicates the 70-200mm. A mirrorless kit would be lighter, though perhaps not as much as it couldshow up.
Focal length
In the ideal case, all focal lengths that are planned to be used should be covered. To save weight, it's best to avoid lenses that perform similar functions. For example, few people really need to have a 24mm f/1.8 and a 28mm f/1.8 optic at the same time.
A good selection of both portrait and landscape lenses is provided by the 20mm, 35mm and 70-200mm kit. Focal lengths of 70-200mm cover almost all types of landscape photography. Choosing a wide-angle lens allows you to visually increase the distance and fit the entire subject in the frame, whether it be a building, a large group of people or a landscape. The gap between 35mm and 70mm shouldn't be a concern as these focal lengths are rarely used. Ideally, of course, it's better to have more wide-angle coverage without sacrificing weight or image quality.
Image quality
All photographers prefer high quality images. Prime lenses generally provide better low-light shots than zooms.
Maximum aperture
Wide aperture optics are ideal for shooting in dark environments or for shallow depth of field. Landscape and macro photographers recommend choosing a lens with an aperture of f/8 or less. However, for night shooting, f / 1.8 aperture is very welcome.
Filter threads
IfIf you plan to use filters, it is best to purchase optics with threads of the same size as other lenses. However, most models allow you to work with filters if you purchase additional holders for them.
It's important for a landscape photographer to be able to change filters easily. According to reviews, the Nikon 14-24mm f / 2.8 lens, which does not have a corresponding thread, allows you to install smaller and less expensive filters. However, it doesn't really matter, since almost all optics allow them to be used.
AF Speed
For motion photography, focus speed and accuracy are two of the most important parameters. Other photographers may not care at all.
Special Features
If you need a lens for macro photography, tilt shift, or even just a vibration reduction system, then you need to look for lenses with the appropriate functionality.
For example, landscape painters need equipment for night and telephotography. Vibration control and other features are not so important if you use a tripod all the time, but the function of rotation and shift of the optical axis, although expensive, is worth it.
Build Quality
Environmental protection, body material, focus ring smoothness, even lens brand can contribute to aspects of build quality and ergonomics. The cases of some models are made of metal, while others are made of high-quality plastic. According to reviews, all modern manufacturersprovide a sufficient level of assembly so that it is not critical for photographers. Although they welcome protection from water and dust. Attention should be paid to the execution of the focusing ring - some prefer its smoother shape. In general, the more expensive the lens, the better the build quality.
Compatibility
It's bad when the optics don't work with the existing camera. Photographers using modern full-frame DSLRs don't have to worry about compatibility issues. However, Nikon lens choices for owners of cameras with smaller sensors should be limited to FX models whenever possible, as they will come in handy after switching to a full frame camera. The same is true for other manufacturers. Sony lens choice should be limited to the FE format, which is designed for a 35mm sensor. At the same time, it should be borne in mind that when installed on cameras with an APS-C sensor 1.5x, the focal length also increases by one and a half times.
Price
Cost of optics is perhaps the most important factor. Lenses are not cheap, but to varying degrees. For example, f/2.8 zooms and f/1.4 fixed focal length optics will cost more. Landscape photographers can save money because they rarely need wide aperture or fast focus lenses. If there is little money, then even complete optics (including 18-55 and 55-200 mm zooms) are suitable for landscape photography. Lenses are available in all price ranges and you can always upgrade to the best one if you save enough.
Decision making
No set of optics is final. Even with the exact choice of focal lengths of lenses, they still have to be changed. Photography is inseparable from constant experimentation.
First, you should decide on the degree of importance of each of the listed 10 factors. If weight is the most significant factor, then a mirrorless camera or a camera with a reduced sensor may be the best choice. If weight is not a big deal, but you need reliable and fast autofocus, then you should purchase a DSLR. Of course, if you have a certain type of camera, the options will be limited.
A landscape photographer must first determine how much money they are willing to spend before deciding on a Nikon lens. At the same time, optics are selected to cover the required focal lengths. Having a full-frame Nikon DSLR narrows the search even further, although it does leave a few options for comparison. The final decision is the result of a long but not insurmountable process. Online resources such as the Photography Life lens database help with your search. It allows you to see a list of all optics that are suitable for a particular camera mount. Of course, this is not a quick process, but it is an integral part of finding the right set.
Focal break
A large gap between focal lengths (eg between 35mm and 70-200mm) is not a problem. Of course, in this case somepictures are more difficult to capture, but analysis of focal length usage will allow you to decide which values are rarely used. In addition, there are ways to achieve, for example, a 50mm focal length without using a 50mm lens.
Some photographers go crazy for lack of optics with certain parameters. If you want to have a set of 14-24 mm, 24-70 mm, 70-200 mm and 200-400 mm, then you should not be shy about it. The kit should work for the user, and that's all that matters. There are also photographers who prefer to have overlapping focal lengths, such as 16-35mm combined with 24-120mm and 70-200mm. This kit is quite acceptable, although you will have to pay for extra millimeters (by weight, price or optics).
But many professional photographers don't mind "skipped" multiple focal lengths. A small gap or even a relatively large gap is not the end of the world. For example, Henri Cartier-Bresson used a kit with 35mm, 50mm and 90mm lenses. And he was hardly bothered by the missing focal lengths.
Personal preference
How important lens features are, from weight to focal lengths, depends on the individual photographer. Some will probably prefer the Zeiss 50mm over the cheaper Nikon. This is normal and should be considered when choosing a lens. Even a landscape photographer might hate ultra-wide angle lenses. And you can stop at the range of 24-70 mm, and not 11-24, even if many disagree with this.
For example, when choosing a lens for a landscape under a SLRCanon always has a few competing third-party options, many of which are cheaper than the Japanese company's optics without compromising on image quality. However, photographers tend to choose a Canon model for reasons (such as bokeh and moisture and dust resistance) that don't really matter. It's not an obvious decision, especially for those who are trying to save money on everything, but it pays off in the end. This choice of lens for Canon makes it possible to take the best photograph, requiring precision from every bit of pixel. Is it possible to get it with third party optics? Probably yes, but you can't say for sure. Therefore, it is better to follow your feelings.
On a more rational level, a photographer may have different preferences for what they like and dislike about a lens. The 50mm focal length can be loved more than any other, even without a specific reason. This is enough to add it to your kit. Or perhaps prime lenses are favored over zooms. This choice is also absolutely correct.
Of course, personal preferences will change over time. For example, you can love ultra-wide lenses (16mm and wider) and then find them difficult to use and not particularly useful. And it is absolutely certain that at some point preferences will change again, and wide angles will once again become absolute favorites. And an unclaimed lens can always be returned or resold.
Set improvementover time
It is very unlikely that the first lenses will be perfect for the needs of the photographer. However, each of them will tell you something new and valuable about personal preferences. For example, after working with a 50mm lens for over a year, you can see that this focal length is rarely used. And the use of lenses with a fixed focal length will allow you to understand that you can do without zoom.
A set of optics is good because it allows you to easily change its components. While a resale will only offset part of the cost, it's best to think of the inevitable costs as long-term rentals. You can lose some money in the process, but it's cheaper than renting lenses. In addition, the photographer gets an idea of the optics that best suit their personal style.
According to professionals, during their career they have completely changed their kits 4 or more times, all the while achieving better image quality. An optics kit is an evolving and ever-changing piece of your photographic equipment that will continue to improve as the user understands their needs.
In conclusion
Choosing a lens is not an easy decision. The number of options is too many, especially when you consider all the old models and third-party products. It is likely that the best kit will not be found on the first attempt, and even on the second and third. But as you explore your photography preferences, choosing the right lens for Canon, Nikon, Sony, and other camera brands will makelighter.
Reviews of professionals confirm this. For example, upon returning from an expedition, a photographer may realize that shots taken with a 105mm telephoto lens are always slightly outside the required focal length. They either have to be cut more than usual, or they require more enlargement. Thus, the need naturally arises for a relatively fast and incredibly sharp 70-200mm f/4 telephoto lens. Searching for the required model takes no more than a few minutes, and its long-term use confirms the correctness of the decision.
It is likely that the choice will not always be so clear and successful. In most cases, it will take a few tries before you feel confident in your lens. And some never find the perfect solution, which is a good thing too - if a photographer likes to change their lenses often, then this is a great way to enjoy the process of shooting. The only thing that really matters is the enjoyment of the work you do. If the kit is fun, then it is more important than any technical considerations.
