Adding depth and a sense of inclusion also occurs when using a wide angle lens. You feel like you’re more part of the scene, in the image, than those shot with longer telephoto lenses.

I see a lot of questions in forums about the best lenses for XT3, XT30, XT200, XH2s, XPro3, XT100, XS10, Xa7, ZT5, X Pro2, XH1, and all the other various compatible Fujifilm mirrorless digital cameras. Above: and finally for them both at f5.6 where I’d say the 16 continues to enjoy a minor lead. Note this test was made with a central focus point to evaluate the overall field flatness and you may enjoy sharper corners if you focus in the corner. Zach Arias had this to say about this lens’s unique character: “There are Fuifilm lenses that I love and then there are those that have magic inside of them. (The 35mm f/1.4 ) is one of three I’ve owned in my life that I feel have that magical quality.”Look at the size of the tractor in the two images. Notice how large the tractor looks compared to the grain elevator. See how the size relationship has changed in the second image? The tractor did not move from one shot to the other, nor did the distance between them change. The only things that changed were the lens I used, and the subject to camera distance. How do you use a wide angle correctly? Next with IBIS sensor shift enabled on the R5. Depending on how much you turn or shake, ultra-wide lenses on bodies with IBIS can often cause undesirable wobbles on the edges, but by walking in a straight line I’ve mostly avoided them here. With a lens of this focal length and a semi-fast f/2.8 aperture, it won’t be pleasing any of the bokeh-whores out there, but still, there’s enough subject separation to elevate your image from the smartphone shooters out there. The above diagrams depict the maximum angles that light rays can take when hitting your camera's sensor. The location where light rays cross is not necessarily equal to the focal length, but is instead roughly proportional to this distance. The angle of view therefore still increases similarly. We take one, review it, look at our options, and if we decide it’s a worthwhile subject – take a few more until we get it just right.

When it comes to portraits, 50mm primes lenses are perfect for capturing 3/4 length and full-length portraits. Thanks to 50mm lenses having a slightly wider field of view, you can capture more of the scene in your images. Is 16mm good for vlogging? I'm very big on bokeh and this lens does perform - albeit not well enough for me. The bokeh is quite decent if the object in focus is close enough (although for portraits, your subject can feel invaded because of the proximity that will be required to get the best bokeh). From my use, I found that it has very unnoticeable to no chromatic aberration in almost all situations & it has a fair bit of distortion but it's nothing that can't be easily fixed in post-production if you are shooting raw. Inutile dirvi che per un ragazzo che fa un'acquisto simile l'emozione è tanta e la sera prima che mi arrivasse il SIGMA 16 mm non ho chiuso occhio, pensando continuamente a tutte le cose che finalmente avrei potuto fare con un Obiettivo di simile Fama. Selecting the right lens for any photoshoot can often be the difference between creating a masterpiece and taking just another photo. For such an ultra-wide-angle lens, sharpness is very good on the whole and, if you stop down to f/5.6, that remains true right out to the extreme edges and corners of the image frame. Lateral chromatic aberration is also very well controlled, even with automatic in-camera correction switched off. Vignetting is quite noticeable at f/2.8 but in-camera correction is also available for this.A common hurdle with wide angle lenses is strong variation in the intensity of light across an image. Using an ordinary exposure, uneven light can make some parts of the image over-exposed, while also leaving other parts underexposed — even though our eye would have adjusted to this changing brightness as we looked in different directions. One therefore needs to take extra care when determining the desired exposure. Even when uncorrected in-camera, vignetting is fairly minimal for such a fast, wide-angle lens. Stop down to f/2 and it becomes fairly unnoticeable. Ghosting and flare are also well controlled, and the same goes for barrel distortion. There are countless things photographers consider when going out to shoot, such as subject matter, the time of day, lighting, weather, the camera body, and the accompanying lenses, just to name a few. Naturally, there’s not a whole of point in having a fast f/1.4 lens if image quality doesn’t hold up when shooting wide-open. As it turns out, sharpness and contrast are maintained very well at the widest aperture. Another bonus is that the wide aperture and short 25cm minimum focus distance enable a fairly tight depth of field and good bokeh, enabling interesting perspective effects.

For example, in landscape photography the foreground foliage is often much less intensely lit than the sky or a distant mountain. This often results in an over-exposed sky and/or an under-exposed foreground. Most photographers therefore use what is called a graduated neutral density (GND) filter to overcome this uneven lighting. Above: Zooming-in on the skyline of London across the Thames shows some nice crisp details and even some diffraction spikes on the lights shining directly into the lens – I’ll talk more about them in a moment. The 23mm f/1.4 is a metal lens which feels sturdy and satisfying in the hand, and even more so when attached to a similarly robust body such as the X-T3 (reviewed here). Yes 16mm is wide enough. Because most of the landscape is so grand and sweeping, you could probs shoot it with a 50mm. What does a 16 50mm lens mean? Furthermore, if you are willing to pay for it you can get your hands on 14mm lenses with apertures wider than f/2.8, which improve the light gathering even further.

What is 16mm?

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With that, in this scenario, a 14mm focal length wins due to lens availability and light gathering abilities. The viewer’s eye goes to them because they are large in the frame; their gaze takes you into the church for more.So, in this case, the 14mm focal length is a better choice since you have more lenses to choose from. However, you can also always crop in without a big resolution penalty to achieve the 16mm composition. The reason that wide angle lenses get the reputation of improving depth of field is not because of any inherent property with the lens itself. It's because of how they're most often used. People rarely get close enough to their subject to have them fill the same amount of the frame with a wide angle lens as they do with lenses that have narrower angles of view. SUMMARY: HOW TO USE A WIDE ANGLE LENS That said, because the 16mm focal length is mainly limited to zoom lenses, it is at a disadvantage over the more popular 14mm focal length, which has a plethora of prime lenses. The 50 mm prime lens, popularly known as the nifty fifty lens, is also called the normal or standard lens. Almost all types of photographers will have one 50mm lens in their kit. It is mainly due to the fact that the perspective of this focal length is similar to the perspective of the human eye. Do I need a 50mm lens if I have a 18-55mm?