Query: How do you use your wide angle?
Fjx1
people are getting with the 17mm Tokina.
This got me to thinking, I seldom shoot wider than 35-40mm.
I was wondering some ways some of you are using your wide angles creatively,
because I realize I'm missing out here. I know a wide angle isn't just for
getting the whole family in a snapshot. SoIi think I'm not visualizing this
properly and would appreciate some suggestions/uses. Was thinking of getting
the Tokina 20-35 for an EOS Elan IIe.
Thanks all,
K and J Darling
for special perspective effects in full-length beauty shots.
Fjx1 <fj...@aol.com> wrote in article
<199808070451...@ladder01.news.aol.com>...
X35g
useful.
-You can take shots which more closely mimic human vision; with a wider
perception of surrounding elements, which often complement or define your
subject.
-You can stand inside a normal sized room or space and actually capture what
you want without having to shoot from inside the closet.
-You can angle down and get a greater DOF in lower light shots.
I'f I could only have one lens, it would be a wide angle. I think you'll find
that it opens up alot of posibilities, and adds dramatic effect to some of your
shots.
steven T koontz
>
> Hope this doesn't sound dumb but I read with interest the excellent results
> people are getting with the 17mm Tokina.
>
> This got me to thinking, I seldom shoot wider than 35-40mm.
> I was wondering some ways some of you are using your wide angles creatively,
> because I realize I'm missing out here. I know a wide angle isn't just for
> getting the whole family in a snapshot. SoIi think I'm not visualizing this
> properly and would appreciate some suggestions/uses. Was thinking of getting
> the Tokina 20-35 for an EOS Elan IIe.
>
in close or have something interesting in the forground..
--
steve's photography & Z car stuff @ http://www.mindspring.com/~skoontz
sko...@mindspring.com
Edward Tang
scenery pics, and adds interesting perspectives to many pictures. Also
handy when taking casual pics in limited spaces.
edtang
--
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>in close or have something interesting in the forground..
With a 14mm lens, try to keep your toes out of the picture
PMurrayMPV
sgingram
picture, has great depth of field and less subject to camera shake. It
is also better than a zoom, has less distortion and flare.
I find that a big enlargement of a scenic looks good when using a wide
angle becuase it recreates what I felt when I was there much better than
a telephoto lens.
GI
Matthew Y. Hayashibara
>This got me to thinking, I seldom shoot wider than 35-40mm.
>I was wondering some ways some of you are using your wide angles creatively,
>because I realize I'm missing out here.
That's interesting... in the Kodak "Seeing Photographically" workbook,
one of the exercises is to go around and shoot things from the
perspective of a housecat. This works really well with wide lenses,
and gives you a totally different way of looking at the world... quite
literally a change in perspective.
I bought the "cheapo" Canon 22-55 intended for the EOS IX Lite... the
most interesting photos seem to be with the thing at its shortest
focal length, very near the ground to give the "bug's eye view"
perspective.
For my Rebel G, I bought the Canon grip tripod GT-80TP and an Angle
Finder B, so I can basically set the camera on the ground and look
down into the eyepiece to use the viewfinder, rather than strain my
neck. Try looking UP at a small object for a surprise...
MadMat
Fred Whitlock
>>This got me to thinking, I seldom shoot wider than 35-40mm.
>>I was wondering some ways some of you are using your wide angles
creatively,
>>because I realize I'm missing out here.
>
>
Most amateur photographers think of a wide angle lens as something used to
fit more in the frame. They see them as panoramic landscape lenses. They
are sometimes disappointed when they need a magnifying glass to see on the
photograph what they had composed in their mind. I'd suggest getting very
intimate with your subject with a wide angle lens. Get close and see how a
WA renders the perspective.
You can see some extreme examples of what I'm referring to on my web site.
You will see a photograph of a blue cleat to which a ship is tied. I made
the shot using a 16mm full frame fisheye lens from a distance of about 18
inches from the cleat. The other is a reflection of some buildings in a
glass facade. This shot was made with a 14mm ultrawide with my right
shoulder in contact with the glass itself. You may or may not like the
photos but I think you will agree that they are dramatic. It's the
rendering of perspective from up close that makes them so.
You don't need extreme lenses to do this sort of thing. Take a 24mm or 35mm
wide angle and nestle up close to your subject. There is a whole new world
of photographs waiting for you. Good shooting.
Fred
Maplewood Photography
http://www.maplewoodphoto.com
pixi
eye view).
I also find a lot of interior architecture uses. Most small to medium
sized rooms can't be covered well with normal wide angle lenses. Here the
low height perspective can reduce the lens' distorting of vertical lines.
Also good for intentional distortion (converging verticals) for semi
fisheye effect. Keeping the film plane (camera back) vertical to the
subject gives minimal distortion while increased angle exaggerates it. A
vertical shot of a building just a few stories high can be made to look as
if it was the "Tower of Babylon" disappearing into the sky.
But usually I only use a focal length of less than 28mm for full coverage
of interiors where distortion is an acceptable compromise or for panoramic
landscape shots where the distortion isn't noticed.
Gitarzan
deletia...
>But usually I only use a focal length of less than 28mm for full coverage
>of interiors where distortion is an acceptable compromise or for panoramic
>landscape shots where the distortion isn't noticed.
About the best photo advice I was ever given was, "Give ordinary treatment to
extraordinary subjects. Give extraordinary treatment to ordinary subjects." I
often use the wides to give a little unnatural perspective to plain jane subject
matter. Same thing goes for teles and compression.
I also use them to convey scale. A very large subject such as a mountain takes
on a depth thru a wide lens, which isn't as apparent the same size image with a
normal lens. I guess you could say it reduces flatness, the opposite way the a
tele creates flatness.
Jeffrey Karp
I was thinking about a 28mmf2.8, but am glad I got the faster lens.
It is great indoors without a flash or a tripod, like in museums. It also
came in handy for skyline shots on a fast moving boat in as the light
was dimming. Now if only I could get an inexpensive 20mm f2 lens 8~).
pixi wrote:
> As mentioned , ultra wide is great from very low height ( kid's or pet's
> eye view).
>
> I also find a lot of interior architecture uses. Most small to medium
> sized rooms can't be covered well with normal wide angle lenses. Here the
> low height perspective can reduce the lens' distorting of vertical lines.
>
> Also good for intentional distortion (converging verticals) for semi
> fisheye effect. Keeping the film plane (camera back) vertical to the
> subject gives minimal distortion while increased angle exaggerates it. A
> vertical shot of a building just a few stories high can be made to look as
> if it was the "Tower of Babylon" disappearing into the sky.
>
Jeffrey Karp
Gitarzan wrote:
> On 11 Aug 1998 07:22:28 +1000, "pixi" <any...@aloha.net> wrote:
> deletia...
> >But usually I only use a focal length of less than 28mm for full coverage
> >of interiors where distortion is an acceptable compromise or for panoramic
> >landscape shots where the distortion isn't noticed.
>
> About the best photo advice I was ever given was, "Give ordinary treatment to
> extraordinary subjects. Give extraordinary treatment to ordinary subjects."
Great advice indeed!
> I
> often use the wides to give a little unnatural perspective to plain jane subject
> matter. Same thing goes for teles and compression.
>
> I also use them to convey scale. A very large subject such as a mountain takes
> on a depth thru a wide lens, which isn't as apparent the same size image with a
> normal lens.
Especially at f22,on a sturdy tripod with an interesting object in the foreground.
John Francis
Fjx1 <fj...@aol.com> wrote:
>Hope this doesn't sound dumb but I read with interest the excellent results
>people are getting with the 17mm Tokina.
>
>I was wondering some ways some of you are using your wide angles creatively,
>getting the whole family in a snapshot. SoIi think I'm not visualizing this
>properly and would appreciate some suggestions/uses. Was thinking of getting
>the Tokina 20-35 for an EOS Elan IIe.
>
>
>fj...@aol.com
Well, sometimes you get no choice :-) I recently visited the Kennedy Space
Center, and the only way you can get that entire Saturn 5 into a shot is to
use something around 21mm.
Another really nice thing about extreme wide angle, though, is the way that
it gets rid of people in the foreground. Using a 50mm lens would have meant
that much of the frame was taken up by the other tourists milling around.
With a 21mm even a group of people only about eight feet away are reduced
to an insignificant, easily ignorable part of the overall picture.
--
John Francis jfra...@sgi.com Silicon Graphics, Inc.
(650)933-8295 2011 N. Shoreline Blvd. MS 43U-991
(650)933-4692 (Fax) Mountain View, CA 94043-1389
Hello. My name is Darth Vader. I am your father. Prepare to die.
Jeffrey Karp
is great to capture people dancing. It is also great
to photograph street performances. While everyone
else is busy using telephotos to get closeups the
performer, I am busy capturing the spectators
(perhaps also with the performer) with my 28mm.
I would like to get something wider, but also inexpensive,
and f2. I guess I will have to settle for an f2.8 or slower
lens for my next wide angle lens.
David Rozen
I find that WA is least useful [to me] at the
job most shoppers initially erxpect to apply
their wide angle: that of including large
outdoor vistas.
I use it sometimes as a "shift lens" by just
cropping the excess after switching toi a WA
with more coverage than the subject demands,
but this allows me to keep it level.
I also favor a WA for close-in shots [not for
"macro" however]. I like the way it presents
medium to smaller objects, as if viewed by a
small critter right next to the object.
WA is also the key to a mode very close to my
heart: the hail-mary, a shot from as high as
your arms will reach with obviously no aid of
the viewfinder or focus device. Similarly I
may shoot with a camera hanging against my
chest, by remote wire release, again without
viewing. I'm not a journalist but I like the
effect of these methods.
I try to stay as close to normal lens view as
subjects and circumstanc permit, for practical
rather than aesthetic reasons. But subjects
and circumstances often call for WA. If I had
to choose only one WA it would be the 24mm.
Regards, - dr
Keith Richardson
to get close enough to give the subject the same size in the viewfinder as
you would have got with a normal lens. This can mean getting within 12
inches of some subjects. Having the subject fill a reasonable area of the
lower part of the frame and keeping the lens stopped down to keep
everything to infinity in focus really shows the relationship to the rest
of the composition. Great for landscapes.
Switching to a wide angle without moving closer to the subject flattens
everything and loses perspective. Getting closer exaggerates perspective.
Keith Richardson