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Nathan Edwards
Nathan Edwards

Buy Wide Angle Lens !!HOT!!

Whilst a staple in the camera bags of architecture, landscape and interior photographers, these lenses aRE also immensely popular amongst photojournalism, wedding, sports, and even portrait photographers.

buy wide angle lens

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A 35mm lens on a full frame camera (one with a 35mm sensor) will offer a true 35mm field of view, whereas the same lens attached to a crop sensor camera (APS-C, MFT) would offer an approximate 50mm field of view i.e. it would no longer be considered a wide angle lens.

Allowing more into your frame with a wide angle lens can also be a powerful story-telling technique, giving you the ability to introduce multiple elements into one photo to convey a fuller story of the scene.

The width of the frame that a wide angle lens allows you to capture can be beneficial when you wish to be close to your subject, but still capture enough of the background in the image to set the scene.

Wide angle lenses also introduce an element of distortion to a picture. Whilst distortion may be something you want to avoid, it can also be used creatively to add impact to an image.

I was in two minds about including the Nikon 14-24mm f/2.8G in this roundup of best wide angle lens offerings. Despite having over 200 positive reviews on Amazon and legions of devoted fans, this Nikon wide angle lens really polarises opinion.

The Nikon 16-35mm f/4 VR also allows the use of front-mounted filters (unlike the aforementioned 14-24mm wide angle lens), making it a firm favourite for those wishing to shoot wide angle long exposure shots in moderate light.

As for Canon wide angle lenses, Canon currently offers 13 wide and ultra-wide EF and EF-S prime lenses for its full frame and APS-C (cropped sensor) dSLRs. There are also seven wide angle zoom lenses in the series, bringing the grand total to 20 Canon wide angle lens options for photographers.

Canon even offers an extreme wide angle lens focal length for users wanting to include 180 degrees of the scene in front of them with the crazy Canon 8-15mm f/4 Fisheye USM, which can be used on both full frame and APS-C to achieve the warped fisheye look.

The Canon 16-35mm f/2.8 L II replaces the first version of this classic Canon wide angle lens, bringing with it a sharper image when shot wide open at f/2.8, which is where the majority of its users will no doubt be shooting.

Fans of the Canon 16-35mm f/2.8 L II love the useful and convenient focal range, allowing you to go from an extreme wide angle shot to a more classic reportage focal length in one twist of the barrel.

14mm is ultra wide angle lens territory, and this brings with it some challenges. If you want your subject to have any kind of presence in the frame whatsoever, you need to be prepared to get in very close.

Architectural and landscape photographers often have the Canon 14mm f/2.8L II in their camera bags due to its unique ability to control the horizontal and vertical lines in a photograph, thanks to its rectilinear lens construction.

At less than half the price of its Nikon and Canon equivalents, the Sigma 24mm f/1.4 ART is a comparatively cheap wide angle lens that simply excels. The debate is still out as to whether the Sigma is better than its big brothers, but it most certainly can hold its own against them.

The ART series of Sigma lenses is hugely popular amongst amateur and professional photographers, and for good reason. Quality is top-notch and prices are affordable enough for most consumers to experience pro-level lens performance.

I chose to include the Tokina 11-16mm f/2.8 AT II in this list of the best wide angle lenses since it offers a fixed f/2.8 aperture throughout its zoom range, and all for under $500. It also has over 300 positive reviews on Amazon.

This excellent Sigma wide angle lens is compatible with Canon, Nikon, Pentax, Sony and of course Sigma dSLR cameras. This means that pretty much any dSLR camera owner can take advantage of this impressive and immensely popular ultra wide angle lens at an affordable price point.

Wide angle lenses are useful for when you want to fit more into your photograph. For example, wide angle lenses are great for landscape shots, for interiors (such as real estate photos), or when you simply want to show more of the background to the scene without having to physically distance yourself further back.

With the best wide-angle lenses, photographers and videographers can shoot with a unique perspective. Offering a field of view much wider than that of the human eye, the best wide-angle lenses allow expansive vistas and eye-poppingly expansive views to fit into a single frame, opening up myriad possibilities when compared to a standard lens.

So anything wider than 50mm (full frame) or 35mm (APS-C) is considered a wide angle lens. The smaller the number for focal length, the wider it will be, such as; 15mm which is super wide (full frame) or 10mm (specialty lens made for APS-C cameras only).

Look at the image of the subway sign above; notice how much larger the end closest to the camera appears compared to the end farther away. This is wide angle lens optics at work. Same with the image of the Brooklyn Bridge (top) and the buildings in the images below.

Any subject with straight lines will appear to converge faster than the eye perceives normally. Buildings come to a peak as you look up, railway tracks disappear into the distance quickly, and so on. Learn to use this to your advantage when shooting with a wide lens.

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.

In this example series I started off with a 17mm again and a super low camera angle (down on my elbows on the deck of the train trestle). I wanted to emphasize the perspective with the converging lines of the tracks.

Use a wide lens to take photos of people that show their environment (think the shop keeper in the example above), add a sense of fun or even humour, or tell a story. But know it will likely not be flattering to the subject.

In photography and cinematography, a wide-angle lens refers to a lens whose focal length is substantially smaller than the focal length of a normal lens for a given film plane. This type of lens allows more of the scene to be included in the photograph, which is useful in architectural, interior and landscape photography where the photographer may not be able to move farther from the scene to photograph it.

A wide angle lens is also one that projects a substantially larger image circle than would be typical for a standard design lens of the same focal length. This large image circle enables either large tilt & shift movements with a view camera, or a wide field of view.

By convention, in still photography, the normal lens for a particular format has a focal length approximately equal to the length of the diagonal of the image frame or digital photosensor. In cinematography, a lens of roughly twice the diagonal is considered "normal".[2]

Longer lenses magnify the subject more, apparently compressing distance and (when focused on the foreground) blurring the background because of their shallower depth of field. Wider lenses tend to magnify distance between objects while allowing greater depth of field.

Another result of using a wide-angle lens is a greater apparent perspective distortion when the camera is not aligned perpendicularly to the subject: parallel lines converge at the same rate as with a normal lens, but converge more due to the wider total field. For example, buildings appear to be falling backwards much more severely when the camera is pointed upward from ground level than they would if photographed with a normal lens at the same distance from the subject, because more of the subject building is visible in the wide-angle shot.

For a full-frame 35 mm camera with a 36 mm by 24 mm format, the diagonal measures 43.3 mm and by custom, the normal lens adopted by most manufacturers is 50 mm. Also by custom, a lens of focal length 35 mm or less is considered wide-angle.

Common wide-angle lenses for a full-frame 35 mm camera are 35, 28, 24, 21, 20, 18 and 14 mm, the latter four being ultra-wide.Many of the lenses in this range will produce a more or less rectilinear image at the film plane, though some degree of barrel distortion is not uncommon.

Ultra wide-angle lenses that do not produce a rectilinear image (i.e., exhibit barrel distortion) are called fisheye lenses. Common focal lengths for these in a 35 mm camera are 6 to 8 mm (which produce a circular image). Lenses with focal lengths of 8 to 16 mm may be either rectilinear or fisheye designs.

Wide-angle lenses come in both fixed-focal-length and zoom varieties. For 35 mm cameras, lenses producing rectilinear images can be found at focal lengths as short as 8 mm, including zoom lenses with ranges of 2:1 that begin at 12 mm.

As of 2015[update], many interchangeable-lens digital cameras have image sensors that are smaller than the film format of full-frame 35 mm cameras.[a] For the most part, the dimensions of these image sensors are similar to the APS-C image frame size, i.e., approximately 24 mm x 16 mm. Therefore, the angle of view for any given focal-length lens will be narrower than it would be in a full-frame camera because the smaller sensor "sees" less of the image projected by the lens. The camera manufacturers provide a crop factor (sometimes called a field-of-view factor or a focal-length multiplier) to show how much smaller the sensor is than a full 35 mm film frame. For example, one common factor is 1.5 (Nikon DX format and some others), although many cameras have crop factors of 1.6 (most Canon DSLRs), 1.7 (the early Sigma DSLRs) and 2 (the Four Thirds and Micro Four Thirds cameras). The 1.5 indicates that the angle of view of a lens on the camera is the same as that of a 1.5 times longer focal length on a 35 mm full-frame camera, which explains why the crop factor is also known as a focal-length multiplier. As example, a 28 mm lens on the DSLR (given a crop factor of 1.5) would produce the angle of view of a 42 mm lens on a full-frame camera. So, to determine the focal length of a lens for a digital camera that will give the equivalent angle of view as one on a full-frame camera, the full-frame lens focal length must be divided by the crop factor. For example, to get the equivalent angle of view of a 30 mm lens on a full-frame 35 mm camera, from a digital camera with a 1.5 crop factor, one would use a 20 mm lens. 041b061a72

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