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2560x1080 Ultra Wide Photography Nature Landsca...

The widest rectilinear lens I own is an 11 mm lens by Irix and it is an excellent lens, but these pictures are made with other lenses. They are landscapes I made while testing an ultra wide 11 mm lens by Venus Optics on my Z7 alongside a 12 mm Samyang fisheye lens. I no longer own either lens but the photos I made that afternoon are good representatives of what can be done with these optics.

2560x1080 ultra wide photography nature landsca...

One thing I sometimes dislike about ultra wide rectilinear lenses is that elements in the corners of the image can look too stretched, like sucked into the frame. Because of this, I sometimes actually prefer using a fisheye lens: when used carefully, one can can hide the strong deformation we associate with their extreme projection. By keeping the horizon near the center of the frame, it remains straight on a fisheye lens image. In other cases, the image can be reprojected (defished as some people call it) to avoid the curved corners.

The proposed method can be used to design various functionalities of metasurfaces combined with other optical system designs. In future research, we will use e-beam lithography to fabricate metalenses that can be operated in the visible wavelength. The advantages of the designed wide-angle metalens, namely its ultrawide angle and high focusing efficiency in hexagon arrangement which nature prefers the most, should allow it to play a vital role in advancing the field of wide-angle optical systems and their applications.

This paper proposes an ultrawide-angle and high-efficiency metalens operating at a wavelength of 0.532 µm arranged through a hexagonal arrangement. By using a rigorous optical system design process, we developed a high-quality and high-efficiency panoramic metalens by using a single optical component. The results revealed that the FWHM of the proposed metalens approaches the diffraction limit at different angles, and the metalens is aberration-free and polarisation-free. Moreover, the focusing efficiencies at all the angles increased considerably because of the hexagonal grid, especially at wide angles. The proposed metalens provides a higher image quality without the need for a complex system and image stitching; Compared with other wide-angle designs, it simultaneously has wide-angle and high-efficiency optical properties at visible wavelength. The metalens exhibits the potential for multiple applications in fields, including optical technology, biomedical science, display technology, augmented reality, and virtual reality.

You do not need the same type of fast-aperture lenses sports photographers require to shoot landscapes. Slower wide-angle and ultra-wide-angle lenses with maximum apertures of f/3.5, f/4.5, and f/5.6 are perfectly capable of capturing extremely satisfying results, and most of these lenses are available for well under $1,000. Regardless of how wide a lens opens up, with few exceptions, most landscape photographs are captured at smaller apertures for maximum depth of field.

A better approach is to look for an alternate point of view for your camera. It could be a ground view position or perhaps from behind branches of a tree that can be used to frame your subject while adding an additional sense of depth to the final image. In the photograph below, a full-frame camera with a 10mm rectilinear ultra-wide-angle lens is held below a spout of water shooting over a 10-pointed sun star along the side of a park fountain in midtown Manhattan. By shooting from below the arc of water, I turn it into a visual anchor that guides the eye across the image field with the sun centrally positioned as a bonus visual anchor point.

I disagree w/ several of the premises of this article. Apologies to the author and David Muench, I do not like to use wide-angle lenses for landscape photography for the simple reason that that is not what is in front of me. I rarely use anything over 35mm and often use a zoom up to 300mm (as that is all I have). I shoot w/ an Impressionist's eye, though I was not influenced by them, as I only learned about them years after I started photography. About tripods, I use one a lot, especially when i want to concentrate on the design of the photograph. I find using the tripod for this forces me to focus on the "artistry" (sorry) of what I am photographing. When I lack the time, or can't get into position with a tripod (like laying right on the ground) I shoot freehand and really appreciate the new technology of digital. Also, very thankful for the electronic levels found on many cameras. I have found this feature much more useful than even an architectural screen. The comments on cityscapes are spot on, they are landscapes. I like the fact you recommend using f16 or smaller. I see a lot of articles waxing about using f8 or go so the lens can be that much sharper. I use f16 as my basic f stop, a holdover from film. Thanks for listening.

As I said in the intro, shooting ultra wide will put your composition skills to the test, and on display in every shot you take. Utilizing techniques such as leading lines, the rule of thirds, patrolling the edge of your frame and getting down low (close to that important foreground!) all become vital.

Landscape photography can involve all types of lenses. Of course, you can photograph a landscape with a standard or telephoto lens, but for simplicity, in this article, we are going to stick to just wide-angle lenses that are excellent choices for shooting landscapes.

Every FX Nikon landscape photographer should have such a versatile, compact lens in their bag. In fact, this lens even makes a great 2nd addition to your bag even if you already have an enormous, heavy ultra-wide zooms. You may want its easy access to 77mm filters, too.

Unlike most full-frame ultra-wide f/2.8 lenses that achieve this angle of view, (equivalent to about 16mm on full-frame) this lens offers the convenience of accepting standard 82mm front filters and is decently portable overall.

Aspect ratio is another noticeable feature when switching from a dual monitor setup to an ultrawide monitor, specifically in relation to watching movies. As we mentioned earlier, an ultrawide monitor leverages a 21:9 aspect ratio.

For those comfortable with the ease of managing windows on dual monitors, the Windows Snap feature in Windows 10 implements similar window management functionality that is suitable for an ultrawide monitor. Using Windows Snap, you can easily snap windows to different areas of an ultrawide screen to have windows opened up side by side fairly seamlessly.

We already know both ultrawide and dual monitor setups are an excellent way to boost your editing productivity. When comparing an ultrawide vs. dual monitor setup though, there is some significant quality of life changes that come along with an ultrawide monitor that is unmatchable by dual monitors.

This IS lens is without question Canon's very best ultrawide lens for photographing things that hold still. The old 16-35mm f/2.8 L II was much less sharp, and while the newer 16-35mm f/2.8 III is as sharp, it lacks stabilization and is much bigger, heavier and more expensive. The 11-24mm (not shown here) is an exotic that's also ultrasharp, but can't be used with front filters (no grads), covers a less useful zoom range and is very big, heavy and expensive. If you don't worry about price, weight, filters or stabilization then the 16-35mm f/2.8 III or 11-24mm also have superb optics; they just don't make as much sense as this ultra-high performance and practical 16-35/4 IS.

Before this 16-35mm the manual-focus Zeiss lenses were the smartest choices if you needed the very best optical performance for an ultrawide on a Canon DSLR, and again this new lens makes the Zeiss lenses completely obsolete.

Although excellent for capturing big views and creating dramatic perspective, using wide-angle lenses is not problem free. Framing can be tricky, especially with ultra-wide lenses of 20mm or wider. As they have such a wide coverage, finding a coherent composition, which is not too busy, can be an issue. Look for strong foregrounds and dynamic lines in the composition to help add a sense of structure.

With ultra-wide lenses, you may find that you get uneven exposure across the frame. This occurs when there is a strong light source coming from one side of the frame, such as when you shoot with side-lighting at the beginning or end of the day.

With a selection (or multiple selections) from each of the above categories, you will have lenses with a vast range of focal lengths for your landscape photography needs.Landscape photography can make use of all focal lengths Canon currently offers, from the widest angle through the longest telephoto, but I'll approximate the most useful range at 16-300mm.The ultra-wide-angle lenses will allow you to emphasize a foreground subject against an all-in-focus large scene, the telephoto lenses will keep distant subjects large in the frame, and the general-purpose lens will frequently find landscape application.

The focal length is of primary importance for landscape photography, but the max aperture is (usually) not.While a wide aperture can be used to isolate a detail in the landscape or to capture the night sky, much landscape photography uses small apertures for significant DOF (Depth of Field).Therefore and fortunately, landscape photography does not require the fastest lenses, those with the widest aperture and accompanying heaviest weight, largest size, and highest cost.

When carrying a single lens for landscape photography with an APS-C format DSLR, this lens is a great choice.The 15-85 covers a wide range of most-important landscape focal lengths in a lightweight package.

Telephoto focal lengths are critical to have in a landscape photography kit, and APS-C format camera users have a bargain available here.This lens does not have the ultimate build quality or the ultimate image quality, but it is a very good lens for the ultra-low price.This lens is compact and light.

The 11-24 L goes wider than any rectilinear lens before it, and this ultra-wide angle of view can set landscape photos apart from the crowd.This lens delivers very impressive image quality performance over its entire focal length range, and its pro-grade build quality is ready to go wherever you take it.Downsides: price, weight, and inability to mount a circular polarizer filter. 041b061a72

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