Another example: For a mm lens, divide mm by to get 1. Multiply 1 x 2 to get 2x magnification. Keep in mind that viewfinder magnification varies across Canon's EOS line for example:. The viewfinder magnification does not affect the final image the FOVCF of course does affect the final image framing. Please note: This is just a simple, approximate subject magnification amount in the viewfinder.
Naseer Naseer 1, 1 1 gold badge 14 14 silver badges 16 16 bronze badges. Compress the image? Objects won't appear closer together, they'll be bigger, or rather, zoomed in. Nick: By compress objects , he means the background. Telephoto focal lengths have the effect of bringing things in depth "closer" to the key subject. Its called background compression, and is due to the narrower field of view.
Sorry about the terminology, thanks jrista for the clarification! I think the concept of background compression is an important one.
I did not know of that particular term myself, although I did know of the effect. I think its a sadly undervalued capability of telephoto lengths and the same goes for background decompression wide angles and I've been glad to see several answers recently discussing it.
So thanks! Image compression works at the subject level as well. It's not that the lens distorts anything, but that you are further from your subject for a given magnification, so the difference in distance between your camera and the subject's nose and eyes for example is proportionally much less than if you'd shot the same subject from much closer using a shorter lens.
That's why teles are used in tight portraiture and beauty -- you shoot from where the subject looks best and use the lens rather than your feet to fill the frame. Here is another example at 80mm: Reference: Capella by Andy Mumford This photographer has written a great article about the value of telephoto lenses in landscape at ND Magazine.
Karel Karel Sign up or log in Sign up using Google. Sign up using Facebook. Sign up using Email and Password. Post as a guest Name. Email Required, but never shown. Photo of the Week. Submit your photo Hall of fame. A mm lens cannot zoom in and out because of its fixed focal length. A telephoto lens like the mm produces a pull-in effect, which draws faraway subjects to make them appear closer than they are in reality.
What also gives the impression of a zoomed-in appearance is its perspective compression. This draw-in effect makes far-off subjects near a background look closer together and bigger to the camera. Even if the minimum reach of a mm lens is 60 feet, it can infinitely focus on distant scenes and objects. With developing technologies, trends, and features, there are many ways for you to experiment with how far you can shoot using a mm camera lens. This Mark III lens is as exciting as its predecessor for sharpness and contrast across the zoom range.
As such, it features a tough, weather-sealed construction, amazingly rapid yet virtually silent Dual Nano USM autofocus, a customizable control ring and 5-stop triple-mode image stabilization.
Overall performance and image quality are fabulous. It doesn't compromise on performance though, delivering an impressive 7. Optically and center sharpness is fantastic as well, even at mm, though corner sharpness can be a little disappointing.
Somewhat frustratingly though the lens is not compatible with teleconverters, while it's very pricey compared to the EF version, which admittedly isn't quite as advanced.
Though issues aside, this is a cracking lens for R-series shooters. All weather versatility is ensured by a full set of weather-seals, along with a fluorine coating on the front element to bead away water droplets.
The autofocus is very fast and operates with superb precision. Overall handling and performance is excellent, especially considering this is only half the price of the Nikon lens.
The optics are wrapped up in a tough yet reasonably lightweight, weather-sealed magnesium alloy barrel. Sharpness and contrast are legendary, throughout the zoom range. Weighing in at g, the lens is light enough to use on a tripod or monopod without a mount ring, but an optional ring is available, albeit at a price.
Despite having a mostly plastic construction it still feels robust and well-engineered. Nano-structure coatings keep ghosting and flare to a minimum and the 4-stop stabilizer is also highly effective. The, handling is excellent, benefitting from dual customisable L-Fn Lens Function buttons, a customisable control ring, 5-stop optical stabilization, an autofocus range limiter switch and a multi-function display panel.
The sheer bulk of this lens makes it look a bit of a mismatch on A7 and A9-series bodies. However, handling is very refined nonetheless. Focus hold buttons encircle the forward section of the lens and the lens includes OSS Optical SteadyShot stabilization. The high-tech autofocus system incorporates ultrasonic ring-type drive for the larger moving elements, plus dual linear motors for the smaller ones.
Weather-sealed build is of a fully professional-grade standard and image quality is similarly impressive. Sharpness and contrast are outstanding, and the extremely well-rounded blade diaphragm helps the lens to retain delicious bokeh when the aperture is stopped down a bit. It comes complete with a removable tripod mounting collar, which has an Arca-Swiss compatible foot.
Autofocus is rapid and virtually silent, and the absence of focus breathing is a bonus for video capture. Image quality is very good overall, with smooth bokeh and entirely negligible distortions or colour fringing.
This telephoto zoom weighs in at just under a kilogram and makes for well-balanced shooting with Panasonic S-series cameras.
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