Let's arrange the lenses in a table, from minimum to infinity, and describe their main characteristics and purpose.

Now let’s take a closer look at why we need each type of lens separately - this will help us decide whether it’s worth buying them and for what purpose.

Fish-eye lenses are characterized by a very wide angle of coverage of the surrounding space - with a standard 180° diagonal of a cropped frame, they simply have no competitors. By tradition, the markings on these lenses are reversed, first the minimum aperture number, then the focal length through the line. In this direction, the record holder is Sigma, which released a lens with a focal length 4.5 mm and a relative aperture of 2.8 - naturally, and it costs fabulously, but it also gives a picture that covers more than 180°... I don’t know about anyone, but I can’t imagine this.

However, for such a wide coverage angle (almost everything that our eyes can see without moving, along with peripheral vision) one has to pay a good price. No, we don’t mean those fabulous money for the Sigma we mentioned, everything is much simpler: due to the ultra-wide coverage optical distortion lens become almost the same as the bend of its front lens- it was not for nothing that it was called the “fish eye” (apparently, the inventors were aware of the peculiarities of fish morphology). However, photographers did not suffer from this for long, having learned to use these weaknesses to their advantage - the lens perfectly distorts perspective and has an almost infinite one from half a meter already at aperture 5.6, i.e. you can film a person from a level of 20 cm above his head, and the head in the frame will be huge, and the legs will remind us of dwarfs. It also interestingly distorts linear objects - the columns on the sides of the frame bend outward, only the circles remain circles (at worst, ellipses), but all other objects “float”.

In general, the lens is considered more of a good entertainment device (almost 100% of cases of its use are for experiments) than a serious tool - which is true, even in a cramped room a person will not like to be arched at the edges of the frame, even along with columns.

"Shirik" - necessary tool landscape photographer and reporter photographing intimate corporate events or parties. EGFs here start from 15-16 mm (the example shows Tokina 12-24, which is 18-36 mm), allowing you to cover 90° and even a little more, which is enough for shooting even in a room. It is usually stated that a “big hole” of 2.8 is completely unnecessary for a shirik - however, corporate professionals who often have to work in anything but pitch darkness are unlikely to agree with this, and you can meet all kinds of people here, including those who are afraid of daylight , with which they may confuse the flash pulse.

The advantage of a regular linear wide-angle over a fisheye is that the picture is almost distortion-free (the higher the price, the less spherical distortion and the larger the relative aperture), but the disadvantage is almost twice as large smaller angle coverage.

The lens can also be used to distort the proportions of objects - when shooting objects from an angle, close up, it visually “compresses” them (if you have seen a 16:9 picture shown on a 4:3 TV, you will understand), since the eye perceives the picture as normal (shot with a “normal” lens), and it is wide-angle.

Note that people standing at the edges of the horizontal frame become noticeably fatter and only lose weight as they approach the center of the frame.

Normal lens

In film times, a “normal” (standard) lens was considered a “fifty-kopeck” lens, but with the advent of smaller times (after all, a full frame is now too expensive for an enthusiast), it was replaced by a 35-mm lens, although many continue to use fifty-kopeck pieces, even if and their coverage angle was completely reduced to a moderate portraiture.

There is little that is normal in the lens - if we exclude human peripheral vision, a 50 mm lens gives exactly the same picture that a person sees, and therefore all proportions are respected (wide-angle lenses differ in this - they simply capture part of the field from peripheral vision). Actually, before this was enough - then it was just “zooming with your feet.” Today it has been replaced by a real zoom.

In essence, of course, there is nothing to replace fifty dollars with - this is the very line between a wide-angle and a long-focus lens on which more than one generation of successful photographers has grown up. Usually they make it quite fast, about f/1.8, and for ridiculous money, about 100 bucks, which many people buy - however, when everyone around is with zooms, the lens still loses in terms of versatility, but it quickly teaches the photographer how to play within the frame. In other words, lenses of this type are more for training than for everyday use in different situations - the angle is insufficient for indoors, and you won’t be able to take a normal portrait.

Universal lens, kit

When buying your first DSLR, be sure to take it complete with a “kit” - manufacturers make cunning move, aimed at selling exactly your own, “original” glasses, reducing the price of a standard lens below its market value (i.e., if you buy such a lens new separately from the camera, the total difference will be 100-200 dollars, which can be spent just for fifty dollars). The quality of the staff is not so great, but you will see this only after a year or two of shooting, and only if you are lucky - and by then, perhaps, its plastic body will not begin to serve as well as in the old days.

In fact, functionally standard zooms have replaced standard fifty-kopeck lenses - EGF 50 mm today is in the middle of their range (in the case of 18-55, of course). It turns out that that same fifty-kopeck piece was simply expanded with the possibility of zoom, and that’s all, leaving the fifty-kopeck piece itself. Do you see the number 35? This is him.

The advantage of the “whale” over the “fifty kopeck” is in functional terms, since it allows you to photograph the situation in the room, and good portraits come out of it, you just need to twist the zoom ring. The disadvantages are also obvious - it always loses in quality, however, this is at the beginning creative path You can safely discount it, since you won’t find a better lens for studying.

Portrait lens

Don't look for the portrait inscription on this lens - there are no such things. A portrait lens simply has an EGF focal length of 85-120 mm, depending on the taste of the photographer. The reason is simple: when communicating with a person, most of us look at the interlocutor with both eyes, and therefore we are accustomed to seeing a very specific angle, and only people with one-sided shortcomings viewpoints see opponents differently - however, no one has ever taken the minority into account, and cynic photographers are no exception. To understand these people without changing your position, close one eye with your hand and see how much the perspective has changed: the cheekbones have widened, the ears have hidden, the nose has spread... do you like it? And the reason is simple: looking with two eyes, the light from an object (naturally reflected - few people glow in person during life) spreads in one direction, practically without converging, and with one we force it to converge at one point at an angle. The situation can be corrected by making this angle sharper so that the outer rays are closer to parallel lines, which is what we have when looking at an object with two eyes - not a fountain, of course, but this is the best of what we have... after all, the lens has only one organ of vision.

Naturally, portraits are taken from a certain distance (remember the “zoom with your feet”), depending on what is needed: close-up, chest-length, waist-length, or full height- a narrow lens coverage angle will “bring us closer” to the object.

Please note that there are a bunch of different portrait lenses - they all have their own technical specifications Macro lenses are similar, but the requirements in both cases are different: a “portrait lens” should not only give a sharp image in the focus area, it should also blur the background beautifully (if you know what “bokeh” is, you’ll understand), while "Makrika" requires only sharpness.

Macro lens

Macro photography is almost the only direction in photography where everything or almost everything depends on the technique used for shooting. Of course, artistic flair is important here, but good lens It will do its job for you much better - which is why many beginners start with macro. A macro lens is any lens labeled "macro" or "micro", which not only makes him stand out as a cool kid, but simply allows him to focus at a closer distance. If you look at the table of lens characteristics, you will see the “minimum focusing distance” parameter, which for modern lenses can be 35-38 cm, and for macro lenses - 5 cm and less. Naturally, whatever the lens, the same is how it works in macro - if you don’t want to do a lot of shamanism in Photoshop to fine-tune the results, buy a good one right away, although you probably shouldn’t make macro gaming a lifelong hobby either.

Of course, it’s good to have a fast focusing motor, but this is not at all necessary - you won’t be able to catch a bee on the fly even with a fast one, and you need to use prefocus and its locking function in conjunction with burst shooting. But the open aperture plays a double role here: the “big hole” allows you to shoot in poor lighting, but does not provide the desired depth of field required for macro, so you still need to clamp the hole. However, in some cases, ultra-small, characteristic of macro, gives good results. Please note that the most budget lens models (like the one in the photo) “clutter” the picture, i.e. It doesn’t provide the clarity that macro is valued for - yes, this can be compensated for in the editor, but it still won’t be the same.

In theory, a macro lens, like a portrait lens, simply does not have the right to be universal - both have very narrow applications and, as a result, have design and quality features, and therefore should be purchased only for these purposes. Naturally, it’s bad manners to shoot portraits with a macro lens, but if there is no other lens, who will forbid it? Personally, I didn’t buy a makrushnik for myself on purpose - I just used the one I got from the film era.

Long lens, telephoto lens

A lens that often allows you to “get closer” without actually doing so - as a rule, such lenses themselves are longer than all the ones we talked about above. These are the ones that photographers often measure against, although it would seem there is no point - well, you take a picture of a bird in the sky or the moon there, and then you go to any hosting and upload it there, providing it with the appropriate tags, but then, sorting by these tags, you will get a couple more thousands of similar frames from other users, and the ego will suffer greatly. Yes, reporters will not agree with us - they are fed with such lenses (not the same as in the photo, but longer and thicker - it is in their work that size matters), because getting closer to the president and puffing a powerful strobe into his forehead makes it far away not everyone.

This lens is usually used to shoot statesmen, fashion shows, neighbors from the house opposite in negligee and without negligee. Oh yes, also the moon and birds - after all, we see them so rarely in life.

Hello, dear readers of my site! Today we'll talk about lenses. Let's look at what types of lenses there are, their main parameters, as well as for what types of shooting is this or that lens best suited and why?

A more expensive lens is better than the other way around! I think many will agree with this statement, because the lens is the photographer’s eye and it conveys the image. Currently on the market different types lenses, each of which is designed for certain type filming.

Let's consider lens classification according to certain parameters.

By focal length.

• Wide-angle or short-focus. This class includes lenses with a focal length of less than 50 mm. It is believed that lenses with a focal length of 50 mm provide the most natural image, which is similar to human vision. These lenses allow you to capture more space in the frame. Well suited for shooting landscapes, indoor interiors, and wide theater scenes. The result is a beautiful, sharp picture with great information content. This type includes Fisheye or Fisheye lenses. They have a viewing angle of 1800 and a focal length of 15mm. The image taken with such a lens turns out to be twisted at the edges, as if inscribed in a circle.
• Standard or normal. The focal length ranges from 45mm – 75mm. Universal lenses, as they are suitable for many types of filming. Very often used to create portrait photographs.
• Telephoto or long-focus lenses . The focal length of such lenses is in the range of 75 mm. They cope well with the task when it is necessary to photograph distant objects.

By type of focusing.

• Lenses with constant focal length (fixes). Such lenses have only one value, for example 50mm. Prime lenses, as a rule, have a higher aperture ratio, have less distortion, are simpler in design, and therefore cheaper. However, to compose an interesting shot, you will have to run with your legs
• Varifocal lenses (zooms). More versatile, as both wide-angle and telephoto lenses can be used. Now, to create an interesting frame, you just need to turn the wheel on the lens. True, this type of lens has a lower aperture ratio, which decreases with increasing focal length. There are zooms with constant aperture, but they cost an order of magnitude more. It is wrong to think that Zoom and Zoom are the same thing. Zoom is a maxi ratiosmall focal length to minimum and nothing more! For example, if we have a lens of 18 mm - 55 mm and, otherwise the calculations are unfair, then its zoom is approximately equal to 3, but such a lens will not bring you closer, but on the contrary - it will move you away, since it was noted above thatHuman vision resembles a lens with a 50 mm focal length. Unfortunately, consultants in stores often try to present the 50th zoom as a 50x increase, which is completely wrong!​

By the presence of autofocus.

• With automatic focus. It is necessary to separate the autofocus built into the lens and from the electric motor located in digital camera, the so-called “screwdriver”. Not all cameras have this “screwdriver” built in, so you have to buy more expensive lenses with their own autofocus.
• No auto focus. The image is focused by rotating the lens focusing ring. The advantage is their price.​

​​ For image stabilization.

• With stabilization (with vibration suppression). More expensive lenses, but they allow you to shoot sharp photos, especially at slow shutter speeds or at long focal lengths. And in general, a useful function, especially if shooting is done handheld.
• No stabilization. The best option Applications – shooting from a tripod or handheld at short shutter speeds. In this case, you don’t have to overpay.

By aperture value or f number.

When purchasing, you need to pay attention to the maximum aperture of the lens. Lenses with a larger aperture range are more flexible, both in terms of sharpness and possible shutter speed. How is the range indicated? possible values diaphragm, we will look at it in the next lesson.​

By the presence of an aperture control ring.

It’s simple here, or there is a ring on the lens to change it or not, then control occurs through the camera.

According to the configuration.

Usually, various accessories are sold with lenses. For example, covers, hoods, cases, there may even be filters. It's a small thing, but it's nice!

As you can see, the range of lenses is very wide and each type of lens has its own advantages and disadvantages. It all depends on the subject being photographed and the photographer’s intention. Ultimately, the photographer takes pictures, and the technology only helps him.

This is one of the most important elements camera, on which the quality of the resulting image depends. The lens forms an image and projects it onto the plane of the photographic film or matrix. In the literature you can come across the term “draws”.

The nature of the “pattern” is individual for each lens. This explains why photographers prefer to have not one universal lens, but several highly specialized ones.

To create high-quality photographs, you do not need to be a qualified expert in the field of applied optics. But you need to have at least a basic understanding of how a lens works.

The wide selection of lenses available for digital photographic equipment determines the variety of possibilities for realizing your creative plans. Since the creation of the first lenses for film cameras, the principle of lens operation has remained virtually unchanged.

Lens design

Any lens is a complex optical device, which structurally consists of: a lens system, spherical mirrors, a metal frame, a diaphragm and control elements.

The front lens of the lens is used to collect light rays coming from the subject. Because Since this lens in the lens is not protected in any way from external factors, it is advisable to protect it with a UV filter. This will prevent dust, dirt and splashes from getting on it, and protect it from mechanical damage.

Inside the lens there are lens blocks that are responsible for image formation. This block may consist of several lenses or have a complex structure.

In addition to the lens unit, the lens contains a number of auxiliary units that provide focusing, optical stabilization, and aperture control. Zoom lenses (variable focal length lenses) additionally have an element responsible for changing the focal length.

The rear lens in the lens projects the image onto the light-sensitive element - the matrix.

Photographers, when purchasing a lens, first of all evaluate the condition of the rear lens, because... the quality of the lens greatly determines what kind of picture the lens will produce.

The lens housing serves to accommodate all elements and securely mount them. For quality work lens, it is very important that high precision of the relative position of the lenses is maintained. The case also plays a protective role, protecting the optics from mechanical influences, dust and moisture.

Most lenses consist of several parts. The main metal glass contains all the optical elements and the mechanism of the diaphragm and the adapter glass, which serves to attach the lens to the camera and axial movement main glass (inner glass). The design of the lens provides the ability to manually or automatically change the aperture.

The lens also includes a focusing ring, which is used for manual focusing. By rotating this ring, you can change the sharpness (focus on the foreground or background object). If the camera's autofocus mode is turned on, then when you press the shutter button, you give a command and the camera and lens will focus on the central area of ​​the frame. Focus is locked by pressing the shutter button halfway. Modern lenses marketed for professional use use an ultrasonic focusing drive. The motor is located directly in the lens itself. Such lenses are characterized by faster and less noisy focusing compared to screwdriver lenses.

Focal length

Focal length- the main characteristic of any optical system.

Focal length- distance from the optical center of the lens to the plane of the matrix. This simplified definition is most understandable for beginner amateur photographers.

Where: F - focus; f - focal length

Focal length is measured in millimeters.

Based on the relationship between focal length and frame diagonal, all lenses can be divided into three main groups:

Normal - lenses with a focal length equal to the diagonal of the frame;

Long focal length (telephoto) - lenses whose focal length exceeds the diagonal of the frame;

Short-focus (wide-angle) - lenses with a focal length less than the diagonal of the frame.

The angle of the image, as well as the scale and perspective of the image, depend on the chosen focal length. The table below shows the most commonly used distance values ​​and their corresponding image angles (values ​​taken for full-frame cameras with a sensor size of 36 x 24 mm).

Focal length, mm	Image angle, o
20	95
24	84
28	75
35	63
50	47
85	29
105	23
135	18
200	12
300	8

Diaphragm

The aperture serves to change the intensity of the light flux that passes through the lens. In the lens, the aperture is a set of blackened, opaque moving blades. The aperture blades in the center form a polygonal hole through which light rays pass. The hole diameter can be adjusted over a wide range.

By changing the aperture, the photographer can control the exposure of the frame and its depth of field.

A measure of the light transmittance of a lens is the aperture number - the ratio between the focal length of the lens and the diameter of the aperture opening.

For example. Let's take a lens with a focal length of 200 mm and an aperture diameter of 50 mm. Their ratio will be equal to 200/50 = 4. The aperture number is usually written as f/4.

It is worth noting that if you take a wide-angle lens and set the aperture value to 8, and then take a zoom lens with focal lengths 24-70 and also set the aperture value to 8, then both lenses will transmit the same amount of light to the sensor of your camera.

Aperture numbers make up the series of the same name and are standard values ​​for any lenses.

f/1 f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/32 f/45 f/64.

Modern cameras use a truncated aperture range into which intermediate aperture values ​​are introduced.

Example aperture range for Sony A99 camera with Minolta AF 24 f/2.8 lens

f/2.8 f/3.2 f/3.5 f/4 f/4.5 f/5 f/5.6 f/6.3 f/7.1 f/8 f/9 f/10 f/11 f/13 f/14 f/16 f/ 18 f/20 f/22

A similar picture with the aperture row can be observed from other manufacturers of photographic equipment.

We should remember that the smaller the value you take from the presented aperture range, the more you open the hole through which light enters the camera matrix. Minimum value, which is available for your lens, is generally considered to be its aperture ratio. Professional lenses have constant aperture throughout the entire range of focal lengths. As a rule, such lenses are marked with their aperture value.

Example. Sony Distagon FE 35mm F1.4 ZA. In this lens, 1.4 is its aperture ratio.

To perform framing and exposure metering, modern lenses use a “jumping” aperture. The principle of its operation is that no matter what value you set in the camera settings, the aperture always remains fully open. Only at the moment of releasing the shutter its value abruptly changes to the one that was set in the settings. After the photo is taken, the aperture also abruptly changes its value to fully open.

To assess the depth of field of a future photo, the photographer on the camera can press the “Aperture repeater” button. While this button is pressed, the aperture will be closed to the value selected in the settings.

Bayonet

The lens is attached to the camera using a bayonet connection. This method of lens mounting, compared to a threaded one, simplifies the operation itself, saves time, and relative to the camera the lens is positioned more clearly, which is necessary for the smooth operation of the mechanical focusing drive and reliable transmission of signals on the contact pad. Each camera manufacturer uses its own unique type of mount in its products. With the advent of mirrorless cameras, adapters have appeared on the photographic equipment market en masse that allow you to install optics from other companies.

As an example, we can cite the line of mirrorless cameras Sony A7, A7R, A7S, which have now been released large number adapters that allow you to install almost any lens.

Focusing

All modern lenses Allows you to focus in manual or automatic modes. If automatic focus mode is selected in the camera settings, then when you press the shutter button halfway, the camera will begin to focus on the selected object.

To manually focus in the camera, you need to turn on the appropriate mode, after which you use the focusing ring, which is located on the lens body, to focus on the selected object.

It is worth noting that it is not possible in all cases to focus in automatic mode. This is especially true when using budget options lenses in difficult shooting conditions. As an example difficult conditions To focus, you can take a photograph of a fashion model in backlight (setting sun).

Optical stabilizer

There are lenses on the photographic equipment market that are equipped with an optical stabilizer. The optical stabilizer allows you to reduce the impact of hand tremors on the quality of the image when taking photographs. The benefits of this device are obvious - you can take photographs without the “shaking” effect in less light.

Experts advise turning off the stabilizer when shooting from a tripod (monopod), as well as when shooting at shutter speeds shorter than 1/500 of a second.

Using an optical stabilizer will increase the rate at which your camera's battery drains.

Lenses - article from Radozhiva

I tried to write about everything as compactly as possible. main types of lenses in a short list. Lenses vary in different signs, such as: purpose and image quality. I won't categorize them. Each type requires a separate huge article, but I know from myself that only a few will be interested in reading it. Regular DSLR camera users just need to quickly figure out what is what, without unnecessary complicated details.

Lenses have an integer in their name. The most important parameters of a lens are its and meaning. , roughly speaking, tells how much the lens brings the image closer or further away from you, how far or close the lens can ‘see’. there is proper and equivalent (effective).

And so, here are the types of lenses that often come across my ears:

Fix (fix lens, discrete lens, Prime lens, Fix-focal lens)- a lens with one focal length. Doesn't have zoom, because its focal length is FIX ified. Basically, it has very small aperture values ​​F. It is often said that fixed lenses have a large aperture. An example of a prime lens would be or. The name of the lens most often indicates only one number for the focal length in millimeters and one number with the letter F. Due to the enormous aperture, such lenses are rarely called fast ( fast lens), this name is due to the fact that such lenses allow you to shoot on.

Zoom (zoom lens, varifocal lens, zoom lens, Zoom lens, Zoom Lens)- zoom lens. Zoom is also called a ‘zoom’; it changes the focal length of the lens, thus changing the angles of view of the lens. They say that such a lens can ‘zoom in’ and ‘zoom out’ of an image. An example of a zoom lens is . Zooms come with a constant, which does not change when zooming, and with a variable: in such lenses it changes by different meanings focal length, this is already written a little higher.

Superzoom (ultrazoom, UltraZoom, MegaZoom, SuperZoom)- This is a zoom lens with a large zoom factor. Such a lens can operate at very different focal lengths.

How to find out the zoom factor? Very simple, just share larger number in the lens designation to less. For example, the 18-105VR zoom gives 5.8x magnification. Indeed, 105mm/18mm=5.8 times. The 18-55mm kit lens gives a 3x zoom. The zoom ratio is usually denoted by 'X', for example, 3X, 5X, 12X.

Fast lens (fast lens, light lens, fast lense)- lens with a large . Often, diaphragm and diaphragm mean the same thing. Because a fast lens simply has small number F, starting from F2.8 and below, but you can often find other divisions. Eat super fast lenses, For example . An example of a fast lens is,.

Whale lens (whale, kit lens, kit lens)— lens from the kit that comes with the camera. Typically, a kit lens means a lens entry level, but this is not always true. An example of a kit lens would be, or.

Manual (manual lens, manual focus lens, manual, non-autofocus)- a lens with which you can shoot only by focusing with your hands. An example is Helios-81N, or.

Manual chip lens- a lens with which you can shoot only by focusing with your hands, but with the addition of a special chip that simulates some of the functions of an autofocus lens. You can read about this in more detail in the section about Lushnikov’s dandelion.

Autofocus lens- a lens that supports automatic focusing. Focusing is carried out automatically by the camera or lens. Nikon has different methods implementation of autofocus (more details in section).

Wide-angle lens (shirik, wide-angle, wide lens, wide-angle lens)- a lens whose focal length is less than the diagonal of the frame. Usually they simply say that such a lens provides a wide viewing angle. With this lens you can ‘capture’ a lot of space in the frame. I will not tie this concept to specific focal length values, because due to different sizes films and matrices of digital cameras, there is great confusion, for example, for crop and full frame (full frame). There is also a division for super wide angle lenses(ultra wide-angle lens).

Normal lens (standard lens, normal lens)- a lens whose focal length is approximately equal to the diagonal of the frame. For example, 35mm film and full-length digital cameras has a frame diagonal of 43.27mm; for such a frame diagonal, a 50mm lens can be considered a normal lens. Such lenses give natural normal an image that is similar to what the human eye sees.

Tele lens (Telephoto lens)- a lens with a long focal length. Typically, the focal length should be noticeably larger than the frame diagonal. This lens gives a narrow angle of view, so we get a close approximation of what we are shooting. Such lenses are most often used for shooting distant objects, for example, for nature photography, sports, astrophotography, etc. There is also a division for short telephoto lenses, medium telephoto lenses and super telephoto lenses (telephoto lens, medium telephoto, super telephot)— these divisions are highly subjective.

Portrait lens (portrait lens)- a lens with which you can take a good portrait. The designations are quite arbitrary. Portrait lenses usually mean fast lenses that do not have . Typically, such a lens can blur the background and foreground well. You can often find that portrait lenses include fast telephoto lenses. Classic portrait lenses for 35mm film or full frame are , and , In fact, any lens can be a portrait lens, but not all lenses will be able to do what the photographer intended.

Macro lens (makrushnik, macro lens, macro lens)- a lens that can shoot small objects close up. A real makrushnik should shoot with a magnification of 1 to 1. An example would be or, etc.

Professional (professional lens, pro lens)- a lens of improved design, designed for heavy loads, such lenses provide good quality the original image and suggest a fairly deep wallet of the owner. The concept is relative, but it seriously affects the photographer’s sense of dignity. Such lenses include:

Specialized lens (special lens)- a lens that can produce an unusual picture. These may be

• soft lenses, longer name “soft focus lens”
• monocle lenses. What is it, read in my article
• title shift lenses - lenses with shift and tilt of the optical axis
• cinema lenses, projection lenses, reproduction lenses, photographic enlarger lenses, etc.
• lenses for astronomy, for military purposes, industrial lenses, lenses for night observation, medicine, etc.

Ordinary people most often never use specialized lenses in their lives, so I don’t focus on them. I deliberately do not seriously touch upon the topic of lens quality; there may be a million topics on this matter. different opinions and arguments, since all lenses have different tastes and colors.

Lens called an optical device that projects an image onto a flat surface. All lenses consist of a set of lenses, and some models also have mirrors. All optical elements are assembled in unified system, which is placed inside the frame.

Lenses can be classified by anglereview or by focal length:

Ultra Wide Angle Lenses — The focal length of such lenses is less than the shortest side of the frame. Moreover, the viewing angle of such a lens is quite large. Usually it is more than 100°.

Wide angle lens or short-focus - The focal length of such a lens is less than the wide side of the frame - it is 24-35 mm. It is designed for filming in confined spaces. Its viewing angle is 60-100°.

Normal lens — With such a lens, the focal length can be equated to the diagonal of the frame. For 35 mm film, such a lens can be considered an optical device with a focal length of 50 mm, but in theory it should be 43 mm. The viewing angle is approximately 45°. It is generally accepted that the perspective conveyed by such a lens is closest to the normal one perceived by the human eye.

Portrait lens — There is no exact definition of a portrait lens. Its focal length ranges from one to three frame diagonals and is 50–130 mm with a viewing angle of 18–45°.

Telephoto lens(long lens). Its focal length significantly exceeds the frame diagonal. It has a low viewing angle and is used for photographing distant objects.
Today, modern zoom lenses are widespread. They are also called cinema lenses or zoom lenses from English Zoom.