ScottGee1 wrote:
> On 3/30/07, Walters, Martin <mwalters@xxxxxxxxxxx> wrote:
> SNIP!
>
>> I have a OMZ 21mm, which is fun to use, but needs reasonably careful
>> composition to avoid strange effects around the edges. I've never used
>> a 17 or 18mm superwide, so what does the extra 3-4mm of FL give you -
>> both good and bad? .....
>>
> Martin, since you already have a 21mm and have noted the effects, the
> wider lenses simply give you more of the same and magnify the effects
> you already see, i.e. more coverage and more distortion toward the
> edges. If you like that and want more, an extreme WA lens may be for
> you.
Bill Pearce wrote:
> I have both the 18 and the 21.
>
> The 21 is my most used of the two, and an overall favorite. The 18, however,
> is generally used only where it is absolutely necessary, mainly interiors. I
> find that, unless cropped to extreme panoramas, the 18 is useless for
> landscapes. In close quarters, though, it is indispensable.
I'm not much of a super-wide hound, but I notice one aspect of their use
conspicuously absent in discussion or example other than in an extreme
way in Dan's shot.
Lens focal length is an important way to alter perspective, the size
relationship between near and far objects. Far from being only useful
for interior shots, where they can be very valuable, and in broad
landscapes, where without care, they mostly make everything that looked
interesting small and uninteresting in the image, wide and super-wide
angle lenses are an important part of the architectural, urban landscape
and other outdoor photography.
Here are some examples. Most are outtakes, but illustrate the point.
http://www.moosemystic.net/Gallery/tech/Lenses/Perspective/Perspective/
I believe the first image is @ 35 mm with the 35-105/3.5-4.5. The next
two are with the 21/3.5, before and after vignetting correction with
PTLens. The next two are with the 18/3.5. You can see the change in the
size of the background trees, houses, etc. relative to the fountain. By
the time you get to 18 mm, the fountain becomes clearly the subject,
with the background becoming less obtrusive. The next two images show
the very different perspective of longer lenses. Look particularly at
the same house and lamppost in 5 vs. 7.
This fountain was tough to photograph as a whole and in context. The
background is busy in all directions. The light in the middle of the day
puts the bears in shadow, but wait too late and tree shadows creep onto
the fountain. At the time I choose, there is at least come light on the
bears, but it's commute time and the surrounding circle is full of cars,
so one waits and waits for a shot.
This fountain is an important landmark for me. It was a part of my
childhood, only a couple of blocks from where I grew up. Over the years,
a couple of runaway trucks on one very steep street smashed up part of
it, then smashed the ugly barrier put up to protect it. It was turned
off and fell into disrepair. A few years ago, locals raised money to
restore it to all its glory. So far, more modern brakes have left it
whole. Next project is to shoot it at night.
Moose
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