Fast f 1.2 lens with angle. Review of fast lenses. Protection from dust and moisture

When choosing a lens for your digital camera Photographers often find that for the same focal length or range of focal lengths (if we're talking about about zoom lenses) optics can have different aperture ratios. At the same time, sellers often advise purchasing more expensive optics, citing the high aperture ratio, as if it can solve all problems when shooting. But is this really so, and what fast lenses can the photographic equipment market offer us today?

Advantages and disadvantages of high-aperture optics

By aperture ratio we mean throughput lens, that is, the maximum possible amount of light that will pass through the optics and hit the camera matrix. Accordingly, the higher the aperture ratio of the lens, the more light will pass through it. What does this mean in practice?

Firstly, in different conditions lighting, when shooting handheld or photographing moving objects, you can use more short shutter speed. Secondly, fast optics allow you to shoot at lower ISO sensitivity values, thereby minimizing the amount of digital noise. Thirdly, fast lenses provide faster autofocus, which is especially important, for example, in reportage photography. Fourth, a wide maximum aperture allows the photographer to limit the depth of field of the imaged space. Fifthly, thanks to the high aperture ratio, which ensures high brightness of the image in the viewfinder, the photographer can confidently control the sharpness and composition of the image. Finally, when photographing at apertures close to maximum, you can get pleasant, beautiful blurred background.

Thus, high-aperture optics have enough advantages. But there are also disadvantages. First of all, these are more serious dimensions, since achieving a large maximum aperture requires the use of larger diameter lenses and additional optical elements designed to help eliminate chromatic aberrations and distortions. As a result, the design of a fast lens becomes more complicated compared to non-fast optics at the same focal length.

Fast internal focusing lenses are slightly shorter in length. In this case, during the focusing process, small optical elements move inside the lens, while the larger front elements remain stationary. When focusing the lens internally, there is virtually no rotation of the front element of the optics. Plus, autofocus speed increases, and the balance of the fast lens design generally improves.

The second disadvantage of high-aperture optics is closely intertwined with the first. Since the design of such lenses uses larger optical elements, it is much more difficult for specialists to produce and correct such optics. As a result, the cost of optics increases. High price- this is probably main drawback high-aperture optics from the point of view of any photography enthusiast or photography enthusiast.

On the other hand, as a rule, fast lenses are created using the most modern technical solutions and most quality materials, which means that by paying a higher price for optics, the photographer gets something more than just a higher aperture ratio. At the right approach A fast lens can provide significant improvements in image quality, which is of particular importance for professional photographers in particular.

Selection of high-aperture optics

It should be noted that the very concept of high aperture is, in general, quite relative. For example, the difference in lenses with a maximum aperture of f/1.2, 1.4 or 1.8 is often difficult to perceive in practice. By the way, it is known that one of the fastest lenses was developed in the mid-60s for space program NASA to take pictures with it dark side Moons. It was a CarlZeissPlanar 50mm with f/0.7 aperture.

Beginners often chase the lens with the highest aperture and, of course, sellers are happy to sell them such optics, because they cost many times more. But is it worth paying extra for a lens with f/1.4 or f/1.2 aperture if you don’t shoot at maximum aperture very often? This is the first question you should ask yourself when choosing high-aperture optics. Today on the photographic equipment market you can find a fairly wide range of fast lenses - both fixed focal length optics and zoom lenses. There are several interesting models.

Sigma 30 mmf/1.4 EXDCHSM

This fast f/1.4 lens is designed for cropped DSLR cameras with APS-C sensor format. It has a rugged body, a 45-degree viewing angle and a traditional optical design consisting of seven elements in seven groups. The design uses two optical elements made of low dispersion glass (SpecialLowDispersion), which eliminates chromatic aberrations.

The Sigma 30mm f/1.4 EX DC HSM lens features an eight-blade diaphragm and ultrasonic motor (HSM) for faster, virtually silent focusing. The advantages of this lens include good color rendition and a pleasant, unusual pattern. At the same time, it requires precise focus adjustment in the camera and is characterized by a drop in sharpness in the corners of the frame.

A fast lens with a focal length of 50 mm, taking into account the crop factor, it can be used in various shooting situations - portrait, landscape or genre photography. Thanks to its circular nine-blade aperture, the Sigma 50mm f/1.4 EX DG HSM lens can beautifully blur out-of-focus areas. The optical design includes eight elements in six groups, including a molded aspherical lens that effectively suppresses chromatic aberration.

The likelihood of glare is minimized due to the use of multi-layer coating of optical elements. It also helps provide higher contrast in photographic images. The minimum focusing distance is only 45 cm. The optics also include an ultrasonic autofocus drive HSM. It is noteworthy that the fast Sigma 50mm f/1.4 EX DG HSM lens can be used with both digital SLRs and film cameras.

The Canon lineup includes the EF 50mm f/1.4 USM prime lens with a standard 46-degree field of view and an ultrasonic focus drive (USM) with constant manual focus adjustment. This lens is versatile in use and compact in size. The optical design, consisting of seven elements in six groups, uses highly refractive elements to produce sharp, detailed images even when the aperture is wide open. An eight-blade diaphragm with a nearly circular aperture creates even, smooth blur in out-of-focus areas of the image. Fast Canon lens The EF 50mm f/1.4 USM is suitable for lovers of landscapes and portraits, as well as those who specialize in reportage photography.

This professional lens, focused on portrait photography. It has the widest aperture in Canon's EF lens lineup, giving you full control over depth of field and shooting in low light without using flash or long exposures. A wide aperture with a circular aperture allows you to evenly blur out-of-focus areas and focus the viewer's attention on the foreground. The ring-type ultrasonic motor (USM) ensures fast and quiet focusing on the subject. There is also electronic manual focusing capability here.

The lens is designed with eight elements in seven groups, using a large variable-curvature aspherical lens and a movable element to provide greater clarity and contrast to in-focus areas of the image. The EF 85mm f/1.2L II USM lens is capable of transmitting information about the distance to the subject being photographed to the system E-TTL flashes II for more accurate measurement exposition.

Another fast lens from Canon's professional L series with a large aperture, 35mm focal length and a wide viewing angle of 63 degrees. This optic features an internal floating focus mechanism and is rugged, reliable design with protection from moisture and dust. The EF 35mm f/1.4L USM lens features an eight-blade aperture and ultrasonic focus drive for lightning-fast focusing. The optical design includes eleven elements in nine groups, including a large aspherical element for scatter-corrected images and edge-to-edge sharpness. The minimum focusing distance is only 30 centimeters. .

AF-S Nikkor35mmf/1.4G

AF-SNikkor 35mmf/1.4G – professional wide angle lens with a focal length of 35 mm and high aperture from the Nikon proprietary line. It was developed specifically for use with digital SLR cameras Japanese FX format company. The lens design consists of ten elements in seven groups, including one aspherical element to provide higher image sharpness and contrast. Thanks to a special NanoCrystal coating, unpleasant glare and halos are eliminated. Using a nine-blade aperture, the lens creates pleasant, soft bokeh. The AF-S Nikkor 35mm f/1.4G optics are good because they have a durable, waterproof magnesium alloy body and high build quality, which allows them to be used in the harshest operating conditions.

Sony 50mmf/1.4

A fast Sony lens for branded A-mount DSLR cameras. This is an excellent portrait lens with excellent full-frame resolution and high image clarity. Its design consists of seven elements in six groups. The 50mm focal length combined with a wide aperture allows this lens to be used for portraiture and low-light photography. The circular blade aperture makes it possible to obtain beautifully blurred backgrounds. Sony lens The 50mm f/1.4 is distinguished by its compact dimensions and relatively light weight (220 grams).

Fast optics are, of course, great, but don’t forget that high-quality lenses with wide apertures are not cheap. The high aperture allows you to shoot at faster shutter speeds and lower ISOs in a variety of lighting conditions. However, when choosing a lens, think about how often you will actually need the widest aperture when shooting. If you do not often use wide apertures, then perhaps you should not chase a high aperture, but rather pay attention to other lens parameters.

Nikon releases the fast 1 NIKKOR 32 mm f/1.2 lens, giving owners of Nikon 1 cameras the opportunity to engage in portrait photography. With a focal length ideal for portraiture, this impressive compact CX-format lens delivers impeccable image quality. Fast lenses don't come around very often, so the upcoming flagship 1 NIKKOR lens will lead the growing lineup.

Whether you're shooting at an indoor party or outdoors natural light- this lens will allow you to take portraits that you will want to look at again and again. Whether you're taking everyday photos or posed photos, your subjects will always be sharp, and the lens will help you achieve soft bokeh for crisp images and videos, even in low-light conditions.

Jordi Brinkman, Nikon Europe Marketing Manager for Nikon 1 Compact Interchangeable Lens Cameras, said: “This lens is ideal for Nikon 1 owners who want to take advantage of the creative benefits of a truly fast lens, such as shallow depth of field.

And for serious portrait photographers, it’s a great portable solution.” He then continued: “Nikon is committed to developing lenses that get the most out of the Nikon 1 system, and we have no doubt that this new flagship There's a great future ahead for our lens lineup."

Where miracles happen

Offering speed and range without sacrificing portability, the new 1 NIKKOR lens is ideal for portraits. A focal length of 32mm is equivalent to approximately 85mm for 35mm film cameras; This is a classic portrait distance, allowing you to capture the head and shoulders in incredible detail.

The fast f/1.2 lens produces exceptionally soft bokeh that will help you highlight your subject gracefully, while also giving you undeniable advantages when shooting in low light conditions. This lens is ideal for... different types shooting - from everyday portraits to staged photographs - and will allow you to capture better side your heroes in any situation.

Optical superiority

This lens delivers stunning image quality with nine optical elements arranged in seven groups. The rounded seven-blade aperture creates beautiful rounded bokeh.

It's also the first 1 NIKKOR lens to feature Nikon's Nano Crystal Coat, which greatly reduces ghosting and flare, even when the subject is backlit.

A special silent ultrasonic motor (SWM) provides smooth and precise autofocus and allows you to record videos completely without noise. For photographers who like to shoot in manual mode, this is the first NIKKOR Series 1 lens to feature a focus ring that lets you focus while you look through the viewfinder or monitor.

Portraits anywhere

Amazingly compact for a lens with such a large aperture, this high-quality metal-coated lens is a great addition to the Nikon 1 system. Available in high-gloss silver and semi-matte black, it fits perfectly into the compact dimensions of Nikon 1 cameras, so you can shoot high-quality portraits anywhere.

The lens comes with a front lens cap and an HB-N107 bayonet hood to help reduce ambient light and flare in images, improving contrast and color saturation. Among additional accessories offered soft case for lens CL-N101.

Lenses 1 NIKKOR

1 NIKKOR lenses capture life with exceptional sharpness. Given the portability, power and speed of Nikon 1 cameras, the compactness of 1 NIKKOR lenses has become one of the most important differentiating factors of the Nikon 1 system.

Designed with the active lifestyle in mind, the line now includes nine lenses to cover a wide range of shooting conditions, with each lens optimized for video shooting.

For photographers who want to use NIKKOR F-mount lenses on their Nikon 1 cameras, a specialized FT1 mount adapter will help.

Article text updated: 02/13/2019

In a photography lesson for beginner photographers on choosing camera settings, we saw a table showing the dependence of shutter speed, ISO and aperture on each other. In the commentary to it, I explained that high-aperture optics (that is, those that allow you to open the aperture as wide as possible) make it possible to reduce photosensitivity when shooting or significantly reduce exposure time. However, again and again in discussions various nuances photographs on the site, the question arises about the advisability of using expensive high-aperture zoom lenses for beginners. Let's try to dig deeper into this topic today and finally understand it.

For those blog guests who haven’t read the tutorial on camera settings, I advise you to read it first. Let me briefly remind you of the essence: the correct exposure of a photo depends on the settings of light sensitivity (ISO), exposure time (shutter speed) and the diameter of the hole in the lens (aperture). The same exposure value can be obtained by changing one of these three parameters separately. The shutter speed range and ISO values ​​are technical specifications specific camera, the size of the relative aperture is a parameter determined by the design of the lens.

The aperture affects not only the exposure value, but also the degree of blurring of the background in the photo - the wider it is open, the closer the subject and the farther the background is from it (and also, the longer the focal length), the more the background is blurred. Therefore, the first advantage of a fast lens is the ability to greatly blur those objects that are behind our SVKC (the plot-important compositional center).

Aperture needed for bokeh

High-aperture optics (especially zooms) are expensive. There is a common belief among some photographers that there is no point in paying for it, and you can blur the background simply by using a longer focal length. To a certain extent, this is true. If you open the bokeh simulator (the term means “blurry”, “fuzzy”), the link to which is posted in the lesson with a story about shooting kittens (see above) and play with the settings, you will find that the same DOF (depth of field) can be obtained on the insanely expensive Canon EF 85mm f/1.2L II USM portrait prime and the cheap Canon EF 70-300mm f/4.0-5.6 IS USM telephoto lens. For example, with a distance to the subject of 5 m and an aperture of f/1.2 with a Canon 85mm f/1.2 fixed lens, you can get a depth of field equal to 15 cm. If you screw the above-mentioned Canon 70-300 telephoto onto the camera and move to a distance of 15 m, then when the maximum open aperture f/5.6, we get the same depth of field of 15 cm. However, the portrait will turn out to be large-faced, not half-length...

Shooting wide open can be difficult due to the shallow depth of field when photographing at close range. I encountered this, for example, while photographing kittens (see the lesson on blurring the background at the link above): they are small, you have to get close, there is not enough light in the room, opening the relative hole leads to a decrease in depth of field - only the head is sharp. Therefore, I am ready to partly agree or at least not argue with those amateur photographers who claim that there is no reason for expensive high-aperture optics.

Aperture is needed to shoot at low ISOs with short shutter speeds

On cropped Nikon DSLR D5100 My main standard lens was a fast zoom Nikon 17-55mm f/2.8G. When switching to full frame Nikon D610, I bought a full-frame reportage lens Nikon 24-70mm f/2.8G ED AF-S Nikkor for it. In the comments, some photographers noted that it would be better to take the cheaper, but dark Nikon 24-120mm f/4G ED VR AF-S Nikkor zoom, because the difference in aperture is only one stop. In response, I said that even this often gives me a noticeable advantage. Let's see why this is so.

The photographer's task is to shoot lowest value ISO so that there is no digital noise that spoils the image.

I took the two shots above with the camera set to . The subject was stationary, so there was no need for a fast shutter speed. Everything changes if we do not have the opportunity to put the camera on a tripod: we must use the formula: B=1/FR for cameras that have a matrix with a small number of pixels like Nikon D7000 or B=1/(2*FR) for multi-pixel sensors like Nikon D7200.

The situation gets even worse if we photograph moving objects in poor lighting: we need an even shorter exposure time, which means we need to raise the ISO even higher.

For example, in the spring of 2016, my wife and I went on vacation to Turkey. , where I photographed a marble column with the head of Medusa the Gorgon.

While photographing the scene with my fast wide Samyang 14mm f/2.8, I tightened the aperture to f/5.6 because I was afraid that I wouldn’t get into the depth of field. Now I see that this was a mistake: at short focal lengths the depth of field of the imaged space is quite large, and Medusa’s face would have turned out sharp - it was possible to open the aperture to f/2.8. This would give me the opportunity to lower the ISO or shorten the shutter speed to 1/250 of a second, that is, the tourists would come out clear and not blurred (note: although, I believe that blurry people here do not spoil, but rather improve the picture).

As you can see, for a full frame Nikon D610, the photosensitivity of ISO 25’600 is completely unworkable. You can try converting the image to black and white.

Another way is to use noise reduction (noise reduction), but then we lose details: the picture becomes plasticine.

To better understand how an open aperture helps reduce light sensitivity and speed up shutter speed, I suggest once again compiling a table that displays the relationships between these parameters. I take the camera, put it on a tripod and change the settings, writing down the values.

Note. IN ISO settings numbers of the natural range are usually displayed, extended numbers are hidden behind abbreviations: L1.0 – 50, L0.7 – 64, L0.3 – 80 for parameters below ISO100, and for numbers above 6400 units - H0.3 – 8'063, H0 .7 – 10'159, H1.0 – 12'800, H2.0 – 25'600 units.

There is no need to memorize the numbers in this table: they change at any given time depending on the lighting of the scene we are shooting. But they can be analyzed. I suggest doing this using the example of the picture I received,

If instead of the fast Nikon 35mm f/1.4G I had used my Nikon 24-70mm f/2.8 reportage zoom, then at open f/2.8 the aperture would have differed by 6 stops (f/1.4, f/1.6, f/1.8, f /2.0, f/2.2, f/2.5 and finally f/2.8). It follows from the table that to obtain the same time in an exposure of 1/100 second, ISO would have to be raised from 320 units to 1250. On cropped cameras, this value is the threshold for obtaining high-quality images. Full frame handles high ISO better: up to 2900 for Nikon cameras and 2300 for cameras Canon EOS. Therefore, a Nikon 24-70mm f/2.8 zoom would not spoil the picture.

Now, let’s assume that I decided to save money and instead of my expensive fast lens, I took a darker version of the Nikon 24-120 f/4.0. At open f/4.0, the difference with the f/1.4 aperture is 9 steps - ISO needs to be raised from 320 to 2500 units - on the verge! Third option: take the cheapest kit lens for full frame Nikon AF-S Nikkor 24-85 mm F 3.5-4.5G ED VR SWM IF Aspherical. It forces you to set the already non-working ISO 3200.

AND last option- let's say, a very dark ultra-long telephoto lens Sigma 150-600mm f/5-6.3 DG OS HSM Sports Lens. The difference with the Nikon 35mm f/1.4G prime is 13 stops, which means to shoot this particular scene at f/6.3 you will need ISO 6400 units!

Such are the metamorphoses. Do you agree that the difference is stunning? But, probably, one of the photographers will say: “So in the open - the depth of field is too small. In practice, you won't be able to open the aperture to the maximum." And here I want to show a photo report that I took during a business trip to Germany on December 10, 2016. In the evening we went to the New Year's fair in Frankfurt - there was no light at all, then we visited the Düsseldorf automobile museum "Classic Remise Düsseldorf" and the famous Cathedral in Cologne, where the lighting was also not so great. I had with me a full-frame Nikon D610 body and only a fast Nikon 24-70mm f/2.8G zoom. This is what came out of all this.

Shooting a report with a fast zoom

So, we came to the fair when it was already dark outside. We are shooting carousels - to make it come out sharp, you need a short shutter speed.

Here, of course, the aunt in the foreground did not hit the depth of field and ruined the frame. But when we are filming a story where the SVCC is in the foreground (and that is the majority), this problem does not arise.

Photo 10. High-aperture optics are not a problem for the photographer in shots where the main subject is in front. 1/1000, +0.67, 2.8, 3200, 56.

To photograph moving objects, we need to set a very fast shutter speed. Fast lenses allow you to get a very short exposure time at a relatively low ISO. It’s not for nothing that such glass is called “fast lens” in English.

Of course, when shooting diverse scenes, you always need to remember about the depth of field and analyze whether all important objects will be included in the zone of sharpness. Either it's flat plots.

Photo 13. Shooting at the open aperture of a fast lens always balances on the edge of the depth of field. 1/500, +0.33, 2.8, 3200, 45.

The next photo was taken at f/2.8 at ISO 6400. According to table No. 6, when shooting with a dark travel zoom Nikon 28-300mm f/3.5-5.6G ED VR AF-S Nikkor, at the short end at f/3.5 there will be H0 .7 (ISO 10'159). At long, at f/5.6, we would have set it to H2.0 (ISO 25’600), and this would not have been enough, the picture would have turned out dark, that is, underexposed.

A couple more reportage shots demonstrating the fact that f/2.8 aperture is not a problem as long as our SVKZ is in the foreground.

However, the advantage of the Nikon 24-70mm f/2.8's light zoom is critical if a photographer has the ability to shoot from afar. As you approach the subject, the depth of field decreases sharply and, despite the darkness, you have to clamp the aperture.

To get the camera into the cutting zone, I had to reduce the focal length of my lens. But the plot turned out completely different.

Okay, the examples above were mainly written for extreme harsh conditions lighting. Let's look at scenes shot indoors during the day.

Lately I have been actively using the " Automatic control ISO" on its Nikon camera D610. In most cases it works great, but here it failed: I think that for handheld shooting a shutter speed of 1/40 of a second was enough, which means the ISO would have dropped to 400 units.

When it comes to choosing lenses for crop or full frame, two approaches often collide: 1) one universal zoom (high-quality, but expensive) or 2) a set of cheaper primes. I can be classified as a fan of zooms - on this excursion I received yet another confirmation of this position: I would not have taken the following photo with a wide shot, showing the viewer the scene of action, if I did not have a Nikon 24-70mm f/2.8 zoom. It was not possible to take fixes with you on a trip.

The next few frames probably cannot be considered a good illustration for this article, since due to failures of the Auto-ISO functions, the shutter speed was too short with an unreasonably high light sensitivity. At least I was convinced that for some scenes ISO 6400 is not critical.

Photo 25. A trip to the automobile museum with high-aperture optics. If I had not trusted the automation, I could have easily lowered the ISO. 1/400, 5.6, 6400, 29.

Photo 27. Big sizes The subject of shooting does not allow you to take advantage of high-aperture optics - the aperture is tightened due to the small depth of field. 1/640, -1.0, 5.6, 6400, 24.

I want to show two identical photographs taken at different ISOs. Oddly enough, I don't see much difference. Well, maybe the ISO 100 shot is a little better in the shadows.

We continue our journey. We saw the Christmas market in Frankfurt am Main and the Classic Remise Düsseldorf automobile museum. Now let's move to the glorious city of Cologne.

Photo 31. We’re shooting through the car window—it’s clear that we focused not on the car, but on the building in the distance, which ruined the shot. 1/100, -0.67, 5.6, 640, 70.

Of course, Cologne is famous for its Cathedral. , I said that you need to set a goal to visit all the buildings presented there in reality. Apart from the Statue of Liberty in New York, Cologne Cathedral is a close second.

We go inside the Cathedral. I don’t know if you can use a tripod there, but I would like to, since the room is very dark. You have to take photographs handheld, setting the maximum possible shutter speed to shoot without blur. After processing the photo looks pretty good.

According to table No. 6 “Ratio of shutter speed, aperture and ISO”, if I, at one time, had chosen the darker Nikon 24-120 f/4.0 zoom, I would have had to “raise” the ISO to H1.

At an open aperture, my fast glass even allowed me to photograph the stained glass windows of the Cologne Cathedral handheld without losing image quality.

When shooting with a dark Nikon 28-300mm travel zoom, you would have to set the ISO to 2500 units (at f/ 5.6)

I can’t think of anything to comment on the rest of the pictures from the excursion to the Cologne Cathedral, just look at the difference when shooting in dark room and on the street.

Across the road from the Cathedral there is a beer garden. It would be a sin not to come here without trying a glass or two of Cologne Kölsch. Another test for my fast Nikon 24-70mm f/2.8 reporter.

Photo 39. Yes, small depth of field is a problem... 1/250, 2.8, 6400, 70.

Like this long haul I found it to show off my rental car trip in Germany. Joke! Seriously, the example images in today's report, in my opinion, show that the full-frame Nikon D610 camera has a working ISO of up to 5600 units, and at 6400 we already get “plasticine”. Well, and the fast lens - good help for taking photos in low light conditions.

Since I have pictures from New Year's mood, then I’ll take this opportunity to congratulate you, friends. I wish that everything will be wonderful in your families next year, that your hobby will not ruin you family budget(which is difficult to provide, since high-aperture optics cost money), and also made you and your loved ones happy. Happy New Year, my friends!

P.S. I hope this article will help newbies understand how to get great New Year's photos. There are two ways out here: either run to the store for high-aperture optics, or external flash, which will allow you to get a short shutter speed even with a dark lens.