Making Smart Lens Choices in .NET

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5 Making Smart Lens Choices
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As with all super-wide lenses, you want to be as precise as possible in how you position the lens relative to the image eld. Just a little pan or tilt makes a huge di erence in terms of squaring up the shot, or being a bit o angle.
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For those photographing sports, Canon s professional telephotos, known as the white lenses are mostly where it s at super telephotos with exceptional image quality, image stabilization on most, and excellent operational speed. The L zooms are also handy in this eld. As the EOS-1Ds Mark III sensor magni es the qualities of any lens both good and bad I m sure you know that it s a neverending journey to discover just which lenses
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work for you. In this chapter, I focus on Canon lenses, although other choices abound, such as Sigma, Tamron, Tokina, and Zeiss lenses with adaptors. In particular, I ve been working with some newer lenses that work exceptionally well with the EOS1Ds Mark III: the 14mm f/2.8L III as I already mentioned, and the 200mm f/2.0L lens, a gorgeous piece of glass.
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Lens terminology
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Canon has a long list of abbreviations to describe aspects of various lenses. It s a good idea to learn these conventions, as they re most helpful in quickly discovering some of what each lens has to o er. Here are a few of the most common abbreviations you should know:
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5.3 Blimp in the clouds, 200mm f/2.0L lens, ISO 200, 1/1000 second at f/2.8, handheld
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EF. Electronic Focus. You ll nd EF on
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all EOS lenses except for a few special ones such as the TS-E tilt-shift lenses, which only focus manually.
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TS-E. Tilt Shift. The name for
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Canon s three tilt-shift lenses that allow shifts for perspective corrections and tilts for focus corrections.
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FL. Fluorite elements. Fluorite elements are used in conjunction with Low Dispersion glass.
APO. Apochromatic Optics. Optics
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that employ SLD (Special Low Dispersion) glass as another method to correct chromatic aberrations, when various color wavelengths don t line up properly with each other. This increases image resolution and decreases color fringing.
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UD. Ultra Low Dispersion glass. UD
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helps to minimize chromatic aberrations such as the purple fringing one occasionally encounters between dark and bright objects (for example, branches with a bright sky in the background).
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USM. Ultrasonic Motor. A more
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re ned version of EF, it is faster and quieter, using ultrasonic vibration to induce motion that turns a rotor. USM lenses also allow you to manually focus while the camera is still in autofocus mode by rotating the focus ring.
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Prime versus Zoom Lenses
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Image quality in a lens, whether prime or zoom, is in uenced by various factors. These include the following:
IS. Image Stabilization. A built-in
image stabilizer allows you to take hand-held shots at slower shutter speeds that would be impossible without this feature. IS is particularly useful for still subjects, as objects in motion will blur at slower shutter speeds. Used in the long lenses, IS is available in other lenses as well. For example, the 24-105mm f/4.0L IS zoom lens includes image stabilization along with the second-generation 70-200mm, the 70-200mm f/2.8L II IS. Altogether, 11 Canon lenses currently utilize IS.
Lens sharpness. This sharpness
should not be just in the center, but in the corners as well. The image should also be sharp, not just when the lens is stopped down, but also when it s wide open.
Lens contrast. This refers to how
rich and crisp the contrast range is. Often a factor here is internal are, and normally the more optics, the greater the are.
Rectilinear versus lenses with
distortion. This refers to how tight the geometries of the image are. All sorts of distortion t into this area:
DO. Di ractive Optics. Another
Canon world s rst, di ractive optics reduce the size and weight of lenses without any quality loss. Currently available in the EF 70-300mm f/4-5.6 DO IS USM lenses, as well as the EF 400mm f/4 DO IS USM lens. Now you know what all those letters mean!
Barrel distortion. The image
seems to bulge out from the center.
Pin cushion distortion. The
image seems to pull away from the center, like the top of a pin cushion.
5 Making Smart Lens Choices
Vignetting. There is darkening
in the corners of the image, which often creates a nice e ect, though not always wanted.
Color rendition. Di erent lenses
record color di erently, some better than others.
Build quality. How rugged the lens
is determines how reliable it is. Is it weather-sealed Can it take a bump or drop and keep shooting