Superwide
Superwides: Canon 10-22 vs Tokina 12-24
Thursday 03 July 2008 Filed in: Equipment
For
landscape photography, a really wide lens can often
give a dramatic perspective – especially if there is
something close to camera in the foreground to give
the image depth. Even for nature photography, where
telephoto lenses are prized for their ability to draw
a subject closer, a wide angle lens can be useful for
setting animals or plants within their environment.
And, for some photographers, the wider the better.
But, there is an issue when it comes to getting really wide perspectives using entry-level digital cameras and prosumer models such as the Canon 40D and Nikon D300: the crop factor – whereby only a portion of the imaging circle of the lens is used – means that the image is effectively magnified compared to that produced on a camera with a full-frame sensor using the same lens, thereby negating its putative perspective. A 28 mm lens may be regarded as a standard wide angle on a 35mm film camera or digital camera with a full-frame sensor (such as the Canon 5D, Nikon D3 or the newly announced Nikon D700), but on a Nikon D60 or D300 that would effectively become a 42 mm lens, while on the Canon 450 or 40D, it would be transformed into a 45 mm lens.
Fortunately, for those wishing to use super wide angle lenses on crop cameras, the manufacturers have come up with a solution: extremely wide angle lenses. The Canon 10-22 f3.5-5.6 is one such lens. Intended to be mounted on Canon cameras with a 1.6 crop factor (ie those that can take EFS designated lenses), it produces images with an effective focal length of 16-35 (the same as that of the flagship 16-35 mm f2.8 L lens optimized for use with the 1D series of cameras). Perhaps its main rival when it comes to image quality is the robustly-made Tokina 12-24 f4.
Like many photographers before me, I was faced with the decision of which of the two lenses to buy?
Read More...
But, there is an issue when it comes to getting really wide perspectives using entry-level digital cameras and prosumer models such as the Canon 40D and Nikon D300: the crop factor – whereby only a portion of the imaging circle of the lens is used – means that the image is effectively magnified compared to that produced on a camera with a full-frame sensor using the same lens, thereby negating its putative perspective. A 28 mm lens may be regarded as a standard wide angle on a 35mm film camera or digital camera with a full-frame sensor (such as the Canon 5D, Nikon D3 or the newly announced Nikon D700), but on a Nikon D60 or D300 that would effectively become a 42 mm lens, while on the Canon 450 or 40D, it would be transformed into a 45 mm lens.
Fortunately, for those wishing to use super wide angle lenses on crop cameras, the manufacturers have come up with a solution: extremely wide angle lenses. The Canon 10-22 f3.5-5.6 is one such lens. Intended to be mounted on Canon cameras with a 1.6 crop factor (ie those that can take EFS designated lenses), it produces images with an effective focal length of 16-35 (the same as that of the flagship 16-35 mm f2.8 L lens optimized for use with the 1D series of cameras). Perhaps its main rival when it comes to image quality is the robustly-made Tokina 12-24 f4.
Like many photographers before me, I was faced with the decision of which of the two lenses to buy?
Read More...
