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Comparison of prime and zoom lenses. What is better prime or zoom lens for a beginning photographer?

It seems to me that this zoom is better than this prime... a hole in one stop does not solve anything (almost)

According to all reviews (worthy of attention), the 70-200/4 IS is super-sharp for crop...

The question is not very clear... what is the lens for?... on which camera?... or so... for general development...

I’m buying a 600D, I need it mainly as a travel lens, I myself am also more inclined to 70-200, but one of my friends is obsessed with primes and caused serious confusion.

Thank you all - as I understand it, the fix is ​​more artistic or something, but I need photos of nature and so on. When traveling, the zoom is really more convenient, especially since the photos at 70-200 come out very decent.

I will speak out in defense of the fixes =)

1) the prime lens is simpler, it has fewer lenses, fewer moving blocks, the circuit is designed to minimize distortion specifically for this focal length. Zoom tries to convey different focal lengths with different types of distortion using the same lenses using large quantity moving blocks, it is naturally more difficult to select ideal surfaces that are suitable for all focal lengths, and the larger the zoom, the worse the average result (take 18-200 and compare with primes on the corresponding focal lengths...)

2) Now about aperture =) There is a standard range of F values ​​- 1.0, 1.4, 2, 2.8, 4, 5.6, etc. changing the aperture by one step on this scale means a twofold change in the transmitted light. As a result, an average prime lens with an aperture of 1.4 will be able to shoot with the same shutter speed in conditions where there will be 4 times less light than the best serial zoom (2.8), let alone zooms like 3.5 - 5.6

as a result, for example, 50 1.4 will be able to shoot in conditions 16 times darker than 17-55 at 50mm with the same shutter speed.

3) the larger the aperture, the stronger the blurring of the background, which allows you to do certain techniques; if you like to play with depth of field in the frame, primes will give you this ability; only telephotos will give you this ability from zooms (but there is a different transmission of perspective and distance to the object, and prime telephotos which will make it better)

4) focusing in difficult lighting conditions is better the faster the optics are; as a result, in semi-darkness where the prime lens will give the sensors enough light to aim, the zoom will begin to fail. and in general, with rare exceptions, primes focus faster than similar zooms, due to lighter blocks and a simpler design.

PS: zooms have versatility.

What suits you best is up to you to decide

In general, a photographer should have several lenses, both primes and zooms, for the tasks he needs to solve.

and quality is a peculiar concept, for some it depends on pixel-by-pixel sharpness, and for others it depends on the unusualness of the picture in the blur zone (bokeh), and for others it depends on the pattern of light incidence and composition, etc., etc.... and all of them are right

Previously, the material described below was part of an article about, but the article grew and broke into two separate parts.

When choosing a photo lens, many photographic equipment users immediately want to get a fast 50x superzoom lens with macro photography capabilities, beautiful bokeh and razor sharpness. Unfortunately, not a single such lens for cameras with interchangeable lenses exists yet. This is due to the laws of physics and the complexity of manufacturing.

About zoom lenses:

  • There are practically no fast universal lenses for full-format cameras with a relative aperture of F2.8 and zoom more than 3X. Almost all photo lenses with a constant F2.8 number have a zoom of no more than three (3X). These lenses include the following ranges: 11-16mm, 14-24mm, 20-35mm, 20-40mm, 24-70mm, 28-70mm, 28-80mm, 70(80)-200(210) - all such lenses have a magnification zoom up to 3X. The conclusion is very simple - There are no fast superzooms. The lens has the largest zoom, equal to 3.75X and F/2.8.
  • No cheap ones autofocus fast zoom lenses with F/2.8.
  • Zoom lenses with high zoom ratio and constant F-number do not have high and are very expensive. Such lenses include Nikon 24-120mm F/4 G VR and Canon EF 24-105mm F/4 L IS USM.
  • No lungs autofocus fast telephoto lenses with a constant aperture of F/2.8.
  • There are virtually no super-fast zoom lenses. Typically, all fast zoom lenses are limited to F/2.8. The F/2.8 limitation is a serious drawback of zooms. As an exception, I can only cite the Sigma 18-35/1.8, and this lens is designed only to work with APS-C cameras.
  • In some cases, instead of one universal heavy superzoom lens, such as 18-200mm, 18-270mm, 18-300mm, you can use several zoom lenses, for example, 18-300mm can be replaced with a bunch of 18-55mm + 55-300mm. Sometimes a set of several lenses can be cheaper than one super zoom.
  • In general, zoom lenses experience a deterioration in image quality as the zoom ratio increases. The larger the zoom, the worse quality . But there are also exceptions.

About lenses:

  • Only lenses have an aperture of F2.0, F1.4, F1.2 and lower. This means that if you need a super-fast lens, then only .
  • The cheapest fast autofocus lens for $100. will have 2.5 times larger than the most expensive Nikon 70-200VR F2.8, which costs more than 2000 USD. Such are the pies, so when you look at super-large and super-expensive zooms from other photographers, always remember that a small, super-light lens can beat a professional zoom in terms of aperture. Often, the same statement is true for image quality, for example, a relatively dark (but super cheap) lens can easily outshine the legendary 24-70mm F/2.8 series lenses in terms of sharpness.
  • I do not recommend chasing professional zooms like 80-200 F2.8, 70-200 F2.8, 24-70 F2.8, etc. They are very heavy, difficult to transport, and do not always fit into a case. Such zooms are mainly needed for professional photography. I have to shoot often, and I know that in 1 day, from a heavy combination of lens + camera + flash, my hands get very tired. Very often, with an average focal length it weighs several times less and with its help you can do the same thing. For example, to replace a 70-200mm class lens you can take one 135mm, to replace a 24-70 you can take a super high-quality fifty-kopeck 50mm lens. To replace 14-24 you can take 20mm. Ideally, the zoom is divided into several fixes. I am in no way advocating switching to fixes, I’m just sharing some thoughts on this matter.
  • Huge lenses in most cases are not used when shooting. But a larger number of such lenses allows you to work more accurately, and gives bright image in the optical viewfinder, which is important for manual focusing.

Talking about image quality is a very slippery topic. My opinion is that you can't just compare lenses different classes and types. You can compare only certain parameters (sharpness, color rendition), but you cannot talk about image quality in general. You cannot compare zooms and primes - they have different tasks and, of course, a different image formed. You cannot compare lenses with different focal lengths - they have different tasks.

Myths about lenses:

  1. With a prime lens you can instantly create a masterpiece- this is a misconception. Prime lenses have better image quality and aperture - but no more. To get nice shot, a certain approach is needed. The lack of zoom in prime lenses is compensated by the photographer’s feet. There is even such a humorous concept: “ to fix you need to zoom with your feet". The most difficult fix in my practice is Helios-40-2.
  2. Convenience of zooms. Convenient use of zooms is not always as “convenient” as they say. Zooms are almost always heavier than prime lenses and are difficult to transport. Mine barely fits into the case. A larger zoom lens is more difficult to control and makes your hands more tired. When shooting dynamically with dashes, a large zoom is easier to get caught and break. Personally, I have damaged lenses in my practice. It is commonly said that zooms break more often because they have more moving parts, more problems(with protruding trunk, and “vacuum cleaner” function).
  3. Inconvenience of fixes. Fixes are not always as inconvenient as they are said to be. Primes are generally much lighter than zooms. For example, when shooting a portrait at 100mm prime, you always know that there will be no distortion, but if you shoot at a zoom (for example, 18-105mm), you often approach the subject, accidentally reduce the focal length, and end up with a “barrel” distortion) and as a result not the most nice picture. Therefore, when using zoom lenses you have to additionally monitor the focal length. For tele-zooms, you still need to carefully monitor, since with a 70-200mm lens at the 70mm position you can shoot at 1/80 s, but when zooming at 200mm you can’t always shoot at 1/80 s.
  4. The cheapest prime is better than an expensive zoom. A counterexample: for a wide angle, an 18-70mm zoom is much better suited than a cheap 50mm prime. It all depends on the situation and needs.
  5. - always good. In fact, in sunny day at ISO 100, it is very difficult to use an aperture below F1.8, since there is a lot of light and it is not always possible to dose it using it. A number of cameras have a limit of 1/4000 of a second, and if you set F1.4 during the day, you cannot do without overexposure. To reduce the amount of light transmitted but maintain a small depth of field, you should use neutral density filters. Also, super aperture gives very little . For some purposes, a small depth of field is unacceptable.
  6. A dark lens is always bad. This is not always true. For example, for a studio it is quite possible to use a kit “dark” lens. In the studio you can use a lot of light and most often shooting takes place at apertures F5.6-F16.0. In this regard, a dark lens is good because you can save money on an expensive, fast lens.
  7. Need to have a full set of lenses in the 14-200mm range or so. This is not so, my colleagues often make do with two or three lenses and many do not have a certain range of focal lengths covered. Personally, I don’t have a super-wide-angle range, I’m limited to 17-85mm on crop and 28-135 on full frame. I've tried a bunch of lenses since I write and have come up with conclusions for my needs. Other people will draw their own conclusions. If you don’t try, you won’t know, so I don’t recommend taking thoughts on various kinds photo forums. There are many photographers in history who shot with one lens their entire lives and did not spend a single bit of effort on choosing a technique.

Personal experience:

People always ask me what I use for photography. I like primes and it’s not difficult for me to run back and forth to recompose the frame. At the same time, I also use zoom lenses; they can really make a photographer’s life easier. What types and sets of lenses to use, everyone must decide for themselves.

Conclusions:

It is very difficult to find one lens with which you can shoot different types. Often you have to use a set of several lenses.

Zoom or not zoom? That's the question.

A beginner usually chooses zoom. It's natural. Who wouldn't want to have several lenses in one? Nobody wants to change lenses while shooting.

But, over time, the photographer discovers primes - lenses with a fixed focal length. He sees differences in optical characteristics, autofocus speed and maximum aperture. The photographer is delighted. Then he buys a second fix. And using zoom lenses becomes beneath him.

This true story for street photographers. Many of them stop at 35 or 50 mm. They shoot with one lens, one focal length. And they never change.

Zoom lenses are designed for different purposes and tasks. Is there any use for them in street photography? XF18−55mm f/2.8−4 R OIS at 18mm I used the XF14mm, XF23mm f/2, XF35mm f/2, 18−55mm and 10−24mm lenses for comparison. I used each one in daily shooting and came to the conclusion that 18-55 mm is ideal for me.
XF35mm f/2

For Zuma

An experienced photographer understands that zoom lenses are not just a tool for “cropping” a photo. If you understand how field of view and perspective work, the 18-55mm is five lenses in one: 18mm, 23mm, 28mm, 35mm and 50mm.

I'm not crazy. I understand that equivalent fixes have much better quality than a standard zoom. But a street photographer must anticipate the shot before it happens. It is important for him to change lenses on the fly. The question is whether you get the shot or not. That's all.

Do you care about the sharpness of the photo or distortion if the photo is successful? I'm not here. I only care about the photograph itself.
XF10−24mm at 14mm Most street photographers shoot with a closed aperture - f/8-f/16. So it doesn't matter what the maximum aperture of the lens is.
XF35mm f/2 WR

For Fixes

Prime lenses have many advantages besides the quality of optics and shooting speed. For example, compact sizes.

It is important for a street photographer to remain unnoticed. The smaller the lens, the better. The XF18−55 is not a large lens. But compared to the XF23 and XF35, it's huge. The compact XF14 is much smaller and lighter than the powerful but bulky XF10−24.

Compact size is an advantage in street photography.
XF14mm f/2.8
XF23mm f/2 WR

For Zoom+Fix

From experience, one standard prime lens - 18, 28, 35, 50 mm + a spare zoom lens is an ideal combination for travel. You never know in advance which lens will be useful. For narrow streets, a wide-angle 14 or 18 mm is suitable. For open spaces— classic 50 mm.
XF18−55mm f/2.8−4 OIS at 18mm
XF18−55mm f/2.8−4 OIS at 18mm

Whatever lens you use, enjoy shooting and appreciate the results. In street photography, technique is of secondary importance.
X-T2 with XF10−24mm f/4 OIS. X-Pro2 with XF23mm f/2 WR. XF14mm f/2.8 (top left), XF18−55mm f/2.8−4 OIS (top right), XF35mm f/2 WR (bottom right) Posted by: Take Kayo

It's time to change the kit lens to something more impressive. “Which lens should I buy to replace the kit lens?”- this is the second most popular question after the question “Which camera should I buy?” has been resolved. As always, unfortunately, there is no clear and universal answer to this question. It all depends on your desires, needs and budget. But let's put it aside for now money matters aside (in the end you can always find a compromise budget options lenses) and will focus on choosing a lens based on its technical characteristics.

1. ZOOM or FIX?

Zoom lenses (zoom - zoom in and out) are lenses with variable focal length, those. Such lenses cover several focal lengths at once. For example, 24-70 mm or 70-200 mm. To put it very primitively, these are those lenses in which you can turn the ring for selecting the focal length value, while the objects in the frame visually move closer or further away. Most kit lenses are zoom lenses, for example 18-55mm.

Fix lenses (fix - fix, install) are lenses with a constant focal length. In order to visually bring objects closer or further away in the frame with such a lens, you need to physically move closer or move further away. It's like a person's eyes - to see something larger, you just need to take a step forward. Examples of prime lenses include 50 mm, 85 mm, 100 mm, 35 mm, 24 mm, etc.

Okay, how does this help when choosing a lens? Both categories of lenses have their pros and cons. Let's figure it out.

The advantage of zooms lies mainly in convenience and versatility - literally without leaving the spot, for example, you can photograph a portrait in full height, half-length portrait and even close-up with one lens. Therefore, zooms come to the rescue when shooting reports, events, wedding photography (ceremony, gatherings, banquets), when there is no time or it is impossible to run around with a fixed lens. In addition, when purchasing a zoom, you immediately “buy” a whole range of focal lengths, which is cheaper than a set of 3-4 prime lenses similar in FR.

The main disadvantage of zoom lenses compared to prime lenses is the lack of sharpness and often lack of aperture. Due to the design features, zoom lenses require moving parts that do not allow achieving sharpness comparable to prime lenses. In addition, you will not find a zoom lens with an aperture of 1.8, 1.4 or 1.2, so for lovers of open apertures, primes are a real find.

2. LIGHT INTENSITY

Lens aperture directly affects to what value you can open the aperture as much as possible. The lens aperture is usually indicated on the model label as an aperture number. For example, with a 50 mm 1.4 lens you can shoot with a maximum open aperture of 1.4, and with a 24-70 2.8 lens - with an aperture of 2.8 (i.e. apertures 2.5, 2.0, 1.8, etc. will be inaccessible due to the design features of the lens ).

Constant aperture lenses- these are all prime and zoom lenses that allow you to open the aperture as much as possible to the same set value, regardless of the set focal length. So, the 70-200 f4 lens will allow you to take a picture with an f 4.0 aperture and focal lengths of 70 mm, 85 mm, 135 mm, and 200 mm. Constant aperture lenses are preferable because they allow you to shoot at the same exposure settings regardless of the chosen focal length.

Variable aperture lenses- these are usually more budget options for zoom lenses. Their main feature is that they allow you to open the aperture as much as possible up to different meanings on different focal lengths. Typically, at the “short” end of the lens (shorter focal length, wider angle), such lenses allow the aperture to open wider than at the “long end” (longer focal length).

A good example is the same kit lens 18-55mm f3.5-5.6, which means that at the 18mm position the aperture will open to 3.5, but at the 55mm position you can only shoot at f5.6. As a result, restrictions are imposed on exposure parameters and camera settings, depending on the chosen focal length. And if you shoot in Manual mode, then simply changing the focal length from 18 mm to 55 mm (without adjusting the exposure settings) will let in 2 times less light (due to using a closed aperture), which will affect the end result(the frame will turn out darker). Therefore, you need to constantly remember this feature while shooting, and this is not entirely convenient.

3. IMAGE STABILIZER

To be or not to be? Needed or not needed? This is not only a question of principle, but also of money, since lenses with a built-in stabilizer cost about 30% more than their counterparts without a stabilizer. Here my approach is this: if you have enough money, it’s better to buy one with a stabilizer, it won’t be worse, and in situations with insufficient lighting when shooting handheld, it’s quite long exposure The stabilizer will come in handy. If you shoot exclusively with a tripod or only in the studio, then you don’t have to spend money on a stabilizer. But for those who often shoot handheld, and especially on the go, in a hurry (travelers, wedding photographers, reporters), it is better to spend the extra and be sure of the result.

For which lenses is a stabilizer vital?

In principle, you can not give a damn about the stabilizer in lenses with focal lengths up to 70 mm. With such lenses, you can shoot handheld at shutter speeds of 1/80 sec or faster without fear of shaking. And if you take a comfortable pose, firmly fix your torso and the position of your arms, and smoothly press the shutter button, you can get a sharp shot without a tripod and at shutter speeds of up to 1/30 sec (for those who are especially trained, it can be longer - it’s a matter of dexterity). For wides like 15-24 mm and fisheyes, a stabilizer is not needed at all.

It’s another matter when you go to shoot with a 70-200 mm lens with f4 aperture, and twilight is deepening... You raised the ISO, opened the aperture to maximum, but there is still not enough light. You have to lengthen the shutter speed, but the lens is good, so weighty, it swings in all directions, and at 200 mm even at shutter speeds of 1/125 - 1/160 sec there is movement.

Conclusion: the longer the focal length of the lens, the more important it is to have a built-in image stabilizer.

4. APPROXIMATE COMPOSITION OF A PHOTO BACKPACK and my recommendations for a set of lenses:

Set “Universal Classic”- for portrait photography, for studio, reportage and wedding photographers

1. Universal standard high-aperture zoom lens - type 24-70 mm 2.8 or its analogues 28-75 mm 2.8, etc.

Workhorse - “both in the feast, and in the world, and in good people", shoot almost everything - from landscapes, architecture, group portraits to close-up. Again, zoom - it’s convenient to quickly switch, change the viewing angle, perspective and composition in the frame. Constant aperture allows you to shoot with the same exposure settings at different focal lengths. A good aperture ratio of 2.8 makes it easier to work in low light conditions and makes it possible to work with a shallow depth of field, especially at a focal length of 70 mm.

If there is also a built-in “macro” function, then such a lens allows you to focus from a shorter distance than standard lenses, which creates a “pseudo macro” effect.

A peculiarity on the crop is that sometimes the wide angle of 24 mm may be missing, which on the crop turns into approximately 38 mm.

2. At least one fast prime — my personal choice is 50 mm 1.4 (1.8 is possible) on a crop or 85 mm 1.4 (1.8 is possible) on a full frame.

Sharp, frosty-sounding at medium aperture values ​​(f4.0 - f8.0), with beautiful bokeh at open apertures (1.4 - 2.0) - it causes euphoria for beginners after using a kit lens. A great solution for a portrait lens and for photos with beautiful bokeh and blur. Works great in the studio.

If you prefer to shoot portraits with a long lens, the 100 mm 2.0 or 135 mm 2.0 prime options are available.

If, on the contrary, you are inclined to a wide angle, then your choice is 35 mm 1.4, 28 mm 1.8, etc. Remember that on a cropped lens the viewing angle will always be smaller, that is, less will fit into the frame than with the same focal length on a full frame. Therefore, a wide angle for crops can be taken with a margin - not 28 mm, but 15 - 20 mm, for example.

3. Long-focus zoom - 70-200 mm 2.8 (4.0 is possible) - I personally use it for portrait photography

I like the quality of bokeh (blurring of the background), separation of the model from the background, compression in the frame (narrowing of space). I don't like the weight and dimensions, but there's no getting around it. For some, on the contrary, the larger the lens, the more weight and authority. At the end of the wedding day, the joints on my right hand gave out)

You can take up to 300 mm - shoot wildlife or simply deleted items and events.

4. Wide-angle lens 10-20 mm - zoom or prime is not important for me. For me personally, this is a “just in case” lens when I need one cool shot of architecture, landscape or portrait in a tight space.

What works for me as a budget wide is not even a wide, but a fisheye, and the Russian one is Zenitar f16 2.8. I take it out once every few months, when I really need to shoot something epic (or comical with its funny distortions of space).

If someone is interested in photographing architecture, landscapes, city sketches, or someone’s shooting style requires a wide angle, then choose a wide-angle lens to your liking. On personal experience I can’t recommend anything, but a lot good reviews about Sigma 10-20 mm with corrected geometric aberrations (removes without distortion).

5. Macro lens such as 100 mm 2.8 Macro or just a set of macro rings that will make macro from existing lenses with a slight loss in quality and ease of shooting.

This is completely optional and depends on your preferences - not everyone shoots macro, and not everyone needs it. But if you are engaged in wedding photography, then for shooting details ( wedding rings, jewelry, etc.) macro will fit very nicely into your equipment set. Personally, I have a set of macro rings +1, +2, +4 and +10 that work great. They match the diameter of 2 of my lenses (screw onto a thread); to use with other lenses, I simply hold them with my left hand in front of the front lens.

If you seriously want to engage in macro photography (and not just from time to time), then of course it is better to invest in a full-fledged macro lens (fix) with a shooting scale of 1:1 - the so-called “real macro”.

Remember that this is only approximate set of lenses, the final choice depends only on your preferences in photography.

Also procedure for purchasing these lenses depends on what you are “missing” and what you want to try first. Personally, I was the first to have a fast prime lens, then a long-focus zoom, then a fisheye, and the kit lens all this time worked as a backup lens as a standard lens, until I replaced it with a fast universal zoom.

I hope that I have answered a good half of your questions or, conversely, generated new ones. You can ask them in the comments below the article.

Watch the video “What types of lenses are there?” for those who do not understand the difference between long-focus and wide-angle lenses

So - you bought a brand new DSLR ( DSLR)… or a mirrorless camera… with interchangeable lenses. You probably already had a so-called kit lens in your kit. And having played enough of it, you come to two options for your further photographic development: 1. sell the camera, 2. buy a cooler lens.

To the people who chose the first option, we wave our paws and wish them a happy journey, but this article is dedicated to those who still decided to buy a new lens. Choosing a lens is not an easy task for an experienced photographer, and even more so for beginners. The market has a huge range of different glass(lenses), and even being technically aware of all the technological components of these devices, you can always make the wrong choice. Actually about the choice! You need to choose glass solely based on the task. That is, depending on what, how and when you want to shoot with this lens. Everything seems to be simple here - we want to shoot landscapes or many people at once - we need a wide lens (fr = 14-35 mm), we want portraits - a portrait lens (fr = 50-200 mm), we want to shoot timid animals (or neighbors) at a decent distance - we need telephoto (fr = 150-400 mm). But, again, it’s just at first glance :)

Let's introduce some concepts.

Focal length- I already mentioned it above - abbreviated as FR. This is a term denoting a certain value, more precisely the distance from the “center” of the lens to the film or matrix. Sufferers can google themselves for more detailed information. The main thing is numeric value, which describes the magnification of the lens and its angle of view. The smaller the FR, the wider the angle of view of the lens and the lower the magnification; the larger the FR, the narrower the angle of view of the lens and the greater the magnification. You can clearly see it in this picture:
Aperture values- inside the lens there is a very important device - the diaphragm (aperture, “hole”). This is a simple mechanism that allows you to reduce the amount of light falling on the film or matrix. Once upon a time I posted very . Roughly speaking - the smaller the lens aperture value, the more light will fall on the matrix or film. And this, in turn, means that the smaller the aperture value, the lower the lighting we can shoot in. In addition, small aperture values ​​(1.2-2.8) allow you to blur the background more, add depth to the frame and are usually signs of a high-quality lens. But such glass also costs a decent amount. In general, remember that aperture 2.8 and below is an excellent indicator for a lens.
Focus type- automatic or manual (they also say manual). Everything is simple here - either when you press a button, the lens itself focuses on the desired object, or you need to turn the focusing ring and “focus” yourself. In this article I only consider auto focus lenses, and deliberately do not explain the difference between internal motor focusing and using the camera drive (screwdriver).

Installation size for filter- this is the diameter of a special seat (usually at the end of the lens) where filters are installed.

Hood- simple, but very useful device. This is just a visor that protects the lens from side light, which can ruin your photo. Sometimes such flares, on the contrary, add a certain charm to the picture, but in the beginning, always use a lens hood in sunny days. In addition, sometimes it can save the lens from scratches and other mechanical damage.

Filters (light filters)- hmm... there’s so much to write here that I’ll write it simpler. If now you don’t know what kind of filters these are and why you need to screw them onto the lens, don’t bother yet. You can worry about purchasing only a UV (ultraviolet) filter for your lens. It is also called protective. And for good reason - it protects your lens from dust, dirt, scratches and all that, and at the same time has almost no effect on the picture. Filter good quality— costs about 20-50 USD Cheap ones are more eat up the aperture lens.

In addition, lenses are divided into two more categories, depending on which cameras they can be used on. As you probably already know, there are two types of DSLR cameras - cropped(APS-C matrix size 25x16 mm) and full-length(FF - full frame matrix size like a film frame - 24x36 mm). So lenses are divided according to these criteria. And when choosing a lens, there are a couple of things to think about for the future. Firstly, will it fit your camera, and secondly, if you want to switch to another camera, will it fit that too? It might seem like a small thing, but if you want to shoot with a film camera, you will be unpleasantly surprised by dark edges in the corners of the frame (vignetting), if your lens is designed to work with cropped cameras. You will see exactly the same on older full-length digital cameras. AND in this article I consider only those lenses that are designed for full-format cameras(which does not prevent them from working perfectly and without any restrictions on cropped cameras with an APS-C format matrix).

A little more about the dependence of the DF on the focal length. Remember, if you buy a lens with a 50 mm FR for a full-length camera, then the equivalent FR = 50 mm, and if for a cropped one with an APS-C matrix, multiply by 1.5 (crop factor). That is, for Nikon D700 (full-format camera) such a lens will have the equivalent of a DF 50 mm, and for Nikon D90 (cropped camera) - the equivalent focal length will be 75 mm.

Let's get back to business. The quality of photos depends very much on the quality of the lens.. And you can’t stock up on one lens for all occasions - with the current development of technology, the quality of such a super universal lens will be mediocre :) Therefore, most photographers have several lenses, so to speak - a fleet of lenses.

In general, there are two main paths that a photographer strives for when recruiting this park:

1. Set of fixes(which cover the same focal lengths as the set of zooms in question).

We're actually looking at two sets of fixes. Some are as expensive as zooms, while others are cheaper. But even those that are cheaper have better optical quality and greater aperture compared to a set of zooms, which allows them to be used in worse lighting conditions. In addition - and this is important - fixes have a more beautiful “pattern” - something ephemeral that is immediately visible but cannot be so easily described :)

Set No. 1 (for majors and aesthetes - I selected the best glasses, but without going too far for being narrowly focused) includes: 14mm f/2.8D ED AF Nikkor ( 1700 $), 20mm f/2.8D AF Nikkor ( 700 $), AF-S NIKKOR 24mm f/1.4G ED ( 2200 $), 35mm f/2D AF Nikkor ( 300 $), AF-S NIKKOR 50mm f/1.4G ( 500 $), AF-S NIKKOR 85mm f/1.4G ( 2200 $), 105mm f/2D AF DC-Nikkor ( 1000 $), 135mm f/2D AF DC-Nikkor ( 1500 $), 180mm f/2.8D ED-IF AF Nikkor ( 1000 $), total $11,000 Everyone secretly dreams of such a set :)

Set No. 2 (for moderately wealthy fans) includes: 20mm f/2.8D AF Nikkor ( 700 $), 35mm f/2D AF Nikkor ( 300 $), 50mm f/1.4D AF Nikkor ( 400 $), AF Nikkor 85mm f/1.8D ( 500 $), 105mm f/2D AF DC-Nikkor ( 1000 $) total $2,900

pros: the quality of both the lenses and the body is usually higher, since prime lenses have fewer rotating parts, and there is no need to maintain aperture throughout the entire zoom field (like zooms). Primes are less susceptible to dust clogging, and they are almost always smaller and lighter than zooms. And most importantly - optical system fixes are better, which means that their picture is also better.

cons: instead of turning the zoom ring, you will have to work with your feet and head. This is the main disadvantage 🙂 The lenses themselves have to be replaced with each other more often - which requires both skill and time. Shooting a reportage with such a set is not always convenient, although over time you get used to it.


2. A set of top-end zooms such as 14-24/2.8, 24-70/2.8, 70-200/2.8.

Set includes: 14-24mm f/2.8G ED AF-S NIKKOR ( 1900 $), 24-70mm f/2.8G ED AF-S NIKKOR ( 1800 $), 70-200mm f/2.8G ED-IF AF-S VR Zoom-Nikkor ( 2200 $). Total $5900

pros: excellent mobility, an ideal combination for working in or around the reporting genre. Often used by photographers and for shooting everything else. Using a zoom is much more convenient - because to change the focal length you don’t need to reach into your bag and change the lens. Simply twist the ring. If you are shooting more of a reportage than a production, then a set of such zooms would be preferable.

cons: 2.8 is not such a small aperture value. Even though in modern cameras it is compensated by huge working ISOs, but an aperture of 1.8 or 2 in our prime sets could separate the object from the background much more, and blur this very background much more, adding uniqueness to the picture. In addition, zooms are optically lower quality than primes. It is not so easy to notice this difference by eye; it is mainly expressed in geometric distortions, soapiness at certain focal lengths and edges of the frame, as well as the worst color rendering and smaller (compared to fixes) micro contrast. Among other things, zooms are more expensive than primes. Although a set of zooms will cost less than a top-end (No. 1) set of primes, it will cost twice as much as set No. 2.

Choose lenses primarily based on what you want to shoot. If finances are tight, you can pay attention to oriental lenses from third-party companies. For example Sigma, Tamron, Tokina, etc. Just read the forums carefully and check their quality when purchasing by conducting a series of simple tests.

These are the pies :)