- 1 What is a 18 55mm lens good for?
- 2 Is 300mm enough for moon photography?
- 3 Why use a 40mm lens?
- 4 Is 400mm OK for moon shots?
- 4.1 Is 500mm enough for moon photography?
- 4.2 Can you see the moon with a 20mm lens?
- 4.3 What camera settings are best for moon shots?
- 5 What lenses were used on the moon?
What lens is best for moon shots?
What you need – You can take good images of the Moon with just a single lens reflex (SLR) camera and a 250 mm telephoto lens. To get the best detail, you need a telephoto lens of at least 500 to 600 mm and ideally a long focal length telescope.
What is a 18 55mm lens good for?
What is an 18-55mm lens used for? – The best thing about the 18-55mm lens is its versatility. At 18mm, it is fairly wide-angled and is great for landscapes. In the middle of its range, around 35mm, it is perfect for street, travel, and documentary photography, while the short telephoto zoom of 55mm works wonders for portraits.
What is 20mm lens good for?
Why would you need a 10-20mm zoom lens? Well, because it offers a really ultra-wide-angle of view that you just can’t get using the lens that came with your camera because its angle of view is wider than the eye can see. Many DSLR cameras come with a lens such as an 18-55mm, 18-140mm zoom or even 18-300mm zoom.
- These lenses are versatile but after shooting with one for a while you may find that you want to be able to capture a wider view of a scene than the lens will allow.
- Because this is a P series lens, when shooting video, its smooth stepping motor keeps focusing noise to a minimum.
- The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR lens can go as wide as a staggering 10mm angle of view.
Images are incredibly sharp, even at the edges. Another feature of the lens is that it lets you get as close as 8.6 inches to your subject for dramatic looking photographs. This means you can get so close to your subject that it can fill the frame—looking larger than other objects in the background that may be the same size.
- W hy would you need a 10-20mm zoom lens? Well, because it offers a really ultra-wide-angle of view that you just can’t get using the lens that came with your camera because its angle of view is wider than the eye can see.
- Many DSLR cameras come with a lens such as an 18-55mm, 18-140mm zoom or even 18-300mm zoom.
These lenses are versatile but after shooting with one for a while you may find that you want to be able to capture a wider view of a scene than the lens will allow. Because this is a P series lens, when shooting video, its smooth stepping motor keeps focusing noise to a minimum.
The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR lens can go as wide as a staggering 10mm angle of view. Images are incredibly sharp, even at the edges. Another feature of the lens is that it lets you get as close as 8.6 inches to your subject for dramatic looking photographs. This means you can get so close to your subject that it can fill the frame—looking larger than other objects in the background that may be the same size.
© Tamara Lackey The photographer placed the camera low to the ground in this shot, filling the foreground. © Tamara Lackey An ultra-wide angle lens lets you capture all of the action, and the surroundings, like these kids chasing after bubbles in the park.
- Tilt the lens down and include more of the foreground; tilt the lens up and fill the frame with the sky.
- You can exaggerate the perspective of buildings or straight lines in a scene by using the 10-20mm lens because it has such an wide field of view, meaning it can capture a lot more than the kit lens that came with your camera.
Nikon’s Vibration Reduction (VR) is incorporated into this lens. VR is image stabilization, which will help you get sharp photos when you’re handholding the camera. © Lindsay Silverman A wide angle lens can cause tall buildings to converge at their peaks, which ads drama to the image.
- © Daniel Dohlus The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR lens allowed the photographer to get close to the edge of the cliff and also include the village on the far side.
- © Daniel Dohlus The viewer’s eye follows the trail of light from the cars into the frame and around the street; into the background where the pinpoints of light and their reflections on the water bring you back to the foreground.
If you love to travel and take pictures of sweeping landscapes or cityscapes then the 10-20mm lens might be what you’re looking for. An ultra-wide-angle lens is also ideal for taking pictures of large groups of people since they allow you to stay fairly close to the group yet still get everybody into the shot.
Do you like taking photos of interiors? An ultra-wide-angle will let you capture an entire room in one shot and if the space is on the smaller size, you can make pictures that you otherwise would not be able to create with a longer focal length lens. Wide-angle lenses are often the choice of photojournalists because they can capture a subject in his/her environment and be able to tell as story with a single image.
If you enjoy documenting the life around you, the 10-20mm zoom might be a good choice. A fun way to use the close focus capability of the 10-20mm lens is to get really close to a portion of your subject to the point that what is closest to the camera is exaggerated and looks larger than life.
- Depending upon what your subject is, this can simply put an emphasis on a portion of the image or make it look huge as compared to the rest of the subject.
- © Tamara Lackey The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR lens will let you focus close to your subject to emphasize its importance in the photograph.
For the avid travel, nature or landscape enthusiast, the AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR is the ideal companion to your kit lens, allowing you to make unique photographs that the camera’s kit lens just can’t do. © Daniel Dohlus The boats in the foreground stand out as the main subject while the rest of the boats and buildings of the harbor fill the background.10 Out of the Ordinary Shots You Can Make with the 10-20mm Zoom Lens
Exaggerate the perspective of buildings or other straight lines Get so close to your subject that it becomes exaggerated and looks larger than life Intentionally bring flare from the sun or another large light source into an image Get low to the ground and include lots of foreground for an interesting shot Tell an entire story with just one shot—capturing your subject and her/his surroundings Show the vast openness of landscapes, seascapes and cityscapes Fill the frame with dramatic skies Utilize the foreground area for added drama Photograph an entire building or interior room—whether the buildings are big or the rooms small. Photograph large groups of people. Remember though, not to place anyone right on the edges of the frame when zoomed out to 10mm to keep from distorting their bodies.
© Lindsay Silverman Dramatic skies filled with clouds help to show just how vast this landscape is. © Lindsay Silverman Getting close to your subject places emphasis on what you want your viewer to focus on. © Lindsay Silverman Placing the horizon line in the top third of the image (where the trees meet the water) adds emphasis to the foreground.
Is 300mm enough for moon photography?
Lenses – You can use the kit lens that comes with your camera when taking photos of night landscapes with the moon in the background. But you need to be aware that it doesn’t have the magnifying power required to shoot close-up shots of the moon. Now you must be asking, how do I make the moon look bigger in pictures? The simple answer is by using a telephoto lens,
- Think of it as a big telescope that allows you to see everything up close.
- You can find so many options for your camera out there with various levels of magnification.
- So what’s the optimal lens to pick for moon photography? You need to find one with a focal length of, at least, 300mm.
- Thankfully, the moon is so bright that you do not need fast, expensive, telephoto lenses.
Anything with an aperture of f/5.6 or f/8 will do. For a DSLR, we recommend the Canon EF 75-300mm f/4-5.6 or Canon EF 100-400mm f/4.5-5.6L IS USM, You can’t go wrong with Olympus MSC ED-M 75 to 300mm II or Sigma 150-600mm 5-6.3 lenses for Micro Four Thirds systems.
- If you don’t own a telephoto lens, older vintage lenses are viable options to cut costs.
- You’ll only have to use an adapter to convert them.
- Another cheap option is to add a teleconverter (TC).
- This nifty tool is an optical element which you can couple with the lens and the camera to increase the focal length.
It is essential to use a TC designed for the lens you want to use. However, TCs reduce the amount of recorded light. A 1.4x TC will reduce your exposure by 1-stop, and a 2x TC will cut two stops. If you are serious about moon photography and are willing to invest, then consider super-telephoto lenses, They are between 400mm and 800mm. They are the best options. Their level of magnification lets you capture the details of the lunar surface. The only downside is that they can be expensive.
What size lens for the moon?
7. Lens Choice – If you are shooting the moon as part of a landscape, your lens focal length will be determined by what portions of the landscape you want in the frame. With a 50mm lens on a full-frame camera, the moon’s size in the photograph will resemble, more or less, what your eye sees in real life—it will be fairly small. A US Navy Boeing CH-46D Seaknight lands on the USS Rainier (AOE-7), in the Indian Ocean, with a waxing gibbous moon rising. Nikon D100; Nikon 28-200mm f/3.5-5.6 lens @ 28mm (42mm 35mm equiv.); f/7.1; 1/200-sec; ISO 800. If you are shooting the moon alone, you can get pretty good results with a 200mm or 300mm lens, but to really fill the frame, you will likely want an even longer telephoto lens or you can use a teleconverter to extend a lens you already own.
Which lens is better 18 55 or 50mm?
– Aperture – The difference in aperture between these lenses is a big one. The 18-55mm has a variable aperture of F/3.5-F/5.6, while the 50mm is a fast F/1.8. With a wider aperture, the 50mm can perform better in more situations. Whether you’re shooting on a bright sunny day or after the sun goes down, having an aperture of F/1.8 will let you shoot in any lighting conditions.
What is a 18-300mm lens used for?
Official Press Release – Here is the official press release by Nikon: THE NEW AF-S DX NIKKOR 18-300MM F/3.5-6.3G ED VR LENS IS A VERSATILE YET COMPACT AND LIGHTWEIGHT TELEPHOTO ZOOM LENS THAT ALLOWS USERS TO GET CLOSE TO THE ACTION MELVILLE, NY (April 10, 2014 at 12:01 A.M.
EDT) – Today, Nikon Inc. announced the latest addition to its legendary NIKKOR lineup, the new AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR telephoto zoom lens. Designed for the DX-format photographer looking to get more out of their D-SLR camera, the versatile NIKKOR 18-300mm is a compact and lightweight 16.7X all-in-one telephoto zoom lens that delivers high performance and superior image quality.
Whether capturing still images or HD video, the 18-300mm lens is built to help users capture content with vibrant colors and sharp details, plus shoot sports, vacations and wildlife with confidence. “With the addition of the AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR to the NIKKOR lens line-up, DX-format photographers have a compact and lightweight all-in-one telephoto zoom that can handle any photo or video challenge,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc.
With the 18-300mm lens, DX-format photographers will be able to capture sharp images and video with incredible detail. Additionally, the lens incorporates renowned NIKKOR optics and technology like a Silent Wave Motor (SWM), three Aspherical and three Extra-low Dispersion glass elements, as well as innovative features like Vibration Reduction image stabilization.” An All-In-One Telephoto Zoom Lens With the introduction of the AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR lens, DX-format photographers have a compact and lightweight telephoto zoom lens, over 30 percent lighter than the acclaimed AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR lens, that produces the incredible results users have come to expect from Nikon’s NIKKOR lens lineup.
The 18-300mm lens boasts an impressive 16.7X ultrahigh-ratio zoom range, offering a focal range from wide-angle 18mm to super-telephoto 300mm (27mm to 450mm equivalent in FX/35mm format). The new lens provides photographers with compositional freedom that is ideal for everyday use, whether capturing close-ups, sweeping landscapes, portraits, architecture, nature, sports and fast moving action.
When recording HD videos, users will have the ability to capture wide establishing shots, medium close-up shots or extreme telephoto sequences that best complement their creative vision. With the new 18-300mm, photographers that currently use DX-format D-SLR cameras, like the Nikon D3000 and D5000 series, now have a versatile telephoto zoom lens to upgrade their current lens arsenal or complement their kit lens.
Delivering Superior Performance and Image Quality Incorporating proven NIKKOR lens optics and technology, the new AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR lens offers an extensive feature set that produces vibrant color, sharp detail with minimal distortion, whether capturing still images or recording HD video.
Helping to ensure sharp photos and video even in low-light situations while also combatting the effects of camera shake, the 18-300mm comes equipped with Nikon’s renowned Vibration Reduction (VR) image stabilization, providing the lens with four stops* of stabilization to help make shooting a blur-free experience, even while handheld.
Weighing a mere 19.4 ounces, the AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR is remarkably compact and lightweight, making it a lens that is comfortable to carry regardless of the photo excursion. The construction of the 18-300mm lens contains 16 optical elements in 12 groups and includes three Aspherical (AS) and three Extra-low Dispersion (ED) glass elements to produce maximum contrast while minimizing lens flare and ghosting.
Its three Extra-low Dispersion (ED) glass elements effectively minimize chromatic aberration at even the widest aperture settings. Also, the new lens incorporates a seven rounded-blade diaphragm, which helps achieve a beautiful and natural background blur. Like many of Nikon’s newest NIKKOR lenses, the 18-300mm has a Silent Wave Motor (SWM), designed to deliver fast, accurate and quiet autofocusing (AF) performance, plus Internal Focusing (IF), which gives it a more compact, streamlined lens design.
Price and Availability The AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR lens will be available in May 2014 for suggested retail price (SRP) of $899.95**. For more information on NIKKOR lenses as well as other Nikon products, please visit www.nikonusa.com.
What is a 300mm lens good for?
Canon EF 300mm lens 35 mm camera lens The EF 300mm lens refers to a family of made by, five of which have been sold to the general public and one of which was only made on special order. The lenses have an type mount which fits the line of cameras. When used on a EOS body with a compensation factor of 1.3x, such as the, it provides a narrow field of view, equivalent to a 390 mm lens mounted on a frame body.
Why use a 40mm lens?
40mm Glass On Super 35 – Many 40mm lenses can be paired with a variety of film gauges or sensor sizes – from Super 16mm to Full Frame. But to get the most “honest” look, I recommend pairing your 40mm lens with a Super 35 recording format. Again, this is the sweet spot.
Most classic movies shot with spherical 40mm lenses (like The Godfather ) were captured on 35mm motion picture film. This is how Gordon Willis shot his movies, and surely what he considered to be the most natural pairing. On a full frame sensor, a 40mm lens will look more like a 28mm would on Super 35.
It creates a totally different look. On a Micro Four Thirds sensor, a 40mm lens will look more like an 80mm telephoto. As mentioned above, this makes 40mm lenses super versatile, which is good. But you certainly need to take into account crop factor (or lack thereof), if you are seeking the classic 40mm natural aesthetic. You can try to emulate the 40mm motion picture look by pairing a 60mm lens on your full frame camera, or by shooting with a 30mm lens on a Micro Four Thirds camera. Both will give you an “equivalent” 40mm field of view. But the results will never be exactly the same.
- If you really want to capture the most classic 40mm look, pair the lens with a camera that records in Super 35.
- Or if you have a camera that can crop into a smaller area of your sensor to emulate the Super 35 field of view, that works too.
- What are your thoughts on the 40mm focal length? Leave a comment below! And for more exclusive articles like this every Sunday, sign up for my newsletter here.
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What mm lens is most realistic?
It’s often called the optic that best approximates human vision, but approximation is relative. An Object Lesson, Kai Pfaffenbach It was the curved shape of the lens that led to its name being borrowed, in the late 17th century, from the Latin name of the lentil plant, lens culinaris, In French, another word for lens is objectif —suggesting truth and impartiality,
- While objectif had been used since the 17th century to describe the optical glass of scientific instruments like telescopes and microscopes, one of its earliest uses as a name for photographic optics was in Jules Verne’s 1874 novel The Mysterious Island,
- A group of Americans stranded in the South Pacific take a photograph of the horizon.
One of the castaways, Herbert, discovers a speck on the photographic plate. While he first assumes the speck to be a defect in the lens, he realizes that the photograph reveals a ship on the horizon of their deserted island. Unfortunately for Herbert and the other castaways, they soon discover that the ship is crewed by dangerous pirates.
The lens purports to show the world as it really is, but that’s also a goal it can never reach. One lens in particular—the 50-mm lens—is often seen as the most objective of objectifs, and it is said to be the lens that best approximates human visual perspective, For example, the precision-lens manufacturer Zeiss states that its Planar 50-mm lens is “equal to the human eye.” Many artists have taken up 50-mm lenses to render ordinary, everyday experience.
Yasujirō Ozu, whose films subtly depict the daily life of 1950s and 1960s Japan, used a 50-mm lens almost exclusively. The French humanist photographer Henri Cartier-Bresson also used one. Underlying its popularity is a promise of shared perspective and common understanding.
But the concept of “normal vision,” let alone the 50-mm lens’s ability to reproduce it, is hardly a given. The idea that a 50-mm best approximates human sight has more to do with the early history of lens production than any essential optical correspondence between the lens and the eye. In the 19th century, when Verne wrote, an increased scientific study of perception had resulted in a profound suspicion of vision.
Investigations of color, motion, sight, and light challenged existing beliefs in the stable relationship between perception and reality. Renaissance perspective, the dominant form of representation, no longer correlated to a scientific understanding of vision.
- Artistic movements like impressionism, cubism, and naturalism reflected a growing distrust of the eye’s ability to see and know the world.
- Many of these anxieties were tempered by the growing ideal of objectivity in scientific practice, which emerged as a belief in habits, techniques, and practices of seeing that were accepted as credible due to professional training and daily repetition.
Ever since, photographic records have made powerful claims to objectivity, but objective perception often amounts to a belief in conventions of measurement. Most arguments about the equality of the 50-mm lens with the human eye rely on the scientific tradition of quantitatively measuring perception.
- For one part, 50-mm lenses reproduce the proportions of faces, depth, and perspective at roughly the same size as we see with our naked eyes.
- For another, a 50-mm field of view roughly matches the human angle of vision.
- However, lenses aren’t measured by perspective or by angle of view—they’re categorized by focal length, the distance between the center of the lens and the surface on which the image will be focused.
That wasn’t always the case. Like Verne’s character Herbert wondering about the speck on the photographic plate, 19th-century physicists found it difficult to conclusively prove what made a lens defective and what made a lens work. Early lens production was an artisanal craft.
- Optics were produced mostly through trial and error, and their quality relied on the intuition of an individual optician.
- The comparison of normal vision with focal length, rather than other forms of measurement, persists because of how lenses came to be produced and used in standard practice.
- The mass production and standardization of photographic lenses was largely pioneered by the German optical-instruments maker Carl Zeiss, whose eponymous company still makes optics today.
Zeiss began as a small microscope company in 1846. Frustrated by the idea that the physics behind improved microscopes was purely theoretical, Zeiss began to design microscopes according to scientific theories, breaking lens production down into discrete, repeatable tasks.
Thanks to these methods, Zeiss became the first company to mass-produce precision lenses reliably. New types of optical glass developed for their microscopes also led the company to branch out into telescopes, projectors, binoculars, and photographic lenses. Although physicists were developing theories that enabled a clearer understanding of how lenses depicted the world, it was Zeiss’s advertising that created some of the strongest links between lenses and reliable measurements of vision for both the professional and popular imaginations.
Zeiss promoted its scientific production of lenses widely at exhibitions, trade fairs, and in catalogs. Its advertising often emphasized the scientific principles of its manufacturing processes, carefully explaining the importance of glass materials, refinement, and testing.
While its lenses were not necessarily more reliable than instruments produced by competitors in England and France, Zeiss’s advertising cultured a belief in the value of standardization for lens quality. Standardization, it turned out, was essential to Hollywood film production.W.K.L. Dickson, the developer of the Edison Kinetograph, established 35-mm film as a standard format for motion-picture films in 1889.
As Hollywood began to develop into a studio system during the 1910s, standardization became increasingly important to coordinating the multiple technical roles involved in industrial film production. Photographic lenses were initially measured by the size of the photographic plate they could cover and the width of the lens in inches.
Over time, though, lenses came to be measured by the distance of their focal length. The shift from lens width to focal length likely arose in Hollywood for reasons of precision. Ensuring a constant measurement between the lens and the film stock was more important than the width of a lens, which might vary significantly at a given focal length.
Lenses could vary, but they needed to vary in relationship to the central object of the motion-picture industry: celluloid film. For 35-mm motion-picture production, a 25-mm lens was an effective approximation of the focal length necessary to fill the diagonal dimensions of the 35-mm celluloid frame, as it was used in a cinema camera.
- Some still-photography conventions were adapted from these motion-picture standards.
- Oskar Barnack, who left Zeiss for the optical company Leitz in 1911, began experimenting with an apparatus for testing the motion-picture film stock and lenses.
- Barnack wanted to make a “Lilliput camera” that would be lighter and easier to travel with than the heavy photographic cameras of the time.
Around 1912 or 1913, Barnack adapted this instrument into a prototype 35-mm photography camera, the Ur-Leica. Eventually, the Ur-Leica became the Leica I 35-mm camera which, after its release in 1925, quickly became a popular camera with professionals and amateurs alike, including Cartier-Bresson.
- The still camera used 35-mm film, but oriented it differently than a film camera, such that it exposed about twice the space on the negative for a single shot.
- The 25mm cinema lens standard became a 50-mm normal lens for photography, because it was a reliable lens for completely and sharply filling the frame of a 35-mm photographic negative.
The Leica I came with a fixed, nonremovable 50-mm lens, and while the 1932 Leica II introduced interchangeable lenses, its built-in viewfinder was specifically designed to work with a 50-mm lens. Zoom lenses became standard for SLR cameras in the 1960s and 1970s, but popular consumer cameras like the Pentax K1000 and the Canon AE-1 continued to be advertised and bundled together with a 50-mm.
A 50-mm ensured that users, especially amateur and first-time photographers, could capture sharp photos of their normal lives in the widest range of conditions without needing a great deal of technical knowledge. What constitutes a “normal” lens shifts and changes over time. Today, as images are increasingly captured on digital sensors rather than 35-mm film, the relationship between a 50-mm lens and normal vision has become more of a concept than an ideal physical correspondence.
The sensors on digital cameras are generally not the same size as on film cameras, and thus, their focal lengths are calculated differently. Due to digital cropping and the presence of a mirror on contemporary DSLRs, to get the same kind of perspective found on a 50-mm, the most “normal” lens for a DSLR is actually closer to 35 mm.
For medium-format cameras that use larger 6-by-6-centimeter negatives, like the Rolleiflex or Hasselblad, an 80-mm lens provides a “normal” angle of view. At another extreme, the rear lens on an iPhone X is a 4-mm lens ( in the Exif data for an iPhone photograph, it is still measured in its equivalence to 35-mm film, which ends up being close to a 28-mm lens).
While the 50-mm lens was the optimal design to reduce visual distortions and maximize resolution on 35-mm film, modern sensors no longer require this particular arrangement. The technical reasons for a 50-mm lens best approximating human vision break down when celluloid film or its digital-sensor equivalent fall into disuse.
Yet, the 50-mm anecdote persists—in part because of the history of lens manufacturing, but also because it taps into the latent fears, anxieties, and imaginations that surround the use of technology for seeing. It’s comforting to believe that there is a standard view, and that photographic apparatuses can reproduce it.
Today, the lens represents a struggle between objectivity and relativism. Metaphorically, people look through critical lenses, cultural lenses, political lenses, and historical lenses, We zoom in and out on things, we frame them, we change lenses, we focus.
- The metaphor highlights how people adopt multiple viewpoints that, in turn, change how they see and think about the world.
- Perhaps the 50-mm communicates an anxiety about whether an individual can understand someone else’s vision.
- Under the right circumstances, a 50-mm lens does create a perspectival relationship that, more or less, approximates the ways the majority of people see their everyday world.
But it’s still relative. Mechanically, it’s relative to the specific apparatus to which the lens is attached. And metaphorically, it’s relative to all the social, emotional, or economic conditions that shape the everyday lives people inhabit. Perhaps we should be skeptical of the whole idea of a shared perspective.
What is a 50mm lens good for?
When to use a 50mm lens. – No matter what type of photography you like, there’s a good chance you can use a 50mm lens. It’s one of the most popular lenses on the market, and it can be used for anything from portraits and car photography to landscapes and nighttime shots.
How do you know if your lens is right?
The ‘taco’ test –
Hold a lens near its centre, between the tips of your forefinger and thumb. Gently squeeze the lens as if you were trying to fold it in half. While squeezing, look at the edge of the lens. If it’s pointing upwards, or if the edges appear to meet, then the lens is the correct way around. If it bends outwards towards your finger and thumb, then the lens is inside out.
What is the 35mm lens good for?
35mm Lens for Street Photography – *When I talk about 35mm and 50mm focal lengths, I am referring to the full-frame equivalent. So for instance on mirrorless cameras, this would be the equivalent of a 23mm and 35mm lens.* The 35mm lens is probably the most common lens used by street photographers, and this is because it has a lot of advantages in this fast-moving genre. Technically, the wide-angle 35mm lens allows you to have more depth of field in your frame, which can cover up the easy-to-make mistakes when shooting street. For instance, if you are shooting with an aperture of F8 while using a 35mm lens and you focus on a subject around 10 feet away, everything from around 6 feet to 15 feet will be fairly in focus.
Is 400mm OK for moon shots?
6. Moon photography with long focal lengths – Canon EOS 7D Mark II | 500mm | f/8 | 1/15s | ISO 800 Photo by Ramón Pérez There’s a sentence that I like to say during the PhotoPills workshops and expeditions : “If you want a big Moon, you want a big lens”. So if you’re serious about Moon photography and are willing to invest, then consider super-telephoto lenses, which are lenses over 200mm (usually between 400mm and 800mm).
With these lenses you’ll have a very small viewing angle. In other words, there will be little landscape in your composition. Only the Moon and the subject will be in the frame. They are the best options. Their level of magnification lets you capture lots of details, including those of the lunar surface.
The only downside is that they can be (very) expensive. As I explained in section 4 and you see from the screenshots above, you can use PhotoPills to plan the field of view (FoV). So, according to PhotoPills, if you use a Nikon Z6 with a 400mm in landscape mode (horizontally) and focusing right at the distance to the Black Pin:
- Your horizontal FoV will be 995.03 m.
- Your vertical FoV will be 662.43 m.
If you want to learn how to do it step by step, have a look at section 20 of our photography planning guide, And when you’re in the field, at the Red Pin position, use the Augmented Reality view (AR) on the Planner to visualize on your smartphone the position of the Moon.
What is the 500 rule for moon photography?
Rule of 500 (or 300) When taking an untracked photo of the night sky using a camera on a tripod, this rule tells you how long you can expose before the stars begin to trail. You take the number 500 and divide by the focal length of your lens. For example, if you have a 20-mm wide angle lens, then 500 / 20 = 25.
Is 500mm enough for moon photography?
Why I choose the above settings for moon photography – Shutter speed: 1/500 th – It seems counterintuitive to use a fast shutter speed for exposing a subject that generally dominates the night sky. What I’m basing this general faster range of shutter speeds on is what is called the Sunny 16 Rule.
- It’s a basic guide going back to the days when film cameras dominated the market.
- The Sunny 16 Rule states that on a sunny day set the aperture to f/16 and shutter speed to the reciprocal of the ISO for a subject in direct sunlight.
- So, 1/125 th at f/16 with ISO 125 is a basic starting point for a photo on a sunny day.
Equivalent settings of 1/250 th at f/11 or 1/60 th at f/22 would also work. Same exposure value (EV) as the first combination. Why would we use the Sunny 16 Rule for Moon pics? Well, what is the Full Moon but a subject illuminated by direct sunlight? Of course, this is just a starting point for exposure calculation.
Certain other variables come into consideration and bracketing exposures is always a good practice. The different phases of the Moon can factor in a bit, too, since we see the sunlight reflected somewhat differently, but we still use Sunny 16 as the base exposure guestimate. A lot of people will think that a long exposure is what’s needed, and this would be true for most other astronomical subjects.
The Moon, though, is lit by direct sunlight and also has a high albedo, or is fairly reflective. Thus, long exposures will tend to overexpose to the point of making it a white blob devoid of detail. This little exposure calculation trick also works for the planets as a good starting point.
The apparent magnitude of the planets is much lower than the Full Moon, but still quite a bit higher than most deep-sky subjects. The Sun has an apparent magnitude of -26.7, the Full Moon -12.6, Venus -4.4, Mars -3.0, Jupiter -1.0, Saturn +1.0. The brightest star in the night sky is Sirius at an apparent magnitude of -1.0.
The stars of the Big Dipper are around +2.0. If you want to get into astrophotography, you will be endlessly fascinated by what you can see and record. For now, let’s get back to the Moon. To learn more, you can see my post on the, Aperture: f/11.0 – Even though I listed Sunny 16 as the base exposure, there is a problem with bright subjects against a dark background shot with small f-stops.
The optical phenomena of diffraction. Diffraction, like lens flare, chromatic aberration, or distortion can degrade an image. The other lens issues get better as you stop down the aperture, so somewhere in the middle is a sweet spot of the lens aperture. Around f/5.6, f/8.0, and f/11.0 is where the sweet spot often is in a longer lens.
ISO: 400 – Whether shooting digital or film, ISO 400 is a good choice. Since the Moon is brightly lit, ultra-high ISO is not necessary. Lower ISO results in higher quality images due to there being less noise (digital) or grain (film). Noise and grain are especially noticeable in blank expanses, black, white, or a color.
They seem to be really evident in black expanses. Focal length: 500mm – You need a long lens for really large, frame-filling Moon pictures. Unless the Moon is only a minor element of your composition. The Moon is rather small compared to the sky in your field of view. It’s only about ½ of a degree or 30 arc minutes wide.
This is roughly equivalent to the apparent size of a US Quarter held out from our body at arm’s length. There may be some minor variation in apparent lunar size, but it’s not much. Depending on where the Moon is in its orbit, there might be a couple of percentage points difference.
- Some people will swear up and down that the Moon is quite a bit larger when near the horizon (the Sun, too), but this is merely a trick that our minds play on us.
- Using that same US Quarter, we can prove this to ourselves.
- When the Moon is near the horizon, compare the size to the Quarter in our outstretched arm.
Then, in a couple of hours, when the Moon is high in the sky, check again. Same size! Our brain is fooled by also seeing earthbound objects on the horizon, making some believe the disc is actually larger, an illusion. The same thing applies to the Sun, but please don’t do this experiment with the Sun, you could damage your eyesight.
Furthermore, a longer lens will allow you to fill up more of the frame of the image, meaning you won’t have to enlarge it so much that the image quality suffers. A long telephoto zoom lens will also work. Exposure mode: manual – Manual because we will be doing a lot of changing and bracketing, shooting many exposures to get a few workable images.
Auto exposure modes could also be fooled by the large expanse of sky or foreground compared to the small Moon. If you want to capture the Moon and a landscape or cityscape, then HDR might be a good idea. The best Moon photography settings are going to vary quite a lot.
Focus mode: manual – The auto focus is going to have issues with most night scenes and astronomy objects, so taking control manually is usually the best practice. Image format: APS-C – Actually, any of the popular formats of DSLRs and mirrorless digital cameras are excellent options. Full Frame, APS-C, and MFT formats have wonderful cameras and optics.
White balance: Auto (RAW) or Daylight – The Moon is a Daylight color balance subject, so Daylight can be used. If shooting in RAW, which I highly recommend for lunar imaging, you could leave the camera white balance on auto and assign a color profile in post-processing.
Can you see the moon with a 20mm lens?
– Very long focal length (30mm & longer) eyepieces provide very low power magnifications and are best for observing the largest deep sky objects and even terrestrial objects on almost all sized telescopes. It is very common that the atmospheric seeing conditions will allow you to use these eyepieces on a longer focal length telescope since they’re very low power.
Can you shoot the moon with a 55mm lens?
How to photograph the moon with an 18-55mm lens – We’ll be honest: it’s not easy to photograph the moon with an 18-55mm lens. You won’t be able to take the classic close-up shot of the moon in the sky because the focal length is too short. This is because longer telephoto lenses not only have farther reach but have the effect of compressing perspective.
So objects in your background appear closer, and bigger. With an 18-55mm you won’t get that effect, and the moon will be fairly small in your frame. But don’t fret: there are still some ways to get interesting images of the moon with your kit lens. As well as the focal length being too short, exposure will be an obstacle for you.
In the thick of night, there will be so much black sky in your frame that the moon will probably be an over-exposed white dot. To overcome this, you’ll want to photograph the moon with an 18-55mm lens just after sunset (or before dawn) when there is still a bit of light in the sky.
- There will be less contrast between the sky and foreground allowing you to capture detail in both.
- And because the moon will be fairly small in your frame, think about the surrounding environment and how you can include that in your composition.
- Maybe stage your shoot around an old cathedral or familiar landmark to give your moon shot some extra context or interest.
Shoot in manual mode and bracket your shots. Set your lowest aperture and increase your ISO (try starting at 800 and adjusting as necessary). You’ll probably need to adjust your settings until you find the right balance.
What to look for when upgrading your 18-55mm lens
Is a 70 300mm lens good for moon photography?
Which is the best Nikon lens to photograph the moon? If you have bought an entry level basic dslr, probably you didn’t have enough budget. So getting a AFP 70–300mm Dx will fit your budget and you will get satisfactory results in these settings 300mm f/11 or f/8, 100 ISO and 1/60 to 1/125 shutter speed.
What camera settings are best for moon shots?
The exact camera settings you need to photograph the moon can vary. However, you can generally capture the moon using manual mode with an exposure time (shutter speed) of 1/250th of a second, f/11 for the aperture (f-stop number), and an ISO setting (sensor speed) of 100 or 200.
What lens makes moon look bigger?
Step 1: Use a super telephoto focal length – Your choice of lens is the first step. The moon will always appear tiny if you shoot wide angle. On the other hand, the perspective compression effect of a super telephoto lens brings objects in the distance closer and makes them look larger than when viewed with the naked eye.
For this shot, taken before dawn as the moon was setting, I wanted to capture the full moon together with the snowy slopes in the foreground. So I chose to use a super telephoto zoom lens to have more flexibility with the framing. At close to 400mm, the moon appears big enough to command attention but doesn’t overpower the surrounding landscape.
Shot at 280mm The moon doesn’t appear as big at 280mm.
What lenses were used on the moon?
Hasselblad in Space Hasselblad and NASA’s journey together began in 1962 during the Mercury program. Prospective NASA astronaut and photography enthusiast Walter Schirra had his own Hasselblad 500C with a Planar f/2.8, 80mm lens. Knowing the high quality of the Hasselblad camera, Schirra suggested to NASA that they use a Hasselblad to document space since the previous camera model utilised delivered disappointing results.
- After buying a few 500Cs, a weight-loss program followed including removal of its leather covering, auxiliary shutter, reflex mirror, and viewfinder.
- A new film magazine was constructed in order to allow for 70 exposures instead of the usual 12.
- Finally, a matte black outer paint job minimized reflections in the window of the orbiter.
The streamlined Hasselblad would find itself in the payload for Mercury 8 (MA-8) in October 1962. The successful, high quality images that Schirra captured across his six orbits of the Earth would spark a new chapter in the history of Hasselblad and a long, close and mutually beneficial cooperation between the American space agency and the Swedish camera manufacturer.
- As NASA’s photo department grew rapidly, contact with the Swedish camera manufacturer broadened.
- In turn, Hasselblad modified and refined its cameras to make them even more suitable for space use, experimenting with different constructions and lenses.
- For many years, NASA was determined to cut every superfluous gram from the payload, meaning that the Hasselblads onboard were forced to be as lightweight and lean as absolutely possible and still maintain the famous Hasselblad quality.
And this they did. The images that the astronauts took with the boxy, black Hasselblads have become true classics. And the moments they captured were not just inspiring – they were historic. During the Gemini IV mission in 1965, for example, the first spacewalk was made.
- And with Hasselblad in hand, James A.
- McDivitt took a series of pictures of his space-walking colleague, Edward H. White.
- These pictures were quickly published in leading magazines around the world.
- People were surprised over the amazing sharpness of the photos produced by the Hasselblads.
- Most people probably didn’t give too much thought to the demands that space travel made upon the cameras and their reliability.
The cameras had to work perfectly under the most trying conditions, over 120° C in the sun, and minus 65° C in the shade. Not to mention the lack of gravity and a myriad of unknown hazards. And the cameras had to work with absolute consistency. Each and every shot was a historic treasure, a once in a lifetime opportunity that would never be able to be captured again.
- And time and time again, Hasselblad met the challenge.
- What could be deemed as one of the most iconic moments of Hasselblad in space was when the Apollo 11 mission successfully landed the Eagle on the Moon on 20 July 1969, signifying humanity’s first steps off our own planet.
- A silver Hasselblad Data Camera (HDC) with Réseau plate, fitted with a Zeiss Biogon 60mm ƒ/5.6 lens, was chosen to document the lunar surface and attached to astronaut Armstrong’s chest.
A second black Hasselblad Electric Camera (HEC) with a Zeiss Planar 80mm ƒ/2,8 lens was used to shoot from inside the Eagle lunar module. The HDC had never been tested in space before, adding to the pressure of this once in a lifetime moment. Would the one Hasselblad camera used to shoot on the lunar surface capture the results everyone was hoping for? Working perfectly under the extreme conditions of the lunar surface, the HDC produced some of history’s most iconic photographs.
- After the successful shooting on 21 July 1969, the Hasselblad was hoisted up to the lunar lander with a line.
- Securely removing the film magazines, both cameras with lenses were left behind on the Moon in order to meet narrow weight margins for successful return.
- The journeys home from the Moon made very special demands on what could return regarding weight; from Apollo 11 to the final Apollo 17 mission, a total of twelve camera bodies were left behind on the lunar surface.
Only the film magazines containing the momentous images were brought back. The resulting photographs captured the history of humanity in the making. As a passionate bird photographer, Victor Hasselblad wanted to create a camera that could capture the beauty of nature and easily fit in his hand.