Wide Angle Lenses - Full Frame vs APS-C

I'm shooting on a crop sensor (30D) and using a Tamron 10-24 Di (poor quality, I must say) to cover my wide angle needs. I'm looking to upgrade my body and lens soon, but I need little help. I shoot real estate and to be honest the 10mm just isn't wide enough at times. Here are two issues I'm stuggling with:
Do I wait to get better glass until I upgrade to possibly a full frame body
How do the focal lengths of the Canon wide zooms compare to my 10-24
See, if I get a new lens now (Canon 10-22) then I'm essentially forcing myself to stay in the crop sensor body market. However, if I decided I will go with a full frame body, then I cannot use the 10-22, and should get something like the 16-35, which would not cover my current wide angle needs on my 30D. Dilemma.
Has anyone else fought this battle who can offer some advice & insight?
http://www.phoblography.org/

If you're serious about real estate photography, then you would be best served by getting a 17TS-E lens. This isn't as wide as 10mm on your existing sensor size, but you can shift-pano two or three shots together and get even wider if need be.
This way you would be spending your money on the glass which is most important here.
Then, if you like, you can pick up a cheap 5Dc or 5D2 and have the ideal FF/TS set up.
Unique Night Time Photography | Twilightscapes.com

Similar Messages

Wide angle lense problem...

Hi
I've just started shooting my film and have used a wide angle lense for some shots. Everything looked fine when I checked on the day of shooting. But when I just captured to FCE, there are small black areas on four corners, like a circle shape (as if the lense is covering) - is this because the lense wasn't put on properly? Is there a way of changing the format or cropping the video?
Thanks
Matt
iMac Intel Mac OS X (10.4.6) Final Cut Express HD

You can scale up the image a bit to hide it if you like.
The reason it's there in FCE is because you see all the picture. A TV or camera LCD was probably masking some of the image. That's why FCE has Overlays like Picture Safe and Title Safe, to judge what could be lost.
TVs will show less of the image than your computer screen. And not all TVs show the same amount of the image.
Try playing the Timeline to a TV/Monitor and see if the vignetting is hidden. Most likely it will.
Al

Lenses for full frame vs aps-c cameras.

101 question here- how does one differentiate the lenses between the full frame sensor cameras and the others? I come from the cinematography side, picked up a 6D for starters and am trying to figure out what the lens options are. Thanks

There are two sensor sizes in Canon digital cameras sold today (there was a third, but that's no longer offered.)
A "full frame" camera (like a 1D X, 5D III, or 6D) are so named because the physical size of the sensor is roughly the same size as a single frame of 35mm film. That's about 36mm wide by about 24mm tall.
An "APS-C" camera (all Rebel series, midrange bodies like 60D, and 70D, as well as the 7D) are so named because the physical size of the sensor is roughly the same size as a single frame of APS-C film (APS-C = Advanced Photo System - Classic size). This film was a little smaller than 35mm... the frame measures roughly 22mm wide by about 15mm tall. It has a 60% (1.6x) crop factor.
The EF-S lenses project an image circle into the camera body which is large enough to fill the size of an APS-C sensor, but will not quite fill the frame of a "full frame" sensor. You'd get vignetting and the image quality would degrade substantially near the edges and corners. But possibly even more important that that... a "full frame" mirror is physically larger and requires more clearance to swing clear of the light path when taking an exposure. The EF-S lenses have a shorter back-focus distance and the rear-most lens element is so close that the mirror would strike the rear-element. As such, Canon designed the mount of the full-frame bodies such that the EF-S lenses wont even mount flush to the body.
In short, Canon "EF-S" lenses will only work with Canon cameras that have APS-C size sensors (well.. with the single exception of the old EOS 10D which hasn't been made in ages.)
Canon "EF" lenses will work on every Canon EOS camera... film or digital... regardless of sensor size.
Tim Campbell
5D II, 5D III, 60Da

Can I correct for distortion caused by wide angle lenses using Apature - for instance in mountain photos?

I am using Apature 3.5.1 and want to correct for the (parallax?) effect, "tilting", created by wide angle lenes in mountain photos. Can I do this in Apature and is so how

Aperture cannot correct lens distortion you will need to resort to a plugin.
PTLens is used by a number of users here (myself included) with good results.

Does someone make a wide angle lense accessory for iPad video camera?

Would like to widen iPad video camera perspective when using Skype app. Looking for aftermarket product like Phocus, but for iPad video camera. Anything out there or do I need to develop a start-up myself?

There are a number of lens kits available that will work on the iPad, but I've never seen one that will work on the forward lense (which is what I assum you are looking for). Doesn't mean there isn't one however.
You might start here: https://www.google.com/search?q=iphone+lense&oq=iphone+lense&aqs=chrome..0j69i57 j5j0.5236j0&sourceid=chrome&ie=UTF-8#q=ipad+lenses&tbm=shop

T3i sensor size vs. full frame and how does that effect lens measurements?

I am new to both photography and the T3i camera. I have been reading Jeff Revell's book "Canon EOS Rebel T3i / 600D: From Snapshots to Great Shots". In chapter two he talks about "Lenses and Focal Lengths". In discussing wide-angle lenses he says
"As for which lenses would be considered wide angle, anything 35mm or smaller could be considered as wide."
Latter he discusses normal lenses and says
"The normal lens for full-frame and 35mm cameras is the 50mm lens, but for the T3i it is more in the neighborhood of a 35mm lens."
I understand that there is a 1 / 1.6 ratio between the T3i and a Full Frame camera. In the first quote does the 35mm refer to the T3i measurement or a full frame measurement?
Is there a standard nomenclature to indicate if you are specifying a "full frame" value verses the T3i value? If so, what is it?
When I look at one of my lenses, say the 18-55mm lens, is this the T3i measurement or the standard full frame?
Thanks in advance for your assistance.
--Jesse
P.S. I could not find a publisher’s forum for this book or I would have asked the question there.

Jesse-T3i wrote:
"As for which lenses would be considered wide angle, anything 35mm or smaller could be considered as wide."
In the first quote does the 35mm refer to the T3i measurement or a full frame measurement?
Is there a standard nomenclature to indicate if you are specifying a "full frame" value verses the T3i value? If so, what is it?
When I look at one of my lenses, say the 18-55mm lens, is this the T3i measurement or the standard full frame?
The fast answers are:
When he mentions the 35mm as the basis for determining what's "wide" he is referring to the APS-C crop-frame size sensor.
There is no nomenclature to indicate if you are "full frame" vs. "crop frame" on a lens because all lenses are reported in true focal lengths. There is a nomenclature to indicate if the lens was designed to only project an image circle onto the sensor which is large enough for "crop frame" ... which is what the "EF-S" lens is. If the lens is for "full frame" (which also works on all crop-frame) then it will have the designation "EF" for most lenses, but Canon also has a few specialty lenses such as the "TS-E" (tilt shift) and "MP-E" (macro photo) lenses which also provide full-frame sensor coverage. Incidentally... this is just Canon's way of tagging a lens... Nikon uses the terms "FX" and "DX" (for full frame and crop frame respectively). Everyone has their own tag. Just remember that focal lengths reported are true (well... there's a TINY bit of round-off allowed) and ignore the sensor size.
Here's the background which may help you understand why this is.
The "normal" focal length is based on the human eye, and to understand it, it's easier to think in terms of "angle of view" rather than "focal length."
If you sit and stare straight ahead without moving your eyes or head to "look around", there is an area of vision that the average person can see (and it does vary), but the "angle of view" for that area is about 40 degrees (horizontally). Of course our vision doesn't present our brain with a nice little rectangular image... it fades and is irregular, but it's generally accepted that the angle of view covers about 40 degrees.
The LENS that provides 40 degree angle of view coverage on a "full frame" camera turns out to be a 50mm lens. Images taken with such a lens will seem neither stretched out nor compressed... they'll seem "normal" to your brain. Also, if you can see an object without having to look around to take in the view, then your camera can "see" it with that lens.
A "full frame" camera is one which has a sensor size which is approximately the same as a single frame of 35mm film. The dimensions are roughly 36mm x 24mm.
There are many different crop frame sizes, but for DSLR cameras, the most popular (by far) is the APS-C size. This means the sensor is roughly the same size as a single frame for the "Advanced Photo System - Classic" film. You can think of this as being roughly 21mm x 14mm (although it varies by a just a few millimeters -- on your camera it's really 22.3 x 14.9mm).
If you were to use a movie projector and movie screen and you projected an image so that it fit perfectly on a 12' x 8' screen and called that "full frame", then a "crop frame" would be derived by shriking the movie screen down to about 8' wide by about 5-1/3' tall but (and here's the key) without doing ANYTHING to the movie projector. Essentially that means you're projecting an image intended to fit ona 12x8' screen... but the real screen is smaller. What happens to the part of the image that doesn't fit on the screen? It just spills off the sides and is lost. That is EXACTLY what happens inside a crop-frame camera.
Canon EOS "EF" lenses are designed to project an image large enough to fill a full-frame sensor ... so when used on a crop-frame camera some of that image just spills off the sides. This means that if your lens was providing a 40 degree angle of view (measured horizontally) then the crop-frame is only capturing the 26 degrees in the middle of it. If you want a 40 degree angle of view again... you'll need to change lenses.
And this is where your author suggests a 35mm lens is "normal" for a camera with an APS-C body. The math actually works out in the neighborhood of a 31mm lens, but nobody actually makes a 31mm lens... and a 35mm focal length (commonly available) is pretty close. Also 28mm lenses are commonly available and are ALSO pretty close. It's my personal opinion that 28mm is probably a bit more normal than 35mm, but that's because as an avid amateur astronomer, I am fairly used to looking through Plossl design eyepieces which provide a 50 degree apparent angle of view and my eye actually can see the edges of the frame, but if I go a bit wider... I can no longer see the edges of the field without "looking around" (regardless... 40 degrees seems to be the established norm and THAT is the value that everything is based on.)
For purposes of buying lenses, the focal lengths are NOT converted or adjusted in any way. For example, Canon makes "EF-S" lenses designed specifically to work with their crop-frame bodies. So when the kit lens that comes with the camera says it is a zoom with an 18-55mm focal length range... it really is 18-55mm regardless of sensor size. (Canon isn't multiplying or dividing focal lengths and putting a different value on the box just because it's intended for a crop-sensor camera.)
Hope this helps.
Regards,
Tim
Tim Campbell
5D II, 5D III, 60Da

Create lens profile for ultra wide angle lens

Hello,
I am trying to create a lens profile for the ultra wide angle lens Olympus 9-18 mm (Crop factor 2). As i use the lens for timelapse, i only need the profiles for 9 mm and open aperture f4, but combined with several different ND-filters which show different vignetting depending on their filter strength. Filters are oversized, so no influence by fringe. What i need is to get rid of vignetting.
So far everything works out well, and probably good enough for still photography. However for timelapse I need a high quality compensation of vignetting, otherwise getting flicker.
My problem is, that with the ultra wide angle lens distance from camera to chart (A3) is just about 0.5 meters. I did the shootings outside, in shade, when having a clear sky, and I found it quite impossible not to produce any shadow of myself or the camera on the chart. Thus I got a not perfectly even correction of vignetting.
Can anyone give me tips how to solve that problem with producing shade on the cart? Maybe working indoors with 2 lamps can create better results? Have tried that but found the illumination of the chart so damn poor.

I think your best bet is outside, with possibly a larger chart. (The two-light setup indoors is problematic esp. with wide-angle lenses.)
Instead of waiting for overcast, try waiting for a sunny clear day with a direct lighting from the sun on the chart, at a sharp angle (almost side-lit) so that the chart is clearly illuminated, but the shadow that the camera casts will be to the side (instead of on the chart itself).

Wide-angle lens for a wvc2300

Hello,
I have a WVC2300 in a small office. Even though I place the camera in the furthest corner of the room, I cannot see all that I want to see; this is with the lens that comes with the camera.
Is there another lens that I can use that will capture a wider angle?
Thanks

Hello Clifford,
The WVC2300 does support additional lenses including a wide angle lenses. The part number for the wide angle lense is
CAMLWA. Here is the link to the 2300 series camera upgrade parts: http://www.cisco.com/en/US/prod/collateral/vpndevc/ps6918/ps9692/ps9944/data_sheet_c78-528435_ps9944_Products_Data_Sheet.html
Hope this helps.
-john

Wide angle Lens

Im a total noob in Flash. I have absolutely no expeirence
with Actionscript. Im only an animator. Some day i will sit down
and learn it, but for now.. i dont.
Anyways, is there some way of using code to stretch or skew
the screen making it look like a wide angle lens.
Wide angle lenses are used for music videos, and often make
the results skewed, centering around one point.
If you could help a noob, that would be great.

Im a total noob in Flash. I have absolutely no expeirence
with Actionscript. Im only an animator. Some day i will sit down
and learn it, but for now.. i dont.
Anyways, is there some way of using code to stretch or skew
the screen making it look like a wide angle lens.
Wide angle lenses are used for music videos, and often make
the results skewed, centering around one point.
If you could help a noob, that would be great.

I have a EOS Rebel Ti film camera which I used for business years ago, 3 lenses, wide angle to

telephoto. Is there a market for these and do the lenses work on current digital Canon cameras?

Mike wrote:
Hi jonesy!
Thanks for the post.
All EOS cameras, both 35mm and film, have the Canon EF lens mount. Any of our EOS Digital SLR cameras will work with the same lenses you were using with your EOS Rebel Ti.
The reference to "all EOS cameras, both 35mm and film" is sure to confuse some people, especially if this is the first time they've heard of a full-frame Rebel. And as most owners of digital Rebels are aware, not all EOS cameras have the EF lens mount, which does not accept EF-S lenses.
So I'd put it this way:
"All EOS film cameras have the Canon EF lens mount. Since all of our EOS digital cameras can accept lenses disigned for the EF mount, the lenses you were using on your EOS Rebel Ti will work on any EOS digital camera."
Bob
Boston, Massachusetts USA

How do you create a full frame sequence to change it from wide to full

How do you create a new full frame sequence to change it from wide to full screen to burn a dvd? I tried creating a new project and importing the current sequence, but it imports the entire project with all the individual clips on the timeline, what is the practical way of doing this?
Thanks
Elio

Create a new sequence using "full frame settings" and then nest the widescreen sequence in the new sequence. Now scale the nested sequence to your satisfaction.
You will also find links to many free tutorials in the PremiereProPedia that will quickly show you how things are done in Premiere Pro.
Cheers
Eddie

Best reasonably priced wide angle lens does anyone recommend?

I have a 70d and would like to get much more from close up wide angular shooting, without breaking the bank.
Are there alternatives to a canon 10-22mm or 12-24 ( not sure if my specs are correct, no doubt someone will put me straight!) , sigma...tokina..etc..?

The Canon EF-S 10-22mm is hard to beat. It's an excellent lens, well corrected, fast focusing, nice color renditions, super sharp, very good flare control (better than any other ultrawide I've seen). The only thing I'd tick as a negative is the lens hood is quite large... still, after testing I wouldn't be without it.
Tokina AT-X 12-24mm is the lens I rank second. It's also good in all respects, might even be better built (reminds me very much of a 17-35/2.8 L I had). It is not quite as sharp as the Canon and not quite as good handling flare. But still is excellent and better than most. It's also on sale right now (there's a new model out).
The Tokina 11-16mm is a popular lens for those who feel they need an ultrawide with f2.8 aperture. It's the only one that offers that. It is very sharp, close to or maybe even sharper than the Canon. However, it's quite prone to flare. Some people have no problem with that... Others have told me they ended up getting a different lens instead, because of the flare issues. I guess it depends upon what you shoot and how you shoot it, but flare can be an issue with lenses that cover a very wide angle of view. It's also a significant trade-off to get to f2.8, that this lens only has a very narrow range of focal lengths. All other ultrawides are at least 2X zooms. 11-16mm is only 1.45X.
Tokina has a new 12-28/4 out now, too... I have not used or compared it.
These three Tokinas and two Sigmas offer non-variable aperture design. All other ultrawides have variable apertures. This may or may not matter to you. I think the main place where variable aperture may be an issue is if using manual flash or studio strobes a lot. Variable aperture isn't a big deal for most.
Sigma offers a number of ultrawides. Their most affordable is a 10-20mm with a variable aperture. It's a decent lens that a lot of people find fine. I tried out an earlier version and decided I liked the Tokina better, so bought that instead (I now also have the Canon 10-22mm). Main thing I noticed was slightly less sharpness and more flare. But, do note that this lens has been revised once or twice since then and newer versions might improve upont this.
Sigma also offers a 10-20mm f3.5 with a non-variable aperture. It is quite large, heavy and more expensive. I have never used it.
SIgma also offers the widest of the wide... an 8-16mm. I haven't used it. It has strong, inherent wide angle distortion effects (almost as much as a fisheye lens). But that's to be expected with such an extreme lens.
There is a Sigma 12-24/4, too... but it's actually a full-frame capable lens (widest of the wide for FF, in fact), which makes it larger, more expensive and less well corrected. Not necessary for a 70D with it's APS-C crop sensor.
Finally, there is a Tamron 10-24mm. It's been many years since I tried one, but I seem to recall it was a bit soft in the 18-24mm range and didn't seem as well made as some of the others. It has been one of the more affordable and offered the widest range of focal lengths in a single zoom.
There aren't many prime lenses that are truly wide on a crop sensor camera. The only fairly affordable one that comes to mind is the Rokinon/Samyang 14mm f2.8. It's a manual focus, manual aperture lens that's full frame capable, but just barely gets into the ultrawide category for crop sensor cameras too. Sells under a bunch of different brand names, besides Rokinon or Samyang you'll also see it as a Vivitar (they call it a 13mm), Bower, ProOptic... maybe some more.
Most other ultrawide primes tend to be quite pricey (Canon's own 14/2.8L, Zeiss 15mm, for example).
You'll have to define what "best" means for you. All ultrawides have different pluses and minuses. You'll also have to decide what you consider "affordable". Have fun shopping!
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
FLICKR & PRINTROOM

Time to upgrade to Full Frame

Team,  I currenlty own a 70D and a T3i with a bunch of EF-s lenses. My question is wether to upgrade to a couple of L lenses or upgrade to a full frame camera. Ideally I love to have a Mark III but a 6D is more realistic.   My budget is about $3500 I do real estate photography with some portrait side gigs on the side, no weddings or big projects.  Will it make sense to keep my 70D with some prime lenses for portrait photograpy? or go full frame is there much of a difference if i used a 70-200 2.8L lens on a 70D then a 6D?  your help and expertise is greatly appreciated.

Unless you want to get into really high end real estate photography, I'd suggest you stick with your 70D for now and start gradually changing your lens line-up, with a goal to build a system that will eventually allow you to add a full frame camera to use alongside the crop sensor camera. There are advantages and limitations with both sensor formats. I use both crop sensor and full frame cameras (a pair of 7D and a 5DII in my case, right now). I prefer the crop camera for sports/action and anything requiring longer telephoto lenses. And I like the full frame for landscape, architecture, portraiture and sometimes for macro work. One of the reasons I choose the full frame for portraiture is control over depth of field. Now, DoF is governed by lens focal length, working distance and lens aperture.... it doesn't actually change due to different sensor formats. However, in order to frame a subject the same way with a full frame camera, it's either necessary to use a longer focal length or move closer to the subject, or a little of both. Changing either distance or focal length will tend to render shallower depth of field. Conversely, full frame cameras can use smaller apertures before diffraction becomes an issue, so a FF also has some advantage for macro work or for landscape/architecture where great DoF is often wanted.  In generaly, there's a bit less lens selection for FF, though it's still quite extensive in the Canon system. This is because a FF camera can only use EF lenses, while your crop sensor 70D and my 7Ds can use both EF-S/crop-only and EF/full-frame-capable lenses. Also in general lenses for FF cameras will be larger, heavier and more expensive. It's most noticeable with telephotos, of course, but to some extent is true even with wide angle. IMO, on 70D a 70-200mm is a bit long for a lot of portraiture work. My most prefered lenses for portraits with a crop sensor camera are 50/1.4, 85/1.8 and 24-70/2.8. On full frame, my most frequently used portrait lenses are 85/1.8, 135/2, 70-200/4 and 70-200/2.8. Sure, there are times that wider and longer lenses can be useful for certain types of portraits. But these are what I use most often and feel are the most basic or "traditional" focal lengths for the purpose. Short telephotos generally render the most ideal perspective for portraits. Also, I mostly shoot candid portraits, not posed. Because that often means working with less than desirable backgrounds, I prefer larger aperture lenses that allow me the option to blur down distractions behind (and sometimes in front of) the subject. If shooting in studio or more posed at a planned location, with more control over the background and other elements, it would be different and large aperture lenses would be less necessary. Real estate photography work often calls for a wide angle and a lot of depth of field. With your crop camera, the EF-S 10-18mm you've got probably sees a lot of use. If you were shooting full frame, you'd probably want EF 16-35/2.8 or EF 16-35/4... or EF 11-24/2.8 (but that would use up most of your budget and not leave room to buy a camera to use it on). Tilt shift lenses such as the TS-E 17/4 and TS-E 24/3.5 II are also top choices for architectural photography. Compare size, weight and prices. Also, if you use filters a lot, some require larger (16-35/2.8 II uses 82mm) and the TS-E 17/4 and EF 11-24/2.8 both have stongly convex front elements that won't allow standard screw-in filters to be used at all. There aren't many truly wide lenses for crop cameras that are also FF compatible. The EF 11-24/2.8 is one of very few. The EF 14/2.8 II is another. So, to use the crop camera for wide angle shots, you'll probably want to keep at least one or two EF-S/crop only lenses. The EF-S 10-22mm is an older lens than the EF-S 10-18mm, but is a little better built and with more edge-to-edge image sharpness... it's one of the best ultrawides made by anyone... but costs about 2X as much. If it were me, I'd prefer the Canon EF-S 17-55/2.8 IS USM over the Sigma 17-70... but once again this is a "crop only" lens. For dual format purpose, one of the 16-35mm or the EF 17-40/4 might replace it better and be able to serve on both camera formats. I use a little longer 24-70 and 28-135 as my "walk around" or mid-range zooms.    6D is a nice camera and, compared to 70D, would be desirable for very large prints or for low light/high ISO shooting situations. That's because full frame images need less magnification for enlargement and use bigger pixel sites that capture more fine detail, both of which allow for bigger prints. Not that you'd notice much difference with 13x19 or smaller prints. And certainly you wouldn't be able to tell any difference at Internet resolutions if a lot of your stuff ends up on websites. Because the FF camera's 20MP sensor is so much less crowded than the 20MP crop sensor, there is less heat and less cross talk, making for cleaning or less noise in very high ISO images. The difference would be most noticealbe at ISO 1600 and above.   The 70D has a more sophisticated and versatile AF system, except that the 6D's can still manage to focus in one or two stops lower light (center point only). 70D has 19-point AF that's similar to original 7D, active matrix focus screen, and zone focus in addition to the all points/auto and single point/manual focus patterns offered by all Canon DSLRs. The 6D only offers the last to focus patterns, doesn't have zone, and it has a fixed (but interchangeable with a few types) focus screen. 70D's active matrix focus screen makes possible the camera's "grid on demand" feature that can be turned on or off via the menu, and which can be quite handy when shooting architecture inside or out. With 6D you can get similar grid in the viewfinder, but to do so would need need to swap out with a separately sold, accessory "D" type focus screen. In 70D all nineteen AF points are the more sensitive dual axis/cross type, with the center one enhanced for f2.8 and faster lenses. 6D's eleven AF points have only one dual axis/cross type... the center point... while all the others are single axis type. Either camera's AF system is probably more than adequate for what you say you shoot primarily. If you were shooting sports/action/wildlife/birds, the 70D's AF system would likely be more ideal, though... so I'd rate it as more versatile. The 6D's would be a better choice for low light work, though. 70D also has articulated LCD screen and built-in flash, while 6D has neither of those features. The 70D and 6D share batteries, chargers, memory and have mostly similar control layouts, always nice when using two different cameras interchangeably for various purposes. So, if it were me, I'd probably keep shooting with the 70D and work on lens upgrades first, then add the FF camera later. But that's just me. Your needs might be different and call for another approach. ***********
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
FLICKR & EXPOSUREMANAGER

Would a Wide-Angle Lens work here?

Hi, everyone! This is my first post and excuse my ignorance but I need to see if you guys could help me with something. I just bought a T3i and I have no photography or video production experience but I'm really interested in getting my feet wet in both fields.
But anyway, I have a tripod and want to film my brother and I playing tennis. I always set the tripod up from a considerable distance but if we set it up in the middle we can only film one side of the court. Would a wide-angle lens be able to film both sides of the court at once?
Solved!
Go to Solution.

Look online for sample photos illustrating angle of view.
You could get a 180 degree fisheye lens and sit it right at the net, but all objects other than those right by the lens will appear pretty small. Fisheye lenses also have fairly strong curvature effects. Also, there are two types of fisheye lenses... one type renders a full frame, rectilinear image, while the other type renders a round image.
While fisheye focal lengths appearsimilar to ultrawide lenses, at any given focal length actually a fisheye gives wider AOV than a non-fisheye lens. Canon now offers an 8-15mm fisheye zoom for example. But since it's designed for full frame cameras, it won't be as wide on your crop sensor camera (I don't have exact specs for it on a crop sensor camera, only full frame specs are listed). Tokina offers a 10-17mm fisheye zoom designed specifically for crop sensor cameras, and as such it can render 180 degree angle of view on your camera.
A non-fisheye ultrawide lens will have less curvature distortion, but will still have some at the extremes and also will have less wide angle of view. For example, the EF-S 10-22mm is the widest available Canon lens, giving 107 degree AOV at the 10mm setting. The widest non-fisheye lens made by anyone for use on your camera is the Sigma 8-16mm, which gives a 114 degree AOV at it's widest. With these ultrawide lenses, perspective distortion will still exaggerate perspective, making more distant objects look very small in comparison to closer ones... though it won't be as extreme as it is with a fisheye lens.
If this is a one-shot deal and the fisheye appeals to you, because a fisheye is a fairly specialized lens and you may want look into renting a lens for the purpose. An ultrawide non-fisheye such as the Canon 10-22mm is often more widely useful, so might be something you'd find a lot more use for in the long run, and want to purchase instead of renting.
Alan Myers
San Jose, Calif., USA
"Walk softly and carry a big lens."
GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
FLICKR & PRINTROOM

I own a t2i and am will be going to Switzerland, is it worth it to get a full frame camera,opinions?

I am a novice photographer in training, I am planning a once in a life-time trip to switzerland and want to get the most out of the landscape/mountain shots that I can.
Any opinions on whether my t2i will suffice, or how to make the most of this camera, a certain lens mm etc. (ofcourse I do not want to buy a lens that is above the t2i's paygrade)
or
get a full-frame camera with a high caliber lens, L-wide angle stuff etc.
Thanks for your consideration.
Randal

If you have to ask the question, then the biggest thing you can do to improve your photography is to practice with what you have. You most certainly do not need to move to full frame to get great trip photos, especially if you’re talking about landscape photography. If you really feel the need to buy some stuff then I’d recommend a decent lens. But honestly, and not to be critical, but based off the jargon in your post you don’t know your way around a camera all that well. You can’t just buy a fancy lens and expect it to produce award winning photographs. At this stage in the game technique will do far more than technology.
Make sure you have a decent range covered (e.g. 18 mm to 250 mm) and just go have fun. Shoot in RAW so you can fix (some of) your mistakes after Practice as much as you can before hand and learn to use the semi-auto functions like Av. Make sure to not only take practice pictures, but review and edit them… you learn the most from your mistakes. Try to make the mistakes before the trip. As someone who bought his first dSLR before a year long backpacking trip around the world, I wish I had the time to follow this advice beforehand.

Wide Angle Lenses - Full Frame vs APS-C

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