Lenses, Field of View, Distortion and Compression

Depending on the mm of a lens, it will have a different Field of View. The chart below shows that a 24mm lens gives you an 84-degree view of the scene, whereas a 50mm lens only gives you a 46-degree view. Zoom lens, of course, allows you to vary the field of view. As the field of view widens, you may begin to see distortion, and it is narrowed you may see compression.

Fujifilm has an informative site that allows you to experiment with different lenses while looking at the same scenic view. You can access this by clicking on the following link.
http://fujifilmxmount.com/comparison/en/test-our-lenses/. 

The chart below gives you a quick look at the different fields of view.

Courtesy of Rob Will

The following Charts give you an idea of how compression is experienced. Here the photographer has moved forwards and backwards to keep the main subject the same size and proportion in the frame. You will notice in the 90mm lens how much closer the cars are in the background, this is compression. Often photographers will talk about how flattering compression can be when taking a portrait. Wide angle distortion, on the other hand, tends to have the opposite effect when taking portraits.

Details available on Mark Galer’s website

Mike Mander on Wide Angle Lenses

In this article written in the fall of 2023, Mike Mander outlines what things you need to consider when contemplating lenses wider than 24mm.

Mike-on-Wide-Angle-lensesDownload

The 35mm Lens

The 35mm lens sits between the 50mm and the popular 24mm lens, offering a wider angle with much less distortion. This lens is often referred to as the street photographer’s lens. To some degree, this allows you to photograph in the street without having to back up to get what you want in the frame. So what are its other advantages?

  • The lens allows you to get closer to your subject, where you are more likely to see people’s expressions and make connections. Some may find this uncomfortable, while others find the engagement enhances their images.
  • When photographing people, the increased angle allows for more of the surrounding environment or context to be included in the frame.
  • The angle is not so acute as to create unwanted distortions of the subject, whether it be people or buildings.
  • This field of view is simpler to manufacture than other lenses, keeping the cost low, quality higher and the lens faster.
  • Depth of field is not as shallow as th 50mm lens or higher, allowing for more context to be in focus. This focal length often means a lower f-stop, which provides for the ability to isolate a subject better when that is warranted, than a wide-angle lens.
  • It is an excellent travel all-purpose lens if one wants to keep a simple kit while in transit.
  • The lens tends to be smaller than a wider lens or telephoto lenses, making the camera more discreet, easier to carry, and less intrusive.

Zoom Lenses

The primary quality difference between prime and zoom lenses is that the former tends to be simpler in construction and usually has a lower f-stop. So there can be a reduction in image quality, especially if the zoom lens has a complex internal structure. Over the years, however, the optics of zoom lenses have improved significantly, and with a good zoom lens, the quality difference might be difficult to see. A two-times zoom lens, meaning the focal length is doubled by the lens, such as a 75-150mm or a 100-200mm, is the most straightforward design and will likely have a lower f-stop and better quality. A more complex lens, such as an 18-200, would have 11 x change in focal length (200/18 = 11.1). This complexity required to maintain sharpness throughout the lens range often means compromises in the f-stop and corners of the frame. So, when considering a zoom lens, I would consider a two-time lens first unless finances or weight become problematic.

Lens Size, F-stop and Cost

The lower the f-stop on a lens, the less likely it will be necessary to lower the camera’s speed to the point where a tripod is essential. A steady camera could produce a sharp picture in the past without using a tripod 1/60. The invention of stabilization and then “In Body Image Stabilization “(IBIS) made it possible to use much slower speeds. Thus reducing the need for lower and lower f-stops on a lens. The problem with lenses with lower f-stops is that they tend to be much larger and more expensive, making it more challenging to finance and carry around. A simple size illustration might compare the Sony 24-50 f-2.8 ($1499) and the Sigma 28-45 f-1.8 ($1899.95). You can see the striking difference in size in the illustration below. A camera with IBIS in it could mean less money spent on lenses and a lighter camera kit.

References

Replacing an Epson 3880 Pro Printer

I was printing for the September 2023 show and went to download the ICC profile for my Epson 3880. I discovered that the printer was discontinued and that the ICC profiles are no longer compatible with the Mac operating system. The printer first came out in 2011, so it is a little long in the tooth and may have been discontinued sometime in 2015.  I should have been looking for a replacement some time ago, as the P900 came out in the fall of 2020. I print on thick cotton papers, preferably hot press bright, so a new printer must handle these papers easily.

After studying the Epson website, the illustration below shows the printers I might consider for 17″ and 24″ prints. You can see from the lineup there have been some significant improvements in pigment and, therefore, colour output compared to the 3880.

If I want to continue to have a maximum width of 17 inches, the P900 would appear to be the 3880 replacement. There would be no black switching with this printer, and the gamut has been improved, with one additional pigment, violet, but it is not listed as a Fine Art Printer. I suspect the colour array in the P5000 is considered Fine Art by Epson, but reviews seem to indicate the quality is very close. It is a larger printer than the 3880 and considerably heavier at 114 pounds, compared to the P900 at 35.5 pounds. If I considered moving to a width of 24 inches, at $4795 and 223 pounds, I would have to rearrange my home to fit it in. So 24 inches looks pretty impractical. This leaves me looking at the two 17-inch printers.

One first notices the pigment difference when comparing these two printers. The P900 array now has one more cartridge than the 3880, Violet. The P5000 has a significant change with the addition of orange and green. According to discussion groups, many photographers feel the increase in colour quality with the P5000 is worth the extra cost. The P900, however, is a new printer, which means the colour science is newer and likely a more recent version of what is in the P5000, and the latter does not support smaller sizes or things like cards, which the P900 does.

The P5000 is more of a commercial printer than a small studio printer and is designed for constant use rather than occasional use. Which means it would not be great for studio use. It is also just over a hundred pounds, making it difficult to move, unlike the 35 lb P900, which could easily be moved and comfortably sit on any desk. The P5000, unlike the P900, still has the problem of ink switching when changing blacks, which takes time and wastes ink. In addition to this, the resolution of the P900 is higher.

The video below will go into more detail if you need it.

Keith Cooper’s Review

Conclusion

The Epson P900 is likely my best decision for a high-quality art printer suitable for studio use and printing on cotton art papers.

13 by 17 Printing

If you are more interested in printing at 13 by 19 inches, then the P700 might be of interest; it is virtually identical in image quality and flexibility. Although it is the same weight, it is considerably smaller.

References