Nikon 24mm F/1.4G ED AF-S Nikkor Brochure & Specs Download Page 18

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LN-1

lose-

Accessories

Auto Extension Rings PK and PN

Compact, lightweight and easy to
attach, these rings — PK-11A, PK-12,
PK-13 and PN-11 — offer a wide range
of reproduction ratios. They fit between
the camera body and lens either isolat-
ed or in combination.

ripod

ounting

pacer

AH-5 for the PC Micro-Nikkor
85mm f/2.8D

When using a tripod with the PC Micro-
Nikkor 85mm f/2.8D, the AH-5 provides
space between the camera body and
tripod for smoother tilt/shift operation.

hotographic

Attachment

for Fieldscope

This attachment lets you transform
Nikon Fieldscopes III/III A/EDIII/EDIII A
into an 800mm f/12.8 (1,000mm f/13.3
with the ED78/ED78A/ED82/ED82A)
supertelephoto lens.

ieldscope Digital SLR Camera Attachment

FSA-L1

Transform your Fieldscope into a
1,200mm* or 1,500mm* super-telepho-
to lens for Nikon SLR cameras and
take spectacular close-up images.

* 35mm-format equivalent

ens

oods

Lens hoods minimise stray light, help-
ing reduce flare and eliminate “ghost”
images; they also protect the lens.

ens

aps

Made of hard plastic, metal or leather,
these caps protect the front and rear
portions of the lens from dust,
smudges and scratches.
Front lens caps are available in the fol-
lowing attachment sizes: 52mm,
58mm, 62mm, 72mm, 77mm, 85mm,
95mm, 108mm. Rear Lens Cap LF-1 is
compatible with all lenses.

ens

trap

The Lens Strap LN-1 is easily
adjustable for carrying various tele-
photo lenses, even large, heavy ones,
comfortably on a shoulder.

ens

ases

Nikon lens cases keep your fine opti-
cal equipment safe from dust, damp-
ness and shocks.

Cylindrical Case (CL):

The hand-

some black leatherette finish is com-
plemented by soft, plush lining.

Trunk Case (CT):

A durable trunk

case is supplied with larger lenses
including fast supertelephoto lenses.

Soft Pouch (CL-S2~S4/M1/M2/L1/
L2):

Accommodates a variety of lens-

es of different focal lengths.

The maximum aper-

ture of the lens can determine how

and in what lighting situations you can
shoot. Aperture value is indicated by f-
number which can be expressed in var-
ious ways: f/8, F8 and 1:8, for example,
all refer to the same effective aperture.
Lenses with large maximum apertures

(smaller f-numbers) are ‘fast’ lenses that
allow photographers to use faster shutter
speeds in dim light. This minimises the
need for a tripod or flash, allows greater
depth-of-field control (see below) and
offers a brighter image through the lens
finder for easier focusing.

Lenses with smaller maximum aper-

tures (larger f-numbers) allow the use of
lower shutter speeds for available light
but are also lighter and smaller than
faster lenses. Nikon offers some
NIKKOR lenses with equal focal
lengths, but different maximum aper-
tures to give you a variety from which to
choose.

This term refers to the

areas of the photograph — both in front
of and behind the main subject — that
are acceptably sharp. You can adjust
depth of field by adjusting the lens
aperture. The smaller the aperture
(larger f-number) gives you a greater
depth of field. This means that shooting
at larger apertures like f/1.8 will make
the background appear blurred, while
using small apertures like f/16 or f/22

will result in a picture where
much of the scene is in
sharp focus.

Focal length is also impor-

tant, for the depth of field
decreases as the lens’ focal
length increases. Thus,
wideangle lenses offer inher-
ently more depth of field along the
entire focal length while telephoto lens-
es have less.

Selecting which lens to purchase is one of the most important decisions

you can make as a photographer, for the lens often determines both what and how you can shoot.

Below, we’ve outlined a range of technical factors to consider

when searching for the lens that’s right for you.

hoosing

the

right lens

—

ome

oints

onsider

Picture angle refers to the

view or image area the lens provides,
and different picture angles can dra-
matically affect the way you view the
world through your lens.

Basically, it is the focal length of the

lens that determines the picture angle
— the shorter the focal length, the wider

the picture angle and the smaller the
image size. A longer focal length
means a narrower picture angle and
larger image size. For example, a
50mm normal lens is so called because
it gives a 46˚ picture angle in 35mm
(135) format for images that are about the
same size with that of the human eye.

Accordingly, wideangle lenses offer

broader views and are the favourite
lenses of landscape photographers and
those who shoot in tight interior spaces.
Telephoto lenses pull in distant subjects
and scenes, for a narrower picture
angle that can provide dramatic close-
ups for many types of photography.

Perspective is a phenomenon

that is easier to understand by example
than explanation and is wholly deter-
mined by the camera-to-subject dis-
tance (see photos, above).

In short, perspective is the relative

size and depth of subjects within a pic-
ture; that is, how far the foreground and
background appear to be separated
from each other. If foreground objects
appear much larger than those in the
background — which occurs when

using wideangle lenses — this is called
exaggerated perspective.

Understanding the different perspec-

tives offered by different lenses will help
in choosing which lens to use to create
certain photographic effects.

Picture angle

Perspective

Maximum aperture

(f-number)

Depth of field

16mm

20mm

24mm

28mm