Nikon 24mm F/1.4G ED AF-S Nikkor Broşür ve Teknik Özellikler - Sayfa 18

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Nikon 24mm F/1.4G ED AF-S Nikkor Broşür ve Teknik Özellikler

Choosing

some points

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.

16mm

20mm

24mm

105mm

135mm

180mm

Picture angle

Picture angle refers to the

the picture angle and the smaller the

view or image area the lens provides,

image size. A longer focal length

and different picture angles can dra-

means a narrower picture angle and

matically affect the way you view the

larger image size. For example, a

world through your lens.

50mm normal lens is so called because

Basically, it is the focal length of the

it gives a 46˚ picture angle in 35mm

lens that determines the picture angle

(135) format for images that are about the

— the shorter the focal length, the wider

same size with that of the human eye.

20mm

50mm

Perspective

Perspective is a phenomenon

size and depth of subjects within a pic-

that is easier to understand by example

ture; that is, how far the foreground and

than explanation and is wholly deter-

background appear to be separated

mined by the camera-to-subject dis-

from each other. If foreground objects

tance (see photos, above).

appear much larger than those in the

In short, perspective is the relative

background — which occurs when

Maximum aperture

The maximum aper-

(smaller f-numbers) are 'fast' lenses that

(f-number)

ture of the lens can determine how

allow photographers to use faster shutter

and in what lighting situations you can

speeds in dim light. This minimises the

shoot. Aperture value is indicated by f-

need for a tripod or flash, allows greater

number which can be expressed in var-

depth-of-field control (see below) and

ious ways: f/8, F8 and 1:8, for example,

offers a brighter image through the lens

all refer to the same effective aperture.

finder for easier focusing.

Lenses with large maximum apertures

Lenses with smaller maximum aper-

Depth of field

This term refers to the

will result in a picture where

areas of the photograph — both in front

much of the scene is in

of and behind the main subject — that

sharp focus.

are acceptably sharp. You can adjust

Focal length is also impor-

depth of field by adjusting the lens

tant, for the depth of field

aperture. The smaller the aperture

decreases as the lens' focal

(larger f-number) gives you a greater

length

depth of field. This means that shooting

wideangle lenses offer inher-

at larger apertures like f/1.8 will make

ently more depth of field along the

the background appear blurred, while

entire focal length while telephoto lens-

using small apertures like f/16 or f/22

es have less.

right lens —

the

consider

28mm

35mm

50mm

210mm

300mm

600mm

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.

200mm

400mm

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.

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.

Shallow depth of field (f/2.8)

increases.

Thus,

Great depth of field

(f/16)

ACCessories

for

NIKKOR Lenses

Close-up

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.

Spacer

Tripod Mounting

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.

Photographic

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

Lens Hoods

Lens hoods minimise stray light, help-

ing reduce flare and eliminate "ghost"

images; they also protect the lens.

CL-L1

CL-M2

CL-M1

Lens Caps

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.

Lens Strap

The

Lens

Strap

LN-1

easily

adjustable for carrying various tele-

photo lenses, even large, heavy ones,

comfortably on a shoulder.

Lens Cases

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.

LN-1

CT-F1

CL-S2

CL-S3

CL-S4

CL-L2