Nikon AF Nikkor 50mm f/1.4D Broşür ve Teknik Özellikler - Sayfa 18
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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.
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right lens —
the
consider
to
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.
F
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
is
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
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