Jerico June C.

Gazil DO64: FORENSIC PHOTOGRAPHY

A18-26284

TYPES OF LENSES AND HOW THEY ARE USED

Lenses are one of the most important considerations in photography. The lens you choose for each
shot can dramatically change your results; its best to know how all the types work so you can make
more informed decisions as a photographer in various situations.

WIDE ANGLE LENSES

Wide angle lenses, are identified by the bulbous shape to the glass front of the lens. They are loved
by landscape photographers the world over. A good lens should include high quality glass, have a low
corner distortion rate, where a falloff in sharpness in the corners is minimal, and versatile features
such as Image Stabilization (IS). Ideally they should also include a lens hood to minimize lens flare,
when shooting into light or the sun. Generally the heavier a wide angle lens the higher quality of the
glass used in manufacture, and the better the lens overall.

Photo by 45SURF Hero’s Odyssey Mythology Photography; ISO 100, f/22.0, 1/40-second exposure.

FISHEYE LENSES

Fisheye lenses are amazing bits of glass. With the bulbous element protruding from the housing of
the lens, they are quite fragile and easy to scratch. They can’t be protected by a UV filter; instead,
use slip in gelatin filters in the rear of the lens. Find one thats fast–f/2.8 or f/3.5–like Sigma’s 8mm.
Look for edge to edge sharpness, as well. Again, price will dictate quality. These are great for fitting
the whole world into one shot–almost literally–with most providing a full 180 degree view! Expect to
pay between $1K and upwards of $3K for top end fisheye lenses.
 Photo by Jamie Dobson; ISO 250, f/20.0, 1/4-second exposure.

TELEPHOTO LENSES

Telephoto lenses are probably the most popular of all lenses. They are perfect for portrait and wildlife
photography, as they offer a closer view to your subject, and in doing so, keep distortion low. Faster
lenses with some type of stabilization are best. Look for stats such as f/2.8 or similar with IS or OS.

Photo by Rodney Campbell; ISO 250, f/9.0, 1/400-second exposure.

MACRO LENSES

Macro lenses, often used for focussing on finite detail in very small objects, are usually high quality
lenses that are well manufactured. Find a lens with a fast maximum aperture of f/2.0 or f/2.8, if
possible. You’ll pay more, but your ability to experiment with selective focus will be much greater.
 Photo by Desirae; ISO 400, f/10.0, 1/200-second exposure.

TILT SHIFT LENSES

Tilt Shift lenses are high end and ideal for correcting camera perspective caused by angling upwards
or downwards, which results in a “leaning in or leaning out” type distortion. The frontal lens element is
shifted to oppose the tilt of the camera. Usually not wider than 90mm, expect to pay upwards of $2K
per unit, but it’s well worth it.

Tilt Shift lenses can also be used to create a miniature effect This effect mimics the extremely limited
depth of field by fast, shallow depth of field lenses and can be used to incredible effect.

Photo by Ian Carroll; ISO 100, f/1.8, 1/125-second exposure.

GLOSSARY OF LENS TECHNICAL TERMS

Aperture: The front opening of a lens through which light enters.

Aperture f-stops: The unit of measure that controls both of field and the amount of light entering the
camera. Settings are f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, f/32, f/45, f/64.
Back focus: Lens focus error where focus lands behind the intended subject.
Bokeh: Out of focus blur effect that helps separate your subject from background. Often used to
create a miniature effect.
Chromatic aberration: The failure of a lens to focus all lightwaves to a single point. Often results in a
purple or violet edge along objects in high contrast situations.
Constant aperture: Zoom lenses that have the same maximum aperture at all focal lengths.
Crop factor: Created by the use of sensors smaller than 35mm film where only the center of the
image is captured. Example: a 100mm lens on a 1.5x crop camera will have a field of view equivalent
to 150mm.
Depth of field: The measure of focus where the front edge of focus through to the back edge or final
focus point lands.
Deep: Little/no background blur achieved through small apertures (f/16, 22, etc.) common for
shooting landscapes.
Diffraction limit: The point where lenses get soft at extremely small apertures.
Digital specific lenses: Lenses designed specifically for the smaller sensors of digital cameras.
Often identified by DC (Digital Cropped) on the lens.
F-stop: Refers to aperture and ISO adjustments that halve or double the required time of exposure.
Fast: A general term used for a large aperture lens, fast lenses are ideal for shooting quick action.
Often f/2.8 or f/2.
Focal length: The physical length, in millimeters, a lens requires to bring the light to a focus point.
Identified in mm on the lens, such as 18-200mm.
Focal ratio: The relationship between aperture and lens focal length. It is found by dividing the focal
length by the aperture. Commonly referred to as the “f-number”. Example: f/2.8.
Front focus: Lens focus error where focus lands in front of the intended subject.
Full frame lenses: Lenses suited to cameras with full frame sensor (the same size as 35mm film).
Often identified by DG on the lens.
Full time manual focus: Seen in sonic motor lenses, the ability that allows the photographer to
manually focus the lens while still having the lens in autofocus mode.
Image stabilization: Compensates for camera shake commonly seen with slow shutter speeds, it
can be either lens or camera body based and is ideal for stationary subjects.
ISO speeds: Controls the sensitivity of your camera and its ability to see in the dark. the higher the
number, the more sensitive to light, therefore the more your camera can see in the dark. Speeds are
100, 200, 400, 800, 1600, 3200, 6400, 12,800, 25,600.
Micro focus adjust: A recent innovation that allows the photographer to fine tune focusing of the
camera to compensate for a front or back focusing lens.
Micro-motor: A tiny motor inside utilizing gears inside a lens used for autofocus purposes that is not
capable of full time manual focus.
Motion blur: Seen at slow shutter speeds, blur caused by the motion of photographic subjects.
Prime lens: A fixed focal length lens.

Photo by Cohen Van der Velde; ISO 100, f/9.0, 1/800-second exposure.

Shallow: Much background blur achieved through large apertures (F4, 5.6 etc), common in portraits.
Sharp: The term for a lens that produces extremely clear pictures with much fine detail.
Slow: A general term for small aperture lenses Often F4.5-F5.6 of F5.6-F8.
Soft: Refers to a lens where images look slightly blurry because of optical issues. All but the highest
quality lenses tend to be a little soft at maximum aperture.
Stopping down: The term for closing down the aperture of a lens.
Telephoto: Long photographic lenses used for capturing distant subjects.
Ultra Sonic Motor: Autofocus motors characterized by fast, silent operation that is also capable of
full time manual focus.
Variable aperture: A lens where maximum aperture changes throughout the focal length, always
getting slower at longer focal lengths.
Wide open: The term for a lens being used at maximum aperture.
Zoom lens: A lens with a varying focal length.
Zoom ratio: The relationship between a zoom lens’s minimum and maximum focal length. Most pro-
grade lenses have a 4x ratio or less. Example: a 12-24mm lens has a 2x zoom ratio.
About the Author:
Steve Rutherford (photographicfanatic dot com) is a photographer with a publication based in
Australia.

Reference:
Ruthford, S. (2019TYPES OF LENSES AND HOW THEY ARE USED. https://www.picturecorrect.com/tips/types-of-lenses-
and-how-they-are-used/
TYPES OF CAMERA LENS

There are dozens of different types of lens available, designed for use in a wide range of circumstances.
However, they can largely be grouped as follows:

STANDARD LENSES

A standard lens is one with a mid-range focal length, typically around 50mm. They have an angle of view
which is roughly the same as the angle that the human eye can comfortably view, meaning that they produce
images which appear "natural" to the viewer.

Standard camera lenses usually have a fixed focal length and wide aperture, giving them excellent performance
in low light. They are popular for a wide range of photography subjects, including landscapes, portraits, and
candid shots.

MACRO LENSES

A macro lens is one designed especially for close-up photography. They have a different internal construction
from normal lenses which gives them very good sharpness and contrast, meaning that they produce some really
eye-catching photos.

Macro lenses are useful for photographing any subject at very close range. Typical subjects include insects,
animals, and plants, but they are also popular for taking extremely detailed photos of everyday objects.
TELEPHOTO LENSES

A telephoto lens has a long focal length and provides a high level of magnification, allowing you to photograph
subjects at a moderate to far distance. They tend to be bigger and heavier than other types of lens, although
modern technological advances have made them more compact and easier to handle.

Telephoto lenses are popular for any type of photography where you can't get near to the subject, including
wildlife and sports events. They are also commonly used in portrait photography, where a moderate telephoto
lens will provide a natural, undistorted perspective.

WIDE ANGLE LENSES

A wide angle lens is one with a short focal length. They provide an angle of view beyond that of a standard lens,
allowing them to capture more of the scene in a single shot. Extreme wide angle lenses are known as fisheye
lens; these can capture around 180 degrees, making for some intriguing, almost abstract photos.

Wide angle lenses are useful for photographing landscapes, cramped interiors, and other subjects which won't
fit into a normal lens's field of view. Fisheye lenses take this even further, and are popular for photographing
action sports like skateboarding and surfing, where their inherent distortion gives photos a dynamic feel.

SPECIALIST LENSES

Finally, there are a number of specialist camera lenses which cater for less common photography needs. These
include tilt and shift lenses for perspective control, soft-focus lenses for portrait photography, and infrared
lenses for capturing light outside the normal spectrum.

A specialist lens is used to produce some sort of special or creative effect, and so they have limited use in
general photography. However, they can be very useful if you need to photograph a particular subject in a
particular way.
KIT LENSES

Many entry-level SLRs come bundled with one or two lenses, often called "starter" or "kit" lenses. These are
good for getting you up and running quickly but they are generally very cheap, slow lenses with poor image
quality.

A kit lens is great for getting to grips with your camera and figuring out what focal lengths you like using, but
you should consider replacing it when your budget allows.

FOCAL LENGTH

The most important factor in any camera lens is its focal length. This determines which type of lens it is, and
what subjects it will be able to photograph. Focal lengths range from just a few millimetres up to over a metre,
and can be loosely grouped as follows:

Focal Length Lens Type Common Subjects

Ultra wide angle Wide panoramas and skyscapes,

8mm - 24mm (fisheye) artistic

24mm - 35mm Wide angle Interiors, architecture, landscapes

35mm - 85mm (50mm

common) Standard General purpose

85mm - 135mm Short telephoto Portraits, candid

135mm - 300mm Medium telephoto Close sports, action

300mm+ Super telephoto Far sports, wildlife, nature, astronomy

Lens focal lengths, types, and uses

CROP FACTOR

Lens focal lengths are specified for a camera with a "full-frame" 35mm sensor. Most consumer DSLRs and all
compacts use a smaller sensor, and this has the effect of cropping off the edges of the photograph, resulting in
an image which is more "zoomed in" than it would be on a full-frame sensor.
This cropping makes it seem as though the lens has a longer focal length than it really does. We can calculate a
lens's "effective focal length" by multiplying the real focal length by the camera's "crop factor". A typical crop
factor is around 1.5x, meaning that a 50mm lens actually has an effective focal length of 75mm when fitted to
this camera.

Before buying any lens, you should find out your camera's crop factor and use it to calculate the lens's effective
focal length. This will ensure you end up with a lens which gives the desired effect.

PRIME VS ZOOM LENSES

A "prime" lens is one with a fixed focal length, while a "zoom" lens is one that can zoomed in and out to
provide a wider range of focal lengths. Each type has its own benefits and drawbacks.

Prime lenses tend to have better optical quality than zooms, and can usually achieve a wider aperture, giving
them better low-light performance. Their lack of moving parts also makes them lighter and cheaper. On the
other hand, the range of focal lengths offered by a zoom lens can provide more flexibility, making them suitable
for a wider range of subjects.

The choice between prime and zoom depends on your level of experience and the subjects you intend to
photograph. If you are a beginner, a zoom lens can be a better choice as it will allow you to experiment with a
range of focal lengths to find what you like. For more experienced photographers, the improved quality of a
prime lens will usually more than make up for the reduced flexibility.

APERTURE

A lens's aperture determines how much light it lets through. More often than not, a wider aperture (lower f-
number) is preferable, as it will allow you to take photos indoors and in other situations with little or no natural
light.

A wide aperture also allows you to use a faster shutter speed, which is important when photographing fast-
moving subjects or when hand-holding the camera.

The down-side of having a wide aperture is the cost - lenses with wider apertures can cost significantly more
than a normal lens. This is particularly true of long telephoto lenses, where an extra stop of aperture can easily
double the price of the lens.

FOCUSING

Most modern camera lenses have a built-in autofocus mechanism which takes the guesswork out of getting
sharp photos. Some specialist lenses may use a manual focusing system, so be sure to check this out before
buying.

Some lenses employ more advanced focusing systems to meet particular needs. Silent autofocus is useful for
macro and candid photography, where the lens sound can alert the subject and potentially ruin your shot.
Internal focusing means that the outside of the lens stays perfectly still, which can be beneficial in macro
photography where any movement could scare your subject away.

IMAGE STABILISATION

When photographing at slow shutter speeds, camera movement can cause blurring in your photo. Image
stabilisation (IS) is designed to reduce this, making your shots sharper and allowing you to shoot at slower
speeds without using a tripod. Optical image stabilisation is considered superior to digital image stabilisation,
although it does cost more.

A lens with image stabilisation will typically give you an extra 2 to 4 stops of exposure, allowing for exposures
4 to 16 times longer without a noticeable increase in blurring. This can be very useful when shooting in low
light, or when hand-holding a telephoto lens.

LENS FIT

All lenses attach to the camera using some sort of locking lens mount. These come in bayonet, screw-thread,
and friction-lock varieties, and they act to attach the lens to the camera body and join any electrical connections.

Each camera manufacturer has its own design, and while they often look very similar, they are not
interchangeable. When shopping for a camera lens be sure it has the proper fit so that it will mount on your
camera. Most third-party lens manufacturers sell the same lens with different mounts to cater for this.

SIZE AND WEIGHT

You should choose your lenses based on the subjects and situations you intend to photograph rather than the
lens's size and weight, but these can be important as a final consideration.

The most important factor is the lens's focal length - longer lenses tend to be bigger and heavier. Aperture also
plays a small role in the lens's weight, with a wider aperture requiring a more complex, heavier internal
construction. Any extra features such as silent focusing or internal focusing will also generally increase the
weight, especially for longer lenses.

If you intend to shoot hand-held, a lighter lens is better as it will be easier to move around and won't ache your
arms when used for extended periods. Heavier lenses are sometimes necessary, and you should support them
properly using a tripod or monopod. However, be aware that this will reduce your mobility.

The size of a camera lens can be important if you need to carry it in a travel bag or pack it to take on a plane,
where space is limited. For these purposes, some manufacturers make lenses which are lighter and more
compact than their counterparts, but this will increase the cost.
BUYING A CAMERA LENS

Begin by listing the types of subject you intend to photograph. This may be a single type, such as "portraits", or
it may be several, such as "portraits and close sports". Use the table above to select a suitable range of focal
lengths to shop for. If your subjects are too far apart (e.g. "interiors and wildlife"), you probably won't find a
single lens to cover them all.

Next, consider the likely lighting conditions you will experience. Be sure to consider the worst case scenario so
that you can choose a lens that will cover all situations. If you will be using your lens in low light then a wide
maximum aperture is essential - you should aim for at least f2.8 for well-lit indoor shots, and at least f1.8 for
darker interiors. If you will mostly be using your lens outdoors in daylight then a wide aperture isn't quite so
important, but is still preferable.

If there are any special features you require, such as silent autofocus, then list these too. Try not to add these
extras just for the sake of it, as they can push the price up quite significantly, and aren't worth it if you won't use
them.

Once you have your lens spec mapped out, you can begin looking for specific models. Online stores
like Amazon and Adorama are a good place to start, and you can get opinions on particular lenses by visiting
review sites and forums.

With some research you should be able to narrow your selection to a handful of suitable products. In general, if
you own a Canon or Nikon camera, the best lenses are the ones made by those manufacturers, but there are also
some excellent third-party brands such as Tamron, Sigma, and Tokina, which tend to be cheaper.

If you can't find a suitable lens that's within your budget then resist the temptation to buy something cheaper but
which doesn't quite do what you want it to do. Camera lenses tend to last for years, so it's usually better to wait
and save money until you can afford the one you really want.
Jerico June C. Gazil DO64: FORENSIC PHOTOGRAPHY
A18-26284

Key Differences

Difference Between Convex and Concave Lens

The lens is understood as a curved and transparent piece of glass or plastic, which focuses
and refracts light rays in a certain manner. The curvature of the object ascertains the
extent to which light is bent and in which direction. They are used in spectacles,
microscope and telescopes. Based on the shape, the lens can be grouped as a convex lens
or concave lens. The former brings together the parallel beam of light, while the latter
disperses it.
So, the point of focus in case of the convex lens is the point where all the light rays meet,
i.e. point of convergence, but if we talk about the concave lens, the focal point is the point
from where the light rays seem to diverge, i.e. point of divergence.
Let’s understand the difference between convex and concave lens, with the help of the
diagram below.
Content: Convex Lens Vs Concave Lens

 Comparison Chart
 Definition
 Key Differences
 Conclusion

Comparison Chart
BASIS FOR
CONVEX LENS CONCAVE LENS
COMPARISON

Meaning Convex lens refers Concave lens can

to the lens which be identified as the
merges the light lens which
rays at a particular disperses the light
point, that travels rays around, that
through it. hits the lenses.

Figure

Curve Outward Inward

Light Converges Diverges

Centre and Thicker at the Thinner at the

edges center, as center as
compared to its compared to its
edges. edges.

Focal length Positive Negative

Image Real and inverted Virtual, erect and

image. diminished image.

Objects Appear closer and Appear smaller and

larger. farther.
 BASIS FOR
CONVEX LENS CONCAVE LENS
COMPARISON

Used to Correct hyperopia. Correct myopia.

Definition of Convex Lens

Convex Lenses are the lenses that feel massive at the centre than at the edges. The curve of
the lens is outward, and as the light beams pass through the lens, it refracts them and
brings them together, resulting in the convergence of light, due to which it is also named
as a converging lens. Look at the figure given below:

So, the point where the light rays meet is known as a focal point, or principal focus and
space amidst the centre of the lens and the principal focus is the focal length. Further, it
generates a real and inverted image, but it can also form a virtual image when the object is
placed too close to the lens. Such lenses are used to focus a beam of light on making the
object look clearer and larger.
Example: The lenses of a camera are a convex lens, as the light rays focus on person or
object being captured.
Definition of Concave Lens
Concave lenses represent the type of lenses which are slender at the centre than at the
borders. The shape of a concave lense is round inward that bends the beams outward,
causing divergence of the rays of light falling on it, so it is known as a diverging lens. This
also makes the object look smaller and farther than they really are and the image formed is
virtual, diminished and upright.
As you can see in the given figure, the light rays appear to be diverging from a virtual
point, which is known as principal focus or focal point. Further, the length between the
focal point and the centre of the lens is called focal length.
Example: Concave lenses are used in the side mirrors of cars and motorbikes. They can
also be used in movie projectors to spread the image.

Key Difference Convex and Concave Lens

The following points are noteworthy, so far as the difference between convex and concave

lens is concerned:

 The lens which merges the light rays at a particular point, that travels through it, are
a convex lens. The lens which disperses the light rays around, that hits the lenses,
are called a concave lens.
 In the convex lens, the curve is outward facing, whereas, in the concave lens, the
curve faces inward.
 When the light rays pass through the convex lens, it converges the light rays and
focuses on one point. On the other hand, when the light rays go through the concave
lens, it diverges the beams, i.e. they spread out.
 The structure of convex lens is like, thicker at the centre and thinner at the edges.
Conversely, the concave lenses are thinner at the centre and thicker at its edges, in
structure.
 The focal length of a convex lens is positive, while that of a concave lens is negative.
  Generally, a convex lens forms a real image, but it can also create a virtual image
when the object is in the middle of the focus and optical centre. On the contrary, the
image formed by the concave lens is erect, virtual and smaller, than the object.
 Due to the thicker centre of convex lenses, the objects are seen larger and closer.
Unlike, concave lens, whose thin centre causes the object to look farther and smaller.
 A convex lens is used to treat hyperopia or farsightedness. In contrast, the concave
lens proves helpful in the treatment of myopia or shortsightedness.
Conclusion
So, with the above examples and figures, you might have got a clear understanding of the
difference between the two types of lenses. Many times, convex and concave lenses are
used along to produce sharper, clear and better images.

Reference:

Subiri, S. (2019). Difference Between Convex and Concave Lens. https://keydifferences.com/difference-between-

convex-and-concave-lens.html