Chapter 4: Using Lenses with the Canon EOS Rebel T5i/700D

Have you ever wondered how professional photographers get such beautiful, colorful, and sharp photographs? The photographer’s skill plays an important role, but when it comes to equipment, the lens is the key to creating sharp images. No matter how good the camera body is, light travels through the lens before it reaches the camera’s sensor. If you use a poor quality or defective lens, it is much harder to create high-quality imagery. The Canon EOS Rebel T5i/700D is a dSLR (digital single lens reflex) camera. This means you are not limited to the range and quality of a fixed camera lens. You can change the lens on a dSLR to suit your needs, vision, or photographic opportunities. In this chapter, I attempt to answer many of the most often asked questions about lenses.

This photograph was taken using a fisheye lens.

Choosing a Good Lens

Before talking about lenses, I’ll start with the basics. Understanding the proper way to attach a lens and hold your camera helps you take better photos. The idea is to use your hand as a base and your arm as a tripod to stabilize the camera and lens from the bottom. The larger the lens, the more important it is to properly support it, as shown in Figure 4.1. The EF (electrofocus) lens is Canon’s standard model. EF-S lenses are designed for Canon cameras, such as your Rebel T5i/700D, because they have a mirror and sensor that is smaller than full-frame sensor cameras (resulting in a 1.6 crop factor). The S in EF-S stands for short back-focus, meaning that the back of the lens element is closer to the camera sensor. Most EF-S lenses are wide angle, allowing the photographer to use the full lens. The L (luxury) lens series is Canon’s premium lens (with the price tag to match). When you want the highest quality possible, an L lens is a good choice.

4.1 Always use your hand to support your lens and hold your elbows against your body for additional support.

To attach a Canon EF lens to your camera, align the red dot on the lens to the one on your camera. With the lens facing away from you, turn the lens to the left. For EF-S lenses, follow the same steps using the white squares. Remember, you can only use lenses with Canon-designated mounts on your camera.

Now for the big question: Why are lenses so expensive? It’s because of the high cost of their design and manufacture. They have many parts that need to work with precision. It’s safe to assume that the higher a lens is priced, the greater the quality of the glass and construction; an L series lens is a good example — it has a reputation for sharpness and clarity.

When choosing a lens, think about what type of pictures you want to take. Do you plan to shoot family events or take product shots for clients? Do you like to experiment with urban landscapes or document your travels? Making an informed choice about a lens saves you image quality and money. Buying lenses is an investment because, chances are, you will have your lenses longer than you will have your current camera.

NOTE Old EF lenses can be used with your Rebel T5i/700D, but older, manual FD-style lenses cannot.

So, how do you know if you have a good lens? As the lens is the eye of your camera, it needs to be sharp and offer good contrast. Low-quality lenses are not sharp around the edges, especially at lower apertures. Good lenses are well engineered and made with high-quality glass. High-quality lenses also have lower aperture numbers, which is good for shooting in low light. The best zoom lenses have the same aperture (usually f/2.8) at all focal lengths, are solidly constructed, and weatherproof. As a general rule, lower-quality zoom lenses have variable apertures, which means they change as you increase the focal length. For example, the Canon Rebel T5i kit lens (the EF-S 18-55mm f/3.5-5.6 IS STM) has an aperture of f/3.5 at 18mm and f/5.6 at 55mm. This doesn’t mean it’s a bad lens; it’s just not as well constructed as higher-end lenses.

4.2 A good lens is sharp and has high-quality glass so you can easily see details in your images, as shown here. Exposure: ISO 100, f/9.0, 1/640 second, 50mm f/1.4 lens.

Your camera’s lens is a combination of multiple glass elements. When a manufacturer describes a lens, it lists the number of elements in the lens. The idea is that the more elements there are, the better the image quality will be. On the other hand, a lens that has more elements also has more that can go wrong if it is not well made.

Many wide-angle lenses include an aspherical lens. An aspheric lens is designed to correct spherical and optical aberrations. In other words, they are used to correct lens distortion and blur that can occur around the edges. Much of what you pay for when you purchase a high-quality lens are the elements, which help decrease distortion in your images, such as a bubbled or bowing look. Quality lenses will increase the fine detail of your images, limit vignetting (dark edges), and improve contrast, which will improve the quality of whites and blacks in your image.

Focal lengths

When beginners ask me which lenses they should buy first, I usually recommend that they buy two zoom lenses to cover the full spectrum. For example, an 18-55mm lens and a 55-250mm lens cover most situations. If you are looking for an all-in-one solution, Canon offers lenses that range from wide to telephoto, such as the EF-S 18-135 f/3.5-5.6 IS STM kit lens. These simplistic options are not right for everyone, though. However, this chapter should help you figure out what combination will work best for the type of photography you want to pursue.

With the development of digital photography came the creation of the crop factor, or what the digital camera captures when compared to using the same EF lens on a 35mm film or full-frame digital camera. This is the result of a camera sensor being smaller than 35mm film. If a sensor is smaller than the traditional 35mm, it captures a portion of the image coming through the lens. This means you do not see as much of the scene as you would when using a full-frame dSLR with the same EF lens. It might seem cool that a 200mm lens is now working like a 300mm lens. Unfortunately, when it comes down to the wide-angle lens, such as the 24mm and 28mm, there is not as much to be enthusiastic about because the crop factor turns them into higher millimeter equivalents, too.

For the Canon T5i/700D, bear in mind what the effective focal lengths are for the lens you are considering. The crop factor for your camera is 1.6X. To figure out the effective focal length for your lens, multiply the lens value by 1.6. In other words, an EF 20mm lens is the equivalent of an EF 32mm lens, and an EF 200mm lens is the equivalent of an EF 320mm lens.

4.3 This shows the difference between an 18mm lens on a full-frame camera and the 1.6X crop factor with the Canon Rebel T5i/700D. Exposure: ISO 100, f/10, 1/200 second, 12-24mm f/4.0 lens at 12mm.

The following list covers the different types of lenses and how they can be used:

• Ultrawide-angle. Manufacturers have come to the rescue for cameras with crop factors, like the Canon Rebel T5i/700D, by creating ultrawide-angle lenses (under 20mm). These can be a blessing or a curse due to the distortion found along the edges. How much of an issue the distortion is depends on how you approach your subject. Take advantage of all of the real estate these lenses cover. Photojournalists regularly use ultrawide lenses to layer as much information into the frame as possible. When you use these lenses, make sure that your subject is not too far away and that you fill the frame. Canon produces four ultrawide zoom lenses. Three of them are L lenses, meaning they are high quality and expensive. The EF 17-40mm f/4.0L USM is a good, high-quality, all-purpose ultrawide lens worth considering for your Rebel T5i/700D.

• Wide-angle. Standard wide-angle lenses are the 24mm and 28mm. For a Rebel T5i/700D, they are closer to a standard (50mm) lens of equivalent focal length. So, if you are looking for a wide angle of view, I recommend an ultrawide-angle lens. Canon has eight standard prime lenses in the range of 20 to 35mm. The EF 24mm f/2.8 IS USM is a reasonably priced wide-angle lens to have in your bag. If you want to step up to a higher-quality lens, the EF 24mm f/1.4L II USM is a good choice. Canon also offers an EF 15mm f/2.8 lens fisheye if you like the hemispherical distortion created by such lenses.

• Standard. Traditionally, the 50mm lens was considered the standard lens for a 35mm film or full-frame dSLR camera because it was the closest lens equivalent to the human eye. Anything below 50mm is considered wide-angle and anything above is considered a telephoto. It is a good all-purpose prime lens. For photography purists, a 50mm is standard equipment because it doesn’t distort the image. For your T5i/700D, a 30mm or 35mm is a closer equivalent to the human eye. Canon makes three 50mm lenses, but the EF 50mm f/1.4 is priced in the middle. The Canon 40mm f/2.8 STM is a good choice for video use. It is not very expensive and is designed to be quiet.

• Zoom. These have multiple focal lengths and are good all-purpose lenses for everyday photography. Economy zooms have variable apertures, which means that the aperture increases as you increase the focal length. Higher-end zooms have the same aperture (such as f/2.8) at all focal lengths. Because your camera has the ability to follow-focus while shooting video, I would recommend the EF-S 18-135mm f/3.5-5.6 IS STM lens as a good all-purpose zoom lens. If you want to upgrade, the EF 24-70mm 2.8L USM and 24-105mm f/4L IS USM are both excellent choices.

• Telephoto. Bring the world closer to you with this type of lens. Sports, nature, and wildlife photographers prefer telephoto lenses from 200mm to 600mm. When using a telephoto lens, it is important to keep track of your shutter speed (over 1/500 second). A faster shutter speed keeps your subject sharp. If using a fast shutter speed is not possible, a tripod or monopod may be required.

One of my favorite Canon telephoto lenses is the EF 135mm f/2.8 with soft-focus portrait lens (I rarely use the soft-focus option, however). Portrait lenses are generally 70mm to 135mm. Unlike wide lenses, they do not distort or exaggerate your subject. I use this lens for many types of photography, including events, because it is light and easy to move around in stealth mode. The EF 70-200mm f/2.8L is considered a standard telephoto zoom and is an excellent high-quality lens to consider. Canon makes three variations of this lens, with and without Image Stabilization (IS), but it also has a wide variety of telephoto zooms available at every price point. Canon makes telephoto lenses ranging as high as 800mm (these are considered super-telephoto lenses). However, the larger ones cost thousands of dollars.

TIP Lens extenders increase the reach of a lens. Canon sells two models for its L series lenses: The EF 1.4x III increases the focal length of a lens by 40 percent; the EF 2x III doubles the focal length. However, extenders also decrease the amount of light reaching the sensor by 1 to 2 stops.

Autofocus

Most modern cameras are autofocus cameras. Autofocus is helpful when you are taking many photographs quickly, such as at an event, and don’t want to think about focusing. Canon cameras have a fast autofocus system, but it really depends on the lens you use. For example, a prime lens often focuses faster than a long zoom lens. You don’t have to keep your camera on autofocus all of the time. There is a switch on the side of the lens that turns autofocus on and off. I do this a lot, depending on the subject. Sometimes, if it’s dark or I want to prefocus for an expected event, such as an athlete crossing the finish line, I turn off autofocus. Today’s autofocus systems are very good and highly dependable.

NOTE Some Canon lenses have focus preset buttons. These are handy when shooting sports, or events with a goal or finish line.

NOTE It is easy to confuse lens speed and autofocus speed. Lens speed refers to the aperture of your lens.

Aperture and depth of field

When photographers talk lenses, they first mention the focal length and then the aperture. The aperture is the diaphragm opening in the lens that controls the amount of light allowed into the camera. High aperture numbers, such as f/22, produce a larger depth of field, increasing the amount of the scene or subject that is in focus. A traditional landscape is a good example of a scene with a large depth of field. Lower apertures, such as f/2.8, produce a shallower depth of field. Shallow depths of field are common in portraiture. Photographers also sometimes refer to lenses as slow or fast. A lens with a large maximum aperture, such as f/2.8, is considered fast because it allows more light into the camera compared to a maximum lens opening of f/4.5. More light means that you can increase your shutter speed, photograph in lower light, and see your image better with a brighter view. Slow lenses are generally darker, and don’t have the low-light and speed advantages.

Quality zoom lenses have the same aperture at every focal length compared to lower-priced lenses with variable apertures. This means the more affordable lens aperture is smaller as you increase the focal length. It may be represented by f/3.5-5.6, which means that the lens starts out with a larger f/3.5 aperture at a shorter focal length, and then decreases to f/5.6 as the focal length increases. This is a disadvantage because you often need the larger apertures when photographing at a longer focal length to keep the shutter speed higher.

CROSS REF For more information on depth of field, see Chapter 5.

Depth of field is the area of focus around the subject. The larger the depth of field is, the larger the area around the subject that is in focus. The focal length of each lens has a different affect on depth of field. As a rule, the lower the aperture number, the higher the quality of the lens is when compared to equivalents. The EF 35mm f/1.4L USM is an example of a high-quality lens with a low aperture.

4.4 This image has a shallow depth of field, which blurs the background. Exposure: ISO 200, f/2.8, 1/1000 second, 100mm f/2.8 macro lens.

Image Stabilization (IS)

When you see IS in the name of a Canon lens, it means it has Image Stabilization. The lens detects camera shake using microchips and gyro sensors to help the camera provide sharper images at lower shutter speeds. In many situations, the photographer gains 1 to 4 stops. In other words, if you handhold your camera while photographing a stationary subject, you can use a lower than normal shutter speed. For example, when using a non-IS 200mm lens, the general recommendation is to set your shutter speed to at least 1/200 second. When using an IS lens, you might achieve similar results at 1/30 second.

However, this doesn’t mean it fully eliminates blurring. Fast-moving subjects and very low shutter speeds still show movement, and IS does not correct the sharpness of subjects that are not in proper focus. Image Stabilization is designed for stationary subjects, but it’s helpful when you have low light and don’t want to use a higher ISO. You find Image Stabilization most often on longer lenses because camera shake is more of a problem at a lens tip far way from the focal plane. Also, consider Image stabilization lenses when recording video to help prevent frame-to-frame jitter.

NOTE Some Image Stabilization lenses have a panning mode option called Optical Image Stabilizer Mode 2 that automatically turns off if it detects a panning motion.

Vignetting

Vignetting happens when light falls away and doesn’t reach the edges — notably the corners — of your frame. It is most noticeable with wide-angle lenses, but a good lens does not have this issue. With that in mind, vignetting is not always bad. It can be corrected to a point in Photoshop or your favorite photo-editing program by using dodging or anti-vignetting tools.

4.5 A dark area around the edges of a photo (especially in the corners) is called vignetting. Exposure: ISO 800, f/4.5, 1/100 second, 12-24mm f/4.0 lens at 20mm.

Some photographers like the effect it has on their images, and it is not uncommon to add it during postproduction. You can test your camera lens for vignetting by photographing a white piece of paper with the aperture wide open. Look for darkening corners to determine how much vingetting occurs with each lens.

NOTE Using lens shades on wide-angle lenses, using the incorrect lens shade, or stacking too many filters can cause vignetting.

Types of Lenses

A good lens for a beginning photographer is the kit lens that is available for purchase with your camera body. It is an inexpensive option to get you started when building a lens collection. Not all lenses are the same. On the contrary, each one is different and worth testing to make sure you get the sharpest picture. Even the same type of lens from the same manufacturer can produce different results. Some photographers test multiple lenses before they purchase one.

TIP Test any lenses you are considering buying at your local photography store. You can also use websites like www.borrowlenses.com to rent one and see if you like it before you purchase it.

The following list covers different types of lenses and their uses:

• Kit lenses. A kit lens is one that is bundled for sale with a camera, like the one shown in Figure 4.6. Some kit lenses are better than others, but as a rule they tend to be lower quality. There are two kit lens options for the Canon Rebel T5i/700D: The EF-S 18-55 f/3.5-5.6 IS STM or the EF-S 18-135 f/3.5-5.6 IS STM (the more expensive option). These are intended to get you started without adding too much money to the price of the camera body. If you already have lenses that you like, a kit lens will not be an upgrade to your gear, and you should consider purchasing only the camera body.

Image courtesy of Canon

4.6 The EF-S 18-135mm f/3.5-5.6 IS STM is one of two lenses that are available as the kit lens for the T5i/700D.

• Electrofocus (EF) lenses. All modern Canon lenses are referred to as EF lenses (see Figure 4.7). They are good autofocus lenses and are priced much lower than the professional L lenses that Canon also manufactures.

Image courtesy of Canon

4.7 The 24-70mm f/2.8 II USM lens is one of Canon’s many EF lenses.

• Electrofocus short back-focus (EF-S) lenses. The S in EF-S stands for short back-focus, meaning that the back of the lens element is closer to the camera sensor. This lens, shown in Figure 4.8, is designed for digital crop cameras, like the Rebel T5i/700D, which has a 1.6 crop factor. The white square on the camera’s lens mount means that it accepts EF-S lenses. However, this type of lens does not work on full-frame or film cameras. Consider this fact if you plan to upgrade to a full-frame camera in the future.

Image courtesy of Canon

4.8 The Canon EFS 18-200mm f/3.5-5.6 IS lens is designed for Canon cameras with a 1.6 crop factor.

• Luxury (L) lenses. A red line around a Canon lens identifies it as a premium lens. They are constructed of excellent glass, which gives you sharp photos from edge to edge and good contrast. They are built for heavy use in all types of environments and weather. L lenses are expensive and, as such, a true investment in your photography.

Image courtesy of Canon

4.9 You can tell that this 14mm lens is a premium Canon L lens by the red line around the barrel.

• Stepper Motor (STM) lenses. Autofocus lenses make noise, and this is a problem if you are shooting in Movie mode (  ) and using the Rebel T5i/700D continuous-focus technology. Most lenses for dSLR cameras are not designed with video in mind. However, the new Canon STM lens system uses step motor technology for quiet focusing while in Movie mode (  ). This is helpful for keeping the noise level down while the camera continues to focus in the Al Servo mode (  ).

Image courtesy of Canon

4.10 The Canon 40mm f/2.8 was designed as a quiet lens for video.

• Ultra Sonic Motor (USM) lenses. These are ultra-quiet, fast-focusing lenses for Canon cameras. Many of the high-quality Canon lenses are USM lenses, such as the EF-S 17-55mm f/2.8L IS USM.

Image courtesy of Canon

4.11 This Canon EF 100-400L 4.5-5.6 is an ultra-quiet USM lens.

• Third-party lenses. You don’t have to purchase all of your lenses from Canon. Third-party manufacturers make lenses for multiple camera brands, and often at a lower price point. The quality of third-party lenses has greatly improved over the years, and some even make lens types that are not available through Canon. The following companies make lenses for Canon bodies:

• Bower. This company is known for specialty lenses, including a range of fisheye lenses.

• Rokinon. This manufacturer is best known for its selection of wide-angle lenses at affordable prices.

• Sigma. This company has been one of the top third-party lens manufacturers for over 50 years.

• Tokina. One of my favorite third-party brands, Tokina offers sharp lenses at affordable prices. I use the Tokina 12-24 f/4.0 regularly.

Image courtesy of Tokina

4.12 The Tokina 12-24mm f/4.0 is a good third-party lens.

• Tamron. This company offers a full line of zoom lenses in a competitive price range.

• Vivitar. Best known for its flash accessories, Vivitar also has a full line of inexpensive, midrange lenses.

• Zeiss. This company has a long tradition of manufacturing high-quality lenses.

All lens manufacturers seem to go through phases in which they excel in one lens type over another. It is always important to read reviews, and test and evaluate a lens before you buy it.

CAUTION If a lens costs a lot less than a comparable Canon model, there is most likely something missing, such as Image Stabilization (IS).

Prime versus Zoom Lenses

A prime lens is a fixed-focal-length lens, such as a 28mm. A zoom lens offers you multiple focal lengths in one lens, such as a 70-200mm. Prime lenses are known for their ease of use, and they tend to be sharper, especially along the edge of your image frame. Zooms are good all-purpose lenses for everyday use. They are convenient for situations where the distance of your subject frequently changes.

Understanding prime lenses

A prime lens has a fixed focal length. I prefer prime lenses and use them as often as possible. They are lighter, faster, and traditionally sharper than zoom lenses. They are also less expensive than zooms and tend to be a good value for the money. Photographers appreciate the shallow depth of field they gain with the larger aperture prime lenses offer. For example, the Canon EF 85 f/1.8 USM can produce an extremely shallow depth of field when set wide open at f/1.8.

Not every photographer takes advantage of prime lenses. Some purists only use a 50mm prime lens because it is nearly equivalent to what the human eye captures. Commercial photographers often use prime lenses, especially in a studio, to achieve the best possible focus and clarity. Many sports photographers like to use prime lenses because their low aperture allows them to maximize the shutter speed to stop action. The disadvantage is that you have to change your lens if you want a different focal length. If you plan to use many focal lengths in a short period of time, you should consider a zoom lens.

Understanding zoom lenses

Zoom lenses are an excellent choice for vacation photography — you only need to pack one or two to cover almost any situation. One moment you could be photographing a landscape and the next you could capture a candid portrait of an interesting local. If low light is not an issue, I like to use telephoto zoom lenses for sports photography so I can make adjustments as a play develops. You always want to be prepared, and a good zoom helps.

There are different types of zooms. Some, such as the Canon EF 16-35mm f/2.8L II USM, cover a short focal-length range. Others, such as the EF-S 18-200mm f/3.5-5.6 IS, cover a wide focal-length range. Telephoto zooms, such as the EF 70-300mm f/4-5.6 IS UM, cover higher focal lengths. Event photographers often use zoom lenses because they need to be ready for anything at any moment.

Specialty Lenses

Specialty lenses perform specific functions. You may not use them every day, but it is nice to know they are in your bag if needed. The following list includes some types of specialty lenses:

• Fisheye. The difference between the ultrawide-angle lens and a fisheye lens is the presentation of the wide view. A fisheye produces a highly distorted image, as shown in Figure 4.13.

4.13 You can tell this image was created with a fisheye lens due to the distortion along the right side. Exposure: ISO 100, f/10, 1/400 second, 15mm f/2.8 fisheye lens.

• Macro. Macro lenses are built for photographing the world of the small. Most lenses are not able to focus close enough to create decent images of small objects. Macro lenses are designed to solve this problem. As always, you should test different lenses to see what type of macro you prefer. Some are dedicated to close-up photography, while others can also be used as regular lenses. Nature photographers often use a macro lens to photograph insects, flowers, and plants. This type of photography is a lot of fun because you get to see things that are often overlooked, or see something familiar in a new way. There are many subjects to photograph in your own backyard if you have a macro lens. Canon makes six macro lenses, but I recommend the 100mm f/2.8 Macro USM. It is versatile and, in my experience, can also be used as a portrait lens in a pinch.

Image courtesy of Canon

4.14 The Canon 100mm f/2.8L Macro IS USM lens is for close-up photography.

NOTE Macro photography uses a very shallow depth of field, so a tripod is recommended for point-of-focus accuracy.

• Tilt-shift. When you photograph a building with a wide-angle lens, you will notice that the lines of the building lean in the image. A tilt-shift lens corrects this by allowing the photographer to shift the lens to create proper perspective and tilt it to alter the focus plain. These lenses have many advantages when correcting for perspective, as well as depth of field. While it’s often suggested that a tilt-shift lens changes the depth of field, it doesn’t. Rather, it moves the center point of the focal plane to match the subject instead of the plane of focus cutting through the subject, rendering part of it out of focus (due to a shallow depth of field). The photographer can adjust the focus plane to match the subject, keeping the subject in focus and the rest of the scene out of focus. Using a tilt-shift lens for panoramic photographs is an excellent way to keep lines straight while still having the advantage of a wide-angle lens. Canon has four tilt-shift lenses in its lineup ranging from 17mm to 90mm. All are high quality and expensive. If you need this type of lens, your biggest consideration is how wide you need it to be. For the T5i/700D, my recommendation is the wider the better.

Image courtesy of Canon

4.15 The Canon TS-E 17mm f/4.0L tilt-shift lens is commonly used for correcting perspective.

The following list recommends the best lenses for specific types of photography:

• Architecture. Wide-angle lenses are most popular for architectural photography because the ability to get the entire structure in the shot is important. If you want to spend the extra money, a tilt-shift lens is the way to go.

• Family. I recommend that you have a good, all-purpose zoom lens for family photography. One moment you may be photographing a child and the next a group photo with all of your relatives.

• Landscape. This type of photography is similar to architecture, and wide-angle lenses are preferred. Of course, whenever you are in the field, you never know what you might find, so having a good telephoto lens is also highly recommended.

• Portrait. A good portrait lens is between 70mm to 135mm because they do not distort the subject. Plus, you don’t have to be in the person’s face to take the photo. Unless you are creating an environmental portrait, people prefer to be photographed by a longer lens because wider lenses distort and widen the subject. None of my portrait clients has ever asked to be widened. Larger lenses, such as a 70-200mm f/2.8, do work, but they can overwhelm your subject. Telephoto prime lenses have a lower aperture, which gives photographers the option to create a shallow depth of field. This is helpful for separating your subject from the background.

• Environmental portraits. When you want to tell a story about a person, an environmental portrait is an excellent option. Usually, the person is looking at or posing for the camera, which is different from a candid shot, in which the subject is either ignoring or unaware of the camera. These types of images can be taken with any lens, but a wide-angle is the traditional choice to better show the environment around your subject.

• Food Photography. The best food photography fills the frame with the subject. I prefer a good macro lens, like the Canon 100 f/2.8 Macro IS USM, for food work. The f/2.8 aperture is helpful for creating a shallow depth of field, which is preferred for editorial-style food photography.

• Travel. One or two good all-purpose zoom lenses are very helpful when traveling. A wide lens for landscapes and a telephoto to photograph people will do the trick. The less gear you need to think about during your trip, the happier you will be.

• Sports. Dark gymnasiums and arenas are not a photographer’s best friend. This is why photographers who shoot action prefer lenses with lower apertures to deliver maximum shutter speeds. It is common to see sports photographers with longer telephoto lenses because they need to catch action across a long field. They also use wide-angle lenses to capture action happening directly in front of them.

• Street Photography. Documentary artists or street photographers like to use 50mm or wide-angle lenses because they allow the photographer to remain inconspicuous. It is intuitive to think a long lens is the right choice, but big lenses are more likely to attract attention.

• Wildlife and nature. Wild animals don’t like you to get too close, and there are some you probably don’t want to get too close to anyway. This is why telephoto lenses are popular with wildlife photographers. Birds are a specialty and usually require at least a 300mm lens or longer. Also, consider bringing a macro lens with you to photograph the little things you find along the way.

CROSS REF For more information on different types of photography, see Chapter 7.