Why You Might Want To Consider A Full Frame Fisheye Lens Even If You Have A Crop Sensor Camera

There are few things better in life than having something go wrong that leads to the discovery of something even better.

Such is the case with my plan to test out a Canon 8-15mm fisheye lens courtesy of BorrowLenses.com. My intent with the lens was to take it with me to the wilds of Arches and Canyonlands National Parks in Utah for some crazy, circular images. The problem is I lack a full frame Canon camera, but would be traveling with Michael Riffle, who owns a Canon 5D Mark III. He accepted the challenge to test the lens, being familiar with fisheyes himself.

One thing led to another and we never got around to testing the lens on his camera. Instead, I often found myself using the lens on my Canon 7D, a crop sensor camera. The Canon 8-15mm is intended to fit a full frame sensor and produce, at 8mm, a fully circular image, much like this example from a Sigma 4.5mm on a crop sensor camera.

What happened instead was a cross between this full circle and a more traditional 15mm on a crop sensor. The 8-15mm lens will show edges of the circle when below 10mm but will otherwise fully cover the sensor from 10mm-15mm. A major difference from a non-fisheye lens, though, is the curving in the image.

For instance, here are two shots, both taken at 10mm. The difference: the first lens is a non-fisheye Canon EF 10-22mm lens and the second is the Canon 8-15mm fisheye.

Both shots are taken from nearly the same perspective (the fisheye is taken from the position of the Nikon D800E in the first image but the fisheye gives a different feel. I only made slight clarity and level adjustments in the photos and did not crop them, so this is what you can expect at 10mm.

Below 10mm the black edge of the area outside the fisheye is seen. How bad is it? It depends.

At first it annoyed me to have the incomplete image. Neither full fisheye nor filled frame. Like this:

But then I started finding instances where it worked well. The arches found in these parks lent themselves naturally to the form factor. The more I experimented, the more I enjoyed the effect.

I realize not everyone will like this look. By the time you read this, there might be a dozen notes in the comment section below stating how horrible it is. But this is photography and it is art, so it doesn’t really matter what I like or the commenters like. It matters what you like.

Below are more examples from my short trip. If they intrigue you to give the lens a try, all the better. Some have the corners blacked out and some are zoomed in slightly. Experiment, play, have fun.

(Click on an image for a 1000px version)

The first set of images are from Mesa Arch in Canyonlands NP at sunrise which was packed with 20 or more photographers. The second set is from Delicate Arch in Arches NP at sunrise with absolutely no one else around.

A special thank you to BorrowLenses.com for giving me the chance to play with the lens.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Why You Might Want To Consider A Full Frame Fisheye Lens Even If You Have A Crop Sensor Camera

The Reality Of Shooting In National Parks

You’ve seen them.

The beautiful pictures, often repeats of other beautiful pictures. Here, let me give you an example.

This is Mesa Arch in Canyonlands National Park, Utah. You may have seen this type of shot before or one much like it. Some people wait until the sun is blocked by the arch and the underside of the arch is glowing red, as in this picture.

Calm. Serene. You can almost hear the light breeze and the whisper of time held still.

Now let me show you what is missing in this frame on that day.

And

This is the reality behind the lens and something not often mentioned.

For this shoot, I was meeting up with fellow photographer Michael Riffle who has been to this location before. He said we needed to meet early….real early. “How early?” I asked. With a sunrise at 7:30, he guessed about 5:30am. That should get us to the park and in position around 6:30am.

Evidently that was not early enough.

We were bested by two workshop groups who had arrived even earlier. I took up a position to the far right while Michael managed to use his charm to gain front row access, but not as close as he had planned. In all, there were over 17 people shooting the arch that day, the crowd getting ruckus when one gentleman decided to walk on top and pose for his workshop group. This brought yells to get off and threats that his act was illegal (for reference sake, we asked a park ranger at the trailhead and were told it is not illegal to walk the arch. “It’s not a very smart thing to do, though.” Were his words).

The atmosphere is not what the illusion of the first image portrays, but that’s ok, because that’s photography. An illusion of what really was, malleable any way we, as artists, please.

Now, let’s contrast that experience with our shoot the next morning in neighboring Arches National Park. It was my idea to head to Delicate Arch for sunrise. This icon is so popular, it even adorns most license plates in Utah.

First, a shot of the classic arch.

You may notice this is not the normal shot people take. That shot is near sunset when the face is lit up. We decided to go early for a different view of the classic and it paid off as this is the crowd we faced:

No one. For an hour and a half we set up, tested, shot and waited. After an hour and a half, one person showed up for about 20 minutes and then left.

In my book, it doesn’t get any better than that. I’ve been to this location at sunset and so had Michael. We exchanged horror stories of tourists being tourists and exploring the arch, much to the consternation of the multiple photographers lined up (to the right in the image above) to get their copy of a classic. I didn’t want to spend half a day trying to edit out tourists (yes, I am one of them too) who, “got in my shot!”

This is a shot of such crowds by Matt Leher on Flickr.

The valley view just off the road in Yosemite Valley. Old Faithful. Mt. Rushmore.

The list goes on and on. Classic shots that leave behind the reality of a crowded scene to get a classic shot.

Crowds are not bad nor evil. I’m not saying you shouldn’t get those classic shots. They are beautiful and help people gain interest in our National Parks.

I want you to be aware; when you plan that ultimate shoot to capture a well worn icon for your own portfolio, realize you may have company.

On the other hand, we spoke with a local Utah photographer who visits Mesa Arch often and he pointed out winter is a great time to shoot and crowds are usually less. But he also said it can’t be predicted as he has been there in bad weather, expecting to have the place to himself, only to find a crowd. The flipside also being true.

What can you do?

• Scout first, during the day or day before. Look for a spot when the light is harsh and there are less visitors to contend with. You can do some of this online before leaving to see what others have shot and figure out angles you might want to try.
• Arrive super early. Not early; super early.
• Be patient. All the others are wanting what you want and it’s not because they hate you. It’s because you all likely appreciate the same beauty.
• Be friendly. With the crowd at Mesa Arch, I joked around with a couple of people near me who were lighthearted enough to enjoy the morning even with the crowd.
• Bring a second camera. This will allow you to stake a claim to a spot and still take other images.
• Enjoy what you came to enjoy.

Despite the crowds I have found at popular shooting locations, I have always enjoyed the experience. Sure, my expectations of a deserted vista were dashed, but once I dropped that expectation and the disappointment that came with it, my mood and shooting improved.

Good luck! And good shooting!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

The Reality Of Shooting In National Parks