Beyond Phototips

by KK+Photojournalism, is that immensely satisfying, yet sometimes wildly dangerous profession where a photographer goes out into the world and documents it’s goings on. Many of us, as photographers aspire to this profession, yet few have the guts and talent required.

The problem with defining lenses for Photojournalism is that there are so many fields of journalism that there is no real “defining set” of lenses. Each kind of journalism calls for a different set of lenses. Take for example, the sports journalist… He would use lenses that fall into the Sports Photography set. I’m going to go out on a limb now, and ‘guess’ that what all you guys want to read about are the photojournalists who have the ‘real’ journalist’s job. The foreign correspondent… The guy who records wars, drought, floods, changes in government and so on. Let’s cut to the chase.

Requirements

Photojournalists do pretty much the same things as regular journalists and then some… They end up carrying their gear around almost all the time when they’re on assignment and land up in places that newspaper journalists need never venture. All this makes it hard for him. His choice of lenses, camera body and other accessories depends on the kind of picture that he expects to be taking. Typically they have a very vast range of gear from which they can choose. Gear needs to be usable for multiple purposes, lightweight, fast, and really, really reliable.

Very often, they choose lenses with large apertures. Large apertures help them focus more easily, because they let in more light. It also gives them the flexibility to shoot in low-light scenarios. The trade-off is in weight. Lenses with large apertures usually have very large front elements made of high quality optical glass… This makes it heavy.

They also have an odd assortment of prime and zoom lenses. Primes for clarity and wide apertures, especially at the long focal length range, and zooms for ease of composition in situations that may demand a quick change from telephoto to wide-angle.

Style and Purposes

Of course, the personal style of individual photographers also plays a crucial factor in the choice of equipment… Whether the style of photography at hand is street photography, or war reportage, or whether its something more elaborate which allows you to set up lights and choose your lens in comparative leisure will also determine what lenses the photojournalist will choose.

However, do remember that some photographers may almost always use a 50mm while others may use a 400mm f/4.0 L at one moment and switch to a 24mm wide the very next… Of course, the subject being photographed also determines the kind of lens being used; there’s absolutely no point using a 50mm while photographing a Formula 1 race (unless you’re photographing the crowd) and there’s no point trying to use a 400mm in a mob… you’ll only get their noses…

So now, with no further ado, let’s look at some lenses. The list is easy… Just list out all of the high end lenses you can think of… The list can also go on and on, so I’m listing here, some of the specialty lenses that you’re likely to find on journalists’ cameras. If you’re interested in any particular type of photojournalism (portraits, for example), do look it up in one of the posts I’ve written in “The Lens Resource.”

Canon Lenses

EF 600mm f/4L IS USM | (Stats)
EF 500mm f/4L IS USM | (Stats)
EF 400mm f/2.8L IS USM | (Stats)
EF 300mm f/2.8L IS USM | (Stats)
EF 100-400mm f/4.5-5.6L IS USM | (Stats)

Nikon Lenses

AF-S Nikkor 600mm f/4D IF-ED II | (Stats)
AF-S Nikkor 500mm f/4D IF-ED II | (Stats)
AF-S Nikkor 400mm f/2.8D IF-ED II | (Stats)
AF-S VR Nikkor 300mm f/2.8G IF-ED | (Stats)
AF Zoom-Nikkor 80-200mm f/2.8D ED | (Stats)
AF VR Zoom-Nikkor 80-400mm f/4.5-5.6D ED | (Stats)
AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF-ED | (Stats)

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If you want the sharpest pictures that your lens can give you, remember not to use its largest and smallest apertures. Most lenses are optimised to be used in the f/5.6 - f/11 aperture range and give their best performance when stopped down a couple of f-stops from the widest aperture or opened up from the smallest aperture.

The problem with using small aperture sizes is that light waves are affected due to diffraction and though you have great depth of field, you lose out on sharpness.

Large apertures are great for low-light, but unless you have an exceptional, lens its just too difficult to produce lenses that are razor sharp at it’s widest aperture.

There are always exceptions and some lenses made by Carl-Zeiss and Leica are just as sharp at f/2.8 (or f/1.8 as the case may be), as they are at f/5.6.

Marvels of science, that’s what they are.

Macro Photography

by John Dohrn

Macro Photography is what gets you those magnified, larger-than-life photographs. However, they start off being close to actual size on the camera’s sensor (or frame of film). When these images are enlarged - as ‘most all our pictures are - they become much larger than real life, taking us into a realm where real, everyday objects become surreal worlds . Perhaps this is where our fascination for macro photography comes from, the ability to change our every-day, ordinary world into an extraordinary one by the simple act of switching lenses.

In more technical terms, macro photography involves capturing objects at close to, or greater than 1:1 magnification. For example, a 5mm disc when photographed, would produce a negative where the disc is 5mm in size. Of course, this becomes much larger when enlarged. The same happens in digital photography.

Macro Lenses

Since this series of posts is solely about lenses for various kinds of photography, we’ll deal only with lenses though there are other options available in addition to the specialised macro lenses.

Focal Lengths
When you look into macro lenses, you’ll find that there are some prime lenses that give you 1:1 magnification at 50mm others will give you the same at 100mm or even 200mm.
The difference in the two is the minimum focusing distance, the depth of field and the perspective. While the 50mm macro will make you to go really close while photographing the subject, the Canon EF 180mm L lens allows you to stand far away (about 0.25m) while the Nikon 200mm IF-ED Lens allows you to stand .5m away while still getting 1:1. Big deal, you may say, all I’ve got to do is take a couple of steps forward and its all the same with the cheaper 50mm lens… well, not really.

A longer Minimum Focus Distance means that you get the same magnification without having to disturb the creature you’ve got that lens trained on… and that makes a big difference. It also means that you will have more space to work with artifical lighting.

Going closer than 2X
Usually, getting a magnification greater than 2:1 (which means that the image formed on the focal plane is twice the size of the actual object! Wow!) would involve getting an extension ring set or a teleconverter or a bellows arrangement and possibly using them together. However, the Canon MP-E 65mm f/2.8 1-5X Macro Lens has a magnification range of upto 5 times actual size (5x or 5:1). Now, while I haven’t used this lens, people who have used it report that it is a difficult lens to use, but the results that you get are well worth the time and effort.

For Portraits
No, not portraits of people’s pimples. Many, if not all of the Macro lenses listed here focus sharply upto infinity and many photographers consider them to be exceptional portrait lenses with fast focusing and high contrast.

Other Macro options
Macro photography gives you a number of options when it comes to ways in which you can get 1:1 or greater magnification. Brian Auer at Epic Edits Weblog has recently written a post on the various macro photography options that you can explore. He talks about Dedicated macro lenses, Extension tubes, reversing rings, teleconverters, close-up lenses, and how you can use some of them together.

The Lenses: As usual, we’ll have a collection of Nikon and Canon Macro Lenses with links to their stats pages. Of course, Tamron, Vivitar and Tokina make good Macro Lenses,

Nikon
Nikon 60mm f/2.8D AF Micro-Nikkor Lens (stats)
Nikon 105mm f/2.8G ED-IF AF-S VR Micro-Nikkor Lens (Stats)
Nikon 200mm f/4.0D ED-IF AF Micro-Nikkor Lens (Stats) - 1:1 at .5 meters away

Nikon Manual Focus Lenses
Nikon 85mm f/2.8 PC Micro Nikkor Manual Focus Lens (Stats) - Interesting for its ability to double both as a Perspective correction lens and a Macro Lens.
Nikon 105mm f/2.8 Micro-Nikkor (Stats)
Nikon f/2.8 Micro-Nikkor (Stats)

Canon
Canon EF 50mm f/2.5 Compact Macro Lens (Stats) - 1:2 Magnification
Canon EF-S 60mm f/2.8 Macro USM Digital SLR Lens (Stats) - Made for the EF-S Mount
Canon EF 100mm f/2.8 Macro USM Lens (Stats) - Considered by many as an outstanding Portrait lens too
EF 180mm f/3.5L Macro USM (Stats)

Canon Manual Focus Lenses
Canon MP-E 65mm f/2.8 1-5X Macro Lens (Stats) - incredible 5X magnification packed into one lens

You can also find out more about lenses for different kinds of photography at The Lens Resource index post.

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That’s a big question! You have the money, do you buy that high quality lens that you’ve been looking at for a year? Your grandma gave you a thousand dollars; do you buy the sophisticated camera that everybody’s been raving about? A loony truck driver crashed into your car and your insurance money’s come through! You figure, you don’t need another car… Should you upgrade all your photography gear?

I’m going to look at these questions from three perspectives, familiarity with your existing kit, your ability (or inability) to learn complex things quickly, and whether you actually need the stuff…

Familiarity

Do you know your gear well enough to work with it in a storm? Can you press the right buttons in the pitch black of a new moon night on top of a mountain without a torch and with only the stars that lit the way up?

Digital Cameras come with a large number of buttons and dials on top, on the back, and in front of the camera body… the VR and IS lenses come with around 3-4 buttons just for them… CAN YOU HANDLE THEM?

If you think you can, and you’re not worrying about your equipment as much as you’re worrying about your photograph, then maybe you should try something new… treat yourself to a new lens or some new accessory.

Learning Curve

Same thing applies for the learning curve… there are a tonne of new things that you’ll have to tackle once you get new equipment. This is especially true if you’re upgrading from consumer digital equipment to prosumer equipment while the jump from film to digital is even greater.

If you’re making the film-digital jump, by all means, go for it! I highly recommend moving to the digital age. It can only enhance the creative value of pictures that can come out your mind and onto the sensor. However, I’d recommend that you go slow and take it easy. Start with a consumer end digital camera with manual controls and slowly move up to the prosumer cameras.

The move from one brand to another is also quite difficult. You’ll have to get used to new positions for controls and new terms for some of the menu commands. Among the cameras that I’ve used, I’ve found that the Nikon D200 has the most comprehensive set of controls on the camera that you can access without going into the menu. I love this interface even though I shoot more often with a Canon 5D (and that’s an amazing camera in its own right).

If you find it difficult to learn things quickly and adapt to new equipment and terminology, I’d recommend again that you upgrade in steps. Move from basic to more advanced equipment and upgrade once again once you’re familiar.

Need

I’m a photographer who shoots for billboards on many occasions and my clients demand high-quality images that are sometimes taken in difficult lighting situations, yet ask that there be low noise in all the images. I NEED a high-end digital camera. I’ve tried a number of cameras and a lot of them just don’t make the cut. Ditto for lenses.

Do you NEED a Nikon D200 with a 10.2MPX sensor and all those great features? Will you ever use them? Will they help you push your photography through the barriers that your current equipment was throwing at you? Yes? Then upgrade… No? Still, do you have the money and inclination to figure out your gear as you take photographs? Then upgrade… No? Then you’ve answered the question yourself…

I’ve already written about photography being something that is defined by the photographer, not the gear, so don’t worry about working with your existing equipment. Use it till you know you’ve reached the limits of what it can do and that you need something better to take your photography to the next level, and when you find that you do need to upgrade, remember to buy the best you can afford.

Related posts:

1. The Lens Resource
2. Zoom out in your mind
3. Photo Projects

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by JanneM

Most of you have already seen the lenses that photographers use at sports events. You see them all the time, sitting at the sidelines at every sports event (the photographers with the lenses that is… not the lenses alone), with massive lenses perched atop tripods or monopods in almost any kind of weather…

I’ll be dealing with those lenses and the real reasons why photographers choose, and need, to use these lenses over other - not so big - lenses in 3 sections. Focal Length, Prime Vs Zoom lenses, and Aperture. An additional section on Image stabilisation is included.

Focal Length

by elyuyu

Outdoor sports events usually call for telephoto or super-telephoto lenses, more often Super-telephoto than plain telephoto. Super-telephoto lenses are generally lenses with a focal length of more than 300mm.

If you’ve ever tried photographing a soccer event you’ll know why these photographers use these lenses. A moderate telephoto lens of 70mm or 135mm will give you a rather wide view when photographing a player at the other side of the field and almost nothing if you’re photographing from near the opposite goal post.

Additionally, its usually difficult and/or dangerous to get too close to some of the action. Imagine having to sit 10 feet away from a racetrack to get frame-filling pictures of Formula 1 cars with a medium length telephoto lens! Both dangerous and impractical… also, you’d never get permission from the organisers!

600mm and 800mm lenses help magnify the players/drivers so that they fill up the frame and bring all the gritty action right up into the photograph. Also, if you want to capture the speed of the cars you can use a relatively slow shutter speed and pan your camera to blur the background; Impossible if you are too close…

Zoom Vs Prime Lenses
Sports photographers have to deal with a constantly changing environment. Very often incidents occur so fast that its not possible to change a lens. Zoom lenses are invaluable at these times. Imagine being able to frame a race-car 200 feet away one moment and the next swivel around to take a photograph of a car crash happening 30 feet away and then a portrait of a distressed driver as he walks past you, all without having to change your lens once! Sigma’s 50-500mm f/4-6.3 EX DG HSM Lens could enable you to do just that!

However, do keep in mind that super telephoto lenses are very specialised lenses and their optical design is very complicated. This is why you will find more prime lenses than zoom lenses at this end of the focal length spectrum. Prime lenses offer superior image quality to zoom lenses because they are designed optimally for a particular focal length while zoom lenses strive to offer decent quality at all focal lengths. Many fail in comparison with prime lenses.

Aperture

by hirevimaging

Capturing movement means that many times photographers will need shutter speeds that are upwards of 1/1000 sec. Most sports events are held in relatively well lit areas in the day, but at night, even the brightest floodlights are a poor substitute for the sun.

However, even in bright sunlight, it helps to use a large aperture to blur out the audience or scenery in the background and to keep the action alone in focus. This separation of the sports action from a cluttered background is one of the defining features of these lenses.

Also, lenses with larger apertures generally perform better at two levels:

1. They focus faster and more accurately.
2. They have a higher level of sharpness at their intermediate apertures.

Large apertures are even more important when it comes to indoor or night photography. Light levels are bound to be lower while the action is still at the same pace. Of course, you can compensate by increasing your ISO settings, but not everyone is willing to pay for the trade-off with higher noise levels. In this situation, larger apertures offer the sports photographer an added advantage of a brighter image in the viewfinder, thus making it easier to get better framing and composition.

Image Stabilisation & Vibration Reduction
Image Stabilisation and Vibration Reduction are Canon’s and Nikon’s terms for their proprietary shake and movement reduction technologies. Many of their lenses are now equipped with these technologies, making it inevitable that we take a look at them. I’ll use the term ‘Shake Reduction’ to refer to these technologies though I prefer the term “Image Stabilisation”.

Shake Reduction technology can mean the difference between a razor sharp and blurred picture at the same shutter speeds or the difference between the ability to hand-hold a lens for a photograph that would otherwise have to be tripod-mounted. Some older lenses of this genre do not perform well on tripods and instead introduce shake where there is none. Others have a panning mode for tripod mounted use and corrects shake only on one axis.

Shake Reduction does not fix all your shake problems; rather, it helps you increase your efficiency. If used well, it can be used to really push the limits of hand-held photography.

Wide-Angle Lenses

by ElectrikCandyland

Wide angle lenses are not practical for most sports applications. However, if you’re photographing a relatively low-impact sport (where damage to the photographer is ‘relatively’ low in a worst case scenario), say skateboarding or roller-blading for instance, you could use these lenses for great effects.

Here are some lens recommendations for Canon & Nikon cameras with links to their specs pages.

Canon
EF 600mm f/4L IS USM
EF 500mm f/4L IS USM
EF 400mm f/2.8L IS USM
EF 300mm f/2.8L IS USM
EF 100-400mm f/4.5-5.6L IS USM

Nikon
AF-S NIKKOR 600mm f/4G ED VR Replacing the AF-S Nikkor 600mm f/4D IF-ED II
AF-S Nikkor 500mm f/4D IF-ED II
AF-S Nikkor 400mm f/2.8D IF-ED II
AF-S VR Nikkor 300mm f/2.8G IF-ED
AF Zoom-Nikkor 80-200mm f/2.8D ED - Added in Update
AF VR Zoom-Nikkor 80-400mm f/4.5-5.6D ED
AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF-ED
AF Zoom-Nikkor 70-300mm f/4-5.6D ED

If you found this interesting and would like to view further articles in a feed reader, add our RSS feed now.

If you’re interested in improving your photography, look at our Photo Projects series.

You can also find out more about lenses for different kinds of photography at The Lens Resource index post.

by fotofacade

Architectural Photography is a specialised branch of photography that not many people master. One of the reasons is that very often, the architectural photographer needs equipment that is beyond the reach of the average photo enthusiast. Other reasons include: needing a good aesthetic sense, and (as with all photographic subjects) a true appreciation of the architecture being photographed.

An understanding of composition and elements of design, and an eye for spotting them helps too… However, we’re not doing a class on how to take Architectural photographs, though that may come later. So, on to the lenses…

Tilt-Shift Lenses
A tilt-shift (abbreviated to TS and also called a Perspective Correction lens) lens enables your SLR camera to operate like a bellows or view camera (in a restricted sense though…). Essentially, the problem with taking pictures of tall buildings from the ground is that as their height increases, the top of the building gets further away from the camera, introducing ‘perspective’ into the photograph. The work around is to keep the camera pointed parallel to the ground; but the problem with doing this is that you more of the ground into your photograph and you may end up cutting off the top of the building. The TS lens, helps by allowing you to keep the camera perfectly horizontal but ’shifting’ the view of the lens upwards… Take a look a the illustration…

Here are some more interesting photographs taken with Tilt-Shift lenses: Charminar by Sabir, CIS building by fotofacade and Full Shift Boogie by iso100.

Here are a couple of TS lenses that I’d want to own (if I could afford them)

Canon
Canon TS-E 24mm f/3.5L Tilt Shift Lens
Canon TS-E 45mm f/2.8 Tilt Shift Lens
Canon TS-E 90mm f/2.8 Tilt Shift Lens

Nikon
Nikon 28mm f/3.5 PC-Nikkor
Nikon 85mm f/2.8 PC Micro Nikkor

Ultra Wide-Angle lenses

By Cuellar

Now, Architectural photography also includes pictures of interiors… Often the areas that need to be photographed are narrow or small, but need to be shown in their entirety. This calls for another breed of special lenses. Ultra Wide-Angle lenses, like TS lenses are expensive play things for people who have no need for them, but a necessity for those who do… 14-21mm prime lenses fit the bill for professional photographers who make a living out of photographing interiors. However, for the enthusiast who prefers to have a more usable range of focal lengths and does not ‘need’ the ultra-high quality that the prime lenses offer, the ultra-wide zoom lenses that various companies have on offer are a good option. Canon, Nikon, Sigma and Tamron have some really good zoom lenses for any Digital or Film SLR that you may have.

Here are some Ultra-Wide Prime and Zoom lenses for Canon and Nikon cameras. Sigma and Tamron lenses have not been mentioned as they come in either Canon or Nikon mounts; however, here is a list of all sigma lenses and Tamron’s lenses page.

Canon
Canon EF 14mm f/2.8L USM - Unique for its absolutely straight lines in spite of wide view.
Canon EF 20mm f/2.8 USM
Canon EF 16-35mm f/2.8L USM
Canon EF 17-40mm f/4L USM
Canon EF-S 10-22mm f/3.5-4.5 USM

Nikon
Nikon 12-24mm f/4G ED IF DX - Meant for DX format cameras
Nikon 14mm f/2.8D ED AF - Similar to Canon’s 14mm lens
Nikon 18mm f/2.8D AF
Nikon 18mm - 70mm f/3.5-4.5G ED IF AF-S DX - Meant for DX format cameras
Nikon 20mm f/2.8D AF

Special Effects lenses
Fisheye Lenses bring a very different view to any photograph. A fisheye lens brings in a totally different aspect when it comes to architecture. It enables the photographer to explore architecture as patterns and shapes, distorting them - sometimes beyond recognition - so that the viewer is also forced to look at architecture in a new way.

Here are some Fisheye lenses.
Canon EF 15mm f/2.8 Fisheye
Nikon 10.5mm f/2.8G ED AF DX Fisheye - Meant for DX format cameras
Nikon 16mm F/2.8D AF Fisheye
Sigma 8mm f/3.5 EX DG Circular Fisheye (for Canon) - Circular Fisheye! - WOW!
Sigma 8mm f/3.5 EX DG Circular Fisheye (for Nikon) - Circular Fisheye! - WOW!
Sigma 15mm f/2.8 EX DG Diagonal Fisheye (for Canon)
Sigma 15mm f/2.8 EX DG Diagonal Fisheye (for Nikon)

I hope that this list and explanation of some of the lenses that can be used for Architectural photography is of some use. This is by no means an extensive list. Rather, I intend it as a list that will help you get a fair idea of the kinds of lenses that can be used profitably, to get pictures that bring a viewer back for a second look. If you’re interested in improving your photography, look at our Photo Projects series.

Find out more about lenses for different kinds of photography at The Lens Resource index post.

Portrait Lenses

by saisiv

A good ‘Portrait lens’ should be able to separate the person being photographed from the background and feature him/her in a pleasing perspective.

Imagine that you’re taking a photograph of a beautiful model out-doors, near a forest, under the shade of some massive evergreen trees with gigantic ferns in the background (don’t look to the left, picture this in your mind). You’d want to get the model in sharp focus but if the ferns are also in focus, they’d just add clutter to the photograph. In this case, a telephoto lens set at a nice, wide aperture will give you a shallow depth of field, separating the model and the background. If you’re just using natural light with some reflectors, the added advantage of having a fast lens is that you’ll be able to shoot at faster shutter speeds!

The best range of focal lengths
Most photographers use a zoom lens in the 85-135mm range for most of their portrait photography. Some of the faster lenses in this range of focal lengths come with apertures as wide as f/2.8 and f/1.8. Canon’s EF 70-200mm f/2.8L IS lens is one such lens.

You’ll also want a lens that enables you to stand a reasonable distance away from the subject. Long focal lengths help with that… Staying away from the subject and taking portraits with a 70mm or 135mm lens has two major benefits.

1. The first is that it gives the sitter’s face a pleasing perspective. Noses are not enlarged and sticking into the camera while ears disappear into the distance; instead they are nicely proportionate to each other.
2. The second is that you will be able to give the model or sitter some space instead of intruding into their personal space. This always makes the sitter more comfortable, making for a more productive shoot.

At the same time, you don’t want to be too far away from the sitter, making it difficult to communicate… Also, you may not have all that much space! Taking a full length portrait of a 5’ 10” model with a 200mm lens would require you to stand about 30-40 feet away! So, extremely long focal length lenses are generally given a miss for this category unless you’re doing some really tight close-ups, in which case it would generally be cheaper to take a couple of steps forwards!

Alternate Focal lengths

by Jason Armstrong

The 70-200mm lens we talked about earlier is great if you’re doing half-length or close up shots, but if you’re taking full length, or group portraits, you may want to add a wider zoom to your repertoire of lenses to give your photographs some variety. A wide-to-medium-telephoto lens is usually good for this usage. I use the Canon EF 24-70mm f/2.8L lens but have to keep reminding myself to stay at the telephoto end of the lens. A good way to remind yourself not to go wide is to set a marker at a safe distance away from the model and to remain behind it at all times. This will ensure that you don’t distort the sitter’s features beyond their most pleasing proportions.

Of course, there are always exceptions to the rule and sometimes a portrait taken with a wide-angle lens could emphasise a certain quirky aspect of your sitter’s personality, so remember, there is always room for a couple of pictures taken with non-standard focal lengths and angles…

Portraits with a Prime Lens
Some photographers prefer to use ‘Prime lenses‘ (also called block lenses) for portraiture because of the increased sharpness over zoom lenses. The Canon EF 85mm f/1.2L is one of the major candidates for this as many photographers feel that the perspective and bokeh. Many photographers also like using 105mm and 135mm prime lenses for their portrait photography. However, using a prime lens means that you have to keep ’shunting’ forwards and backwards to get your framing right.

Here are some popular ‘Portrait lenses’ for Nikon and Canon Cameras

Canon EF 70-200mm f/2.8L IS
Canon EF 24-70mm f/2.8L
Canon EF 85mm f/1.2L II USM

Nikon 70-200mm f/2.8G ED-IF AF-S VR Zoom
Nikon 18-200mm f/3.5-5.6 G ED-IF AF-S VR Zoom
Nikon 85mm f/1.8D AF
Nikon 135mm f/2.0D AF DC

Find out more about lenses for different kinds of photography at The Lens Resource index post.

Like I promised, we’re going to take a look at some lens applications and what lenses you’d want for a given use. I’ve divided them broadly into the following categories

Lenses for Portrait Photography
Lenses for Landscape Photography
Lenses for Macro Photography
Lenses for Nature & Wildlife Photography
Lenses for Sports Photography
Lenses for Still-life Photography
Lenses for Architectural Photography
Lenses for Photojournalism

I’ll be adding links to the related posts as we go along, so bookmark this page if you’re interested.

Do you think that something’s been left out? Do you want to see another category in this list? Add a comment to this post and I’ll put it in.