Close-up lens

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Set of three close-up lenses Lens filter set.jpg
Set of three close-up lenses
Typical close-up lens Close-Up lens Canon 500D 58 mm.jpg
Typical close-up lens
Optical scheme of close-up photography.
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1 - Close-up lens.
2 - Camera objective lens (set to infinity).
3 - Camera.
4 - Film or CCD plane.
y - Object
y" - Image Close-up.png
Optical scheme of close-up photography.
  • 1 - Close-up lens.
  • 2 - Camera objective lens (set to infinity).
  • 3 - Camera.
  • 4 - Film or CCD plane.
  • y - Object
  • y" - Image
Photograph taken with a 3 diopter achromatic close-up lens: Pentatomidae-hatchlings underneath a purple beech leaf Pentatomidae-clutch hatched.jpg
Photograph taken with a 3 diopter achromatic close-up lens: Pentatomidae-hatchlings underneath a purple beech leaf

In photography, a close-up lens (sometimes referred to as close-up filter or a macro filter) is a simple secondary lens used to enable macro photography without requiring a specialised primary lens. They work like reading glasses, allowing a primary lens to focus more closely. [1] Bringing the focus closer allows the photographer more possibilities. [2]

Contents

Close-up lenses typically mount on the filter thread of the primary lens, [3] and are often manufactured and sold by suppliers of photographic filters. Nonetheless, they are lenses and not filters. Some manufacturers refer to their close-up lenses as diopters, after the unit of measurement of their optical power.

Close-up lenses do not affect exposure, unlike extension tubes, which also can be used for macro photography with a non-macro lens. [4]

Optical power

Close-up lenses are often specified by their optical power in diopters, the reciprocal of the focal length in meters. For a close-up lens, the diopter value is positive: the bigger the number, the greater the effective magnification.

Higher quality achromatic lenses commonly lack a strength specification in diopters. It can be inferred as the reciprocal of the maximum specified working distance in meters (i.e., a lens with a maximum working distance of 25cm has a strength of +4 diopters).

Several close-up lenses may be used in combination; the optical power of the combination is the sum of the optical powers of the component lenses. [5] For example, a set of lenses of +1, +2, and +4 diopters can be combined to provide a range from +1 to +7 in steps of 1.

Working distances and magnifications

Close-up lenses change both the maximum and minimum focus distances of a lens. The range can be rather small.

Working at maximum distance

Adding a close-up lens to a lens focused to infinity changes the focus point to the focal length of the close-up lens, that is, the inverse of its optical power. This is the combination's maximal working distance:

That distance is sometimes given on the filter in mm. A +3 close-up lens has a maximal working distance of 0.333 m or 333 mm.

The magnification is the focal distance of the objective lens (f) divided by the focal distance of the close-up lens; i.e., the focal distance of the objective lens (in meters) multiplied by the diopter value (D) of the close-up lens:

In the example above, if the lens has a 300 mm focal distance, the magnification is 0.3×3 = 0.9.

Given the small size of most sensors (about 25 mm for APS-C sensors) a 20 mm insect will almost fill the frame at this magnification. Using a zoom lens makes it easy to frame the subject as desired.

Working at minimal distance

When you add a close-up lens to a camera which is focusing at the shortest distance at which the objective lens can focus, the focus will move to a distance which is given by following formula:

X being the shortest distance at which the objective lens can focus (in meters), and D being the diopter value of the close-up lens. This is the minimal working distance at which you will be able to take a picture with the close-up lens.

For example, a lens that can focus at 1.5 m combined with a +3 diopter close-up lens will give a closest working distance of 1.5/(3×1.5 + 1) = 0.273 m.

The magnification reached in those conditions is given by following formula:

MX being the magnification at distance X without the close-up lens.

In the example above, the gain of magnification at Xmin will be (3×1.5 + 1) = 5.5.

While it would seem obvious that at this Xmin distance you will get the highest magnification, focus breathing can cause more of a difference in actual magnification than the small overall in-focus working distance range particularly for higher strength diopters.

Macro photography with a close-up lens

Close-up lenses can make a telephoto lens function as a macro lens with a large working distance. This is useful, for example, to prevent scaring small animals or isolating the subject from messy surroundings. To use the filters for animals the size of the animal will determine the working distance (small snakes 1 m to 50 cm, lizards 50–25 cm, small butterflies, beetles 25–10 cm), so it is essential to know what will be the favorite subject before screwing on a close-up lens. The close-up lenses are most effective with long focal length objectives and using a zoom lens is very practical to have some flexibility in the magnification. A good technique for sharp focussing is to take a picture at a long focal length first to have optimal sharpness at the essential details and then zooming out to have the desired size in the frame.

Optical issues

Some single-element close-up lenses produce images with severe aberrations but there are also high-quality close-up lenses composed as achromatic doublets which are capable of producing excellent images, with fairly low loss of sharpness.

See also

Related Research Articles

<span class="mw-page-title-main">Chromatic aberration</span> Failure of a lens to focus all colors on the same point

In optics, chromatic aberration (CA), also called chromatic distortion and spherochromatism, is a failure of a lens to focus all colors to the same point. It is caused by dispersion: the refractive index of the lens elements varies with the wavelength of light. The refractive index of most transparent materials decreases with increasing wavelength. Since the focal length of a lens depends on the refractive index, this variation in refractive index affects focusing. Chromatic aberration manifests itself as "fringes" of color along boundaries that separate dark and bright parts of the image.

<span class="mw-page-title-main">Rangefinder camera</span> Camera fitted with a rangefinder

A rangefinder camera is a camera fitted with a rangefinder, typically a split-image rangefinder: a range-finding focusing mechanism allowing the photographer to measure the subject distance and take photographs that are in sharp focus. Most varieties of rangefinder show two images of the same subject, one of which moves when a calibrated wheel is turned; when the two images coincide and fuse into one, the distance can be read off the wheel. Older, non-coupled rangefinder cameras display the focusing distance and require the photographer to transfer the value to the lens focus ring; cameras without built-in rangefinders could have an external rangefinder fitted into the accessory shoe. Earlier cameras of this type had separate viewfinder and rangefinder windows; later the rangefinder was incorporated into the viewfinder. More modern designs have rangefinders coupled to the focusing mechanism so that the lens is focused correctly when the rangefinder images fuse; compare with the focusing screen in non-autofocus SLRs.

The focal length of an optical system is a measure of how strongly the system converges or diverges light; it is the inverse of the system's optical power. A positive focal length indicates that a system converges light, while a negative focal length indicates that the system diverges light. A system with a shorter focal length bends the rays more sharply, bringing them to a focus in a shorter distance or diverging them more quickly. For the special case of a thin lens in air, a positive focal length is the distance over which initially collimated (parallel) rays are brought to a focus, or alternatively a negative focal length indicates how far in front of the lens a point source must be located to form a collimated beam. For more general optical systems, the focal length has no intuitive meaning; it is simply the inverse of the system's optical power.

The angle of view is the decisive variable for the visual perception of the size or projection of the size of an object.

<span class="mw-page-title-main">Camera lens</span> Optical lens or assembly of lenses used with a camera to create images

A camera lens is an optical lens or assembly of lenses used in conjunction with a camera body and mechanism to make images of objects either on photographic film or on other media capable of storing an image chemically or electronically.

<span class="mw-page-title-main">Zoom lens</span> Lens with a variable focal length

A zoom lens is a mechanical assembly of lens elements for which the focal length can be varied, as opposed to a fixed-focal-length (FFL) lens.

<span class="mw-page-title-main">Objective (optics)</span>

In optical engineering, the objective is the optical element that gathers light from the object being observed and focuses the light rays to produce a real image. Objectives can be a single lens or mirror, or combinations of several optical elements. They are used in microscopes, binoculars, telescopes, cameras, slide projectors, CD players and many other optical instruments. Objectives are also called object lenses, object glasses, or objective glasses.

<span class="mw-page-title-main">Perspective distortion</span> Transformation of an object and its surrounding area that differs from its normal focal length

In photography and cinematography, perspective distortion is a warping or transformation of an object and its surrounding area that differs significantly from what the object would look like with a normal focal length, due to the relative scale of nearby and distant features. Perspective distortion is determined by the relative distances at which the image is captured and viewed, and is due to the angle of view of the image being either wider or narrower than the angle of view at which the image is viewed, hence the apparent relative distances differing from what is expected. Related to this concept is axial magnification – the perceived depth of objects at a given magnification.

<span class="mw-page-title-main">Magnification</span> Process of enlarging the apparent size of something

Magnification is the process of enlarging the apparent size, not physical size, of something. This enlargement is quantified by a calculated number also called "magnification". When this number is less than one, it refers to a reduction in size, sometimes called magnification or de-magnification.

<span class="mw-page-title-main">Eyepiece</span> Type of lens attached to a variety of optical devices such as telescopes and microscopes

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<span class="mw-page-title-main">Prime lens</span> Camera lens with fixed focal length

In film and photography, a prime lens is a fixed focal length photographic lens, typically with a maximum aperture from f2.8 to f1.2. The term can also mean the primary lens in a combination lens system. Confusion between these two meanings can occur without clarifying context. Alternate terms, such as primary focal length, fixed focal length, or FFL are sometimes used to avoid ambiguity.

<span class="mw-page-title-main">Macro photography</span> Photography genre and techniques of extreme close-up pictures

Macro photography is extreme close-up photography, usually of very small subjects and living organisms like insects, in which the size of the subject in the photograph is greater than life size . By the original definition, a macro photograph is one in which the size of the subject on the negative or image sensor is life size or greater. In some senses, however, it refers to a finished photograph of a subject that is greater than life size.

<span class="mw-page-title-main">Lens mount</span> Interface between a camera body and lens

A lens mount is an interface – mechanical and often also electrical – between a photographic camera body and a lens. It is a feature of camera systems where the body allows interchangeable lenses, most usually the rangefinder camera, single lens reflex type, single lens mirrorless type or any movie camera of 16 mm or higher gauge. Lens mounts are also used to connect optical components in instrumentation that may not involve a camera, such as the modular components used in optical laboratory prototyping which join via C-mount or T-mount elements.

Depth of focus is a lens optics concept that measures the tolerance of placement of the image plane in relation to the lens. In a camera, depth of focus indicates the tolerance of the film's displacement within the camera and is therefore sometimes referred to as "lens-to-film tolerance".

<span class="mw-page-title-main">Canon EF 50mm lens</span>

The EF 50mm lenses are a group of normal prime lenses made by Canon that share the same focal length. These lenses are based on the classic double-Gauss lens, with the f/1.8 being a standard six-element double-Gauss with an air gap and powers between element 2 and 3 and its faster cousins adding additional elements. The 50mm focal length, when used with a 35mm film or full-frame sensor, has been widely considered to match the perspective seen by the human eye.

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<span class="mw-page-title-main">Panasonic Lumix DMC-FZ50</span>

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In photography, a long-focus lens is a camera lens which has a focal length that is longer than the diagonal measure of the film or sensor that receives its image. It is used to make distant objects appear magnified with magnification increasing as longer focal length lenses are used. A long-focus lens is one of three basic photographic lens types classified by relative focal length, the other two being a normal lens and a wide-angle lens. As with other types of camera lenses, the focal length is usually expressed in a millimeter value written on the lens, for example: a 500 mm lens. The most common type of long-focus lens is the telephoto lens, which incorporate a special lens group known as a telephoto group to make the physical length of the lens shorter than the focal length.

<span class="mw-page-title-main">Sigma 8-16mm f/4.5-5.6 DC HSM lens</span> Ultra wide-angle rectilinear camera zoom lens

The Sigma 8–16mm lens is an enthusiast-level, ultra wide-angle rectilinear zoom lens made by Sigma Corporation specifically for use with APS-C small format digital SLRs. It is the first ultrawide rectilinear zoom lens with a minimum focal length of 8 mm, designed specifically for APS-C size image sensors. The lens was introduced at the February 2010 Photo Marketing Association International Convention and Trade Show. At its release it was the widest viewing angle focal length available commercially for APS-C cameras. It is part of Sigma's DC line of lenses, meaning it was designed to have an image circle tailored to work with APS-C format cameras. The lens has a constant length regardless of optical zoom and focus with inner lens tube elements responding to these parameters. The lens has hypersonic zoom autofocus.

<span class="mw-page-title-main">Macroscope (Wild-Leica)</span>

A macroscope is a type of optical microscope developed and named by Swiss microscope manufacturers Wild Heerbrugg and later, after that company's merger with Leica in 1987, by Leica Microsystems of Germany, optimised for high quality macro photography and/or viewing using a single objective lens and light path, rather than stereoscopic viewing of specimens, at magnifications up to around x40.

References

  1. Meehan, Joseph (2006). The Magic of Digital Close-Up Photography. New York: Lark Books. p. 59. ISBN   978-1-57990-652-8. For real close-up work, some cameras need help—their own version of reading glasses.
  2. Timacheff, Serge (2008). Canon EOS Digital Photography: Photo Workshop. Wiley. p. 8. ISBN   978-0-470-11434-6. ...a variety of accessories increase your creative options. Additional components include Canon Softmat filters and close-up lenses,...
  3. Busch, David D. (2009). Digital SLR Cameras & Photography for Dummies (3rd ed.). Wiley. p.  84. ISBN   9780470466063. A lot of available add-ons can help you focus close, including filter-like close-up attachments that screw onto the front of the lens,...
  4. Busch, David D. (2009). Digital SLR Cameras & Photography for Dummies (3rd ed.). Wiley. p.  139. ISBN   9780470466063.
  5. Grimm, Tom; Grimm, Michele (1997). The Basic Book of Photography (4th ed.). Plume. p. 137. ISBN   0-452-27825-2. They can be used alone, or two can be combined.