The top five best lenses for interior photography include the Canon EF 16-35mm f/4L IS USM, Nikon AF-S NIKKOR 35mm f/1.8G ED, Sony SEL2470GM FE 24-70 mm F2.8 GM, Fujifilm XF10-24mmF4 R OIS WR, and Panasonic Lumix G 20mm f/1.7 II ASPH. These lenses are chosen based on factors such as focal range, aperture, and weight.
A wide-angle lens is ideal for interior photography situations, making rooms look spacious and communicating the layout of the place. However, it’s important not to overdo it, as the right lens can make photos appear distorted, dark, or out of focus. Most interior photography is covered with wide-angle lenses, with fisheye lenses available at the extremes.
The 24mm focal length is considered the golden focal length in interior photography, as it allows most rooms to fit in and suffer less distortion than going as wide as 16mm. A wide lens like the Canon 14-35 F4 L is recommended, while a 50mm 1.8 is suitable for more detailed shots. Tilt-shift lenses have been used by architectural photographers for years, and the Canon EF 24-70 f2.8 Zoom Lens is my main choice.
Wide-angle lenses are essential for capturing the entire room in a single shot, with focal lengths between 10mm to 24mm. Sigma 10-20mm F4-5.6 EX DC is a great commercial and lifestyle lens, while the Canon 24-70 II is a great commercial and lifestyle lens. Wide-angle lenses should have at least 24-mm or above, with 35-mm as the highest level. They are ideal for shooting indoors or landscapes since they can be used as a double for architecture and interior shots.
In conclusion, the top five best lenses for interior photography include the Canon EF 16-35mm f/4L IS USM, Nikon AF-S NIKKOR 35mm Fixed Zoom Lens, Sony SEL2470GM FE 24-70 mm F2.8 GM, Fujifilm XF10-24mmF4 R OIS WR, and Panasonic Lumix G 20mm f/1.7 II ASPH. By choosing the right lens, you can create stunning images that capture the essence of your space.
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What lens to use for indoor photography?
The Canon EF 24-70mm f/2. 8L ii USM is a highly regarded standard zoom lens for interior photography, offering a wide range of options and high-quality detail shots. The lens comprises 18 elements in 13 groups, including three aspherical elements, two UD elements, and one “Super” UD element. This lens is optimal for interior architectural photography, enabling both close-up and detailed shots.
Is 24mm good for interior photography?
The 24mm TS-E is a specialized lens for interior photography that reduces the visual impact of space in a given shot while avoiding the potential issues of wideness and the inclusion of large objects. The Canon 16-35mm is a versatile lens that effectively addresses technical issues at the wider end, thereby making it an optimal choice for interior photography. Both lenses offer a comprehensive range of capabilities, rendering them suitable for a diverse array of photographic applications.
What color lens for indoor shooting?
Clear lenses offer pure protection in indoor ranges or low light conditions, providing visual clarity without altering the environment’s color. They ensure maximum light transmission without color distortion. Gray lenses maintain true color perception and reduce brightness in sunny conditions, minimizing eye fatigue and glare. They are beneficial for shooters who prefer a natural view without color enhancement. Green lenses provide balanced visibility, enhancing contrast and providing true color balance.
They are suitable for environments with frequent light changes and can reduce glare and filter out some blue light, making them ideal for wooded or grassy areas. Overall, clear, gray, and green lenses are essential for different shooting situations.
Which lens is used for interior photography?
A larger sensor in a camera is essential for capturing more light and detail in interior photography, especially when using tilt-shift lenses of 24mm and 17mm. APS-C or micro four-thirds cameras may result in cropping, affecting the focal length. A higher resolution camera can capture more detail, making it suitable for large-scale prints or post-processing. In my fifteen years of photography, most of my work is presented electronically, such as on websites, social media, and PDFs. A 12-megapixel camera can produce an 18-inch print without pixelation.
Which lens would be best for architecture and interiors?
The focal length of a lens plays a crucial role in determining the angle of view and perspective distortion in architecture photography. Wide-angle lenses with focal lengths between 16-35mm are preferred for capturing expansive interiors and exteriors, emphasizing the scale of a building. To avoid distortion issues, opt for lenses with good distortion control, such as specialized tilt-shift lenses or aspherical elements.
What lens is best for shooting interiors?
The Canon 16-35mm f/2. 8 lll USM is a versatile lens suitable for interior photography, with a range of 24-52. 5mm. It is considered the golden focal length for interior photography, as it fits most rooms and suffers less distortion than a wider focal length of 16mm. However, it is not recommended to go wider than 16mm as it may result in unnatural results and significant perspective distortion. The lens has a minimum aperture of 22mm, a closest focusing distance of 0. 28m, a maximum magnification of 0. 25mm, a maximum diameter of 82mm, and a weight of 790g.
Is 50mm better than 24mm?
The 50mm lens is a more flattering choice for portraiture, as it allows for more natural and flattering perspectives. With a longer focal length, it allows for full-body shots and headshots from a reasonable distance, resulting in a flattering perspective with limited distortion. This is in contrast to the 24mm lens, which requires close-up shots for frame-filling portraits, which can lead to distortion. The 50mm lens allows for stunning, natural-looking portraits that are perfect for capturing the essence and beauty of the human face.
How to shoot interior photography?
The discipline of photography is fundamentally concerned with the manipulation of light, and the photographic representation of interiors is typified by the presence of horizontal and vertical lines within confined spaces. In order to capture the most effective interior images, it is essential to extinguish all sources of illumination, focus on the arrangement of lines, ensure the environment is tidy, and employ creative techniques to utilise the available space.
What aperture should I use for interior photography?
The aperture in a camera controls light permeability and depth of field, ensuring most of the scene is in focus and preventing diffraction issues. The ISO setting on the camera adjusts the sensor’s sensitivity to light, with lower values indicating less sensitivity and higher values indicating increased sensitivity, resulting in brighter images. Both factors are crucial for effective interior photography.
What is the best focal length for interior photography?
For those engaged in the practice of interior and architectural photography, it is recommended that consideration be given to the acquisition of a specialty tilt-shift lens with a focal length of 19mm or 24mm. Such a lens is capable of tilting and shifting, thereby maintaining the camera body’s level while simultaneously changing the focusing plane.
What is the best F for indoor photography?
In the context of indoor photography, the use of a tripod is recommended. In such instances, it is advisable to maintain a low ISO (approximately 100), utilise an aperture of f/4 or lower for portraiture, and f/11 for wide-angle photography.
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I have a Canon r10 camera and I am struggling to find a good lens for it for a while now as I have read it is cropped sensor camera so I am unsure whether the 16-35mm lens (some articles have suggested a 10-18mm lens as it might be useful for tight spaces but I could only find this lens with a f4.5-5.6). It would be great if you could suggest a appropriate lens or possibly its best investing in a new camera? Thank you 🙂
I would consider not using superlatives such as “best” for your articles. “Best” is relative from photographer to photographer. If someone has a RE photo company where they just pump HDR photos out, an APSC system might work better for them. If they are going for quality, maybe Sony GM or G is better for them.
I’ve been on YouTube for 15 years and never commented on a article before. This article is awesome. I’ve spent the entire day trying to find a basic primer on lens/lighting setup for someone with a technical background (but not alot of article experience). I appreciate that this got right to the point and without any BS. Kudos. A breathe of fresh air.
Great articles! New subscriber. A question regarding lens choice and focal length… if I want to use a green screen to add information/photos/videos behind me, does the green screen need to be in the same focal length as me, or can it be out of focus? I plan on starting my tests with a nice Panasonic/Leica Summilux 25mm 1.4 lens on a M4/3rd resulting in a 50mm equivalent. And based on your green screen article (thanks for that!) I will need to play with my distance from the green screen. Thank again!
Doesn’t the focal length depend on whether you’re using a full-frame or crop sensor? I’ll have to assume your examples all pertained to full frame, and adjust accordingly if I’m using a crop sensor. (In other words, multiply the len’s focal length by the camera crop factor to know the effective focal length) Correct?
Use a lens length that flatters the person in the article and position the camera and dress the set accordingly. Dont use a wide angle lens if the person is large or rounded features. Dont use a long lens zoomed way in if the person has thin or pointed features. Shooting at 35mm and giving your subject room will work for most body/face shapes and sizes. You can always crop in the frame in post if you shoot in a high enough resolution to create a more intimate feel without distorting their features
It is DISTANCE TO NEAR OBJECT no focal length of the lens which changes near-far perspective. With faces the key near-far relationship is nose-to-ears and how wide the head behind the ears looks. I’ve been shooting faces with a camera since 1968 and have observed the standard for what most consider ‘normal’ perspective change when people started vlogging with phones and GoPros on selfie sticks a distances far closer than any conventional portrait photographer would use. 85mm – 105mm became the range off focal lengths used for 35mm because that range produced head and shoulder and headshot crops from 6-10ft which is the range of shooting distances which will make a face appear ‘as seen by eye’ at typical interaction distances. The near-far perspective of the human eye also changes with distance but since it is a fixed focal length the FOV does not change and our perception “tunnels” on the center 2° of the FOV when we fixate on anything — width of of thumb at arm’s length — due to the way most of the RGB sensing cone cells are concentrated around the optic nerve. The takeaway is regardless of camera format, try different viewing distances, pick the one that produces the near-far perspective you want then pick the focal length that produces the desired in-camera crop if not able to to alter it in post-processing.
My latest article was a fuji 56 1.2. Roughly 85mm FF equivalent. It’s a bit close. I use a fuji 35 1.4 in my soon to come articles. Roughly 50mm FF equivalent. These have a better background composition I think. They give more context but still allow nice separation/blur. So I like that a lot. I’ll have a article soon with this new setup. I’m using two boling p1 lights in a sort of rembrandt hybrid setup with an led panel behind at a slight angle for a rim light.. I’d love feedback once I post it soon… Stay tuned!
With regard to auto focus, you do realize that most viewers are using their tiny smartphone screens to watch your articles on, right? I have been looking into this a lot in the last couple of years. It is rare to find a 27 inch monitor or decent speakers for that matter. I have all that here. So why shouldn’t everyone else, Right? So on smartphone screens everything looks sharp as a tack.