This lens represents three major advances in catadioptric lens design. it offers the photographer extreme compactness, inherent environmental stability, and superior relative illumination; characteristics that have until now been unattainable in long focal length reflex lens for 35mm photography. The optical design of the aspherical 600mm solid catadioptric lens is derived from the Cassegrain telescope objective used extensively in astronomical work. The extreme Series I 600mm so lid catadioptriC lens compactness of this lens is attributed to the achievement of a seven-to-one ratio between focal length and barrel length. This compares with a 1.2 to 1 ratio for traditional non-mirror telephoto lenses and about four-to-one for previous reflex lenses. The short physical length of this lens helps to lessen the effect of minor in-camera vibrations such as mirror bounce on image sharpness. Highly acceptable hand-held shots at relatively slow shutter speeds are entirely possible. The photographer can safely violate the rule for normal telephoto lenses that minimum shutter speed should approximate focal length in hand held shooting. (A 600mm lens would require 1/500 second or faster shutter speed.) Stability has been another major problem in catadioptric lenses. In conventional designs, the optical ] groups of the lens are separated by large air spaces. Temperature variants often create serious optical alignment anomalies, decreasing sharpness. These lenses are also susceptible to severe mis-alignment caused by minor shocks and vibrations. In the 600mm f8, spherically shaped elements are pieced together to form what is a virtually solid element. As all the optical elements share similar temperature coefficients, the lens is temperature stable even in extreme climates. This near-solid construction also makes the optical alignment highly resistant to damage from impact. The troublesome "hot spot" present in conventional mirror lenses is almost entirely absent in the Vivi tar Series I 600mm. This " hot spot" results from a difference in illumination between axis and corner of 50% or more.

To decrease your depth of field, you should focus on a wide aperture (a lower f-number), closer camera distance to your subject or longer focal length. To get a longer focal length you can use a longer focal length lens.

Just a note! We’re going to talk a lot about aperture so just to brush up on that: your camera’s aperture controls the blurriness and sharpness by adjusting the size of the opening in the lens.

To get the desired depth of field you would want to have your aperture set to f/16 or smaller. As for the given focus distance, you want your camera subject distance to be as far away as possible and use a lens with short focal lengths.

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Let’s start out by saying that the topic of hyperfocal distance can be confusing for even professionals! As we now know, depth of field extends in front of the point of focus and behind it. Meaning that if your focal length is at infinity or on the horizon you’ll actually lose sharpness as well lose out on an effective focal length and waste some depth of field.

So just remember, to create a deep depth of field you want to have a narrow aperture setting, further subject distance and short focal lengths. This should help you with beautiful landscape photography!

But in the Series I solid catadioptric lens fall-off has been reduced to less than 30%, the equivalent of about 112 .f stop. As with all mirror telephoto lenses, the Vivitar Series I 600mm f8 is a fixed aperture lens. Exposure is controlled by camera shutter speed and the use of neutral density filters. In this lens, filters are placed behind the lens in the T-mount, thus allowing the use. of smaller Series I 35.5mm close tolerance VMC filters. The lens focuses very quickly, since the entire main body of the lens (with primary and secondary mirrors including the afocal double) moves relative to the elements forming the Barlow group which remains at a fixed distance from the film plane. This focusing system requires about one-fourth as much axial travel as would be required if the entire optical system moved as a single unit. The lens can be rotated 360° inside its tripod mounting ring and can be locked in any position. A safety catch holds the lens securely during rotation. One more unique feature of the Vivitar Series I 600mm f8 solid catadioptric lens is its development and manufacture entirely by U.S. sources. Working with the Perkin-Elmer Corporation, a world leader in global science and astronomical systems, Vivitar has incorporated the principles of intricate astronomical optics into photographic lenses for the professional and advanced amateur in 35mm photography. The 600mm f8 is the first of a family of solid catadioptric lenses, with 800mm f11 and 1200mm f1 1 versions scheduled to follow. The production of Series I solid catadioptric lenses, including the 600mm f8 is an exacting, time-consuming process. Optics of this type do not lend themselves to automated, assembly-line manufacture.

Cassegrain telescope

As we mentioned earlier, once you’ve got the basics and understand that aperture, focal length, and distance to the subject all work in tandem you will quickly start capturing dynamic and professional-looking photographs. Whether you’re into portrait photography or wildlife photography – the basics remain the same. There was quite a lot to cover in the above so let’s do a quick recap before moving on.

Before getting started, we know that depth of field, getting the right focal length, lens depth (i.e maximum depth vs extreme depth) can all be a little overwhelming but let us tell you that we believe that depth of field is one of the most important creative tools for photographers to master. So keep reading to learn more about nailing your focusing distance and more.

That’s where your hyperfocal distance comes into play. Hyperfocal distance focusing is a technique that enables you to capture the maximum deep depth of field possible in a photograph. The aim is to have your focus distance so that the far limit of focal plane just reaches infinity. The point on which you need to focus to achieve this is known as the hyperfocal distance.

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These areas of focus correspond with depth of field. Naturally, the sharp zone will vary from image to image depending on the different factors that contribute to acceptably sharp images.

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You would use a deep depth if you want to keep more of your image sharp and clear. This is most commonly used for landscape photography. To capture this you would want to use a narrow aperture setting.

A shallow depth of field is what we refer to as an image with a short focal point. Ultimately, there is a small part of your image sharp (in focus). Shallow depth of field is used interchangeably with small depth of field but sometimes it is also called narrow depth of field.

Simply put, the hyperfocal distance is the near limit of depth of field when your focusing distance is on infinity. And when you focus on the hyperfocal distance, the depth of field extends from roughly half the hyperfocal distance to infinity.

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We’d love to see you implementing these tips on depth of field on the Chobe River where we can help you line up your viewing distance perfectly to get the point image of your trip! Our photo hosts are also geared up to tell you about light rays, providing lens depth information and talk you through what different camera manufacturers assume when it comes to how lenses affects depth. Contact our safari planners today.

It would be fair to assume that most photographers choose the focal length of the lens to suit the subject or the shooting conditions rather than for the depth of field. That being said, there is an accepted rule that you would get greater depth of field with a wide-angle lens than with telephoto lenses. But that’s not actually true! A wide angle lens will magnify the subject less than a telephoto lens – meaning that more of the image will appear sharper. But, depth of field is all about acceptable sharpness, so it is true that a wide-angle image will give the appearance or illusion of greater sharpness as a whole.

A shallow depth of field is the small or narrow area in a picture that is in focus. This technique would result in an image with a blurred background and in focus subject. To achieve this shallow depth of field you would want to increase your aperture (lowering your f-number). Many professional portrait photographers would use this shallow depth of field technique.

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Depth of field can also get really complicated, with apps calculating depth down to the inch – but if we’re being honest – that takes out a lot of the enjoyment of wildlife photography so let’s just focus on figuring out when you need a small depth of field and how to create it. The same for a larger depth of field.

The best advice for controlling depth of field while keeping things relatively simple is to shoot in Aperture priority (Av) mode.

There are multiple ways to adjust depth of field, including aperture, the camera subject distance, lens focal length and camera’s sensor. So although, depth of field is often believed to only be controlled by adjusting the aperture setting solely, there are a few other combinations that can help you nail down your depth of field. Let’s take a look at the main elements when it comes to understanding depth of field:

Now that you’re comfortable with the concept of depth of field, you can also play around with your shutter speed. Take Sabine’s fish eagle example below, her settings for this image are shutter speed = 1/40 with an f-number of 18 and ISO 400. This may seem a little complicated but once you’ve played around a bit with your shutter speed, focal length and ISO you’ll soon find out how depth and various settings mentioned in this article can work together for an amazing image.

There are depth of field tables widely available on the internet as well as from camera manufacturers that tell you where the hyperfocal distance is for any given lens and camera combination, even compact digital cameras. However, hyperfocal distance is not a fixed value for a lens – even with telephoto lenses it changes with the aperture and the focal length. This is where a hyperfocal distance calculator would come in handy! We recommend Canon’s free Photo Companion app to help with your hyperfocal distance and depth of field calculations. That being said, if you don’t have time for calculations, and hyperfocal distance eludes you – a rough rule of thumb is to focus approximately one-third of the way into a scene. Let us know if you have any tips and tricks for hyperfocal distance too.

Optolens

We have already established that mastering depth of field is essential for having all the important elements that you want in your image in focus, but before going on a deep dive with the technical terms, let’s get familiar with the most common depth of field terminology.

Description as found at https://www.photo.net/forums/topic/509542-vivitar-series-1-600mm-f8-solid-catadioptric-telephoto-lens/:

They are produced individually, each lens being assembled and tested almost as though it were the first one to be built. For this reason, these lenses will be in limited supply. Optical Specifications Construction: 9 elements 7 groups Angle of acceptance: 4° Minimum focusing distance: 7 meters (23 feet) Aperture range: f8 (fixed f stop) Mechanical Specifications Length: 8.4cm (3-5/ 16 in.) Weight 1.36kg (3 lbs) Diameter: 1 0.6cm (4-3/16 in.) Filter provision : 35.5mm at the rear of the lens, inside the T-mount . Filters included are Series I VMC close tolerance UV haze, K2, 4X NO, and 25A. Screw-in hood, detachable tripod socket, filters, lens case , front and rear lens caps included. Mounts available to fit Universal Thread, Nikon/Nikkormat, Canon, Minolta, Konica Autoreflex and Olympus OM cameras. Vivitar Series I Program In recent years, remarkable progress has been made in solving some of the classic problems of optical design. Intensive work in the field was spurred on by the demands of space exploration and military applications and vastly aided by the growing sophistication of computer technology. Vivitar optical designers, working with programs devised for highly specialized optical tasks, have used computer generated designs to develop for Vivitar a new series of lenses capable of performance unreachable until now. Each Vivitar Series I lens so far introduced represents a breakthrough in optical design . The 135mm f2.3 and the 200mm f3 are among the fastest automatic telephoto lenses in their respective focal lengths. They are unusually light and compact. Each has a uniquely positioned rear compensating element that automatically corrects aberrations at all points from the closest focusing point to infinity. The 70-210 f3.5 automatic zoom lens and the 35-85mm f2.8 auto variable focusing lens are likewise definite advances in lens design, both offering extremely close focusing capability and remarkably compact configuration. To come? Look for a 90mm f2.5 macro, a 28mm f1.9 wide angle, 800mm f1 1 solid catadioptric and 1200mm f1 1 solid catadioptric telephoto .tenses. There will eventually be a complete optical system of more than twenty Vivitar Series I lenses, each representative of advanced technology and demonstrably superior to other lenses currently available. Vivitar marketed in the U.SA by Ponder &Best, Inc. Corporate Offices: 1630 Stewart St., Santa Monica, CA 90406 In Canada: Precision Cameras

Catadioptric

Depth of field is a fundamental concept to grasp when it comes to photography. Fully understanding depth of field and focus distance as a concept and what factors affect it will without a doubt help you take your photography to the next level.

Dobsonian telescope

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Telescope type

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This effect can also be achieved by changing the focus distance of the camera subject distance. Do this while also adjusting the focal length. If the subject is closer to the camera, you will have a much more shallow depth or narrower focus point. The shallower your depth (achieved with a longer lens focal length) can also create a very shallow depth background blur.

You’ve read the theory, now it’s time to test it out – check out Danielle’s youtube video about depth of field and how to use it creatively!

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By decreasing your depth of field and increasing your lens aperture you can create this blur with a much shallower depth.

On the other hand, a large depth of field is a greater depth of field. This simply means that there is more of the image in focus. The subject distance here would be longer. This is also known as deep depth of field or deeper depth.

Chromatic aberration

Simply put, depth of field is the distance between the closest and farthest objects in a photo that appears acceptably sharp. All that’s meant by ‘acceptably sharp’ is the sharpness of the space between your point of focus and the space in front of and behind that focus point.

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By adjusting your camera settings and your subject distance, you can determine the amount of your image that turns out with acceptable sharpness and the amount of out-of-focus areas. Another key component in this would be hyperfocal distance which we will cover a little later.

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Another thing to keep in mind is composition, focus distance and subject distance – with the wide angle lens you would not have the same camera subject distance, you would need to move much closer to the subject unlike with a full-frame camera and telephoto lens meaning that the depth of field is very similar or that each image has the same depth at the same aperture setting. That being said, a wide-angle lens is good for landscapes where you would want sharpness from front to back but medium telephoto lenses would be good for portraits or even macro photography where you want an out-of-focus background.

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As a very general rule, wide-angle lenses are good for landscapes where you want sharpness from front to back. Medium telephoto lenses (around 100mm or 135mm) are good for portraits if you want an out-of-focus background.