If you want to capture more than 180 degrees, it is possible to stitch more than one fisheye photo using software such as Photoshop. This allows you to create images which cover as much as 360 degrees, making for some very interesting, abstract compositions.

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All fisheye converters have a magnification factor which determines the effective focal length you will get. For example, if you have a 35mm wide angle lens, a 0.42x fisheye adapter will take this down to around 15mm (35 x 0.42 = 15). This would produce a roughly full-frame image on a 35mm sensor.

The first-order design of an achromat involves choosing the overall power   1   f d b l t     {\displaystyle \ {\frac {1}{\ f_{\mathsf {dblt}}\ }}\ } of the doublet and the two glasses to use. The choice of glass gives the mean refractive index, often written as n d {\displaystyle n_{d}} (for the refractive index at the Fraunhofer "d" spectral line wavelength), and the Abbe number V {\displaystyle V} (for the reciprocal of the glass dispersion). To make the linear dispersion of the system zero, the system must satisfy the equations

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Fisheye lenses produce noticeable barrel distortion, but this can be used to great artistic effect. Image by Tom Harnish.

As well as being used for practical purposes, many artists have adopted them due to the unusual, distorted images they produce. They use them to take intriguing photographs of all types of subjects, from still life to portraits.

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An achromatic lens or achromat is a lens that is designed to limit the effects of chromatic and spherical aberration. Achromatic lenses are corrected to bring two wavelengths (typically red and blue) into focus on the same plane. Wavelengths in between these two then have better focus error than could be obtained with a simple lens.

For cameras with a 35mm sensor or film, a typical circular fisheye lens might have a focal length of 8mm to 10mm. Full-frame lenses have slightly longer focal lengths, usually 15mm to 16mm.

In the following, R denotes the radius of the spheres that define the optically relevant refracting lens surfaces. By convention, R1 denotes the first lens surface counted from the object. A doublet lens has four surfaces with radii R1 through R2 . Surfaces with positive radii curve away from the object (R1 positive is a convex first surface); negative radii curve toward the object (R1 negative is a concave first surface).

Since   f 1 = − f 2     V 2   V 1   , {\displaystyle \ f_{1}=-f_{2}\ {\frac {\ V_{2}\ }{V_{1}}}\ ,} and the Abbe numbers are positive-valued, the power of the second element in the doublet is negative when the first element is positive, and vice-versa.

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The most common type of achromat is the achromatic doublet, which is composed of two individual lenses made from glasses with different amounts of dispersion. Typically, one element is a negative (concave) element made out of flint glass such as F2, which has relatively high dispersion, and the other is a positive (convex) element made of crown glass such as BK7, which has lower dispersion. The lens elements are mounted next to each other, often cemented together, and shaped so that the chromatic aberration of one is counterbalanced by that of the other.

A "true" fisheye lens is considered to be one that can capture 180 degrees at the widest point. However, some manufacturers sell lenses which go even further, up to 220 degrees. These lenses tend to be very big, heavy, and expensive, and so are generally only used for specialist, technical work.

As with all lenses, the focal length is effectively increased for cameras with a sensor smaller than 35mm. To find the equivalent focal length of a lens, you need to multiply its focal length by the camera's "crop factor". For example, a 10mm fisheye lens on a camera with a crop factor of 1.5 will have an effective focal length of 15mm. This will produce a narrower field of view.

Dialyte lenses have a wide air space between the two elements. They were originally devised in the 19th century to allow much smaller flint glass elements down stream since flint glass was hard to produce and expensive.[10] They are also lenses where the elements can not be cemented because R2 and R3 have different absolute values.[11]

Fisheye adapters are great fun if you simply want to experiment with fisheye photography, but they should not be seen as a realistic alternative to a proper fisheye lens.

Crop factor is the ratio of a camera sensor's size to a 35mm film frame. Use it to calculate effective focal lengths and compare lenses between DSLRs.

Shutter speed is a great tool for perfecting exposure, controlling blurring, and creating interesting effects. Discover what it is and how to use it.

Lens designs more complex than achromatic can improve the precision of color images by bringing more wavelengths into exact focus, but require more expensive types of glass, and more careful shaping and spacing of the combination of simple lenses:

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Fisheye lenses are popular for photographing extremely wide panoramas of landscapes and the sky, and for shooting close-up subjects such as crowds, interiors, and architecture. They are also commonly used to photograph action sports such as skateboarding, snowboarding, and surfing.

The descriptions of the achromat lens designs mention advantages of designs that do not produce "ghost" images. Historically, this was indeed a driving concern for lens makers up to the 19th century and a primary criterion for early optical designs. However, in the mid 20th century, the development of advanced optical coatings for the most part has eliminated the issue of ghost images, and modern optical designs are preferred for other merits.

A wide angle lens allows you to fit more into the frame, making them perfect for capturing scenes such as expansive landscapes or cramped interiors.

A fisheye lens is designed for shooting very wide angles, usually 180 degrees. They are popular in landscape, extreme sport, and artistic photography.

Because they capture such an extreme angle, fisheye lenses have a very large apparent depth of field. This means that your shots will appear sharply focused from front to back. This makes them ideal for capturing scenes with interesting subjects in the foreground and background.

A circular fisheye lens is one which captures a full 180 degree view in all directions. This results in a circular image, with the edges of the frame being black.

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In normal wide angle lenses, this can be corrected to produce a "rectilinear" image, where the perspective in the scene looks normal, and straight lines are straight. However, a fisheye lens produce an angle of view which is too extreme for this type of correction.

These more extreme fisheye lenses tend to be used for artistic purposes such as skateboard photography or for shooting unusual landscapes and cityscapes.

However, fisheye converters have serious downsides. They generally produce very poor image quality, with blurred focusing and severe vignetting (darking around the edges). They also suffer from lens flare, don't accept filters, and can prevent the lens from zooming.

Red eye is a distracting effect that can ruin an otherwise good photo. Learn what causes it, how to prevent it, and how to fix it.

The first lens has positive refractive power, the second negative. R1 > 0 is set greater than −R2 , and R3 is set close to, but not quite equal to, −R2 . R4 is usually greater than −R3 . In a Fraunhofer doublet, the dissimilar curvatures of −R2 and R3 are mounted close, but not quite in contact.[7] This design yields more degrees of freedom (one more free radius, length of the air space) to correct for optical aberrations.

Sports events are full of passion, excitement and emotion. There are photography opportunities everywhere; you just need to look in the right places.

Online forums and review sites are a great place to find information about specific models, to help you choose the best lens for your purposes. You can also get some great deals by shopping online through sites like Amazon and Adorama.

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Although they do not cover such a wide angle, photos taken using a full-frame fisheye lens are rectangular and do not have black edges. This makes them more suitable for practical purposes such as traditional landscape photography and shooting building interiors.

Because of this, many manufacturers produce fisheye lenses designed specifically for cameras with smaller sensors. These have even shorter focal lengths, sometimes as low as 1mm, so that they produce a full 180 degree photo.

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where the lens power is   1   f     {\displaystyle \ {\frac {1}{\ f\ }}\ } for a lens with focal length f {\displaystyle f} . Solving these two equations for   f 1   {\displaystyle \ f_{1}\ } and   f 2   {\displaystyle \ f_{2}\ } gives

Full-frame fisheye lenses cover 180 degrees along the diagonal only, producing a less wide-angle, rectangular photo without the black borders.

In the late 1750s, Bass mentioned Hall's lenses to John Dollond, who understood their potential and was able to reproduce their design.[2] Dollond applied for and was granted a patent on the technology in 1758, which led to bitter fights with other opticians over the right to make and sell achromatic doublets.

On the other hand, this extreme depth of field makes it almost impossible to isolate your subject by throwing the background out of focus. This is something you need to be aware of when framing your shot, so that you can choose an uncluttered background.

Optical aberrations other than just color are present in all lenses. For example, coma remains after spherical and chromatic aberrations are corrected. In order to correct other aberrations, the front and back curvatures of each of the two lenses remain free parameters, since the color correction design only prescribes the net focal length of each lens,   f 1   {\displaystyle \ f_{1}\ } and separately   f 2   . {\displaystyle \ f_{2}~.} This leaves a continuum of different combinations of front and back lens curvatures for design tweaks (   R 1   {\displaystyle \ R_{1}\ } and   R 2   {\displaystyle \ R_{2}\ } for lens 1; and   R 3   {\displaystyle \ R_{3}\ } and   R 4   {\displaystyle \ R_{4}\ } for lens 2) that will all produce the same   f 1   {\displaystyle \ f_{1}\ } and   f 2   {\displaystyle \ f_{2}\ } required by the achromat design. Other adjustable lens parameters include the thickness of each lens and the space between the two, all constrained only by the two required focal lengths. Normally, the free parameters are adjusted to minimize non-color-related optical aberrations.

Theoretical considerations of the feasibility of correcting chromatic aberration were debated in the 18th century following Newton's statement that such a correction was impossible (see History of the telescope). Credit for the invention of the first achromatic doublet is often given to an English barrister and amateur optician named Chester Moore Hall.[1][2] Hall wished to keep his work on the achromatic lenses a secret and contracted the manufacture of the crown and flint lenses to two different opticians, Edward Scarlett and James Mann.[3][4][5] They in turn sub-contracted the work to the same person, George Bass. He realized the two components were for the same client and, after fitting the two parts together, noted the achromatic properties. Hall used the achromatic lens to build the first achromatic telescope, but his invention did not become widely known at the time.[6]

All of the major lens manufacturers sell fisheye lenses. Canon and Nikon make the best lenses for their own cameras, while others such as Sigma, Tokina, and Tamron make excellent, cheaper alternatives.

This generally isn't a problem, because most photographers use fisheye lenses precisely because of the interesting, unnatural distortions they produce, and so this is part of their appeal.

The Steinheil doublet, devised by Carl August von Steinheil, is a flint-first doublet. In contrast to the Fraunhofer doublet, it has a negative lens first followed by a positive lens. It needs stronger curvature than the Fraunhofer doublet.[9]

A cheap alternative to a proper fisheye lens is a fisheye conversion lens, often simply called a fisheye converter. These accessory lenses attach to your existing lens via the filter thread, and give you a wider viewing angle.

A fisheye lens, also known as an "ultra wide" or "super wide" lens, is a type of wide angle lens which can capture an extremely wide image, typically around 180 degrees. The images they produce are highly distorted, giving them a dynamic, abstract feel.

Early Clark lenses follow the Fraunhofer design. After the late 1860s, they changed to the Littrow design, approximately equiconvex crown, R1 = R2 , and a flint with R3 ≃ R2 and R4 ≫ R3 . By about 1880, Clark lenses had R3 set slightly shorter than R2 to create a focus mismatch between R2 and R3, thereby avoiding ghosting caused by reflections within the airspace.[8]

Several different types of achromat have been devised. They differ in the shape of the included lens elements as well as in the optical properties of their glass (most notably in their optical dispersion or Abbe number).

The use of oil between the crown and flint eliminates the effect of ghosting, particularly where R2 ≈ R3 . It can also increase light transmission slightly and reduce the impact of errors in R2 and R3 .

A full-frame fisheye lens only captures a 180 degree field of view along its diagonal. The horizontal and vertical sides of the image are less than 180 degrees (typically around 150 degrees horizontal and 100 degrees vertical).

In the most common type (shown), the positive power of the crown lens element is not quite equalled by the negative power of the flint lens element. Together they form a weak positive lens that will bring two different wavelengths of light to a common focus. Negative doublets, in which the negative-power element predominates, are also made.

Uses an equiconvex crown glass lens (i.e. R1 > 0 with −R1 = R2 ) and a complementary-curved second flint glass lens (with R3 = R2 ). The back of the flint glass lens is flat ( R4 = ∞ ). A Littrow doublet can produce a ghost image between R2 and R3 because the lens surfaces of the two lenses have the same radii.

In theory, the process can continue indefinitely: Compound lenses used in cameras typically have six or more simple lenses (e.g. double-Gauss lens); several of those lenses can be made with different types of glass, with slightly altered curvatures, in order to bring more colors into focus. The constraint is extra manufacturing cost, and diminishing returns of improved image for the effort.

Fisheye lenses suffer from "barrel distortion", where subjects at the centre of the frame appear to bulge outwards, and straight lines curve wildly. This type of image is known as a "curvilinear" image.