Crop factor is also surprisingly simple. The definition of crop factor is: the size of a full-frame camera sensor, relative to the size of your camera sensor (measured diagonally).

Without getting into an in-depth physics discussion, the focal length of a lens is an optical property of the lens. The exact definition is: Focal length measures the distance, in millimeters, between the “nodal point” of the lens and the camera’s sensor.

Hello! I’ve been enjoying your articles very much, they’re super helpful! I was wondering if there was anywhere you may be able to direct me to in order to learn about how close or far away your should be from your subject with different lenses and in different shooting situations? I think that’s the next piece of the puzzle I’m looking to understand. Thank you!

1. Ultra-wide lenses have a focal length of less than 24mm (all of these numbers are in full-frame terms). They capture incredibly broad views. However, because of this, they often present a distorted or exaggerated view of the world. They are great lenses for landscape photography, and they’re fun for special effects if you get up close to your subject. Also, if you do real estate photography or architectural photography, you’ll definitely want one of these lenses in your bag to capture full interiors.

Prime lenses have a single, fixed focal length. For example, a 50mm f/1.8 lens (one of the most common and popular lenses ever, from any brand) is considered a prime lens.

This concept is illustrated in Figure 1, where the resultant electric vector does not vibrate in a single plane, but progressively rotates around the axis of light wave propagation, sweeping out an elliptical trajectory that appears as a spiral when the wave is viewed at an angle. The size of the phase difference between the ordinary and extraordinary waves (of equal amplitude) determines whether the vector sweeps an elliptical or circular pathway when the wave is viewed end-on from the direction of propagation. If the phase shift is either one-quarter or three-quarters of a wavelength, then a circular spiral is scribed by the resultant vector. However, phase shifts of one-half or a full wavelength produce linearly polarized light, and all other phase shifts produce sweeps having various degrees of ellipticity.

Nikon’s APS-C cameras have a roughly 1.5× crop factor. Canon’s APS-C camera sensors are very similar in size, but since they are slightly smaller, they have a 1.6× crop factor. Meanwhile, Micro Four-Thirds cameras have even smaller sensors with a crop factor of 2.0×. Smartphones and point-and-shoot cameras have increasingly more extreme crop factors than this, such as 4× and 5×.

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Because using a different sensor size is basically like cropping, your camera sensor size will change your photo’s field of view.

In linearly polarized light, the electric vector is vibrating in a plane that is perpendicular to the direction of propagation, as discussed above. Natural light sources, such as sunlight, and artificial sources, including incandescent and fluorescent light, all emit light with orientations of the electric vector that are random in space and time. Light of this type is termed non-polarized. In addition, there exist several states of elliptically polarized light that lie between linear and non-polarized, in which the electric field vector transcribes the shape of an ellipse in all planes perpendicular to the direction of light wave propagation.

Then there are some expensive cameras which go in the opposite direction, since their sensors are even larger than full-frame. For example, Fuji’s medium-format GFX 100S has a crop factor of 0.79×!

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Full-frame camera sensors are about 43 millimeters long diagonally. So, if your camera has a sensor with a 28 millimeter diagonal, then your crop factor is simply 43÷28. This equals approximately 1.5.

Photographic subjects appear larger when you use long focal length lenses, which is why such lenses are so popular for wildlife photography and sports photography. With a long enough lens, you can easily make a subject look larger-than-life.

If you have any questions, feel free to ask in the comment section below, and Photography Life’s team of professional photographers will work hard to provide an answer.

As you can see from the diagram above, focal length is determined when the lens is focused on something very far away – in other words, focused to infinity.

Again – similar to cropping a photo in post-processing – you will change your photo’s field of view by changing the camera’s sensor size.

Sometimes, it can be very useful to convert lenses between different sensor sizes. For example, maybe your favorite photographer loves using 50mm lenses – but that photographer shoots with a full-frame camera, and you shoot with a crop-sensor camera. How do you know which focal length will provide the same field of view on your camera?

If you’re trying to understand different focal lengths, you can think of higher values (like 500mm) as more “zoomed in,” whereas lower values (like 20mm) are more “zoomed out.”

This 60mm focal length lens is produced for Micro Four Thirds (MFT) system cameras. MFT cameras have an 18mm × 13.5mm sensor, which is approximately half the linear size (quarter the areal size) of the 36mm × 24mm sensor in full‑frame cameras. Full‑frame is also known as: • 35 mm format • full‑frame camera • full‑frame format • full‑frame image sensor • FX format • 135 format (the 35 mm film format as specified in ISO 1007 Photography — 135‑size film and magazine — Specifications)

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Lens focal pointformula

The MFT camera sensor ‘sees’ only half of the field of view of the full‑frame sensor, when using lenses having the same focal length on both cameras.

One way to think of small camera sensors is that, essentially, they are crops of bigger sensors. In fact, they are often called “crop-sensor cameras” for this very reason.

In order to view the sine waves from a variety of angles, use the mouse cursor to click and drag the waves anywhere within the boundaries of the tutorial window. The waves both terminate simultaneously in a gray box positioned at one end of the waves. Within the gray box, the undulating electric vector component from each wave is represented by a black square that vibrates in the same plane as the parent wave. In addition, the resultant of the electric vector summation between the two waves is represented by a thick black arrow that moves back and forth in the gray box to scribe either a line, ellipse, or circle, depending upon the phase relationship between the orthogonal waves. The gray box and resultant arrow can be eliminated from the window by removing the checkmark from the Show Resultant check box.

When the ordinary and extraordinary waves emerge from a birefringent crystal, they are vibrating in mutually perpendicular planes having a total intensity that is the sum of their individual intensities. Because the polarized waves have electric vectors that vibrate in perpendicular planes, the waves are not capable of undergoing interference. This fact has consequences in the ability of birefringent substances to produce an image. Interference can only occur when the electric vectors of two waves vibrate in the same plane during intersection to produce a change in amplitude of the resultant wave (a requirement for image formation). Therefore, transparent specimens that are birefringent will remain invisible unless they are examined between crossed polarizers, which pass only the components of the elliptically and circularly polarized waves that are parallel to the axis of the polarizer closest to the observer. These components are able to produce amplitude fluctuations to generate contrast and emerge from the polarizer as linearly polarized light.

However, cropping does change your photo’s field of view (again, “field of view” is how much of the scene is in your photo). Although that may sound obvious, it is very important to internalize.

That’s not a hypothetical example, either! Lots of cameras have a crop factor of 1.5×. If you have one of these cameras, just multiply your lens’s focal length by 1.5 to find your “effective focal length” on a full-frame camera. For example, if you have a 50mm lens on your 1.5× camera, it would match a 75mm lens on a full-frame camera.

What isfocallength oflensClass 10

No, you haven’t. As explained earlier, focal length is an innate property of a lens. It’s the distance between the nodal point and the camera sensor, so it isn’t something that cropping affects.

It’s important to understand the definition of focal length as a photographer, but don’t get hung up on the technical terms or math-related concepts.

2. Wide-angle lenses have an equivalent focal length in the range of 24mm to 35mm. These lenses still take in a wide view and are often used by landscape and architectural photographers. That said, they have less perspective distortion than an ultra-wide lens, so they usually won’t look as exaggerated and don’t usually give very unusual effects.

Zoom lenses are convenient because they allow you to access more than one focal length, without needing to change lenses. However, compared to prime lenses, they tend to be heavier, slightly less sharp, and worse in low light. There are exceptions, but they can be very expensive.

Convexlens focallength

Focal length is a property of the lens itself, not the camera. For example, a 50mm lens is a 50mm lens, regardless of whether on a full frame, cropped sensor, or medium format camera. However, the size of the sensor does play a role in how your photos will look at a particular focal length – more about that in a minute.

Finally, the more you photos that you take, the better you’ll understand focal length. Most full-time photographers have a good mental image of the difference between two different focal lengths – say, 24mm versus 35mm – and they can quickly pick the right lens for the photo they’re about to take. With practice, you’ll get to that point, too!

As you change focal length, you will change what’s in your photo. You may choose a wide-angle lens (like 20mm) if you want to capture a grand landscape. Meanwhile, you may choose a telephoto lens (like 500mm) if you want to zoom in on a distant bird.

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Lenses are named by their focal length. You can find this information on the barrel of the lens, and almost every camera lens ever made will prominently display the focal length. For example, a 50mm lens has a focal length of 50 millimeters.

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What you really need to know is that lenses with long focal lengths bring objects closer, like a telescope. And, on the flip side, wide angle lenses are great for capturing large vistas.

What is thefocallength of alensPhysics

Focal length is important because it relates to the field of view of a lens – that is, how much of the scene you’ll capture. It also explains how large or small a subject in your photo will appear.

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Focallength examples

You can read more information on prime lenses versus zoom lenses here. Most photographers use a combination of prime and zoom lenses in order to get the advantages of both.

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5. Super-telephoto lenses have focal lengths exceeding 300 mm. They are often used for photographing wildlife, sports, and other small or distant subjects. These lenses can be very large and heavy and may require the use of a tripod to support them. They are also very expensive, sometimes over $10,000. However, there are less expensive options available, too, especially if you get a used or refurbished copy.

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Take a look at the following demonstration. The four photos shown below were taken at increasing focal lengths. The photos start at 25mm and end at 140mm:

To make it easier to talk about focal length, photographers generally divide lenses into five main descriptive categories.

A zoom lens, on the other hand, has a variable focal length. Some popular zoom lens ranges include 18-55mm, 24-105mm, and 70-200mm lenses. Of course, there are many other examples.

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The ordinary and extraordinary light waves generated when a beam of light traverses a birefringent crystal have plane-polarized electric vectors that are mutually perpendicular to each other. In addition, due to differences in electronic interaction that each component experiences during its journey through the crystal, a phase shift usually occurs between the two waves. This interactive tutorial explores the generation of linear, elliptical, and circularly polarized light by a pair of orthogonal light waves (as a function of the relative phase shift between the waves) when the electric field vectors are added together.

That’s where the concept of “crop factor” comes in. Crop factor takes the guesswork out of converting lenses across cameras.

Very user friendly article. Thank you. I have just ordered a Fuji 18-55 lens which I am hoping is a bit of an upgrade from the current 16-50 so will try out what I have learned when I get it.

When the Phase Shift slider is set to zero, 180, and 360 degrees, the resultant vector (the black line surrounding the waves or the thick arrow in the gray box) creates a black sine wave positioned at a 45-degree angle between the orthogonal waves, or traces a straight line when the approaching waves are viewed end-on from the gray box. Between zero and 90 degrees, the resultant vector forms an ellipse (representing elliptically polarized light) around the waves and in the gray box. At 90 degrees, the ellipse becomes a circle (representing circularly polarized light). In both cases, the sweep of the resultant vector is counterclockwise, which indicates left-handed polarized light. As the slider is translated between 90 and 180 degrees, the ellipse slowly collapses to form linearly polarized light (at 180 degrees; in the opposite quadrant from the orientation at zero degrees), and then right-handed elliptically polarized light when the slider is moved past 180 degrees. At 270 degrees, right-handed circularly polarized light is produced, which folds into elliptically polarized light between 270 and 360 degrees and, finally, linearly polarized light is again formed at 360 degrees.

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3. Standard lenses / normal lenses have focal lengths between 35mm and 70mm. They capture the world in a way very similar to how our eyes see. They have minimal perspective distortion, so they are a favorite of many types of photographers. Street photographers and event photographers will use them as good “default” lenses, whereas landscape photographers will use them for scenes that don’t demand the sweeping, wide-angle view.

Hopefully, now you can see why focal length is so important in photography. As photographers, the single most important thing is, quite simply, what’s in your photo!

I agree that this post is very user friendly, without jargon but explain relevant jargon simultaneously. Thank you, a simple concept but one often taken for granted by inexperienced photographers.

In cases where the major and minor vectorial axes of the polarization ellipse are equal, then the light wave falls into the category of circularly polarized light, and can be either right-handed or left-handed in sense. Another case often occurs in which the minor axis of the electric vector component in elliptically polarized light goes to zero, and the light becomes linearly polarized. Although each of these polarization motifs can be achieved in the laboratory with the appropriate optical instrumentation, they also occur (to varying, but minor, degrees) in natural non-polarized light.

Focallength camera

Again, all of these numbers are written in full-frame terms. If you have a crop-sensor camera, you will need to find your equivalent focal lengths by dividing these numbers by 1.5, 2, or whatever your crop factor is.

“Nodal point” may sound complicated, but it is simply the point where light converges in a lens. Here’s a simple diagram showing the focal length of a lens, based upon this definition:

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Many photographers misunderstand the concept of focal length. Contrary to what some people think, the focal length of a camera lens is not the lens’s physical length, and it has little to do with its overall size. So, what is focal length? This article will explain the answer, including how to decide which focal length is right for your style of photography.

The image below illustrates this. It was taken with the full-frame Nikon D800 and Nikon’s 24-70mm f/2.8 zoom lens, zoomed to 44mm. If you were to put this same lens on the Nikon D500 (a crop-sensor camera with the “APS-C” sensor size) without changing anything, it would still be a 24-70mm lens at 44mm. However, the crop sensor of the D500 would lead to a narrower field of view, shown by the red box below, labeled APS-C / DX.

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The tutorial initializes with two orthogonal sine waves (the electric vector components of the waves are colored red and blue) traveling from left to right in the window, and having a 90-degree (one-quarter wavelength) out-of-phase relationship. Circumscribing the mutually perpendicular waves is a helical black line (resultant vector) that is generated by calculating the sum of the electric vector components from each wave. The relative phase shift between the two waves can be altered with the Phase Shift slider through a range of zero to 360 degrees. As this slider is translated to the left or right, one wave moves in relation to the other along the propagation axis (shifting the phase), and the black line representing the vector sum changes from elliptical to circular or linear, depending upon the value of the phase relationship between the waves. Translation of the sine wave across the tutorial window can be paused at any point by clicking on the Pause button, and the tutorial is re-initialized by clicking on the Reset button. The Speed slider controls the rate of translation by the sine waves across the tutorial window.

4. Telephoto lenses have focal lengths between 70mm and 300mm. They are regularly used by wildlife photographers to get closer to their subjects without being seen. They are also popular for portrait photography, and a surprising number of landscape photographers use them to capture more abstract or close-up detail photos. One feature of these lenses is that they easily isolate a subject from its background using a shallow depth of field. So, you’ll need to make sure you focus more carefully with such lenses.

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Focallength of mirror formula

While the technical definition of focal length may be relevant to some people, as photographers, it is more important to understand is what focal length looks like!

If you need to magnify a distant subject, opt for a telephoto lens. Meanwhile, if you’re a landscape or architectural photographer, make sure to carry a wide-angle lens. For portraiture, and anything else in between, you can’t go wrong with a Nifty Fifty in your bag.

That brings us to the concept of camera sensor size. Digital cameras today come with a wide variety of camera sensor sizes, depending on the manufacturer and camera model. For example, a full-frame camera sensor has the same size as traditional 35mm-style film (specifically, 36 by 24 millimeters). From there, other cameras have larger and smaller sensors.

Can you help me understand how a 60mm f2.8 macro lens is described as being 120 mm and, at the same time, equivalent to 35 mm focal length. I am completely bewildered.

Nasim Mansurov wrote an excellent article on Equivalent Focal Length and Field of View that covers this topic in more detail. If you want to learn more about crop factor and effective focal length, give it a look.

For another way to visualize this phenomenon, consider the illustration below. It shows the approximate field of view of three different lenses: a 500mm lens at one extreme, a 20mm lens at the other extreme, and then a 50mm lens, which is considered a “normal” lens. (The angles shown below are based off of a full-frame camera.)

A special class of materials, known as compensation or retardation plates, are quite useful in producing elliptically and circularly polarized light for polarized light microscopes. These birefringent substances are chosen because, when their optical axis is positioned perpendicular to the incident light beam, the ordinary and extraordinary light rays follow identical trajectories and exhibit a phase difference that is dependent upon the degree of birefringence. Because the pair of orthogonal waves is superimposed, it can be considered a single wave having mutually perpendicular electrical vector components separated by a small difference in phase. When the vectors are combined by simple addition in three-dimensional space, the resulting wave becomes elliptically polarized.

Elliptical polarization, unlike plane-polarized and non-polarized light, has a rotational "sense" that refers to the direction of electric vector rotation around the propagation (incident) axis of the light beam. When approaching waves are viewed end-on, the direction of polarization can be either left-handed or right-handed, a property that is termed the handedness of the elliptical polarization. Clockwise rotational sweeps of the vector are referred to as right-handed polarization, and counterclockwise rotational sweeps represent left-handed polarization.

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Therefore, when the MTF camera has a 60mm focal length lens, the full‑frame camera will require a 120mm focal length lens to obtain an equivalent field of view.

Elizabeth grew up in Vancouver, on the beautiful West Coast of Canada. In 2012 she relocated to Houston Texas for two years and then moved to Gautier, Mississippi in July of 2014 for another three years. Now back in Vancouver, Elizabeth runs photography workshops and teaches many aspects of photography. Her areas of interest are widespread and include street, wildlife, nature, architecture, macro and long exposures. She is particularly passionate about black and white images. You can see more of her work on her website at www.photographybyelizabethgray.com or on Instagram at photosbyelizabethgray