The internal construction of zoom lenses is more complicated than prime lenses because they require additional lens elements and zoom mechanisms to accommodate the different focal lengths offered. This often makes them larger, heavier, and more expensive than prime lenses. For many photographers, that is a small price to pay for the convenience.

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Photo 2022 © Karen Hutton | FUJIFILM X-H2 and FUJINON XF100-400mmF4.5-5.6 R LM OIS WR, 1/125 sec at F18, ISO 800 | Created at 150mm (35mm equivalent)

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Focal length (35mm equivalent): Between 35mm and 70mm Angle of view: Between 63° and 34° Great for: Documentary, street, portrait, landscape, travel Not so great for: Wildlife, sports, architecture, interiors

Now you understand the basic principles of focal length and angle of view – and how one affects the other – it’s time to make things a little more complicated.

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Focal lengths can vary dramatically. This has a huge impact on how a scene is framed and a subject is depicted. Different focal lengths are better suited to different genres and situations.

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Different digital cameras can have different-sized image sensors. For example, FUJIFILM X Series cameras use an APS-C sensor that measures 23.5×15.6mm, while FUJIFILM GFX System cameras use a much larger sensor measuring 43.9×32.9mm.

Photo 2022 © Karen Hutton | FUJIFILM X-H2 and FUJINON XF100-400mmF4.5-5.6 R LM OIS WR, 1/2100 sec at F5.6, ISO 320 | Created at 600mm (35mm equivalent)

Photo 2022 © Karen Hutton | FUJIFILM X-H2 and FUJINON XF100-400mmF4.5-5.6 R LM OIS WR, 1/6900 sec at F13, ISO 250 | Created at 559mm (35mm equivalent)

After reading that alone, you may be curious as to why anyone would choose a prime lens in the first place, but there is more to consider when choosing between the two. Read on to understand the differences between each one.

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As rays of light pass through the lens, there is a point at which they converge. Focal length is the distance in millimeters between this point of convergence and the sensor or photographic film of the camera it is attached to.

Furthermore, modern zoom lenses are very similar in size and quality to their prime counterparts. Check out XF16-80mmF4 R OIS WR, XF18-120mmF4 LM PZ WR, and XF70-300mmF4-5.6 R LM OIS WR from the XF Lens lineup.

Put another way: to achieve a 50mm equivalent focal length with an X Series camera, you need to attach XF33mmF1.4 R LM WR, whereas to do so with a GFX System camera you need to attach GF63mmF2.8 R WR.

Wide-angle lenses are lenses with an equivalent focal length of between 24mm and 35mm. They offer a wide angle of view that makes it possible to fit a large amount into the frame, while avoiding the distortion of perspective that can be experienced with ultra wide-angle lenses. This balance makes them a firm favorite for photographers who want to frame sprawling panoramas, towering skyscrapers, or tight interiors. They are also excellent for erratically moving subjects.

As you can see from Figure 1, a shorter focal length creates a wider angle of view, which means the subject appears smaller in the resulting image. Conversely, a longer focal length creates a narrower angle of view, which means the subject appears larger in the image.

A super telephoto lens is a lens with an equivalent focal length of over 400mm. With such a high magnification, these lenses are perfectly suited to framing scenes that are impossible to get close to. Examples might be an animal hunting in the wild, a player scoring at the opposite end of a sports field, or the moon in the night sky.

Hopefully by now you have a good idea of what focal length is, how it affects angle of view, and indeed how it can best be utilized. But even with this knowledge, it can still be hard to decide which focal length is best for you.

A mid-telephoto lens is a lens with an equivalent focal length between 70mm and 135mm. Mid-telephoto lenses are particularly favored by portrait photographers because of their flattering angle of view. Additionally, higher magnification allows photographers to stay an unobtrusive distance from their subject for more natural results. It also helps to create beautiful, blurred backgrounds that ensure subjects stand out in the frame.

LIGHT CONTROL GRID No Aputure soft light modifier would be complete without the ability to control the direction of the light source. The Light Dome 150 includes a 45° fabric light control grid to minimize excess spill light so you can achieve the perfect look.

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For example, many zoom lenses transcend the focal length categories outlined above, meaning they can be just as good for landscape and architecture as they are for portraits and even wildlife.

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The X-Trans CMOS sensor has a crop factor of 1.5. GFX System’s sensor has a crop factor of 0.79 (see Table 1). By multiplying the focal length of the lens by the crop factor of the sensor it’s compatible with, you can work out the lens’s 35mm equivalent.

There are numerous ways to personalize your light's output. For the softest light use the two front diffusers and the internal one. Want a little more snap? Take one of the front diffusers off. Still not crisp enough? Take both diffusers off. Use any combination of the diffusers until the light is right for you. The Light Dome's 31.5" depth allows for a sharp falloff that will give you the directional control necessary for selective lighting when used with the included fabric grid. Natural-looking catchlights will be reflected in your subject's eyes and the Bowens-type speed ring included will also fit lights from the many other manufacturers who use this popular mount.

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MULTIPLE DIFFUSIONS Like other members of the Light Dome family, the Light Dome 150 includes two diffusion options (1.5 & 2.5 Stop), allowing you to adjust the density and quality of your soft light.

Understandably, this has the potential to become quite confusing, that’s why the photographic industry works in 35mm equivalent focal lengths.

This means, for example, that although FUJINON XF50mmF2 R WR (X Series) and FUJINON GF50mmF3.5 R LM WR (GFX System) lenses both share a 50mm focal length, they actually produce very different images.

PERFECTLY CIRCULAR Following the Light Dome II, the Light Dome 150 utilizes a 32-sided design, resulting in one of the most perfectly round modifiers on the market, allowing for completely circular reflections.

X Series: XF27mmF2.8 R WR, XF33mmF1.4 R LM WR, XF35mmF2 R WR GFX System: GF45mmF2.8 R WR, GF55mmF1.7 R WR, GF80mmF1.7 R WR

Focal length (35mm equivalent): Between 24mm and 35mm Angle of view: Between 84° and 63° Great for: Landscape, astro, architecture, interiors, action, group portraits Not so great for: Individual portraits, wildlife

As you can see from Figure 2, while the focal length and angle of view remain the same in both cases, the field of view changes considerably with the size of the sensor.

This 32-sided Light Dome 150 Softbox from Aputure measures 5' and is a great choice for portraits, head shots, interviews, fashion, and more. This is a really big light source with true wraparound quality that becomes more pronounced as you bring it closer to your subject. The softbox ships with 1.5- and 2.5-stop diffusers as well as a removable inner diffuser to thwart the hot spot.

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Before digital camera sensors were introduced, a camera would work by positioning a piece of photographic film over a shuttered opening, then releasing the spring-mounted shutter to let light through and make an exposure (learn more about the exposure process in our article about mirrorless cameras here).

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The 35mm equivalent focal length – often referred to as equivalent focal length, 35mm equivalent, or equivalence – is a way of standardizing focal lengths across all sensor sizes.

A telephoto lens is a lens with an equivalent focal length between 135mm and 400mm. A higher magnification allows you to frame a scene from a distance, which is useful when you want to document a moment without influencing it. They are also excellent for picking out specific details from wider scenes and, by compressing perspective, they can create remarkable separation between a portrait subject and their background.

Focal length (35mm equivalent): Between 70mm and 135mm Angle of view: Between 34° and 18° Great for: Portrait, macro Not so great for: Architecture, interiors

However, only one focal length can be restrictive when out in the field, which means you would need to carry a selection of prime lenses with you to achieve the versatility of a zoom. Not only can this be cumbersome, it can also be time-consuming having to change between lenses.

QUICK BUILD Using Aputure's pioneered quick-release setup design, the Light Dome 150 remains one of fastest modifiers on the market and can be assembled in seconds.

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Photo 2022 © Karen Hutton | FUJIFILM X-H2 and FUJINON XF18-135mmF3.5-5.6 R LM OIS WR, 1/160 sec at F8, ISO 1600 | Created at 165mm (35mm equivalent)

Because prime lenses only utilize one focal length, they require fewer internal lens elements and there is no space taken up by complicated zoom mechanisms. This means in some cases they can be smaller, lighter and faster. Additionally, with less glass for the light to travel through, some offer higher image quality.

Photo 2023 © Michael Clark | FUJIFILM GFX100 II and FUJINON GF250mmF4 R LM OIS WR + GF1.4X TC WR, 1/2500 sec at F8, ISO 2000

As such, a lens’s focal length is the first number you will read in the names of most lenses on the market. But what exactly is focal length, how is it calculated, and which focal lengths are best suited to which applications? In this article, we aim to answer all these questions with a complete guide to focal length.

Therefore, going back to our earlier example, XF50mmF2 R WR has an equivalent focal length of approximately 75mm, while GF50mmF3.5 R LM WR has an equivalent focal length of approximately 40mm.

Focal length (35mm equivalent): Between 135mm and 400mm Angle of view: Between 18° and 6° Great for: Portrait, sport, wildlife Not so great for: Architecture, interiors, everyday

UNIVERSAL ACCESSORY The entire Light Dome lineup utilizes the most common lighting accessory mount in the world: the Bowens Mount. And the Light Dome 150 is no exception, allowing it to be used in conjunction with any Bowens Mount fixture including Aputure's Light Storm product line, and works especially well with the output power of the LS 600 series.

Because zoom lenses combine many different focal lengths into one lens, photographers can enjoy versatility without having to carry multiple lenses around with them. Furthermore, selecting a different focal length is as quick and simple as twisting the zoom ring, as opposed to switching lenses altogether.

Photo 2023 © Bryan Minear | FUJIFILM X-T4 and FUJINON XF150-600mmF5.6-8 R LM OIS WR, 1/300 sec at F8, ISO 160 | Focal length: 900mm equivalent

A standard or normal lens is a lens with an equivalent focal length of between 35mm and 70mm, adopting an angle of view close to that of the human eye. This focal length is favored by documentary and street photographers because it achieves the most true-to-life depiction of the scene at hand. Such a natural angle of view means standard lenses are extremely versatile and, as such, can lend themselves to a variety of genres.

The extremely popular 35mm analog film cameras all used the same-size opening, which measured 36x24mm. Using this size as a benchmark, the 35mm equivalent focal length is calculated depending on how many times bigger or smaller the sensor in question is. This difference in size is often referred to as ‘crop factor’.

Learn more by exploring the rest of our Fundamentals of Photography series, or browse all the content on Exposure Center for education, inspiration, and insight from the world of photography.

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Focal length (35mm equivalent): Over 400mm Angle of view: Less than 6° Great for: Sport, wildlife, astro Not so great for: Architecture, interiors, street, documentary

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For most photographers, focal length is the first thing to consider when choosing a lens as it has a direct relationship with the angle of view, which affects how much of your scene is visible in the frame, and indeed the magnification of your subject.

Ultra wide-angle lenses are lenses with an equivalent focal length of less than 24mm. With such a wide angle of view, these lenses allow you to fit an astonishing amount of your scene into the frame. However, this can bring with it a certain amount of distortion. As such, these lenses are usually reserved for more specialist uses, such as close-up sports and action, point of view (POV), grand interiors, or extremely large scenes such as the night sky.

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Focal length (35mm equivalent): Less than 24mm Angle of view: More than 84° Great for: Action, interior, astro Not so great for: Portrait, wildlife, documentary

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Photo 2023 © Marisa Kraft | FUJIFILM X-S20 and FUJINON XF8-16mmF2.8 R LM WR, 1/2000 sec at F2.8, ISO 100 | Created at 17mm (35mm equivalent)

SUPERB SOFTNESS The Light Dome 150's expansive 5 foot (150cm) transforms Bowens Mount point-source lights into a massive soft source, elegantly illuminating large spaces.

In that situation, you may wish to consider a zoom lens instead of a prime lens because a zoom lens combines lots of different focal lengths options into one.

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To make this easier to navigate, focal lengths are generally split into categories depending on their angle of view, from 8mm ultra wide-angle lenses to super telephoto lenses of more than 1800mm.