A fisheye lens tends to have a closer minimum focus distance and better depth of field behind a dome port. And hands-down fisheye lenses work better behind dome ports than rectilinear lenses. Clarity and Close Focus DistanceĪ dome port is necessary to capture a super wide field of view without vignetting (dark shadows around the edges of the photo). The Tokina 10-17mm fisheye is capable of focusing on something only a few inches from the front of the lens. Minimum focus distance becomes a big issue when your subject is taking a nose dive into your dome port. If it is one of my images, you can be pretty sure it was shot with a fisheye. The "distortion" of the fisheye is in more of the underwater images you see published than you might expect. There are few parallel or perpendicular lines in nature. But the fisheye can make your subject (especially familiar ones you've seen often) look less "natural."
The stretch of the gown and surrounding scene can be quite nice. There are wedding photographers using fisheyes. They are always careful to make sure the bride and groom's faces are near the center of the frame, where the distortion isn't noticeable. This is valid, but more complex than it might seem. So many people will then opt for the rectilinear lens. The distortion of a fisheye lens makes the counters, the ceiling, and every straight line look bizarre, even unpleasant. Considering that the focal length is the same, the difference visually is staggering. Many a photographer has gone to the camera store and tried a super wide rectilinear lens, then compared it to a similar focal length fisheye. Let's start with the negatives of fisheye lenses. This image is a composite of two split shots. The distortion caused by a fisheye can be used to creative advantage even when shooting models. I've shot lots of rectilinear lenses as well, so I will try to explain why I choose to use fisheyes exclusively. My preferred lenses are the Tokina 10-17mm Fisheye and an 8-15mm Fisheye (Canon or Nikon). My preferred setup underwater includes a super-wide lens. Lenses, housings, cameras, and lights are just tools for different jobs. Amazingly for such a wide lens, it can accept front-mounted filters in the common 100mm width without ‘serious’ vignetting.Photography has no rules. The Laowa 9mm f/5.6 FF RL measures just 62.4圆6mm in size and weighs 350g. It has a relatively simple 5-bladed diaphragm, but this is not a ‘bokeh’ lens and Laowa does say this can generate 10-point ‘sunstar’ effects. The optical design gives the Laowa 9mm f/5.6 FF RL minimum focus distance of just 0.12m, so it should be possible to create some very dramatic foreground/background scale differences. It’s not one of Laowa’s ‘Zero-D’ lenses, but the company still claims very low distortion (with objects at infinity) compared to other wide-angle lenses. The optical design is quite complex, consisting of 14 elements in 10 groups, with two aspherical elements and two ED elements for ‘outstanding’ corner to corner sharpness and chromatic aberration correction.
#Non fisheye lens manual
This is also a manual focus lens only, though that’s unlikely to be an issue given the huge depth of field with a lens of this focal length and f/5.6 maximum aperture. Something has to give in a design as extreme as this, and in this case it’s the maximum aperture, which is a pretty modest f/5.6.
(Image credit: Laowa, Gua Ge) Design and features
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