APERTURE VS F STOP MANUAL
APERTURE VS F STOP PRO
APERTURE VS F STOP ISO

IвЂ™ve not had one complaint on that photo for having too much depth of field. However, my favorite portrait capture of all-time (Jordanian boy) was with a 70-200mm shot at f/4. IвЂ™ll have to admit that f/4 lenses donвЂ™t have much to offer for those who desire the shallowest of depth of field. Losing one stop of light meant less and less of a compromise as digital cameras improved.

APERTURE VS F STOP ISO

I was happy to give up one stop to save that much weight.Д¬anon 5D mark II, EF 70-200mm f/4 L IS USM 165mm, ISO 800, 1/125 sec., f/4 With the options at the time, the f/4 version was about half the weight of the f/2.8 model. I was heading out on a multi-day hike and weight was critical.

APERTURE VS F STOP PRO

This mainly applies to shooting at maximum aperture, but as this is where a lot of shooting is done it is thus very important.Д¬anon 5D mark III, EF 70-200mm f/4 L IS USM 116mm, ISO 100, 1/2 sec., f/11Д¬anon 5D mark II, EF 70-200mm f/4 L IS USM 138mm, ISO 50, 8 sec., f/32 Choosing f/2.8 vs f/4 The first pro grade f/4 zoom that I used was the original Canon 70-200mm f/4L USM. A fixed maximum aperture, like f/2.8 or f/4, meant consistent exposures no matter where the focal length of your zoom lens was set to.

Having a lens that changes maximum aperture as you zoom can potentially ruin your exposure.

APERTURE VS F STOP MANUAL

The importance of having a fixed maximum aperture is to achieve consistent exposures while in the manual exposure mode. Three of the most desired features were quality of glass, construction, and a fixed maximum aperture. This created a large gap separating the f/2.8 pro lenses and the mainstream zooms featuring a variable maximum aperture (ie: f/3.5-5.6).ДЄ growing legion of serious, but not necessarily professional photographers were wanting the quality of the pro lenses but in a slightly less daunting package. In the ensuing years more pro level f/2.8 zoom lenses were introduced. These new zooms were clearly a cut above their smaller sized, lower quality, smaller f-stop siblings. All this changed in the late 1990s when Nikon and Canon introduced 80-200mm f/2.8 lenses targeted to the professionals. Zoom lenses, for quite a while, werenвЂ™t all that good and they were avoided by serious photographers. Brief history of f/2.8 zoomsДЇor those new to this dilemma, let me fill you in. Despite all my experience though, I too can struggle with this one. I should feel pretty well versed in answering this question, after all IвЂ™ve owned countless models of both the f/2.8 and f/4, in a variety of focal lengths, and among multiple brands.

Many manufacturers offer multiple options in the вЂholy trinityвЂ™ series of zooms, which are usually the focal lengths 16-35mm, 24-70mm and 70-200mm. One of the most frequent questions I get concerns the purchase of a new zoom lens and whether IвЂ™d recommend a maximum aperture of f/2.8 versus f/4.

Aperture vs f stop