If You"ve Found it Hard To Find Lens Tele , This is The Place For You!
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 Schneidar Kreuznach Tele Xenar 155 240 240mm Lens Vintage With Multiscope  US $399.00
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 Panagor camera lens US $4.95
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 REAR LENS CAP for Olympus PEN F FT 20mm 25mm 38mm 40mm US $11.00
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 VIVITAR TELE CONVERTER 2X 1 US $12.00
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 Canon LA DC58K Conversion Lens Adapter for PowerShot G US $35.95
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 67mm Universal Rubber Lens Hood Screw in 3 Stage T W N US $8.99
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 2X Magnetic Tele Lens for Canon S40 S400 S45 S30 S330 US $34.94
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 Quantaray Tech 10 High Speed 70 mm 300 mm F 40 56 Lens For Minolta US $75.00
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 KIEV 88 KALEINAR 150 28 tele lens MINT US $126.40
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 Wide Angle Tele LENS FOR SONY CAMCORDER HDR UX7 HDR SR7 US $29.99
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 2x TELEPHOTO TELE LENS for Canon EOS 50D 40D 30D 20D 5D US $22.01
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 Nikon TC 20E 2x Converter US $169.99
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 Sony Tele Conversion Lens VCL HGD1758 US $150.00
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 SOLIGOR TELE AUTO LENS 128 F135MM NO17114483 US $50.00
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 2000mm D90 Telescope for Nikon D80 D60 D90 D300s D3000 D5000 D3100 D5100 D7000 US $299.99
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 TELEWIDEFILTERCASE LENS FOR 52mm Leica D Lux 4 DLUX4 US $72.06
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 BK 305mm 20X Tele Lens For JVC Digital Camcorders US $11.00
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 FD Mount 2X Pro Auto Tele Converter Multi Coated for Canon US $8.00
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 SL 49mm 20X Tele Photo Lens For Sony NEX C3 NEX 5N New US $18.99
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 Pentax 200mm f4 Tele Portrait Lens for 6x7 67 Camera US $145.00
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 BK LENS WIDETELEFILTER FOR 305mm JVC GZ HD300 HM200 US $39.55
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 MINOLTA AUTO TELE ROKKOR QE 100mm 135 Lens US $99.99
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 Tele Wide Angle Lens kit for Nikon D60 D80 D5000 52mm US $25.19
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 Genuine Canon FD EOS converter FD EOS original adapter US $1,999.00
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 TOKINA 28 80MM 100 300MM LENS FOR SONY A700 A900 A350 US $169.99
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 55mm Tele Flower Lens hood Shade Telephoto Screw in New US $7.99
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 67MM UV FILTER LENS ADAPTER FOR NIKON COOLPIX L120 US $19.93
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 ZEIKOS 35X 58mm Tele Lens Black HD ZE 3558 T 58 R52MM US $69.95
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 Telephoto 35x 58mm TELE LENS for CANON NIKON KODAK US $55.00
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 58mm HD TELE LENS 3X for OLYMPUS EVOLT E 500 E 420 620 US $59.50
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 58mm HD TELE LENS 3X for OLYMPUS EVOLT E 410 E 400 520 US $59.50
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 58mm TELE LENS 35X Lens for CANON EF S 18 55mm $0 S\H US $55.00
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 58mm TELE LENS 35X Lens for FUJI S6500 S6100 S6000 US $55.00
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 58mm TELE LENS 35X for CANON EOS 1000D 450D 500D 400D US $55.00
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 58MM 35X TELE TELEPHOTO LENS FOR DIGITAL CAMERA 58 MM US $55.00
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 Tamron Di 70 300mm Lens for Nikon Digital D300 D200 D90 US $184.95
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 Tamron 70 300mm Di Lens for Nikon Digital D700 D80 NEW US $194.95
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 Sony VCL R2052 Tele Conversion LEns x2 Made in Japan US $30.00
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 Tamron 70 300mm Di Lens for Nikon Digital D60 D5000 NEW US $189.95
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 Tamron 70 300mm Di Lens for Canon Digital Rebel XT XTi US $149.95
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 2X TELE 045X WIDE LENS UV FILTER FOR CANON A510 A520 US $41.99
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 Lens adapter UV CPL filter kit hood keychain for Nikon L100 US $26.24
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 2X Magnetic Tele Lens for Canon SD630 SD790 SD750 SD800 US $34.94
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 WIDE TELE PHOTO LENS FOR CANON VIXIA HF10 HF100 HF11 US $32.94
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 VDO PAK Video Auxiliary Lens Set MODEL E1565 Tele Wide US $8.99
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 2X Tele Converter for Canon T3 T3i T2i T1i XSi XTi NEW US $18.00
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 58mm 3 stage Lens Hood for Canon EOS Rebel XT XTi 350D US $1.49
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 PRO WIDE ANGLE TELEPHOTO LENS SONY DCR SR68 DCR SR88 US $24.95
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 New Ricoh Ricoh TC 1 188x Tele Conversion Lens TC1 US $172.22
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 BRONICA SQ Schneider Variogon 75 150 F 45 boxed MINT HASSELBLAD ROLLEIFLEX US $1,264.00
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 Sony VCL DH1758 Tele Conversion Lens US $15.50
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Lens Aperture - What it Is, Does and How to Use it
The lens aperture is a measure of how much light the lens will let through into the sensor in the camera body. The bigger the aperture is, the more light will shine through. Using a bigger aperture also results in less depth of field (depth of focus, DOF). If it’s difficult for you to remember, just think of the small, pocket-sized digital cameras you can get nowadays. They tend to render everything in focus opposed to the more sturdy, professional single-lens-reflex (SLR) cameras that have the ability to create soft, out-of-focus (OOF) areas behind the main subject. Big means plenty of light-sensitivity together with a narrow focus area.
The aperture is measured in terms of f-stops and this can perhaps be a bit confusing since a smaller f-stop is equivalent to a larger aperture. It is usually written like this, the scale going from large aperture to small aperture:
f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16...
These are the standard values, separated by one unit called an f-stop. Each lens has a maximum aperture and can be stopped down from there to gain larger depth of field and to set the exposure (which it does together with the shutter and ISO speed). Another good reason to stop down your lens (to use a smaller aperture) is that the lens usually works better when stopped down 2 to 4 stops from it’s maximum value. It draws sharper and lessens unwanted effects such as chromatic aberration and vignetting. Using a lens wide-open so to say, is rarely a good idea unless you are pressed for light or using an absolute top-of-the-line lens.
A fast lens, you say?
Sometimes the large-aperture lenses are also referred to by photographers as ‘fast lenses’. Strictly speaking this is nonsense since it’s still a piece of glass and not a racing car! But what it means is that with a large aperture, more light will come in allowing for a faster shutter time in the camera. The lens itself is in no way ‘fast’, it’s just easier to say that ‘the lens is fast’.
With a ‘fast lens’, you can use a high shutter speed, ie. in the thousandths, 1/1000 sec or less. This allows you to really capture moments that’s gone in the blink of an eye and opens up a new world of things that happen too quickly for the human eye to catch.
As is now evident, the depth of field is directly related to the lens aperture. Having one of these ‘fast lenses’ on your D-SLR camera gives you lot’s of creative possibilities. One of the big challenges in serious photography is to separate your main subject from all the background clutter, to focus the viewers attention on the subject without distractions. To get a blurry background, set the aperture quite high, go a little close to your subject (without exaggerating the perspective too much) and allow some distance between your subject and the background. It’s important to remember that the placement of you, your subject and the background also plays a role in how much blur-effect you get. It’s not only about what lens aperture you are using.
Bokeh
Ok, so now you have an out-of-focus background. But there’s a bit more to it than that. (Admittedly, we are moving into the subtler details now.) If you look at the out-of-focus areas of different photos, you’ll see that it can look quite different. Some lenses have a really nice, soft, smooth and silky way of rendering the out-of-focus details while others have a tendency to render hard rings and edges around high-contrast objects. This can be a bit distracting to look at although it is somewhat subjective. The quality of the out-of-focus areas is generally called ‘bokeh’ and is largely decided by the way the lens is constructed, how many aperture blades it has and what f-stop you are using. Photo aficionados can debate at length about the quality, characteristics and effects the bokeh has on a photo while more ‘normal’ people would give far more importance to the focused areas of the photo. In some genres though, it does play a significant role. In portrait photography, wildlife photography (using long tele-photo lenses) and macro photography the silky bokeh can really be the dot that makes the ‘i’, an add a magical touch that’s hard to pin down.
Try to incorporate some bokeh awareness into your photography and there’s most likely improvements to me made.
About the Author
The author, Morten Svenningsen, is an award-winning Danish photographer and journalist based in Asia. Visit his web site www.mortensvenningsen.com to see examples of his work. It's now even possible to order his photos as fine art prints and posters!