Comparison Canon 55-200mm f/4.5-6.3 EF-M IS STM vs Canon 11-22mm f/4-5.6 EF-M IS STM

General type of lens. It is worth considering that this parameter is largely determined by the equivalent (not actual) focal length, while optical specifications usually list the actual value; for more details, see "Focal Length."

The type is specified not for every optic but only for models with a clearly defined specialization that fit neatly into a specific category. Besides them, there are so-called universal lenses — see below for more about them. Specialized models can fall into the following types:

— Prime. This category on our website includes virtually all lenses that do not allow for changing the focal length. These can be wide-angle models or optics with a long focal length that offers a high degree of magnification, as well as models with medium values; the only exception is the ultra-wide-angle "fisheye," which is classified as a separate type (see below). Due to their simpler construction, primes are usually cheaper and more reliable than similar zoom models. Their main disadvantage is their fixed focal length. Because of this, using primes for each type of shooting requires its own lens, and zooming is exclusively done by moving the camera closer or further from the subject (in professional slang — "foot zoom").

— Wide-angle. Lenses with a variable focal length, with a minimum value of up to 18 mm inclusive, and a maximum of up to 4...0 mm inclusive (both in 35 mm equivalent). This ensures a wide viewing angle with virtually no visible distortions (unlike ultra-wide-angle models, see below). "Wide angles" are often used for landscape photography, large objects, etc.; such a lens can also be useful in tight spaces where capturing the broadest possible scene is necessary (for example, a large group of people), and the setting doesn't allow stepping back far.

— Ultra-wide-angle. This type of lens is also known as fisheye. Their equivalent focal length is up to 17 mm inclusive, and the viewing angles can reach up to 180° and even more, allowing capturing a very extensive area of the surrounding space in a single shot (for example, the entire sky around the horizon). Such lenses are characterized by noticeable distortions in the resulting image: the center of the frame appears closer than the edges, and straight lines not passing through the center of the frame become curved. Because of this, fisheye lenses got their name: the view through them resembles how a fish would see the ground from underwater. Most frequently, fisheyes have fixed focal lengths, but zoom options also exist. These lenses are particularly used for creating panoramas, shooting in confined spaces, and providing artistic effects.

— Telephoto. Lenses with a long focal length and, consequently, a high degree of magnification, primarily intended for shooting over long distances. In terms of specific figures, in our catalog, telephoto lenses include models with a variable focal length, where the lower boundary of the focal length is no less than 50 mm, and the upper boundary is no less than 200 mm. Such optics are especially convenient for nature photography, sports events, and large gatherings.

— Anamorphic. A special type of lens that compresses the image horizontally during shooting, and then stretches back during playback, creating a characteristic wide cinematic format with impressive light flares (anamorphic "flares") and shallow depth of field. These lenses are used to create an atmospheric, cinematic visual style, especially sought after in video making, allowing a wide frame without losing vertical resolution.

Besides the types described above, numerous lenses are produced that meet the criteria of several types or do not fit into any of them. As an example, an intermediate option between wide-angle and telephoto lenses with a focal length from 24 to 55 mm or a model with a wide adjustment range like 28–200 mm, covering both types, can be cited. Such lenses are commonly referred to as universal. Overall, their application area is quite broad, and the mentioned "intermediate option" includes most optics supplied in a kit with DSLR cameras. However, in terms of photo quality, universal models often fall short of specialized optics of a similar price; on the other hand, a set of several specialized lenses often costs more than a high-class "universal" with the same capabilities.

Lens aperture is a characteristic that determines how much the lens attenuates the light flux passing through it. It depends on two main characteristics — the diameter of the active aperture of the lens and the focal length — and in the classical form is written as the ratio of the first to the second, while the diameter of the active aperture is taken as a unit: for example, 1 / 2.8. Often, when recording the characteristics of a lens, the unit is generally omitted, such a record looks, for example, like this: f / 1.8 or f/2.0. At the same time, the larger the number in the denominator, the smaller the aperture value: f / 4.0 lenses will produce a darker image than models with f / 1.4 aperture.

Zoom lenses usually have different aperture values for different focal lengths. In this case, the characteristics indicate two aperture values, for the minimum and maximum focal lengths, respectively, for example: f / 4.5-5.6

The larger the aperture of the lens, the shorter shutter speeds it allows you to use when shooting. This is especially important when shooting fast-moving subjects, shooting in low light, etc. And if necessary, the light stream transmitted by the lens can be weakened using a diaphragm (see below).

Another point that directly depends on this indicator is the depth o...f field (the depth of space that is in focus when shooting). The higher the aperture, the smaller the depth of field, and vice versa. Therefore, shooting with artistic background blur (bokeh) requires high-aperture optics, and for a large depth of field, you have to cover the aperture.

This parameter determines the size of the area of the scene being shot that falls into the frame. The wider the viewing angles, the larger the area the lens can capture in one shot. They are directly related to the focal length of the lens (see "Focal length"), and also depend on the size of the specific matrix with which the optics are used: for the same lens, the smaller the matrix, the smaller the viewing angles, and vice versa. On our website, in the characteristics of optics, viewing angles are usually indicated when used with the matrix for which the lens was originally designed (for more details, see "Matrix Size").

Aperture is a design of several blades-curtains, which allows, if necessary, to reduce the diameter of the active aperture of the lens, actually reducing its aperture (for more details, see "Aperture"). In addition to reducing the light output (which can be relevant, for example, in bright sunlight), closing the aperture has another effect — it increases the depth of field. In other words, “in focus” is a larger volume of space than with an open aperture.

The values on the aperture scale are usually selected from a standard range. The numbers in it actually indicate what aperture the lens will have when the aperture is closed to a given value: for example, an aperture value of 5.6 will correspond to f / 5.6 aperture. The larger the number indicating the minimum aperture value, the more options the photographer has and, accordingly, the possibilities for setting the shooting mode (ceteris paribus).

Minimum focus distance (m) - the smallest distance from which you can focus on an object and take a photo. Usually it ranges from 20 cm for wide-angle lenses to several metres for telephoto. In the macro mode of the camera or with the help of macro lenses, this distance can be less than 1 centimeter.

The degree of magnification of the object being shot when using a lens for macro shooting (that is, shooting small objects at the maximum possible approximation, when the distance to the subject is measured in millimetres). The degree of magnification in this case means the ratio of the size of the image of the object obtained on the matrix of the camera to the actual size of the object being shot. For example, with an object size of 15 mm and a magnification factor of 0.3, the image of this object on the matrix will have a size of 15x0.3=4.5 mm. With the same matrix size, the larger the magnification factor, the larger the image size of the object on the matrix, the more pixels fall on this object, respectively, the clearer the resulting image, the more details it can convey and the better the lens is suitable for macro photography. It is believed that in order to obtain macro shots of relatively acceptable quality, the magnification factor should be at least 0.25 – 0.3.

The number of elements (in fact, the number of lenses) included in the design of the lens, as well as the number of groups in which these elements are combined. Usually, the more elements provided in the design, the better the lens handles with distortions (aberrations) when light passes through it. On the other hand, numerous lenses increases the dimensions and weight of the optics, reduces light transmission (for more details, see "Aperture") and also puts forward increased requirements for the quality of processing, which affects the cost of the lens.

Thread diameter for installation on the filter lens. Light filters are devices for changing the parameters of the light flux entering the lens. They can be used for highlighting individual colours, coloring the entire image in one colour, darkening the image, correcting colour temperature and light balance, shooting in the infrared range, etc. Also, a light filter can play the role of protection against pollution. For successful installation on the lens, the diameter of the filter must match the diameter of the filter specified for this model of optics.