Enter the lens focal length in millimeters and select your sensor or film size in the drop down box, and you'll get your number:. Crop factor helps you understand a lens' field of view on different digital sensor or film sizes.
A 50mm lens is a 50mm lens no matter what camera it's attached to. This is because focal length is a physical measurement between the image sensor and the lens. We use the crop factor or focal length multiplier to describe that difference relative to a 35mm sensor.
APS-C has a 1. I go through all the math below. When you use a 50mm lens on an APS-C camera, you are basically zooming in to an 80mm point of view because the sensor is smaller. You'll notice that some cameras have a crop factor below 1.
This is because the sensors are bigger than 35mm, and give you the equivalent of zooming out. So if you put a 50mm lens on a 4x5" camera, you would have the field of view of a And as I'll explain below, to get the equivalent of a 50mm lens on a 4x5 camera, you would need to use a mm lens!
Mamiya 645 Lenses on Fuji GFX. equivalent focal length?
Full Frame 35mm Digital and Film. Medium Format Film Medium Format Film 6x6. Medium Format Film 6x7. Medium Format Film 6x8. Calculating a crop factor requires some 8th grade math. S tep: 2: Square 36 to get 1, 36 is the width of a 35mm frame in millimeters. Step 6: Square However, the smaller the sensor, the greater the depth of field. This is because with a smaller sensor, you are effectively using a longer lens, forcing you to get further from the subject.
And the further you are from the subject, the greater the depth of field. So if you're every wondering why the cameras in iPhones and other smartphones have so much depth of field, it's simple -- the sensors are so tiny that when applying the crop factor, you have a very small equivalent aperture. And technically speaking.
Not only can we use crop factors to determine equivalent fields of view, we can do the same with depth of field.
Since 50mm is the most common focal length at least on prime lenseslet's find the equivalent of a 50mm lens on every format. But on a 6x7 piece of film with a crop factor of 0. We can also use that crop factor to determine the 35mm-equivalent depth of field.
Here's a full list of the 50mm equivalents for every film and sensor size, starting with the iPhone and going all the way up to 20x24" film. So if you've ever wondered why large format lenses are so long, it's because the film is so big, and you need a long lens to get a normal perspective. On 4x5" film, the most common focal length lenses were mm and mm lenses. And Richard Avedon worked almost exclusively with mm and mm lenses on his large format cameras.
Hopefully, this article helped you figure out how crop factors work. But if you have any questions, let me know in the comments section below.
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Thank you. Share This Page. Thread Tools. Aug 3, 1. Messages: I'm just trying to figure out what angle of view I'd be getting in 35mm terms, if I put on say a 90mm lens? On the 4x5 that's a good wide angle, on a it's like a 50mm equivalent, but what does it translate on a 6x9 frame? Likewise I have a mm and wondering how I should calculate that as well.
Aug 3, 2.
Messages: 2, The "normal" lens on 6x9 is in the mmmm range. Because of the 6x9 format, you capture a lot of a scene within that frame. I guess the best way would be to compare photos taken with a 35mm, 6x6 and 6x9. I feel comfortable saying that 6x9 provides a much wider view than 35mm.
The field of view feels like 28mm but without getting that wide-angle "feel" from your photos. Last edited by a moderator: Aug 3, Aug 3, 3. Messages: 5, Aug 3, 4. Messages: 1, Aug 3, 5. Wow, thanks for the great info guys, it's exactly what I was looking for! That lens chart is gold, thanks Dan! Aug 3, 6. Messages: 6, Calculating "normal" FL traditional formula: square root of image length squared plus image width squared I'd "guess" multiplying the long edge by 1.
Aug 3, 7. Um, er, ah, 2x3 and 24x36 have the same aspect ratio so comparing the formats' long, or for that matter their short, side as a basis of comparison is equivalent to using the diagonal. The diagonal is the conventional basis but as we've seen some people don't follow the convention.
I don't know where you got your 1. Aug 3, 8. Messages: 8, Ascertaining the aspect ratio and the 35mm equivalent in lens is all fine and dandy, but you need to bear in mind when you compose on that large 4x5 ground glass that you are not using the entire image.This site is supported by the advertisements on it, please disable your AdBlocker so we can continue to provide you with the quality content you expect.
Log in or Sign up. Fuji X Forum. I'm looking for a lens which will give me a 24mm or 28mm field of view, but I am confused as to how the equivalents work for mamiya lenses. I am under the impression that my fuji 45 will be equal to a 35mm on 35mm full frame. Any simple answers out there, any great links? I'm having trouble finding straightforward info. Thank you! Last edited: Jan 2, DQMoserJan 1, Thanks, folks This IS helpful, but I need more I am looking for to GFX, perhaps my question was not worded clearly.
Back to the internet! DQMoserJan 2, F2BthereJan 2, Joined: Nov 2, Messages: 12 Likes Received: 5. Ignore the fact that it covers an area beyond the GFX sensor size; it doesn't matter in this case. If you want to compare it to obtaining an identical composition on full frame, then yes, you'd use a conversion factor. Danny BurkJan 2, The "crop factor" for is 0.
GregWardJan 2, I sho. To sum up, here is a table of focal lengths that produce the same angle of view on different formats. I used the "35 mm" column as a reference and calculated other columns by applying crop factors mentioned in this thread.Crop Factor TRUTH: Do you need Full Frame?
IllumiGary and blacksheep like this. DQMoserJan 3, F2Bthere likes this. A reasonable quick estimate of crop factor is the ratio of sensor diagonals for two compared formats. This is give-or-take as the formats are often of different aspect ratios, but works fine for initial choice. GlassEyeJan 3, DQMoserJan 4, You must log in or sign up to reply here. Show Ignored Content.People immersed in digital photography have been dealing with crop factors for years. There is something called a crop factor.
Basically, this is a number that will translate that medium format lens to what a 35mm camera lens would be. So, if you multiply an 80mm lens by. That would be the lens you would use on a 35mm camera for an exact match. Especially as the lens gets longer. Only with very wide angle lenses would you notice much of a difference with a few mm.
Hence, a HasselbladRolleietc. Crop factors are based on the diagonal measurement of the negative. What would put a monkey wrench into these numbers is that some of these aspect ratios are a little weird. I know most people think they are exactly as marked, but that would rarely be the case. A cheat sheet of sorts. Usually because they are not very popular.
Like it would be kind of stupid to include every lens,…. First, because almost no one uses it. So just use the crop factors if your focal length is not listed. The video below illustrates the DOF differences between two formats.
I enjoyed this write up. Everything you need with no additives. Thanks for the information. All the best. Attachment The maximum upload file size: 1 MB. You can upload: image.
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Medium Format Lens Crop Factors People immersed in digital photography have been dealing with crop factors for years.A very frequently asked question is one about the 35 mm format focal length equivalent of the lenses used on Hasselblad's 6x6 format. It is often asked, perhaps because there is no single answer. The aspect ratios of 6x6 format and 35 format Manufactureres usually only state the diagonal angle of view of the lenses they produce.
As a result, the diagonal often has to be taken as the basis for comparisons. In Figure 1, 6x6 format black outline and 35 mm format red outline frames that have the same size diagonal are superimposed. As Figure 1 shows, the different aspect ratios of both formats lead to a rather different framing: the 6x6 frame is taller than the 35 mm format frame, yet less wide.
A subject just fitting inside the 35 mm frame horizontally will not fit inside the 6x6 frame, and conversely, a subject just fitting inside the 6x6 frame vertically will not fit inside the 35 mm frame.
Framing in both formats is equivalent only in the rare case that subjects have to be framed diagonally. The differences in both horizontal and vertical aspects then still make it very hard, if not impossible, to crop an diagonally composed image in either format to the image produced by the other format. Another option would be to select lenses so that their vertical angles of view are the same Figure 2. The difference in aspect ratios of the two formats then shows itself in the horizontal angle of view, which is 1.
It obviously is very easy to crop the larger frame to produce an image exactly the same as that produced inside the smaller frame. The vertical equivalence is true. Conversely, when the lenses are chosen so that the horizontal angles of view are the same Figure 3the difference in aspect ratio leads to a 1.
Again, cropping the taller frame to produce an image exactly the same as that captured in the smaller frame is not a problem, i. The Hasselblad focal lengths given in the table to the right are nominal. To keep the table simple, the choice was made to use the nominal focal lengths instead of the true focal lengths. As a result the table only gives an approximation of the equivalent 35 mm format focal lengths.
Since the known focal lengths of 35 mm format lenses are also nominal, with their true focal lengths rarely known, an approximation will be the best a general comparison can achieve. For critical purposes, an actual test of all the lenses involved will be necessary. Ever since Hasselblad introduced a film magazine producing 16 frames in 6x4. The difference in the aspect ratios of 35 mm format and 6x4.Analog photography has a deep and rich history of evolution and diversification going back years.
After an early, bewildering explosion of diversity and competition, by the late 20th century the industry had settled on a limited number of standard film types before digital photography transformed the medium. Crop factor is a multiplier which allows one to compare a particular imaging area to the 35mm lens imaging area. More generally, a crop factor can be applied to the focal length of a lens for one imaging area or format to provide an understanding of the angle of view that focal length will produce upon a different imaging area or format.
To be sure, it is a strange usage of this term to apply it to imaging areas which are larger than format. I have chosen to use it in this fashion because the term is a familiar one to those coming from digital imaging.
And mathematically, it works just as well, you simply end up with numbers which are less than one as the multiplier. However I understand objections to the term as conceptually, no actual crop is being applied to the larger format, rather an inverse crop an expansion? I hope this is clear. Part of the job of a photographer is to visualise the angle of view that a particular lens has in order to choose an appropriate focal length for a particular shot.
Crop Factor & 35mm Equivalent Focal Lengths: The Ultimate Guide
Hence a nominal crop factor aids in understanding and pre-visualisation of a shot, before a lens is chosen, for those coming from smaller or larger formats. This discussion glosses over other important properties of a lens, such as the image circle, for the sake of simplicity. Crop factor is below calculated by simply dividing the diagonal of the format 43mm by the diagonal of the comparison format.
However, the resulting number is only useful if the aspect ratios of the two formats are similar. The introduction of format in the early 20th century enabled cameras to become much smaller and extremely portable. More 35mm film cameras were produced than any other film type by quite a large margin, and thus it is the format most people are familiar with.
Medium format is actually a collection of formats, all of which use unperforated format roll film which is 62mm wide. It produces a negative which is between 2 times and three times the diagonal of format. Like Medium Format, there are a series of increasingly large imaging areas under the rubric Large Format.
It is beyond the scope of this article to detail them all. It is found only as sheet film. It is not to be confused with the similar European size of 9x12cm. The values in this table are approximate and have been rounded to common focal lengths for simplicity.
All crop factors are expressed relative to format. Nice work on the article but I would suggest that the diagonal is the least useful dimension to do the comparison by. People who convert to large format from 35mm suffer most from the diagonal conversion. Thanks for your thoughtful comment Tim. I have updated the discussion of Crop Factor above to take this information into account. You must be logged in to post a comment. Skip to content.However, the term is ubiquitous in identifying the altered field of view caused by using smaller sensors in cameras along with full frame lenses.
Of course, most of us understand that this is a misnomer and that the 50mm lens does not change at all to become an 80mm lens when used on a different camera. These crop factors are based on a diagonal measurement of the negative, so some of the odd ratios may be a little off if you are comparing them purely to the native aspect ratio of 35mm film.
The format is the generally the smallest frame size you will see used on roll film. As you can easily deduce, the 6 x 6 format is a square format, or a ratio. The 6 x 7 format is the easiest crop factor to calculate at roughly half the equivalent focal length for full frame cameras. The 6 x 8 format has the same aspect ratio found in Micro Four Thirds cameras.
Of course, the actual frame size is much large than those compact digital cameras and it is a rarer option for medium format manufacturers. The 6 x 9 format has the same aspect ratio of found in 35mm film and full frame image sensors. The issue of crop factor becomes even more convoluted when taking in to account the smaller formats such as micro four-thirds, one inch and the point-and-shoot formats.
This would cover everything from the smallest format to large frame 8x10s. It would be instantly meaningful when considering the scene to be photographed. Everyone would get used to this in time and the problem would be solved.
Try telling that to a director of photography. Although, yea I absolutely agree I think it adds to the mystique. Would it give a wider fov or narrower fov?
This answer does not make sense. You said above that a 50mm full frame lens on a APS-C camera is like an 80mm field of view due to the 1.
So a 75mm lens on a 35mm full frame camera would be like mm lens equivalent field of view with the crop factor. Robert is correct. Focal length is focal length. What you are confusing is the change in FOV between the 6by7 medium format camera and full frame camera for the same focal length.
What you have to watch out for is if ever you put a lens designed for a smaller aperture plate like a DX or APS-C sensor on a camera with a bigger aperture plate. For example, if you put a 75mm DX lens on a full frame camera the FOV will be exactly the same as a 75mm medium format lens on the full frame camera, BUT the image circle may not be large enough to cover the sensor or filmand you may get vignetting dark corners. Actually, they are using 35mm as a reference, so anyone can understand it.
It is supposed to help those migrating or starting to shoot medium format while coming from 35mm. If you use an APS designed lens on an APS sensor, the maths will still be correct and the cropping will be non-existent.
Damn, I wish you people learn to understand the context before saying completely irrelevant and inaccurate things. I was more concerned about the actual subject I was writting about than the maths.
When you use 80 mm CZJ for example, what focal length it would be on 35mm camera?