Ul­tra-wideS: wrap­around and full imm

You’ll get a vis­ually ex­treme ef­fect from an ul­tra-wide, and that calls for care­ful com­po­si­tion

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One of the re­sults of in­creas­ingly so­phis­ti­cated lens de­sign is bet­ter per­for­mance at the ex­tremes of fo­cal length. A side ef­fect of this is that the dis­tinc­tion be­tween ‘nor­mal’ wide-an­gle and ul­tra-wide has shifted over the years, and most pho­tog­ra­phers now con­sider 20mm to be ul­tra-wide.

The defin­ing qual­ity of an ul­tra-wide lens is a view wider than most peo­ple would be aware of with­out turn­ing their head from side to side. This is one of two ways in which ul­tra-wide is vis­ually ex­treme – an an­gle of view greater than we ex­pe­ri­ence. The sec­ond ex­treme ef­fect is the in­evitable dis­tor­tion, which can be some­where be­tween pow­er­ful and weird, de­pend­ing on your taste. One of the lens de­signer’s main tasks with an ul­tra-wide is to cor­rect bar­rel dis­tor­tion, in which straight lines close to and par­al­lel to the frame edges bend out­wards, like on a bar­rel. Achiev­ing this, how­ever,

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