In the late 1960s, I purchased a fish-eye-lens attachment, which — according to my hippie vernacular at the time — was a “groovy” contraption to capture “far-out” disfigurements of the world around me.
In 1974, I used the lens to warp the monoliths and canyons of the Big Apple and subsequently self-published a limited-edition book for family members. Soon after this particular burst of creativity, the lens was relegated to the dark recesses of a drawer for three decades. A few years ago, when searching for some other photographic paraphernalia, it resurfaced, and I decided to once again allow light rays to be distorted by it.
So I screwed the odd convex relic onto the so-called “normal” lens of my 35 mm film (yes, good old film) camera, which I loaded with a black-and-white silver halide emulsion, and headed through the great outdoors. I looked for subjects that could be advantageously portrayed by the unique perspective the lens attachment afforded.
On some excursions, the only lens I took with me was the fish-eye, so I could concentrate on which vista would be the most receptive to this way of seeing. I searched for objects that were prominently displayed in the foreground — leaves, flowers, branches and automobile parts.
Some of the resulting fish-eye photos seem to have a surrealistic M.C. Escher-like view, with layering caused by shadows and/or foreground objects such as branches that cause the viewer to look twice.
Prospective patrons who see my work at art shows often ask how I achieve the effect, to which I jokingly reply, “This is based on the Colombian principle — that the Earth is round.”
The lens definitely does not lend itself to taking portraits — with noses appearing greatly accentuated — unless a caricature is what the artist is going for.
Care must be taken by the photographer to not include their feet, tripod legs or the brim of a baseball cap. Sun flare can also be a problem, unless the photographer wishes to include it. In a forest scene, I generally block the sun by using an overhanging tree branch, which also helps to frame the scene.
At times, I purposely include my shadow. In one instance, I located it between two parallel tree shadows, leading the viewers’ eyes into the photo.
Email Alvin Reiner: rondackrambler@yahoo.com
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FISH-EYE LENSES
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A fish-eye lens is basically an ultra-wide-angle lens that covers from 100 to 180 degrees and bends light rays to produce intense visual distortions.
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Objects closer to the lens appear larger than life, while those near the edge or circumference, seem more distant and are curved.
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The term "fish-eye," dating back to 1906 and attributed to American physicist and inventor Robert W. Wood, is based on the panorama that a fish supposedly views.
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A common, non-photographic use for fish-eye lenses is found in doors of motel rooms and apartments, as it allows the viewer to see down the hallway as well as visitors who might be shorter.
- The sale of fish-eye and other extreme wide-angle lenses has increased in recent years as the current generation of photographers looks for ways to extend the vision of digital cameras.
