Showing posts with label Landscapes. Show all posts
Showing posts with label Landscapes. Show all posts

24.6.22

Do you want to become a better landscape photographer ? Better make the resolution


Romsdalen, Norway


Is there a secret formula for success? Is it a five-step program? Or perhaps even ten steps? What does it take? Will external motivation alone help you reach your goals? I don’t think so. I firmly believe that internal motivation or inner drive is the key to almost everything.

But, before we move on, what is success? Is it to have millions of followers on Instagram, or is it something different entirely? I will discuss that in more detail at the end of the article.

TWO IMAGES

I will tell my story, and a good starting point is two of my images. This first image I shot back in 2013.


Tyrifjorden, Norway (*note the watermark)

Four years later, I captured this scene:


Romsdalen, Norway

What does it take to go from an image that almost no one noticed to an image awarded an Editor’s Choice award at National Geographic?

INNER RESOLUTION

I firmly believe there must be some inner resolution. That’s the first step. A quality decision which states: “I desire to improve, and I am willing to pay the price to do so.” This resolution rests on a foundation of honesty. Back in the day, I had to come honest with myself and admit that my work was found wanting and that I could do a lot to improve it.

As a math teacher, I have seen this principle in action many a time. It is easy to see when a student has made this inner resolution. The improvement is almost instant. Of course, I try to motivate my students, but external motivation doesn’t last and swiftly dwindle when the going gets tough.

I made this resolution in October 2013. I know it is the main reason behind any success I may have had.

SETTING A GOAL

I also believe it is important to set a goal. For my students, it may be a grade that will qualify them for further studies. Back in 2013, I set the following goal for myself:

If I can produce one image that is good enough to reach 500px’ first page during my lifetime, I will be happy. And I was willing to pay the price knowing many hours behind the camera and the computer would be necessary to hone whatever little talent I had.

There are no short cuts. Instagram PODs, bots, spamming, always buying the newest gear — I honestly don’t believe any of that will make us better photographers. They are just tell-tale signs. I am afraid that we are not willing to pay the price.

I have found it immensely helpful to watch and read processing tutorials and study other’s work. Even repeatedly shooting the same subjects has led to progress. When we begin to learn new things, and our work slowly but surely starts to improve, the desire to evolve doesn’t fade. It pushes us onward, also through periods of frustrations, failures, and creative blocks.

WHAT IS SUCCESS?

What I so far have written about success rests upon a limited and instrumental definition and understanding of the word. Depending on our ambitions, success can also be so simple as having found a hobby that enriches life and offers us plenty of moments of sheer fun. In this regard, photography definitely has been a success for me. What about you?

“I don’t think being good at things is the point of doing them. I think you’ve got all these wonderful experiences with different skills, and that all teach you things and make you an interesting person, no matter how well you do them.” (unknown)


Ole Henrik Skjelstad

30.5.22

Best Cameras for Landscape Photography 2022


If your primary subject for photography is landscapes, then it’s likely you’ll want to choose a camera that’s great at capturing landscape images. Here we look at some of the best cameras for landscape photography, and what makes them a good choice. We also run through some of the things you should be thinking about when choosing a camera for landscape photography, as well as letting you know what lens options there are.

There are several things you want to consider when looking for a camera for landscape photography, here they are: 
Resolution
Dynamic range
ISO range
Image stabilisation
Weather-sealing
Lens choices
Resolution

Ultimate resolution may be your aim, and for that there are a wide range of high-resolution options. But if travel, and hiking is one of your aims, then you may not want something so large and heavy, and we’ve highlighted some other options as well. High-resolution sensors help you capture more detail, and can let you crop into your image, but it’s also worth pointing out that a high-quality 20MP image can be printed upto 18x12inches at 300dpi, roughly A3. If you don’t want to print your photos, then resolution may not be as important.

Zenit M rangefinder camera | Amateur Photographer
Dynamic range and raw

Dynamic range is generally pushed to its limits when shooting landscape images, as you often have darker areas or shadows, along with a bright light in the scene, and you want to capture as much as this as possible. The human eye can normally cope with a much wider range than most cameras, so you’ll want to shoot in raw or use other all available options to capture as much dynamic range as possible. All of the cameras shown here shoot raw so you can process the images later when needed to get the best results. See our guide on how to maximise dynamic range.
ISO range

ISO range – In landscape photography, you’re most likely going to want to use the lowest ISO speed possible, in order to ensure your image is capturing as much fine detail as possible. One thing that can help is a lower ISO speed. There’s not a massive difference between using ISO100 and ISO200 on most cameras, however, if your camera has an even lower ISO speed, such as ISO50, then it’ll be easier for you to use a slower shutter speed when needed, helping you when you’re trying to capture blurred water, or blurred clouds etc. Be aware that some extended ISO speeds, marked as “Low” or “L” will show a reduced dynamic range, and are therefore best avoided.
Image stabilisation

Image stabilisation (IS) can help, and we’re at a point in time where it’s more common for new cameras to have in-body image stabilisation than not, and not only lets you expand your ability to shoot at slower shutter speeds, but also allows manufacturers to add multi-shot high-resolution modes to some cameras. If you can afford a model with image stabilisation built-in, then this is worthwhile, as it works with all lenses, letting you save money when buying a lens without IS built-in.
Weather-sealing

Weather-sealing is likely to be a must, especially if you’re happy shooting in all-weather conditions. If this is important to you, then look out for cameras that feature weather-sealing. You’ll also need to make sure the lens you use with the camera is weather-sealed, otherwise you won’t be able to get the benefits of this.
Lens choices

Lens range is another key factor to consider, are the lenses you want available, for the camera you want to use? We run through some of the options available as we go through each camera.

Now that you’ve had a look at the aspects that make for a great camera for landscape photography, lets have a look at some of the options available. In no particular order, we’ve selected options that are suitable for a range of different budgets, and different needs.

Best landscape camera for beginners
Nikon D5600 – £749 with 18-140mm lens

The Nikon D5600 offers easy transfer of images via Nikon’s SnapBridge technology

At a glance:24.2MP APS-C sensor
ISO100-25,600
3.2inch 1.4m-dot full articulated touchscreen
820 shot battery life

The Nikon D5600 offers a 24.2MP APS-C CMOS sensor, and Nikon’s excellent colour management giving images with warm, saturated colour and plenty of detail. There may only be FullHD video, but if you don’t need 4K then the camera gives everything else you need, including access to some great APS-C (DX) lenses.

Ultra-wide-angle lenses include the AF-P DX-Nikkor 10-20mm f/4.5-5.6G VR lens (£309), which gives a 15-30mm equivalent ultra-wide-angle zoom, as well as the Nikon 10-24mm f/3.5-4.5 G AF-S DX lens (£949). If the Nikon lenses available don’t take your fancy, then there’s also lots of lens choices from Sigma, Samyang, Tamron and others.

Best for: DSLR fans who want a fully articulated touchscreen
Best landscape camera on a budget under £500
Nikon D3500 – £449 with 18-55mm VR lens

Nikon D3500 DSLR

At a glance:24.2MP APS-C CMOS sensor
ISO100-25,600
FullHD video (60fps)
1550 shot battery life

The Nikon D3500 features a 24.2MP APS-C CMOS sensor, with no optical low-pass filter, which means it’s designed to give as much detail as possible. Active D-Lighting helps with dynamic range in JPEG images, and the camera has traditional DSLR handling, making it a comfortable camera to use. You’ll also find incredible battery life, with up to 1550 shots possible.

The 18-55mm lens can give sharp results, and is a great starting point, but it’s likely you’ll want to have a look at the AF-P DX-Nikkor 10-20mm f/4.5-5.6G VR lens (£309) if you want a wider view.
Best for: those on a budget

Best camera for landscape photography under £1000
Fujifilm X-S10- £949 body only

At a glance:26MP APS-C CMOS sensor
In-body image stabilisation
PASM mode dial
4K video

The Fujifilm X-S10 is a great handling mirrorless camera, with a large hand-grip and DSLR like controls, with a PASM mode dial, making it easy to use. It also benefits from the same excellent 26MP APS-C X-Trans CMOS sensor as Fujifilm’s flagship X-T4 model, giving you images with plenty of detail, and Fujifilm colour. In-body image stabilisation is built-in, and it offers 4K video.

The downside to this model, compared to the X-T4, is the lack of weather-sealing on the X-S10. The X-S10 uses X-mount lenses and there are a number of options available, although perhaps not as much budget lenses as you’d find with other cameras.
Best for: Someone wanting a compact camera, and fans of Fujiifilm colour

Best Canon DSLR for landscape photography (APS-C)
Canon EOS 90D – £1629 body only

The Canon EOS 90D DSLR is a highly versatile and reliable camera

At a glance:32MP APS-C CMOS sensor
Canon EF-S lens support
1300 shot battery life
3inch vari-angle touchscreen

The Canon EOS 90D offers the highest resolution APS-C sensor currently available, and gives you Canon’s great colour reproduction, and high-levels of detail. It also offers an impressive battery life of 1300 shots.

There is a good range of ultra-wide-angle Canon EF-S lenses, with the Canon EF-S 10-18mm f/4.5-5.6 IS STM being a great value budget choice at £245 (16-29mm equivalent). For those with more cash, there’s a 10-22mm available (£529, 16-35mm equivalent), or for those than want wide-angle and zoom, there is a 15-85mm IS USM lens available (£779, 24-136mm equivalent).
Best for: Canon DSLR fans

Best Nikon DSLR for landscape photography (full-frame)
Nikon D850 – £2799 body only

The Nikon D850 boasts a 153-point autofocus system

At a glance:45.7MP Full-frame BSI CMOS sensor
Low base ISO speed of ISO64
4K video, 8K timelapse support
1840 shot battery life
Weather-sealed

The Nikon D850 is a high-resolution full-frame DSLR, with a 45.7MP sensor that is capable of producing images with high levels of detail, thanks in part to no low-pass filter. The camera also benefits from an ISO range that starts at ISO64, which is usefully lower than many cameras.

For some, the handling of a DSLR will be of great importance, and for these people, the Nikon D850 certainly delivers, with great ergonomics, particularly if you’re a fan of larger cameras. You’ll also benefit from impressive battery life, with up to 1840 shots possible from one battery.

There’s a range of lenses including the Nikon 16-35mm F4 G AF-S VR lens at £1149, or you could look at these wide-angle prime lenses: Nikon 20mm F1.8G AF-S (£799) or the Nikon 24mm F1.8G AF-S (£749).
Best for: Nikon DSLR fans



Best Nikon mirrorless camera for landscape photography
Nikon Z7 II – £2999 body only

The Nikon Z 7II with a 24-70mm zoom lens

At a glance:45.7MP full-frame BSI CMOS sensor
ISO64-ISO25,600 (standard)
In-body image stabilisation
Weather-sealed

The Nikon Z7 II is one of the second generation full-frame mirrorless cameras from Nikon, and offers an impressive 45.7MP full-frame BSI CMOS sensor, along with Nikon’s Z-Mount series of lenses which have all been developed specifically for the new mirrorless camera range. This means they give exceptional image quality, in combination with Nikon’s excellent focus system.

There’s a growing range of lenses, but you’ll notice that many are at the more expensive end of the market, with ultra-wide-angle options being the 14-24mm f/2.8 S (£2499), and another being the 14-30mm f/4 S (£1349).
Best for: those looking for a compact full-frame camera



Best Panasonic camera for landscape photography
Panasonic Lumix S1R – £3299 body only

At a glance:47MP full-frame sensor
ISO100 to ISO25,600 (standard)
In-body image stabilisation
High-res multi-shot mode (187MP)
Weather-sealed

The Panasonic Lumix S1R offers a high-resolution 47MP full-frame CMOS sensor, along with a high-resolution electronic viewfinder, 4K video recording, and in-body image stabilisation. There’s a multi-shot high-resolution mode that can produce 187MP images, and the camera has a mode to reduce motion blur, so that it can be used for landscape photography. Despite being a mirrorless camera, the S1R is quite weighty and large.

As part of the L-Mount alliance, there are wide range of lenses, available from Panasonic, Sigma, and Leica. Options include the Sigma 14-24mm F2.8 (£1299), Panasonic Lumix S Pro 16-35mm F4 (£1499), Leica 16-35mm F3.5-4.5 (£4850), and Panasonic Lumix S 20-60mm F3.5-5.6 (£619), to name a few ultra-wide zoom lens options. There are also a range of ultra-wide-angle prime lenses available.
Best for: Those looking for a wide range of lens options

Best Canon camera for landscape photography
Canon EOS R5 – £4299 body only

At a glance:45MP full-frame sensor
Sensor-shift IS
ISO100 to ISO51,200 (standard)
8K/4K video recording
Weather-sealed

The Canon EOS R5 is Canon’s premium full-frame mirrorless camera, offering a 45MP full-frame CMOS sensor, as well as in-body image stabilisation that works with any lens. There’s a high-resolution 5.76m-dot electronic viewfinder (EVF), and a 3.2inch fully articulated touchscreen with 2.1m dots. This makes framing and composing shots a real pleasure when using the camera. A top LCD display also lets you see camera settings at a glance.

The camera offers advanced video modes, including 8K (30fps) and 4K (120fps) video recording, however, you need some quite impressive hardware to edit this, and you’ll also need to be aware that the camera does have some limitations due to over-heating while recording. There’s also relatively short battery life to be aware of, with 490 shots on offer when using the LCD, or a much shorter 320 shots when using the EVF.

If stills is your primary aim, then you don’t need to worry so much about video recording and overheating, and there are a growing range of Canon RF lenses available, with ultra-wide-angle lens options including the RF 14-35mm F4L IS USM (£1779), and RF 15-35mm F2.8L IS USM, plus the “standard” 24-70mm f2.8L IS USM (£2189). If you’re on a budget, there’s a compact RF 16mm f2.8 lens (£319).
Best for: Canon fans (full-frame), and those with an interest in high-resolution video
Nb. A second-hand option could be the Canon EOS 5DS R (50MP), which has been discontinued.



Best Sony camera for landscape photography:
Sony Alpha A7R IV – £3199 body only

At a glance:61MP full-frame sensor
ISO100-32,000 (expands to ISO50)
5-axis in-body image stabilisation
5.76m dot electronic viewfinder (EVF)
Weather-sealed

The Sony Alpha A7R IV features a 61-megapixel BSI CMOS sensor, the highest resolution available on a full-frame camera (along with the Sigma fp L), and to get any higher resolution than this you’d have to move over to medium format. This makes it a great choice was absolute resolution is of the highest importance. You can even use the pixel shift multi-shot mode for whopping 240MP images, however, these needs combining on a computer, and any movement in the scene can cause image quality problems.

Sony has been making full-frame E-Mount cameras since 2013, so as you’d expect there’s a vast array of lenses available, with high-quality options available from Sony, as well as a number of other options from Sigma, Zeiss, Tamron, Tokina and others. You can choose from a number of ultra-wide-angle zoom lenses, such as the Sony FE 16-35mm F4 ZA OSS (£1049), or the newer more compact FE PZ 16-35mm F4 (£1300) as well as many prime lens options.

Best for: Sony fans, wide lens choice, high-resolution

Nb. A second-hand or value choice could be the Sony Alpha A7R III, with 42MP sensor, it still offers high-resolution, but is much more affordable.


Best landscape camera for maximum resolution:
Fujifilm GFX100S – £5499 body only

At a glance:102MP medium-format sensor
In-body image stabilisation
ISO50 to ISO102,400 (extended)
Top display screen
Weather-sealed

Fujifilm’s GFX100S features an impressive 102MP medium-format sensor, at a previously unheard of price, seriously challenging how much a medium format camera normally costs. You’ll also find that it’s packed into a camera body that’s similar in size to a Digital SLR, making this a seriously impressive bit of kit, considering the size, and what it is capable of.

Image quality is impressive, and the camera makes it easier to achieve great results, thanks to the camera’s built-in in-body image stabilisation. The camera also delivers excellent dynamic range, as well as extremely pleasing colour reproduction, thanks to Fujifilm’s film simulation modes.

For those that want even more resolution, then there’s a multi-shot mode available for 400MP images, but like the Sony A7R IV, these need to be merged together on a computer, and any movement in the scene is going to ruin the shot, so think of this as useful for mostly still life work.

There’s a range of GF mount lenses, and there’s a 0.79x crop factor, so the GF 23mm f4 (£2399) lens is equivalent to 18mm (in 35mm terms), and the GF 30mm F3.5 (£1649) is equivalent to 24mm. There’s also a GF 32-64mm F4 (£2149), equivalent to 25-51mm, and it’s the widest zoom lens currently available from Fujifilm in GF mount.
Best for: Ultimate resolution thanks to 102MP sensor


Fujifilm GFX50S II – £3500 body only, or £3900 with 35-70mm lens

At a glance:50MP medium-format sensor
In-body image stabilisation
ISO50-102,400 (extended)
Top display screen
Weather-sealed

Medium format cameras used to cost an arm and a leg, so it’s incredible to think that you can purchase a brand-new medium format camera for £3500 body only in the form of the GFX50S II. In order to make the GFX system more affordable, the GFX50S II was introduced with a new budget lens, the GF 35-70mm F4.5-5.6 WR zoom lens (£849 lens only, or £3900 as GFX50S II kit with lens), which gives a 28-55mm equivalent.

Despite the lower price, it’s difficult to see where the camera is lacking, as the camera features a 51.4MP medium format sensor, in-body image stabilisation, a high-resolution electronic viewfinder (3.69m dots, 0.77x magnification), and a 3.2inch 2.35m dot tilting touchscreen. The price makes it competitive with high-resolution full-frame mirrorless cameras, and really does make medium format an option.

However, one thing to be aware of is the price of wide-angle lenses, as most GF-mount lenses are more expensive than the 35-70mm lens designed for this camera model, particularly if you’re looking for a wide-angle lens, with the GF 30mm F3.5 being £1649, and equivalent to 24mm.
Best for: Medium-format on a budget


Best landscape camera for hiking and all-weather
OM System Olympus OM-1 – £1999 body only

The OM System ‘Olympus’ OM-1

At a glance:20MP Micro Four Thirds sensor
Weather-sealed (IP53 rating*)
In-body image stabilisation
5.76m dot electronic viewfinder (EVF)
Compact body and lenses

The OM System Olympus OM-1 offers an impressive IP53 weather-sealed rating, when used with compatible lenses, giving this camera system some of the best weather-sealing of any current model. This feature, plus clever computational features make this camera more suited to landscape photography than it may appear on first glance.

You’ll find Live-ND built-in (upto ND64), which lets you use a slower shutter speed, without the need to attach an ND filter on the lens. There’s also in-camera focus stacking, in-camera high-res multi-shot (50MP handheld, upto 80MP with a tripod), HDR, timelapse, plus live composite / bulb modes for low-light shooting, as well as Starry Sky AF. As with other high-res multi-shot modes it’s best for static scenes, but there is a handheld mode, and we had success shooting outdoors with the camera.

As the camera is part of the Micro Four Thirds system, introduced in 2008, alongside Panasonic, there is perhaps the widest range of lenses available for any mirrorless system, with ultra-wide-angle lenses available from both Olympus and Panasonic, with multiple zoom lens options, as well as primes. There are also third party lenses available from Sigma, Laowa, Tamron, Samyang, and many others. Have a look at some of the best micro four thirds lenses.
Best for: Those who want full control, but also want a small weather-sealed camera system



Best Pentax camera for landscape photography
Pentax K-1 II – £1999 body only

At a glance:36MP full-frame CMOS sensor
Weather-sealed
Innovative tilting screen
Wide range of K-mount lenses
In-body image stabilisation

The Pentax K-1 II, and the original Pentax K-1, both offer a 36MP full-frame CMOS sensor, along with Pentax’s excellent build quality and ergonomics. The camera is weather-sealed, features an optical viewfinder, and an innovative tilting screen on the back. Using the Pentax K-mount you can use a vast range of lenses, dating back to 1975.

Speaking of lenses, there are a number of new full-frame lenses from Pentax, including the Pentax-D FA HD 24-70mm f2.8 ED SDM WR (£1179). Care needs to be taken when choosing a lens, as many of Pentax’s lenses are designed for Pentax APS-C DSLRs. There’s also support from third parties, including Samyang, and Irix, who offer a number of different ultra-wide-angle lenses, although it’s worth noting that the majority of these are manual focus only.
Best for: Pentax fans, K-mount lenses


Canon Powershot G1 X Mark III – £1139

At a glance:24MP APS-C CMOS sensor
24-70mm equivalent lens
ISO100 to ISO25,600
Weather-sealed
Compact camera

If you’re looking for something pocketable, and don’t want to worry about changing lenses, then the Canon Powershot G1 X Mark III is a compact option, with a 24MP APS-C CMOS sensor, and a 24-70mm equivalent zoom lens, with an f/2.8-5.6 aperture, as well as optical image stabilisation. There’s full manual controls, as well as raw shooting, although it’s worth noting that battery life is quite short, so a spare battery is highly recommended. Despite being a compact camera, you’ll find a built-in electronic viewfinder (EVF), plus a full-articulated 3inch touchscreen.

Best for: Those that want a pocketable all-in-one camera






26.4.22

The Power of the Zoom


Transform boring, wide scenes into dramatic and intimate close-ups with a telephoto lens that brings you into the photo, focusing on the fine details.

There are many ways to improve your photographs through experimenting with composition. From leading lines to the rule of thirds, there are many compositional tropes that appear in textbooks and on the internet. Let's take a look at why the power of the zoom is a vitally important tool to use.

I'll be demonstrating the use of zoom to improve photos with my Nikon 70-200mm f/2.8 VR II, but you can use any lens that has zoom capabilities. I'm going to take a wide shot of the scene on my telephoto lens and then look for ways to improve said scene by using the zoom function on my lens and nothing else. Essentially, what I'll be looking to do here is remove anything that's unessential from my photograph to make it much more powerful.
Overview

Let's first take a look at the two images together and see what we're dealing with. Below, we can see the wide shot first, which looks pretty good. It's exposed correctly, nice and sharp, and has some interesting parts to the scene, but ultimately, it lacks any kind of main subject.



This wider shot, taken on a Nikon 70-200mm f/2.8 lens, was taken at around 100mm.The zoomed-in shot below feels much more refined. The composition is tighter, the light is more noticeable, and we can see more detail in the trees. But why is that and what did I do to make the improvement between shots? Well, let's take a closer look.


A zoomed photo of the same scene, taken on the same lens at just over 150mm.

Analyze What Needs to Go


At the top, there's too much greenery from the canopy, there's a visible car on the left, and there's too much space at the bottom.

There are a few troubling issues with the wide scene, as I've annotated above. First up, the arrow on the left is pointing to a rather conspicuous car that just so happens to be parked right in the middle, with the bodywork and window shining through the darker foliage. Ordinarily, I wouldn't be too bothered by this, as it's simple enough to take out in image-editing software, but I'm demonstrating the use of zoom to improve an overall image here, so I won't be resorting to those kinds of editing tricks.

Next, if we look below, there's a huge out-of-focus gap at the bottom of the frame full of green and brown ferns, and although it adds a nice bit of texture, it isn't actually doing much to the scene. We can see the forest floor beneath the trees, and arguably, that's all we need to see. It feels a bit like dead space, and so, I'm inclined to cut it out through the use of a zoom.

The same can be said for the canopy at the top of the frame. It's nice enough to see the greenery, but does it really add anything? I like that it's darker at the top of the frame, as it creates a natural vignette all around, but I'd argue there's a little too much of it. We could certainly cut down on that and still give the same overall mood to the landscape.

Notice the Distraction


Distracting twigs and branches litter the foreground and two dark patches of greenery either side of the shot. making for dull viewing.

A closer look around the edge of the frame reveals a whole host of distracting elements. Generally speaking, I like to avoid anything distracting towards the edges of my frame, so that the eye can rest peacefully in or near the center, where my subject normally rests. Here, my interest lies in the central trees, the fog in the distance, and the gorgeous red and blue tones created between the contrasting tree bark and distant forest. In the annotation, above you can see how there are several bright twigs, broken branches, and orange ferns. The eye, so we're told, is supposedly drawn to the brightest part of an image, so these elements need to go.

We have a similar issue with the left and right of the photograph, where there are two big, dark patches of nothingness. The thing I like about these sections in this wider shot is that they help create that natural vignette around the edge of the frame, with only the center being brighter, but if I want to remove the elements in the foreground, then those two areas aren't really adding much.

Time to Zoom


In this annotated zoomed shot, we can now see more detail on the trees, a less cluttered foreground, and clearer highlights.

Now that I've analyzed the wide frame, I'm more aware of what I want in the picture. I certainly want to get in close to the middle of the frame and concentrate on those gorgeous dark-on-bright sections produced by the trees set against the lighter fog. At the same time, I want to keep the edges darker so as to push the eye into the middle of the frame. I zoomed in and found that one of the twigs in the bottom-right was still a bit high in the frame, peeking in from the edge, so I decided to side-step camera-left to avoid it.

I now had the opportunity to exclude the car completely by just using the extra zoom on my telephoto lens to crop it out. Not wanting to break the rule of having something bright near the edge of the frame, I made sure that the both left and right sides of the scene were filled entirely with tree trunks. See how they sit right up against the edge? This adds to that natural vignette I'm going for.

Zoomed in like that, it's easier to start picking out the exquisite detail in this scene. The bark of the trees has a wonderful warm hue with deep, jagged recesses that look like they've been cracked open. Luckily, there was a small patch of brown ferns just in front of the larger tree trunk. They were slightly lighter in tone, but both had a lovely brown color. I've circled a little L-shape here that really lifts the middle of the photograph. I was tempted to move farther and place the fern directly underneath that tree, but there were other things blocking the way, and I don't think you'd get the eyes moving around the scene as much as in this composition.

With more zoom comes a shallower depth of field. Shooting at f/2.8 at 130mm, the distant tree line is out of focus, helped along with the complementary fog. If I'd shot this with a wide angle lens or stopped my aperture down, then that depth of field would naturally appear a lot deeper, and I don't think the shot would work as well.

Jason Parnell-Brookes

14.3.21

5 Signs Your Landscape Photos Are Too Busy



Landscape photography is unique in that you can't move the elements of your frame to adjust the composition, and as such, it can be easy to fall into the trap of making your photos too busy without even realizing it. This excellent video tutorial will show you five signs that your landscape photos may be too busy.

Coming to you from Mark Denney, this great video tutorial will show you five signs to look for that indicate your landscape images may be overly busy. In landscape work, we tend to default to wide angle lenses, and as such, there can often be a lot in the frame. Of course, there is no inherent obligation to use a wide angle lens, and in fact, using a telephoto lens can be a great choice for multiple reasons. First, it automatically simplifies your composition by excluding more of the scene. More interestingly, though, because we are so used to landscape photos being shot with wide angle lenses, using a telephoto gives you a chance to create a more unique look that'll catch your viewer's eye. Check out the video above for the full rundown from Denney.



23.4.20

Impactful Photos With an Ultra-Wide Angle Lens

Stokksnes is a huge area in Iceland.
The closer you get to the mountains, the wider you have to shoot

The wide-angle view is probably the most used in landscape photography these days. It shows the landscape and can make some highly impactful photos. Here, I show you how to use an ultra-wide-angle lens to make impactful photos.

My go-to wide-angle lens of choice for the past one and a half years has been the Sony 12-24mm f/4. Besides having a decent build quality and being relatively sharp from edge to edge, it is also super wide. At 12mm, it covers 111 degrees on the long side. 

That is a lot of landscape! The main problem I see for beginners using such a wide field of view is that they end up including too much information within the frame. This, in turn, makes for some confusing photos. However, when you have learned how and where to use this lens, it can help you create some impactful photos.


Where to Use It?

Like any other lens, it takes a bit of practice to learn how to use it, and that is what my video this week is all about. In the first part, I focus on where to use it. Some landscapes are just so big and impactful that you will need an ultra-wide-angle lens to capture the entire scene. In my experience, it is especially at certain locations in Iceland, such as Kirkjufell (see below), Stokksnes (see above), or the Faroe Islands, where the specific scene is so large it requires an ultra-wide-angle lens. For some reason, I find myself using longer focal lengths in the Alps, but it surely does come down to the specific location.


Shot at 16mm, you can have both the mountain and the waterfall within the frame.

Distortion

Another thing I focus on in the video is how the ultra-wide-angle lens distorts the world around it. This can be used to elongate different elements in your scene if you get close to them. We all know the example with a bench in a park where the part of the bench closer to the camera looks bigger. This can also be applied to natural objects such as rocks, chunks of ice, branches, and bushes. When you elongate an object, you also emphasize its depth, and it is this depth that gives a feeling of the photo being impactful. One such example is the photo below from the famous Ice Beach in Iceland. When I photographed this photo, I stood very close to it, which emphasized its shape.


Getting close to these huge chunks of Ice does not come without a risk.

Get Down!

However, probably the most effective way to use an ultra-wide-angle lens is by finding and getting low and close to a foreground. With the close minimum focus distance of wide-angle lenses, you can get very close to objects, which means you can use almost anything as a foreground. This opens up a world of possibilities for different and interesting foregrounds.


I had to focus stack this image, as I was at minimum focus distance for the bottom of the photo.


Since the lens covers such a wide field of view, you can actually have the bottom of the photo point straight down while still have elements such as mountains or trees above the horizon. Combining this with getting low and close to your foreground, you elongate the entire scene in a very impactful way, where it feels like it is falling out onto the face of the viewer.


I had to clone a tripod leg out of this photo!


Mads Peter Iversen