Landscape photography is done with a wide lens – not a Long Lens!
Why? I suggest Landscape photography can be done with any lens that will give the photographer the look they want to achieve.
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I hope you like the Hat I wore expecially for you but it is cold here now there's a popular myth that you need to use a wide-angle lens to shoot landscapes and it isn't necessarily true because you can get a great effect with a long lens so I just want to show you kind of what I'm thinking and how changing lenses and moving your body just very very slightly you have a big impact on your composition and composition is really important we've got a very dull gray day here so we're over in Iceland doing the Iceland workshop the guys are down there just we're having a chat doing a filter chain so I thought I'd just use this opportunity to sort of tell you some stuff now obviously over here we've got mountains with bits of snow we got a grade a so composition is going to be really important we've got lots of gray I like these gray rocks down here and we've got these remains of this old wooden boat up against them so we've got gray on gray on gray and gray with little hints of this sort of almost grey gold so the grass is going on down here so what's going on in my mind the composition I'm thinking of is boat in the foreground with the rocks and then mountains gray sky gray water gray rocks going on going on into the distance so if I put my lens onto 24 millimetres let's do a 24 milli I'm going to show you the difference the same shot with a longer lens so let's find my composition I want to put this little pointy bit of wood at the top here I want to line it up against the water so that it makes the prow of the boat really stand out as opposed to it being lost amongst the grey so like bend the knees let's find the place where I need to be at 24 mil it's quite close I've got to get quite in close here there we go little closer make it intimate you know wide lenses are great for making things intimate and close here we go so I'm going to focus on the boat itself it's not far away depth of field let's go for maximum depth of field I'm just going to run to about f-16 something like that I need to make sure my shutter speeds fast enough so I'm going to push my ISO higher about 400 ISO let's see what we've got with the shot composed that's giving me a 50th of a second with a 24 milling so I should be absolutely fine no camera shake focus on the boat so we got front to back sharpness with a wide-angle shot let's just put the longer lens on and see what that does for the composition for the feeling and the mood of the shot I'll be back in a tick when I change lenses right long lens on I won't interfere with Nikki well she takes her shot okay so much the same composition as we have before so just check what I go ahead that's something like that what's going to happen I want to bring those mountains over there a little closer in behind the boat and I'm also thinking I want to really isolate the boat in the stonework I want to bring that human element into the shot you know there's sort of like the ruin of somebody's life with their boat and the stones that little can and and kind of the roughness of nature but I really want the focus of the shot to be the boat and the human element so how we're going to achieve that have a little thing this is all part of that composition well I'm going to do it by having a shallow depth of field I'm using the full frame with a 2:8 lens so I'm going to actually take my lens wide open I'm going to do everything which they say you shouldn't do in landscape but it shouldn't it's a rule is it real or is it not real it's you can do whatever you want to create what you want so my vision needs a wide aperture so 2.8 let's just find where my compositions going to work it can carry on shooting person she's not going to be in it the long lens has a narrow field of view now where do I bend my knees to I don't that little point let me look at on the bow going above the horizon that's nice that's nice and I want the mountain off to the right and the rocks in the foreground that's pretty cool I love that that just kind of works that you see how by absolutely focusing on the timber work of the boat that man-made human element absolutely sort of smacks in amongst the natural stuff and by using a shallow depth of field and a longer lens we've brought the peaks in the distance in closer I'm not saying either one of these shots is right or wrong whichever you prefer is whichever you prefer it's personal preference it's almost a portrait photography technique to bring bouquet into landscape but it gives it a really interesting look and it's all I say it's part of the composition game because you're composing a picture speaking of which that little spiky bit one last thing over here let's just have a look at how we can change the composition and how important it is to look at aspects of the composition I'm going to go for my shallow depth of field again f28 now I'm I'm going to be shortening the lens a bit and I don't need such a small aperture so I've got more light coming in I'm going to take my ISO back down remember guys push things up and down all the time ISO higher ISO lower absolutely great and also kind of be ready for the odd opportunistic shot just after Nicky fucking pig okay what I'm thinking now is a straight-on shot the bow of the boat with some rocks in the foreground the beach on the other side and the scree slope of the mountain with a little bit of that ice and snow coming down it's a great shot even though we haven't gotten any strong light it's still going to work how we do it turn the camera that way up let's break some landscape rules that's called landscape format that's called portrait so let's shoot a landscape in portrait let's just come up on the front of the boat I don't know about 17 millimeters I'm going to use and I'm on the front of the boat to be sharp so let's see where I need to be shutter speeds at six forty five hundred on seventy mills so we should be fine line it all I get the boat smack in the middle and my frame going up and down there we go now if I shoot this from here get the beach lined up it says stiffen my shot I like having those mountain peaks and I like having the boat really really sharp you see how that little pointy piece on top of the boat is now colliding with the line of the stones on the beach it's not quite so good I want separation there it's really important to study your composition really really look at your pictures do it in the viewfinder but also check it in the LCD how am I going to move that I want to put the beach higher it's really really simple you change the composition just by moving forward that's all I've done a move for water fraction of a pace not even six inches just stretch a bit taller line it all up make sure everything's straight I have the grid display on in my viewfinder so I can make sure everything's straight and nicely lined up when I shoot it there we go I've just climbed a little higher I've got slightly fewer rocks in the foreground I've got that separation at the top between the little piece of wood on top of the boat and the beach on the other side composition is really important when you're shooting is particularly dull day because it's one of the things you've got to rely on and color tones and so in post-production we just kind of trying to darken the sky bitch just make these yellows a little tiny bit stronger than I'm seeing them in the back of the camera because don't forget I'm shooting raw RAW files always look dull so we may need to dip in that a tiny tiny bit but there you go so there's wonderful fundamental about using a longer lens in the landscape you don't just have to stick to a wide angle if you're shooting landscapes like summer warmer Hawaii maybe subscribe to our YouTube channel to be notified each time we upload one of our cool photography videos well for more great photo tips workshops and training come and see us at our website photography courses B's