This becomes a little more difficult to pick out when a wide angle lens is 75mm compared to 24mm and distortion almost unnoticeable. This is one of those artistic choices that really changes the outcome of the image. Some people may develop a style where they gravitate towards wide angles or telephotos and mostly use just one lens. Others may find themselves continually changing lenses and adapting to different scenes with a huge arsenal of glass.
The best part of it is that both people are right! Prints Available. What I want to show here is a variety of landscapes taken on lenses with a wide range of focal lengths. For well over a decade I got by with only four lenses: 75mm, 90mm, mm, and mm.
Last year I added a new lens for the first time in ages - a mm - and found it to be quite a useful focal length as well. Generally speaking, Landscape Lenses you take the 35mm focal length and multiply by 3 to get the 4x5 equivalent and multiply by 6 for 8x Get ready for a lot of images in this post! These are those big sweeping views where you just want to capture it all. From an interesting foreground to epic peaks and sunset skies, we often think of wide angle lenses with grand scenic landscapes - mostly just so we can fit in so much awesome!
From my experience that tends to be rather true, with the most often used lenses in this category being my 75 and 90mm along with some occasional use from the mm.
Above is a classic wide-angle view with a 75mm lens. Notice that mountains can get a little small with such a wide focal length, but you can still have a full composition. The goal here was to have the autumn foliage framing the lake and peak and it took a rather wide view to make it work the way I wanted to.
This is one of those scenes where I knew immediately that a large print would be the goal; in web format the peaks can get a little lost within the foliage. Now we go just a little less wide with a 90mm lens. The 90mm is probably the most common, most affordable, and easiest to use of the wide lenses on 4x5. With 75mm lenses you sometimes have to fiddle with recessed lens boards or frustrating movements, but nearly all field cameras handle a 90mm with complete ease.
The aspect ratio is a lot fatter than the that many people are used to. When composing, especially with wides, embrace the midground and enjoy the extra height available when in landscape mode.
For this reason I often find myself photographing somewhere between chest height and eye level rather than getting close to the ground. The midground has a lot of potential for compositional elements that lead you into the scene, shooting a little higher keeps the foreground from hiding those elements. Notice that a bit of compression starts to come into play and the mountains can appear quite large and looming in relation to the foreground. Looking through all my images, I could hardly find a time when I used my mm in Top Sony Landscape Lens the mountains.
This is partly because when backpacking I leave it out to save weight. Above you can see a grand scenic view using a mm with this field of sunflowers. The compression of the longer focal lengths made both large foreground sunflowers that fill the frame while still allowing the mountains to be noticed. These are those scenes that speak to the details of nature. Think about the forest, a waterfall, or those more intimate views you want to capture.
One tends to think more about longer focal lengths as the goal may be to organize the chaos of the wild into a clean frame. With the addition of the mm lens to my kit I found this was an excellent choice for these types of scenes:. Notice how you can really fill the frame up with just a selection of the forest, creating a sense of subject out of the mess of woods. Shapes and objects can work together to form a composition once the clutter is removed. Long lenses like this do create some depth of field challenges, especially in the forest.
It was necessary to stop the lens down to f64 to get everything in focus. Next up is this example of an extreme wide 75mm being used in the forest. This image is all about chaos and likely gets lost in the small viewing sizes of the internet. Trying to find intimate compositions with a wide lens is quite a challenge. Here, the main tree in the center reaching upward and out gives an anchor point for the viewer.
The natural vignette of the 75mm also helps keep the eye in the frame. This is probably one of my more often used lenses for intimate landscapes, creating a viewing angle that is very natural when it comes to finding compositions and enjoying the final print.
The area where I was standing had plenty of room for me to walk forward or back, so in all reality I could have moved a little further back and used the mm to achieve a rather similar view.
When approaching this scene, I used the zoom lens on my m43 camera to view it under both focal length equivalents, finding that in the end I preferred the placement of the further aspen trees at the top right when using a mm lens.
For the most part, people will probably find themselves using standard to short telephoto focal lengths for these types of images. The above image taken with a mm is a great example of how just part of the forest can be viewed to create a clean image. Sometimes the goal is to really isolate a subject to create a minimal composition.
The truth is any focal length can also be used here, but longer lenses often make the job more straightforward. This image was taken with a mm lens, but the feeling of isolation mostly comes from the empty surroundings and the fog obscuring the distance.
Getting closer and using a wider lens would have certainly been possible, as well as standing back and going longer. This near-standard focal length created the most natural view, as if the viewer were standing just in front of the tree on the frozen prairie. When the landscape is truly empty enough to allow for it, a somewhat wider lens like this can make the image more three dimensional where a telephoto often appears a bit flat when the scene is this minimal. The straight buildings come from the use of camera movements rise , but the separation from the surrounding landscape has been from the longer focal length.
Nearly all of these images have been taken using a mm lens which helps cut out the surrounding clutter. This also gives less of that wide-angle stretch to the horizontal lines so often seen in architectural photography.
This is the realm of longer focal lengths. Compositions can completely change when the distant scenery becomes more than a tiny part of the frame, but rather a balancing element. In this image the mountain range in the distance is many miles away, but the use of a mm lens made it appear larger than life so that it could balance out the composition with the yucca.
Long lenses like this let you work with layers, making the waves of dunes take up more of the midground than they would have with a wider lens. There are two main ways of going about panoramas with a large format camera: Either a panoramic roll film back of either 6x12cm or 6x17cm, or by simply cropping the full sheet of film.
When cropping a sheet of 4x5 is the goal, just about any focal length lens can be used for panos. Above you can see a rather wide view with the 90mm, allowing a huge midsection of the forest to be included without any sky.
These narrow views of the forest always work well to transport the viewer into the woods when standing before a large print. Longer focal lengths can certainly work well in the forest and are often needed to keep the sky out of the frame. Above is an example of a slighter longer view at mm on the open prairie. This cropped view captured the most interesting portion of the clouds without being so wide as to include needless and distracting elements. This is because the back has to be wider than the rear of the camera, which blocks the path of light on longer lenses.
Secondly, your focal length needs will become different. Equivalents get a little weird with panoramic formats, but there is a crop factor of roughly 1. A mm lens on 6x17 would have a similar horizontal view to a mm lens on 4x5. Below you can see an example of a mountain valley that needed all that width to work with both the peaks and the reflection. Even a 90mm would have felt a bit tight in this valley.
When focusing on close up and near-macro work the bellows become your main limitation. For example, on the camera I use the bellows can crank all the way out to about mm. With a mm lens that really only allows me to focus on subjects about as close as 6-ish feet from the lens.
Not all that great to really capture close up details. On the other hand, wide angle lenses get weird and dim once the bellows are racked out out and are overall rather pointless for this sort of work.
That leaves me using my mm or mm for these scenes. Which one do I tend to use? Well, that depends on which one I have with me. Remember that any lens can become a macro lens on large format, so long as your bellows can go out far enough. When backpacking I often come across details in nature that beg for a closer image, which is part of the reason I bring my mm.
The mm also works well for these plants pictured above. Since they stand a few feet tall it would be too tricky to get a tripod high enough to use a mm lens, especially my small backpacking tripod. It allows me to work at a comfortable height while achieving focus and the composition I desire.
The bellows compensation formula is rather simple, but you need to know how far out your lens is to be exact. You can use a mm scale if your camera has one or measure. Take the bellows draw how far out the lens is and divide it by the focal length of the lens. Then square that number. In this situation the exposure compensation would be 2. So if you metered 4 seconds, you would multiply that by 2. Do you need to be this accurate? Just somewhere around 8 seconds would work fine.
If you are a perfectionist you can do these calculations in the field. Or, you can do what I do and make a best guess. Thank you for reading! About Me Events.
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