Using an ultra wide angle lens allows you to capture expansive scenes and add depth to your images, making it a valuable tool for any landscape photographer.
Coming to you from William Patino, this insightful video explores the specialized nature of ultra wide angle lenses. Patino explains that lenses like the 12-24mm or 16-35mm are designed for specific purposes and require a unique approach to maximize their potential. Many photographers struggle initially, not fully utilizing the lens' capabilities. Understanding how to lead the eye to your subject amidst a vast field of view is crucial, and Patino shares practical tips to overcome this challenge.
In the video, Patino emphasizes the importance of diminishing perspective in creating three-dimensional images. He illustrates how getting close to the foreground elements can exaggerate their size and width, enhancing the overall depth of the photograph. For instance, standing in the middle of a road with a wide angle lens allows the lower corners to stretch out, guiding the viewer’s eye through the scene. This technique contrasts with using a standard lens, where distant elements may appear flattened and less dynamic. Patino’s approach helps photographers leverage their lenses to produce more engaging and layered landscapes.
Expanding on these ideas, Patino discusses the significance of adjusting your shooting angle to counteract lens distortions. By slightly angling down, you can mitigate the pincushion effect, making central subjects appear more natural and less compressed. This adjustment not only improves the appearance of individual elements but also enhances the overall balance of the composition. Additionally, Patino advises positioning the main subject towards the center of the frame to maintain focus and avoid losing the natural balance within the image. Watch the video above for the full rundown from Patino.
And if you really want to dive into landscape photography, check out our latest tutorial, "Photographing the World: Japan II - Discovering Hidden Gems with Elia Locardi!”
Some time ago there were the Fisheye lenses that got the ultra wide view that took some software to work it. For me going wide to ultra and extreme wide, I do not know the full labels. But back in 2015 and learned about Astro Milky Way it was all about the 24mm and getting a low f/#. Yes using a normal view 50mm f/1.8 or f/4 yes works but that is a closeup of the galactic center at the bottom separated by blank area with Pegasus (horse) above which has the colorful Yin and Yang on its wings and the horses body. But there is the trail through the stars. the 35mm a little wider gets more of the trail but the 24mm again gets more then the 16mm then a14mm and next the 14mm but a 12mm gets the story of many stars and then the almost 180 degree the 10mm all are great and let you get real close to a foreground subject like a very tall driftwood tree and a sky full of stars with the path stretching form side to side. Looking like a panorama but all in one capture not requiring stitching images together. But the path in the stars is straight across from side to side.
But when you do a panorama you get a Milky Way Arch of a half circle above the foreground story. The use of the 10,12, 14, 16, 20, 24 and 35mm's allows for the capture the Arch that is higher in the sky as the Arch season goes to August of height that is directly overhead and then some more even making a subject foreground under even more of a nights story. Making a panorama from Southeast to Northeast of 200 degrees or a little more where the path of stars touch the ground on both sides like a rainbow of stars.
If done with a low f/# plus wider+ lens you get a faster shutter speed added to a higher MP camera you will get captures of 2 to 5 seconds resulting in a complete panorama less than 60 to 90 seconds and using a stepper at base of panorama rig and even using Cameras NR function and moving to next step during NR mode you can basically do run and captures with many different foreground subjects with different stories basically from sunset to sunrise in July and August.
Also there is a difference between day and night capture where during day you need to focus stack but at night a f/1.8 lens will be clear and sharp from from sea shell at base of image to the horizon will be sharp and in focus with focusing on the far way stars above only.