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Best Lens For Landscape Photography

There’s something special about capturing a great landscape photograph. The experience is exciting yet relaxing, It inspires a sense of wonder and simply makes one feel alive and connected with the world. In order to do mother nature justice however it’s important to select the best lens for landscape photography.

As with all genres of photography the lens plays a defining role in the quality of your images. Of course, owning a fantastic lens will not make you a great landscape photographer, it will however elevate your images to the next level assuming you get the fundamentals such as exposure, focus, camera settings, camera support and light correct.

So, What’s The Best Lens For Landscape Photography?

Look, this is probably not the answer you’re going to want to hear, but it depends. If you shoot distant mountain landscapes then your choice of lens will be different to a photographer who shoots seascapes. What I can give you however is a rundown of what factors you need to take into account during your lease selection and advice on what I personally use and consider the best lens for landscape photography.

Focal Length

The focal length you select will vary depending on what subjects you’re shooting. The approximate angle of view of crisp human vision is 53° according to Wikipedia. Note that this is ‘crisp’ vision, the angle of view of a human eye is in excess of 140° however for the purpose of comparing focal lengths we consider a ‘standard’ or ‘normal’ lens to have a focal length which replicates our crisp field of vision.

As such, for a 35mm film or full frame digital SLR camera the 50mm lens became know as a ‘normal’ lens, because it closely replicated the way we see the world. The questions is however, do we want our landscape photos to look similar to how human vision sees the world? There’s a few points to consider.

Lens Compression

Lenses exhibit a visual phenomenon know as perspective distortion which can take on two forms, extension distortion, know as ‘wide angle distortion’ and compression distortion, known as ‘telephoto distortion’. There’s plenty of great explanations and in-depth articles covering lens compression so I won’t go into detail. All you need to know for now is that your choice of landscape photography lens and it’s inherent perspective distortion characteristics will create a certain look and feel to your landscape photos.

Here’s an example of wide angle distortion. Notice how objects close to the camera appear larger in relation to objects in the background. Wide angle distortion can be used to dramatic effect and is great for creating a sense of depth in your landscape photographs.

This landscape photo was captured on a normal lens. Objects appear fairly natural and are not distorted so as to appear excessively large in relation to the background nor overly compressed.

Here’s an example of compression distortion. The mountains are far away from both where I was standing at the time, and from each other. Yet due to the nature of compression distortion the mountains appear close together and there is a lack of perspective in that no foreground is shown.

Zoom Vs Prime

Every photographer will have a differing opinion when it comes to zoom Vs prime landscape photography lenses. The fact is there is always a trade off. Prime lenses are built to be great at one focal length. As such a quality prime lens will usually be a tad sharper (or lots sharper) than the equivalent zoom lens. They are also cheaper, so for the price of a great zoom lens you can purchase a couple of quality prime lenses.

Zoom lenses on the other hand offer convenience. There is no need to carry extra lenses nor to change lenses as a zoom will generally cover most landscape photography situations.

Which do I prefer? Prime lenses all the way. Think about it, a lot of work goes into capturing a great landscape photograph. Location scouting, early mornings, chasing the light. It all takes time and effort and when all the elements finally come together I want to capture the sharpest most detailed images possible. Period. For other landscape photographers they may decide the convenience of a zoom lens is worth the trade off in image quality. If your aim is to take some great photos and make small prints or view them on your computer you’re probably not going to notice a lot of difference between a prime and zoom lens. On the other hand if you’re meticulous about image quality and wish to make large prints I highly recommend making the investment into prime lenses.

Further on that argument, I actually feel that prime lenses teach you to become a more thoughtful, calculated photographer. As opposed to simply standing in one position zooming in and out the fixed nature of prime lenses will encourage you to walk around your environment analysing different angles in search of the right place to stand for your specific focal length and the scene you wish to photograph.

Lens Speed

The speed of a lens refers to it’s maximum aperture. A lens with a maximum aperture of f1.4 for example would be described as a ‘fast’ lens, its wide aperture allows a lot of light in and thus one can achieve the same exposure with a faster shutter speed. A slow lens might have a maximum aperture of f5.6 which allows less light in and thus requires a slower shutter speed to achieve an equivalent exposure.

Does this matter in landscape photography? Most often no. Typically when shooting landscapes it is the aim of the photographer to render the entire scene in focus so that the viewer can look at detail in all areas of the photograph. This means you will, under most lighting conditions be opting to shoot with an aperture of f8-f11. This provides the optimal balance of depth of field (the amount of the photo that is in focus in front of and behind the focal point) and sharpness. Most lenses are sharpest at around f8. Don’t be tempted to ‘stop down’ too far and shoot everything at f22 for maximum depth of field as you will actually be losing sharpness due to diffraction.

The great thing is that generally slower lenses are a lot more cost effective than fast lenses. For most genres of landscape photography there will be no need to have a fast lens. If you’re shooting night skies such as in astrophotography this is a different story and you will most likely want to purchase the fastest lens you can afford.


Without question the quality of your lens will have a major impact on the quality of you landscape photographs. Have you heard the saying ‘buy once cry once”? This is certainly applicable to camera lenses. A great lens will last far longer than your camera will and deliver years of sharp images. If you skimp and purchase a low quality lens it won’t be long before you feel the need to buy something better. Seriously, save up and buy a great lens, you won’t regret that decision.

I mentioned above that most landscape photographers don’t need a fast lens. This is true, however the fact is that in most brands the highest quality lenses also happen to be quite fast so if you opt for the best glass around you will inherently be paying more because it’s a fast lens. That’s ok though, if you ever decide to shoot portraiture or some detail shots fast lenses are brilliant in their ability to isolate subjects from the background with their shallow depth of field.

Crop factor

It is important to keep in mind that when I refer to a 35mm lens for example I am referring to using it on a full frame camera, thus if I recommend a 35m lens it has an effective focal length of 35mm. Many consumer Dslr cameras have a smaller sensor than their full frame counterparts. If you were to use a lens with a focal length of 35mm on a camera with a crop factor of 1.5x the lens would have an effective focal length of 52.5mm. The lens compression and perspective will be rendered the same however it will appear as though the image is ‘zoomed in’ or cropped. To calculate the effective focal length of a lens on your camera multiply the focal length by your cameras crop factor.

To confuse the situation further some manufacturers produce lenses designed for smaller sensors, so if they call it an 18mm lens, it is effectively an 18mm lens. Be aware of this when you’re shopping so you know how a lens translates to your specific camera body.

Recommended Lenses

Ok here’s what you’ve been waiting for. What would I consider to be the best lenses for landscape photography? For most general landscape photography I consider a focal length of around 35mm (on a full frame Dslr) to have a pleasing balance of width whilst not exhibiting too much wide angle distortion. I find myself turning to my 35mm lens most often, it’s versatile and in most situations is neither too wide nor too tight.

The Best Lens For Landscape Photography Is!

The Sigma 35mm f/1.4 DG HSM Art Lens.

People simply love this lens, It has fast developed a reputation for being sharp as sharp can get, with low chromatic aberration and beautiful bokeh if you ever wish to shoot it wide open for close up shots or portraiture. It is available in a variety of lens mounts such as Canon, Nikon, Sony and Pentax. Not only does it perform as well or better than camera manufacturers own brands it also offers better bang for your buck.

The 35mm focal length is just a great all-round length, it is supremely versatile, you can pretty much live with a 35mm lens on your camera and find a way to capture a great shot in most circumstances.

A Note On Zoom Lenses

I seriously caution people against purchasing cheap zoom lenses. Whilst cheap primes can often perform very well low priced zoom lenses leave a lot to be desire. My advice if you’re on a tight budget. Stick with prime lenses or keep saving!

The Best Budget Landscape Photography Lens

If you want a good all round lens but are on a budget the Canon EF 50mm 1.4 is a great choice. The standard focal length of 50mm gives a pleasing perspective and it’s versatile focal length. At f8-f11 this lens is really sharp. Overall it’s a nice little lens to keep on you camera and will have you covered din most situations. Other manufacturers have cheap prime lenses equivalent to the Canon EF 50mm 1.4 which will get you off to a great start.


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Five Long Exposure landscape Photography Tips

If you want to delve into the world of long exposure photography there are a few things to know, read on to find out more!

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Amnesia I

1. Get your camera out of your hands and onto a tripod, not just any tripod either. Using a cheap flimsy tripod is a recipe for camera shake, the shutter of the camera can be enough to cause a vibration in a flimsy tripod. Although they aren’t cheap do yourself a favour and invest once in a sturdy tripod such as those by Manfrotto and Gitzo.

2. ISO, the way to go. So we are about to photograph using low light levels, first things first turn your ISO up, right? WRONG. Digital sensor noise becomes particularly bad during long exposures and the best way to avoid such noise is to shoot with a low ISO. For most circumstances my camera performs best set to 100 ISO so I try to leave it there. Simply lower the shutter speed to obtain a correct exposure, after all, with a good tripod you camera isn’t moving anywhere.

3. ND is for me. The neutral density filter can be used to great effect in landscape photography. Sometimes you are shooting on your lowest ISO and smallest aperture yet you still desire a slower shutter speed. This is where the humble ND filter steps in. Available in a variety of strengths I recommend picking up a couple and having a play with slowing your shutter speeds even further.

4. Film is great for long exposure photography as it doesn’t build the noise that digital sensors do, if shooting film however you must be aware of a trait known as reciprocity failure. Essentially it is a phenomenon whereby films sensitivity to light changes with exposure time. The easiest option for dealing with this is to find a “reciprocity chart” for the specific film you are using and refer to this when calculating exposure times.

5. Carry a torch! Often when shooting long exposure photos it will be dark or getting dark, I can’t tell you how many times I’ve forgotten a torch and had to fumble around as darkness fell. A torch is so handy to keep in your bag for such occasions.


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Choosing The Right Wedding Photographer : Advice

wedding photographer

Lets face it, unless you’re a bit of a photo nerd like me you probably don’t know a whole lot about photography, in fact you’ve probably never really encountered a moment in your life when you have had to deal with wedding photographers and assess what they have to offer. It is for this reason that finding a wedding photographer thats right for you can be a daunting task, a task many couples don’t know how to attack, a task many couples find confusing. Here are some basic guidelines to get you started.

Photographs you love. At the end of the day the main reason you should be hiring a photographer to shoot your wedding is because you love their images. It is all too easy to get lost in a sea of options, one photographer includes 100 4×6’s, another a free album. If you don’t enjoy the images your photographer produces all this means nothing. If you are new to looking at photography jump on the net and browse numerous wedding photographers. You should eventually start to notice a trend in the style of work you are drawn to, the style of images you connect with and can see yourself in.

Meet potential photographers. Your wedding day is one of the biggest days of your life, as such it can also be one of the most stressful. The last thing you want is someone you don’t feel comfortable around intruding upon your personal space or taking control over your day. A great wedding photographer will nestle unobtrusively into your day, help you feel relaxed and comfortable and generally be enjoyable to have around. By meeting with potential wedding photographers you can make certain you connect as individuals and feel relaxed and comfortable around each other.

Packages. This is one area that is all too easy to get bogged down in. With an endless array of offerings it is important not to be swayed away from concentrating on my first two tips.  As I mentioned earlier, what is the use of having a package that consists of 4000 photographs, free prints, cheap albums and a kitchen sink if you don’t enjoy looking at any of the photographs? It is false economy to base decisions primarily on packages and a marketing tactic many photographers may use to up sell you. Having said that you need to approach packages by first defining what is really important to you. Do you wish to be able to print images yourself? Would you like an album? Do you really need a truckload of 4×6’s or would you rather email photos to friends? If you can approach packages with an idea of what you really need it will make sorting through the options much less confusing.

Coverage. As a wedding photographer myself my personal approach to wedding photography is that many of the most beautiful and memorable moments occur outside of the “main events” and thus it is important to capture them in order to tell the whole story. I also believe in offering every client the best I can deliver, as such I am only willing to offer all day coverage as I know the story will be incomplete if I only turn up for the ceremony and reception. On the other hand many wedding photographers offer a variety of coverage options and charge an hourly rate if they go overtime. This is a tactic often used to offer lower starting prices which may seem attractive but add up quickly once you realise that four hours coverage is not going to obtain the result you are after. Again, consider what is important to you, are you only after a few photos of the ceremony and the guests or do you wish to be able to look back at the “story” of your wedding day.

Price. When it comes down to it we all have a budget by which we need to stick, this should be defined early in the process so that you can look at photographers within your price range. Assuming however that you are shopping within your budget I would suggest choosing a wedding photographer based not on price, but on the aforementioned guidelines. Once all is said and done you will forget about the price long before you forget about how a wedding photographer ruined your day or how much you hate your photographs.

You may also be interested in the following article – Wedding Photographers : Film Vs Digital

Sydney Wedding Photographer | Samuel Burns


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Wedding Photographers – Film Vs Digital

wedding photographers film vs digital | bride to be

The film versus digital debate has been at the forefront of professional photography over the last decade or so. As digital technology has seen numerous advances, many photographers have slowly moved to exclusively shooting digital. These same photographers once shot film, now to most of them film is all but dead. Traditionally wedding photographers worked exclusively with film, with most of them shooting a mix of 35mm and medium format, using both color and black and white emulsions. Whilst this is a combination that has served wedding photographers well for decades, it is perhaps not the most viable option in today’s world, for both financial reasons and in terms of workflow, time and quality.

With the introduction of digital camera technology the industry has seen huge changes. These days the cost of film and processing can be prohibitively expensive. Availability is generally limited to a small number of remaining professional labs and prices for film are steadily increasing as the demand lessens and production drops accordingly. Recent years have seen the closure of many film manufacturers and those that do still exist have ceased producing all the emulsions they once did. It is however, not only for financial reasons that one may consider film to be the lesser option for photographing a wedding. As digital technology has advanced the image quality continues to progressively improve. Initially digital camera technology could not match the quality of film, and to some extent this judgement on digital cameras has stuck in peoples minds, and they continue to assume film will be better quality. There is however more to this story. If we were to consider large format film it is true that this can still outshine the quality of digital – the reality is however that such a format is not suitable for many applications, wedding photography included. Thus we must compare apples with apples to make a fair comparison.

The majority of wedding photographers shooting film will be shooting 35mm with a mix of medium format. The current top end digital cameras produce images of higher quality than 35mm film capability, and can be said to rival medium format. Now, if we look at a common situation encountered at a wedding, low light, we can take this debate further. In order to take photographs in low light settings one needs to use a high ISO. Essentially this is a measure of the film/digital sensors sensitivity to light. High ISO film is traditionally extremely grainy – think of the old photojournalistic photos shot on high speed black and white film. This is of course a look that many people like, however some clients may find it undesirable. Unfortunately it is unavoidable if we wish to use film and shoot in low light conditions without a flash.

On the other side of the coin, the current professional digital cameras have come ahead leaps and bounds in their low light capabilities. Early models produced extreme image noise at high ISO’s. This noise is considered an ugly, unwanted trait, unlike film grain which can be pleasing. The current breed of digital cameras addressed this and as such are able to capture relatively noise free images even at high ISO’s. What does this mean? It means even given low light situations a photographer shooting with a professional DSLR will be able to produce pleasing results without resorting to unflattering flash.

One last key factor when considering film Vs digital for your wedding photography is the potential for images to be lost due to error or mechanical failure. It is certainly possible that a digital camera’s flash card will fail, however I personally find having to hand film to a lab to process holds a higher potential risk. It means putting your precious images into the hands of someone who may potentially make a mistake with processing. Essentially it is just one more step in the process where your wedding photographs may be ruined. Add to this the fact that your wedding photographer will be shooting blind, uncertain of if the images they are taking are working or if their camera is experiencing a technical failure then I think it has to be said that digital is the safer option.

Film is a magical material, it has a great “look” and can produce outstanding results. However given the negatives (excuse the pun), when it comes to wedding photography I know I would rather have my wedding shot on digital.

By Sydney wedding photographer Samuel Burns.

Wedding Photographers | Film Vs Digital



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Photoshop tutorial – Changing eye colour

Hi everybody! (Hi Doctor Sam!!)

Here is a neat tutorial video I made to show you guys how to change eye colour and enhance eyes using Photosho CS4/CS5

Hope you learn something.



Sam - No Probs Sharolyn! Thanks for stopping by to check my blog out… I have a whole bunch of tutorials I’m going to put together when I have the time, it’s good to hear they are useful.

Sharolyn - Hey Sam, I checked out the tutorial, great job. I look forward to more of these as I have so much to learn and you really seem to have a great grasp on things. Thanks for putting the time into it.

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