{"id":10925,"date":"2023-03-02T15:16:45","date_gmt":"2023-03-02T15:16:45","guid":{"rendered":"https:\/\/simonschoenhoff.de\/?p=10925"},"modified":"2023-03-09T19:37:03","modified_gmt":"2023-03-09T19:37:03","slug":"brennweiten-und-ihre-bildwirkung","status":"publish","type":"post","link":"https:\/\/simonschoenhoff.de\/en\/brennweiten-und-ihre-bildwirkung\/","title":{"rendered":"Focal lengths and their image effect in land\u00adscape photography"},"content":{"rendered":"
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Focal lengths and their image effect in land\u00adscape photography<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\tIn land\u00adscape photo\u00adgraphy, the choice of focal length is a decisive factor. The focal length not only influences the image detail, but also the effect of the image. In this blog post we will look at the diffe\u00adrent focal lengths and their effect on land\u00adscape images. <\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The good thing in advance: every focal length is suitable for land\u00adsca\u00adpe\u00adpho\u00adto\u00adgraphy<\/a><\/span>! So it doesn\u2019t really matter which focal length you start with to capture land\u00adscapes. Nevert\u00adheless, each focal length range has its advan\u00adtages. A wide angle is a must at the seaside, the stan\u00addard zoom range is advan\u00adta\u00adgeous in the forest and the tele\u00adphoto zoom range can be used to create monu\u00admental shots in the moun\u00adtains. But always remember: crea\u00adti\u00advity in photo\u00adgraphy knows no limits and special shots are created precisely when you break away from the \u201cstan\u00addard\u201d. That\u2019s why in this blog post I don\u2019t tell you which focal length to use where, but explain the effect you achieve in the picture with the diffe\u00adrent focal lengths.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

wide-angle lenses<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

If you ask photo\u00adgraphers about a typical focal length range for land\u00adscape photo\u00adgraphy, probably over 90% will argue for the 16\u201335 mm range. And it is indeed the case that a 16\u201335 mm lens is an abso\u00adlute work\u00adhorse
in land\u00adscape photography.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Blue Hour at Krip\u00adpen\u00adstein | Sony a7 III + Sony FE 2.8\/16\u201335 mm GM @ 18 mm, f\/11, 1\/4 Sec., ISO 100<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Image effect of wide-angle lenses<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

With the focal length range of less than 35 mm, these lenses are one of the most wide-angle lenses<\/span><\/a>. They have a repu\u00adta\u00adtion for being excel\u00adlent for land\u00adscape photo\u00adgraphy, as they are wonderful for captu\u00adring vast land\u00adscapes. With the correct use, you can capture the impres\u00adsion of the size and vast\u00adness of a land\u00adscape for the viewer.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The distor\u00adtion that occurs with wide-angle shots can also create inte\u00adres\u00adting perspec\u00adtives and effects. For example, if you posi\u00adtion the camera verti\u00adcally and place a moun\u00adtain peak at the upper edge, it is \u201cpulled up\u201d, i.e. distorted in perspec\u00adtive, which makes the peak appear larger.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Another charac\u00adte\u00adristic of wide-angle lenses is that objects posi\u00adtioned close to the camera appear much larger than those posi\u00adtioned further away. With the right use, this can create a balance between, for example, a flower in the fore\u00adground and a moun\u00adtain in the background.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Shoo\u00adting with wide-angle lenses allows the viewer to achieve shots where he or she has the feeling of being in the middle of the action. However, the correct use of wide-angle lenses is a diffi\u00adcult under\u00adta\u00adking, espe\u00adci\u00adally for begin\u00adners in photography.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Common mistakes in the use of wide-angle lenses<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Since wide-angle lenses have the property of making distant objects appear smaller than they actually are, a common mistake when using wide-angle lenses is not being close enough. The moun\u00adtain that one was so amazed by on site does not look monu\u00admental in the picture at home, nor does it cause the viewer to marvel.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Many begin\u00adners stand in the wilder\u00adness and are over\u00adcome with feelings about the wonderful nature around them, get the camera with the wide angle and photo\u00adgraph the scene with ever\u00ady\u00adthing as they are expe\u00adri\u00aden\u00adcing it. The result is a picture with a \u201cheap of nature\u201d and yet somehow nothing.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Sunstar at Fide\u00adre\u00adpass\u00adh\u00fctte | Nikon D7200 (APS\u2011C) + Sigma 18\u201335 mm f.18 Art @ 18 mm, f\/11, 1\/400 sec., ISO 100<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Tip when using wide-angle lenses<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Espe\u00adci\u00adally when using wide-angle lenses, it is neces\u00adsary to think in layers. Try to find a subject that is large enough that it does not become too small even with a wide-angle lens (a light\u00adhouse, a moun\u00adtain, a large tree, and even if it is just the dramatic sky on the beach, this works). Then find a suitable fore\u00adground, e.g. inte\u00adres\u00adting patterns in the sand, special stones, grasses, roots, etc. and get close. Maybe a little closer? Be aware: this fore\u00adground will be the star of the show! It is not just a means to an end. It catches the viewer\u2019s eye and the viewer in turn decides in a frac\u00adtion of a second whether to continue looking at the picture or not.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Now try to combine fore\u00adground and back\u00adground. Play with the height and tilt of the camera. If the camera is higher, the middle ground increases. If it is not inte\u00adres\u00adting enough, try a lower posi\u00adtion to reduce its size and visual weight.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

But be careful: If there are trees or buil\u00addings in the picture, you may want to refrain from tilting the camera, as this leads to plunging lines. Unless you want to do this from a crea\u00adtive point of view.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

stan\u00addard lenses<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

One focal length range that receives less atten\u00adtion from many land\u00adscape photo\u00adgraphers is the stan\u00addard focal length range, although, as I mentioned at the begin\u00adning, it is also well suited for forest photo\u00adgraphy. Lenses in the stan\u00addard focal length range are located between 35 mm and 70 mm. Often, however, the zoom lenses in this cate\u00adgory have a bit more in store than just the stan\u00addard range and start already in the wide-angle range of 24\u201370 mm or have even more reach into the tele\u00adphoto range like my all-rounder, the Sony FE 4\/24\u2013105 mm.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Autumn at Gerold\u00adsauer water\u00adfall | Sony a7 III + Sony FE 4\/24\u2013105 mm G OSS @ 64 mm, f\/16, 0,6 sec., ISO 100<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Image effect of stan\u00addard lenses<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The use of these lenses is an option if there is no parti\u00adcular fore\u00adground or if the distant subject in the back\u00adground would become too small with a wide angle and you cannot get closer. In the stan\u00addard focal length range, the optical pheno\u00admenon of distor\u00adtion, but also the illu\u00adsion of compres\u00adsion (we will go into this later with the tele\u00adphoto ranges) is prac\u00adti\u00adcally non-exis\u00adtent or compen\u00adsated for. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

If we think of the beginner from above, in the midst of the breath\u00adta\u00adking nature that surrounds him, he would be well advised to pick out a few inte\u00adres\u00adting areas with a stan\u00addard lens and photo\u00adgraph them rather than cramming ever\u00ady\u00adthing into one picture. He would probably have some inte\u00adres\u00adting pictures after\u00adwards instead of a featur\u00ade\u00adless photo with a bunch of something.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

We can make good use of the charac\u00adte\u00adristic of the stan\u00addard focal length range to empha\u00adsise details in the land\u00adscape or to focus on certain elements in the picture. From these focal lengths onwards, it also becomes incre\u00adasingly impos\u00adsible to get ever\u00ady\u00adthing in the picture in focus from fore\u00adground to back\u00adground without focus stacking. This is why you should deli\u00adbera\u00adtely shoot a fore\u00adground out-of-focus if this is possible in order to create depth in the image.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Due to their low distor\u00adtion, they are also well suited for crea\u00adting pano\u00adr\u00adamic shots.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Common mistakes in the use of stan\u00addard focal length<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Even though in the stan\u00addard focal length range the angle of view is already some\u00adwhat narrower and thus simpli\u00adfying a scene is easier, you should still make sure that you elimi\u00adnate distur\u00adbing picture elements in the compo\u00adsi\u00adtion and fill the picture in a meaningful way. As always, ever\u00ady\u00adthing that is present in the picture should also serve the picture. The subject and nega\u00adtive space should be in visual balance and as much depth as possible should also be created in the picture.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Boat house at lake Zurich am Z\u00fcrichsee | Sony a7 III + Sony FE 4\/24\u2013105 mm G OSS @ 43 mm, f\/8, 30 sec., ISO 100<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Tips when using the stan\u00addard focal length<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

This is why you should also think in terms of fore\u00adground, middle ground and back\u00adground when photo\u00adgra\u00adphing land\u00adscapes in the stan\u00addard focal length range, whereby the fore\u00adground is given much less importance than in a wide-angle shot and the main subject is often part of the middle ground. Excep\u00adtions are of course always possible.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

You should also be aware that there are land\u00adscapes where wide-angle lenses simply don\u2019t work. Every land\u00adscape photo\u00adgrapher should know that. Perso\u00adnally, for example, I have hardly seen a picture from Tuscany that was taken with a wide-angle lens and that even comes close to doing justice to the land\u00adscape with its rolling hills. For such cases, the stan\u00addard focal length and tele\u00adphoto range are almost indis\u00adpensable in land\u00adscape photography.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

tele\u00adphoto lenses<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Tele\u00adphoto lenses have a focal length of more than 70 mm, for example a 70\u2013200 mm, and even though in my early days as a land\u00adscape photo\u00adgrapher I was often told that the tele\u00adphoto range was suppo\u00adsedly less suitable for land\u00adscape photo\u00adgraphy, my 100\u2013400 mm is now one of my most frequently used lenses. And not out of lazi\u00adness, because it allows me to zoom in closer on distant subjects. No. Two charac\u00adte\u00adristics of this focal length range play a special role in my land\u00adscape photo\u00adgraphy. Firstly, its narrow angle of view makes it easier to simplify complex scenes, and the optical illu\u00adsion of compres\u00adsion makes it possible to create very special shots.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Lonely Pine | Sony a7III + Sigma 100 \u2014 400 mm DG DN OS Contem\u00adpory @ 326 mm, f\/10, 1\/800, sec., ISO 100<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

This and all other shots of this post you can request under \u201cPrints\u201d as an art print for your wall at home directly from me. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t<\/i>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\tPrints<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Image effect of tele\u00adphoto lenses<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

This compres\u00adsion makes a back\u00adground appear to be closer to the subject in the fore\u00adground. This is only an optical illu\u00adsion. The tele\u00adphoto lens does not actually bring that back\u00adground closer. In the moun\u00adtains, this feature is a great way to capture a subject such as a hiker in the fore\u00adground in front of a massive rock face. Since only a small section of the rock face is visible, it appears huge and monumental.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The narrower angle of view is also wonderfully suited to more mini\u00adma\u00adlist and inti\u00admate shots. The small details in the land\u00adscape can some\u00adtimes comple\u00adment the big views and in some cases may well outshine them. So with the tele\u00adphoto lens in your camera bag, you should defi\u00adni\u00adtely start to sharpen your eye for it.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Common mistakes when using tele\u00adphoto lenses<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The use of tele\u00adphoto lenses makes it almost impos\u00adsible to think in terms of fore\u00adground, middle ground and back\u00adground. Often you pick a detail out of nature and by posi\u00adtio\u00adning the camera you get the back\u00adground. Quite simple. Nevert\u00adheless, you should make sure that the back\u00adground and the subject do not inter\u00adfere with each other. This can be achieved when taking photo\u00adgraphs, for example, by sepa\u00adra\u00adting the same colours or tonal values.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

In addi\u00adtion, you should keep an eye on the expo\u00adsure time. When photo\u00adgra\u00adphing by hand, you should choose a suffi\u00adci\u00adently short expo\u00adsure time for such a long focal length. The 1 sec\/focal length rule helps here. This states that the expo\u00adsure time should be shorter than 1 second divided by the focal length. So for 100 mm: 1 sec \/ 100 = 0.01 sec. Image stabi\u00adli\u00adsa\u00adtion in modern cameras and lenses help to be able to choose longer expo\u00adsure times.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Other\u00adwise, fort\u00adu\u00adna\u00adtely, you can make quite few mistakes with the use of tele\u00adphoto lenses. Nevert\u00adheless, there are some tips for dealing with the long focal lengths.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Looked through | Sony a7 III + Sony FE 100\u2013400 mm GM @ 157 mm, f\/4, 1\/640 sec., ISO 250<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Tips when using tele\u00adphoto lenses<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

For many land\u00adscape photo\u00adgraphers, the tele\u00adphoto lens ekes out a shadowy exis\u00adtence in the camera back\u00adpack, yet you can make wonderful use of its properties.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Let\u2019s take the example of a forest shot. Often I want to avoid having the sky shining through the canopy of leaves in the picture. The bright areas of the picture take up too much of the viewer\u2019s atten\u00adtion for some scenes. If I now use a longer focal length and go back a few metres, I can choose the same frame of my subject without having sky in the picture.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Another use should always be considered when the sky is not very dramatic and would be a boring spot in the photo anyway. Espe\u00adci\u00adally in the moun\u00adtains, it is then possible to exclude the sky by conden\u00adsing the scene and to give the viewer a feeling of gran\u00addeur. In addi\u00adtion, a tele\u00adphoto lens, like the stan\u00addard focal lengths, is wonderfully suitable for captu\u00adring small scenes, i.e. details in nature and also abstract motifs.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
Slipstream | Sony a7 III + Sony FE 100\u2013400 mm GM @ 150 mm, f\/16, 1\/640 sec., ISO 2500<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Conclu\u00adsion<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

The choice of focal length is an important aspect of land\u00adscape photo\u00adgraphy. Wide-angle lenses are good for captu\u00adring wide land\u00adscapes, but you need much more trai\u00adning in using them to make a picture work. Stan\u00addard lenses are versa\u00adtile, espe\u00adci\u00adally today\u2019s stan\u00addard zooms with large focal length ranges of 20\u201370 mm or 24\u2013105 mm make them incre\u00addibly flexible. But tele\u00adphoto lenses are also excel\u00adlent compa\u00adn\u00adions when it comes to scaling and conden\u00adsing a scene, espe\u00adci\u00adally for more inti\u00admate and mini\u00adma\u00adli\u00adstic shots. So it\u2019s worth expe\u00adri\u00admen\u00adting with diffe\u00adrent focal lengths. So fami\u00adlia\u00adrise yourself with the image effect of the respec\u00adtive focal length to achieve the effect you want in the picture.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

In land\u00adscape photo\u00adgraphy, the choice of focal length is a decisive factor. The focal length not only influences the image detail, but also the effect of the image. In this blog post we will look at the diffe\u00adrent focal lengths and their effect on land\u00adscape images.<\/p>","protected":false},"author":1,"featured_media":8180,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[4,5],"tags":[252,251,234,253],"class_list":["post-10925","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-fotografie-tipps","tag-bildwirkung","tag-brennweite","tag-komposition","tag-landschaftsfotografie"],"_links":{"self":[{"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/posts\/10925","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/comments?post=10925"}],"version-history":[{"count":34,"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/posts\/10925\/revisions"}],"predecessor-version":[{"id":11416,"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/posts\/10925\/revisions\/11416"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/media\/8180"}],"wp:attachment":[{"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/media?parent=10925"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/categories?post=10925"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simonschoenhoff.de\/en\/wp-json\/wp\/v2\/tags?post=10925"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}