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The Most Popular Focal Length for Landscape Photography

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When it comes to landscape photography, choosing the right focal length is crucial for capturing breathtaking and expansive scenes. The most popular focal lengths for landscape photography typically fall within the wide-angle range, as they allow photographers to include as much of the scene as possible within the frame. Here’s a look at why certain focal lengths are favored and how they impact landscape photography.

The 24mm focal length has become the gold standard in landscape photography for several reasons, contributing to its popularity among enthusiasts and professionals alike. This preference stems from its ability to provide a wide field of view, capturing vast landscapes in a single frame without the extreme distortion often found with wider lenses. It offers a natural perspective that closely mirrors the human eye, making scenes appear expansive yet true to life.

Photographers favor 24mm because it excellently balances foreground interest with the depth of the background, creating dynamic and engaging compositions. Its versatility in various settings, from mountain ranges to urban landscapes, further cements its status as a preferred choice. The 24mm lens, by offering this unique blend of wide-angle perspective and minimal distortion, has become an indispensable tool for capturing the beauty and grandeur of the natural world, making it a clear favorite in the landscape photography community.

Wide-Angle Lenses (24mm to 35mm)

Within the wide-angle category, lenses ranging from 24mm to 35mm are particularly beloved for their versatility. These focal lengths capture a broad field of view, making them ideal for including sweeping vistas and dramatic skies in the composition. A 24mm lens is especially favored for its balance, as highlighted above, but even moving towards 35mm can offer a slightly tighter composition while still retaining a wide perspective.

Ultra-Wide Lenses (14mm to 24mm)

For photographers aiming to capture an even wider perspective, ultra-wide lenses ranging from 14mm to 24mm are the go-to choice. These lenses excel at emphasizing foreground elements and creating a profound sense of depth and scale. However, they may introduce noticeable distortion, which can either be used creatively or need to be corrected in post-processing.

Standard to Short Telephoto Lenses (50mm to 100mm)

Beyond the realm of wide and ultra-wide lenses, standard to short telephoto lenses (50mm to 100mm) offer a unique perspective in landscape photography. A 50mm lens provides a view close to that of the human eye, offering compositions with minimal distortion and a natural feel. Lenses in the 70mm to 100mm range are excellent for isolating subjects, compressing scenes, and highlighting specific features of the landscape, offering a different approach to capturing nature’s beauty.

Summary:

The choice of focal length for landscape photography depends greatly on the photographer’s vision, the landscape being captured, and the desired outcome. While wide and ultra-wide lenses are popular for their capacity to envelop expansive scenes, longer focal lengths provide unique perspectives and compositional opportunities. The 24mm lens, in particular, stands out for its unparalleled ability to balance the vastness of landscapes with realistic perspectives, making it a favorite among landscape photographers. Experimentation with different focal lengths can unlock new and exciting ways to depict the natural world, continually enriching the art form of landscape photography.

Shutter Speed Determination for Hand-held Landscape Photos

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Now generally I recommend a tripod for landscape photography, however, I do shoot a fair bit of hand-held landscapes too and trust me, I have had more than my share of blurry photos in my 15 odd years of photography.

Is there anything worse than a Blurry Masterpiece?

In my opinion, there is nothing worse than zooming into the best shot of the day, the miracle shot that captured the moment perfectly, only to discover it’s blurry.

Ok, so how do we shoot hand-held in tough conditions and make sure our photos have a good chance of being sharp?

Shutter speed is critical when shooting without a tripod. We need to shoot fast enough so that any camera shake is not visible in our final photo.

But what shutter speed is fast enough to avoid camera shake?

Interestingly, it varies depending on the focal length of the lens you are shooting with.

Wide-angle lenses are much easier to get sharp hand-held photos than telephoto, as you will see below

The rule of thumb that I use is:

2 times the focal length you are shooting is a good minimum shutter speed as a guide. Of course, the faster – the better chance of a good result.

You may find that with modern stabilized cameras and lenses that you can go even lower, however, I feel that 2x the focal length is a good minimum to start at.

Now you might be thinking, “what on earth is he talking about”.

Hopefully, this clears it up:

  • 20mm lens: 2 x 20 = 1/40th of a second as your minimum shutter speed for a 20mm lens.
  • 50mm lens: 2 x 50 = 1/100th of a second as your minimum shutter speed for a 50mm lens.
  • 100mm lens: 2 x 100 = 1/200th of a second as your minimum shutter speed for a 100mm lens
  • 400mm lens: 2 x 400 = 1/800th of a second as your minimum shutter speed for a 400mm lens.

Of course, the faster the better, if you can.

This won’t guarantee sharp photos every time but it will get you on the right track as far as shutter speed is concerned.

Below are further tips for the perfect hand-held Landscape photo.

• Raise your ISO to achieve at least the minimum shutter speed above.
• Brace yourself against a solid object to reduce camera shake.
• Choose a lens or camera with Image Stabilization.
• Set your camera to multiple shot mode and fire 3-4 consecutive shots. Generally, camera shake is at its highest on the first photo as we press the shutter and will settle down in the 2nd-3rd-4th shots of the sequence.

What Lenses Work Best for Beautiful Background Blur?

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Here is a portrait that uses background blur to make the model pop from the background.

Background blur is an excellent composition tool to set your subject apart from their surrounding areas. It’s another way of saying “minimum depth of field”.

Newer photographers, with entry-level equipment, often find the idea of background blur difficult, because no matter what they do they cannot create the effect.

Blurring a background requires several elements of photography to be successful. First and foremost is the lens.

For that reason, in this article, we will concentrate on lens selection to create optimal background blur.

Quick Tip

Your first consideration when blurring a background is the focal length of the lens.

The longer the focal length, the more blur will be created at a given f-stop.

For example, at f/2.8, a 200mm lens will create more background blur than a 50mm lens.

Wide-angle lenses will not create a noticeable background blur effect at any f-stop.

Any lens wider than a “normal” field-of-view lens will create a negligible background blur, even when you have set the f-stop to the widest opening.

A normal field of view is between 50 and 55mm for a full-frame sensor and 28-34mm on a camera with an APS-c sensor.

A “normal” lens is one that closely mimics the field of vision for the human eye.

The lens in the image above is most definitely not a “normal” lens. A very long telephoto lens like this would create background blur even at smaller apertures!

What about the relationship between aperture and background blur?

The photographic term “fast lens” refers to the largest aperture available on the lens. A lens with a very wide maximum aperture is a faster lens than a similar lens with a smaller maximum aperture.

This fact of optics is why creating background blur with kit lenses is difficult to impossible. They generally have a smaller maximum aperture.

The lens above has a maximum aperture of f/1.4. This lens would be considered very fast, and it would be extremely efficient at creating background blur.

This Canon 24-105mm zoom lens has a maximum aperture of f/4. This lens is not as fast a lens as compared to the previous example, where the maximum aperture was f/1.4.

Some lenses display the aperture scale outside the lens (such as the Nikon 85mm).

Other lenses only display the aperture scale inside the viewfinder, such as Canon 24-105mm zoom lens.

Most lenses have variable apertures. The one exception is mirror lenses. They have a fixed aperture, usually around f/8.

Quick Tip

With a zoom lens (variable focal length), such as the Canon example, the lens will create more background blur at a longer focal length setting versus a shorter focal length setting.

For example, this Canon lens set at the maximum aperture of f/4 will create more background blur at the 105mm focal length setting versus the 24mm focal length setting (where it would create little to no background blur).

Conclusion: When selecting a lens for background blur…

  • A lens with a longer focal length works better than a shorter one.
  • A lens with a wider maximum aperture works better than a lens with a smaller one.
  • A “fast lens” is one that has a large maximum aperture (f/2.8 or larger).
  • Kit lenses, as a general rule, are not very fast and therefore do a poor job of creating background blur.
  • Wide-angle lenses are also a poor choice for creating background blur.
  • A lens focal length starting at a “normal” field of view (matching the human eye) and escalating toward longer focal lengths (telephoto) creates the best background blur.
  • When using a zoom lens (variable focal length), the longest focal length will create a better background blur than the shorter focal lengths at the maximum aperture.

Note: Some zoom lenses have a “variable” maximum aperture. You would want to consider this when choosing a focal length for background blur with a zoom lens.