Enjoying Wide-Angle Lenses

Wide-Angle Whatzit

A wide-angle lens is a lens whose focal length is greater than the diagonal size of the image sensor in the dSLR. If you've shot with a standard zoom lens, you’ve already been exposed to wide angles — maybe without even realizing it. Here is a summary of what lenses are able to take wide-angle photos:

Cropped frame: Most cropped-frame kits for consumer-level APS-C cameras have zoom lenses with focal lengths from 18–55mm. That means you’re equipped and able to shoot wide angles, as long as you zoom out from 18mm to 25mm. Four Thirds cameras with kit lenses from 14–42mm should zoom out to at least 20mm to enjoy wide-angle photography.
Full frame: If you’re a full-frame user with a standard zoom lens, you probably have good wide-angle capability built into your lens. For example, the Canon EF 24–105mm f/4L IS USM lens operates in wide-angle territory (when mounted on a full-frame camera) from 24mm to about 40mm.

Aside from standard zoom lenses with wide-angle focal lengths, there are a number of different types of dedicated wide-angle zoom and wide-angle prime lenses available from most lens manufacturers. You can also pick up an ultra wide-angle zoom lens, as shown in Figure 2-1. Turn to Book 1, Chapter 3 for more information on focal lengths and how wide-angles compare to everything else.

FIGURE 2-1: Ultra wide-angle lenses capture amazing scenes.

When you’re deciding whether a focal length is wide angle or not, it’s important to consider the camera as well as the lens. For example, 35mm is considered a normal focal length on an APS-C camera because of its crop factor, but wide angle on a full-frame camera.

In this chapter, I mention the camera and sensor size along with the focal length of each photo. With this information, you can calculate 35mm equivalent focal length if you like, and compare it to your setup if you’re using different gear. Book 1, Chapters 1 and 3 have more information on how to do this and why it’s sometimes necessary.

Looking at Landscapes

You can find few better tools for shooting landscapes than a digital SLR with a wide-angle lens. Throw in a tripod and a remote shutter release and you're set. The tripod lets you take longer exposures without worrying about keeping the camera steady. I recommend using a remote in these instances to minimize camera shake.

I photographed the sunset in Figure 2-2 using just those tools. The weather was ideal. The sun was just about to set behind the trees. The glow reflected off the river, which extended into the distance. It was amazing to see in person, and amazing to photograph with my Sony APS-C dSLR. I set the lens to 10mm to capture as much as possible.

FIGURE 2-2: A beautiful sunset photographed with an ultra wide-angle lens.

Figure 2-3 shows a totally different scene, shot using the same basic techniques to photograph this scene. I used a Nikon APS-C camera, set the lens to 11mm, mounted the camera on a tripod, and used a remote to trigger the shutter. The entire scene was well lit by the evening sun, which is to the left of the frame. The clouds add welcome texture and detail to the sky.

FIGURE 2-3: The wind-swept plains of Oklahoma captured near sunset.

Keep these tips in mind when shooting wide-angle landscapes:

Great shots are about great locations. There are a lot of pretty places in the world, but a lot of them have elements like power poles, lines, and signs that take away from the natural beauty. I’ve discovered that the landscape shots that I like the best are free from these distractions. It’s not always easy to find these locations, but you will if you keep an eye out.
Keep the camera level. Keep the camera as level as possible unless you want to spend time aligning all your shots in Photoshop. You should activate your camera’s electronic level to orient the camera. Having a tripod really helps.
Compose using the Rule of Thirds. It’s even more important to remember the Rule of Thirds when framing wide-angle shots, especially landscapes with the horizon. Notice that in my two examples the horizon is at the bottom third of the photo. If you like, compose your shots so that the land, rather than the sky, dominates.

Wide-angle lenses vignette quite often, which means their corners are darker than their centers. You can correct this problem in software or with special in-camera lens correction options, if available. I sometimes use vignetting purposely to make the photo look interesting.

Capturing Wide-Angle Cityscapes

Wide-angle lenses also excel at capturing entire cities (or reasonably large parts thereof). Figure 2-4 shows one way to capture an expansive view. I took this shot from inside the top of the Gateway Arch in St. Louis, Missouri. The sun is off to the left of the frame and made shooting in that direction very difficult. I chose to angle the camera to the north for this shot. Notice that this photo is an example of not strictly following the Rule of Thirds. The horizon is in the center of the frame, which is sometimes bad. In this case, I think it works. The city below leads your eyes along the diagonal toward a point to the right and below the center of the photo. The window frame also accentuates this line.

FIGURE 2-4: It's possible to capture large parts of cities from the right vantage point.

This photo is particularly interesting because you can see about 30 miles (48 km) toward the distant horizon, yet the buildings in the city below are nice and detailed. The highway angling away from the Arch is a great element. The cars and trucks travelling on it are mostly dots. This is a stunning location to shoot from. I took this shot using a Nikon APS-C camera and ultra wide-angle lens set to 14mm.

Not every city has a good vantage point from which to photograph. Of those that do, not all are equally accessible. You should, however, be able to find some interesting buildings to photograph. Look at your downtown area near the city center. If that doesn't work, look at other parts, perhaps well outside. These are often photogenic. Schools, museums, memorials, and government buildings are often ideal subjects. When you find the right subject, make sure you have your wide-angle lens with you, because you’ll need it.

Figure 2-5 shows a small part of downtown Detroit. I am standing on Brush Street, looking southeast toward the Renaissance Center. This street reminded me of a canyon, so I got in the middle and used the buildings on both sides to frame the far end of the street. I set the lens to 20mm and took the shot with my Sony APS-C camera. Notice that I'm a few blocks away from the subject of the photo. This is a testament to how tall the building is. In situations like this, you may have to physically move to the right distance for your shot to work.

FIGURE 2-5: This cityscape was shot from ground level and has a more immediate feel.

When you’re shooting cityscapes, keep these tips in mind:

Do a walkabout. Choosing the right vantage point is probably the most challenging aspect of capturing cityscapes. In some cases, you may not be able to find a good view at all, especially if the terrain is flat and there are no surrounding hills or heights. You can often find a good spot to shoot from if the city is bordered by water on one or more sides.
Watch the horizon. A crooked horizon can be distracting unless it’s a purposeful design element of the photo. If you can’t eyeball it, use a level.
Check the foreground. Pay attention to what’s close to you as well as what’s off in the distance.

Focusing on Single Buildings

You don’t always have to photograph as much of a city as possible. Single buildings are often easier and more convenient to capture. Figure 2-6 shows the former Dearborn Hyatt Regency (now Edward Village Michigan) located just across the road from the Ford Motor Company world headquarters. It’s a large, curved, 14-story building. I took several shots of the entire building, but then moved in close to the entrance and held the camera vertically to capture this photo. It showcases the curve of the top very nicely, along with the restaurant on top. The white car in front of the door was a matter of fortunate timing that I took advantage of. I used a Sony APS-C camera for this photo, and set the lens to 10mm.

FIGURE 2-6: Single buildings are natural subjects for wide-angle photography.

Figure 2-7 shows another close-up of a single building. This time it’s the Allen County War Memorial Coliseum (named well before the 140-character limit imposed by Twitter), located in Indiana. Originally built in 1952, this large arena was updated in 2001 when they literally raised the roof over 40 feet. They made other extensive renovations and improvements at that time, and have since added on almost 50,000 square feet of additional conference and event space adjoining the arena. It’s totally impressive.

FIGURE 2-7: Point the camera up to capture creative viewpoints.

The building is so large you have to step well back to photograph it, even using wide angles. For a more dramatic, artistic presentation, I chose to get close to it for this photo and point the camera up. This side of the Coliseum faces west, and light from the setting sun is bathing it in golden hour goodness. I used a Sony APS-C dSLR and ultra wide-angle lens set to 10mm. This shot would be impossible without using wide angles.

Find out as much as you can about what you’re photographing. Learning draws you closer to your subjects and gives you stories to tell.

Photographing Interiors

Believe it or not, a wide-angle lens is indispensable when shooting indoors, whether you’re in a large or small location.

I took the photo shown in Figure 2-8 from the balcony of a local church. The modern sanctuary is large and open, and ends in a stage rather than a pulpit. The room invites you to photograph it with a wide-angle lens. In fact, it really requires it. I had to move to the back of the balcony and zoom out to 10mm with my Nikon APS-C camera to fit the entire room in the frame.

FIGURE 2-8: Interiors, large and small, are captured nicely by wide-angle lenses.

The problem with large interiors, however, is normally lighting. While the scene may look fine in person, photographing interiors usually requires more light than you think, and larger rooms have a tendency to be even darker. The situation is made even more difficult if you want to stop down and use a smaller aperture to increase the depth of field. To cope with the lighting and capture a reasonable shot, use a longer shutter speed, higher ISO, additional lighting, or a technique like HDR (high dynamic range) photography.

Wide-angle lenses can be incredibly practical. Take your digital SLR and a wide-angle lens (a zoom lens may work fine) with you when house shopping. When you review the photos, you’ll see rooms instead of corners. That will make it easier to plan how you will furnish and decorate.

Keep these points in mind when shooting wide-angle interiors:

Watch for vertical distortion. Pointing the camera up or down will introduce vertical distortion, which is particularly unappealing in interior shots. As you compose the scene, pay attention to vertical lines. If they tip toward or away from you, you know you have a problem. Unless you have an overriding artistic purpose, keep the camera pointing straight away from you (as opposed to up or down).
Use a tripod if possible. Although you may think you don’t need a tripod when shooting inside, exposure can be a real challenge. Being able to use slower shutter speeds will help you keep the ISO low, which will in turn keep noise from overwhelming an otherwise good shot.

Shooting Wide-Angle Portraits

My wife took the shot shown in Figure 2-9 of me and our three boys as we were dropping one of our kids off at summer camp. We’re proudly displaying our sunglasses and having a great time hamming it up for her. She was using a Canon APS-C dSLR and standard zoom lens set to 18mm. That’s right in the middle of the wide-angle range for an APS-C camera. While not an impressive landscape, this is nonetheless a very valuable wide-angle shot to show. You can capture artistic shots or photos of everyday life, including portraits of people, using wide angles. Simply put, this is one of my favorite photos, and it was shot spontaneously.

FIGURE 2-9: Wide-angle portraits capture groups of people very effectively.

One key to using wide angles when photographing people is not to be too far away. Unless you’re photographing a large group of people, stay close. Another important point is to makes sure the shutter speed is quick enough to capture guys who are giggling and being silly. My wife set the camera to shutter-priority mode with a shutter speed of 1/500 second. That was possible because we were outside in bright sunlight.

Not every wide-angle shot requires a special lens, tripod, remote, or other extra gear. Keep your standard zoom lens attached and zoom out when you need to.

Improving Your Wide-Angle Shots

Wide-angle photography is incredibly fun, and there are many ways to improve your photos. When you go out to take wide-angle shots, try to use wide-angle focal lengths to your advantage. You will be rewarded with special photos if you recognize and emphasize elements of the scene that cry out to be photographed with wide angles.

Frame tall objects from afar

When shooting a scene and you want to make sure and get it all in, step back and use a wide-angle lens. Figure 2-10 is an exterior shot of the Gateway Arch. My family and I had just arrived for a visit and were walking down the trail from the now-demolished parking garage toward the Arch. I took a series of shots as we got closer. In this one, I estimate my position to be about 100 feet away. It looks closer than that in the photo, but the Arch is huge and distances can be deceiving in wide-angle shots. The legs, for reference, are 54 feet wide at the base. The moral of the story is this: Distance can make the world of difference when shooting in wide-angle territory. I was able to capture the entire Arch with very little apparent distortion because I stood back and used an ultra wide-angle lens set to 14mm on a Nikon dSLR (APS-C).

FIGURE 2-10: This shot features large and small subjects simultaneously.

Pointing the camera up or down when you’re working with focal lengths in the wide-angle region causes vertical distortion. At times, you have no choice. In this case, though, I moved back to photograph the Arch. That kept vertical distortion in this photo to a minimum.

Some wide-angle scenes confuse automatic focus modes. If yours is complex and you have a specific point that you want in focus, consider choosing the specific AF point yourself or switching to manual focus.

Get up close and personal

I took the photo shown in Figure 2-11 from a low perspective, but more importantly, up close and personal. The camera is about 18 inches away from the front wheel of this gorgeous yellow Harley. I used a Sony APS-C dSLR and set the focal length of the lens to 10mm.

FIGURE 2-11: You can get close with wide-angle lenses.

The point here is that I was able to feature the entire bike and still have room for the building and the sky by getting pretty close. In fact, I was sitting on the ground when I took this shot. The result? Everything fits without making the motorcycle seem small. In fact, it dominates the frame. This would not have been possible with another lens. I would have had to photograph a particular part of the bike or move away to fit it all in.

You don't always have to be standing up when you take a photo. Likewise, if you continually set your tripod to the same height, your shots will end up looking similar. Shake things up — consider using the ground for support, instead — even when you’re using a wide-angle lens.

Use the vertical

Don't be afraid to switch your camera to a vertical (portrait) orientation, even when shooting wide-angle shots. The photo in Figure 2-12 is an effective example. I took this shot using a Nikon APSC-dSLR and wide-angle zoom lens set to 10mm. I didn’t need to hold the camera vertically, but after taking a series of shots holding the camera normally I decided I wanted a change of pace. I therefore switched to portrait orientation (holding the camera vertically). The result is a compelling shot that enabled me to capture much more of the lake and sky than I would have otherwise. Instead of the photo extending left and right, it goes out and up.

FIGURE 2-12: Frame some subjects vertically for a change of pace.

Combine different elements into one shot

Sweeping landscapes and impressive cultural monuments aren’t the only beautiful scenes out there to capture in wide angles. Figure 2-13 shows a local park. It’s simple, but still very compelling. I took this shot with a Nikon (APS-C) dSLR and an ultra wide-angle lens set to 11mm. The scene has several elements that make it work. The colorful brick path is covered with a scattering of small leaves and is very important to the photo. It extends away and disappears as it sweeps to the right in the distance. That creates a feeling of mystery. The trees on each side add color, and the lamps, bench, and fences add interesting details. The clouds and the sky are equally important. I was able to capture all these different elements in one shot without making the photo look cramped. In fact, it feels nice and relaxed.

FIGURE 2-13: Beautiful scenery is everywhere around you.

Emphasize height

Use wide-angle shots to emphasize height. The photo shown in Figure 2-14 is of the Cadillac Tower in Detroit, Michigan. This building is 40 stories tall and 438 feet high. Although that is 192 feet shorter than the Gateway Arch shown earlier, it still looks quite impressive in this shot.

I used a wide-angle lens set to 10mm and held the camera (Sony dSLR with an APS-C image sensor) vertically to fit the entire building in the shot. That's the beauty of using wide-angle lenses. You can fit in so much more than normal lenses, including very tall buildings. The reason this shot appears to have quite a bit of vertical distortion is that I had to point the camera up to get the top of the building in the scene. While I could have stood farther away and held the camera closer to horizontal, I chose to get right next to the building and look up. I wanted to fill the frame with as much of the building as possible for artistic effect and to emphasize its height.