The little detail or the big picture: from a photography point of view, nature can be captured in many different ways. With their abundance of blossoms and colors, as well as the beautiful golden light in the morning and evening hours, spring and fall in particular invite one to grab the camera and venture outside. In your own garden, in the street in front of your house, or in the next forest – there’s more than enough to photograph!
ONE MOTIF – DIFFERENT PERSPECTIVES
The advantage of an interchangeable lens camera is the enormous bandwidth of focal lengths it supports. With my Canon 760D, for instance, my lenses reach from 8 mm with the Fisheye lens to 300 mm with the telephoto zoom lens. This equals roughly 15-480 mm on a full-frame camera.
This offers great creative latitude. Close-up images of individual blossoms, colorful leaves, and other details are classic subjects, of course. For this purpose, you usually select a medium to long focal length to get your subject filling the frame. Or you go straight for a dedicated macro lens, such as the Tamrom 90mm ƒ/2.8 Macro. I have included several example images in my blog post about that lens, hence I am skipping the topic of macros here.
But you can also go to the other end of the spectrum and use a rather short focal length, such as an ultra-wide angle lens, or even a Fisheye. These will also allow you to show an object large in the foreground; the difference compared to longer focal lengths is that due to the wide angle of view, you will also capture a lot of background in your image. It will also not be as blurry. As a result, your subject will be shown in the context of its surroundings, i.e. it’s not a “single blossom”, but a “blossom on a blooming tree”. The two pictures of our Magnolia tree illustrate this clearly.
I want to show you some of the creative possibilities for the various focal lengths. Not all flower photos have to be the same!
FISHEYE & ULTRA-WIDE ANGLE
I have two lenses in this category: The Samyang 8 mm ƒ/3.5 Fisheye, and the Tokina 11-20 mm ƒ/2.8 Ultra-wide Angle. Both offer a very wide field of view, which means you will get a lot into your pictures. The short focal length also means that objects at a distance will seemingly be pushed much further away. If there is nothing interesting in the foreground, the resulting images can look empty and boring. However, the background requires some attention as well. At such a short focal length, you won’t be able to blur the background much, even with a wide-open aperture, except when you get the camera very close to your subject. And even then, the background will still be recognizable – in particular with the Fisheye lens. Nonetheless, you can deliberately utilize this.
Here are two examples for this: the image of the rose above was taken with the fisheye lens, and the little red flower below has been captured using the Tokina. In both cases, it is clear what the subject of the image is; at the same time, it easy to see where the scene is located. The Tokina, with its wide-open aperture, even allows you to blur the background a bit despite the short focal length when being so close to the subject, so that the plant is standing out more. The rose in the image above was at the same distance from the camera, but due to its even shorter focal length and an aperture of ƒ/8, almost the entire garden including the house is in focus.
No rule is without exception: of course, you can use a short focal length deliberately without anything in the foreground, if you want to emphasize the size and vastness of the space you’re in. This is what I did when capturing the fall forest in the image below: I put the camera down on the ground and pointed the Fisheye lens straight up. Indeed, the biggest challenge when taking this photo was to not appear in the frame myself. I took a similar picture with my “always-on” standard zoom lens; the result was “a tree in the fall forest”. Using the Fisheye, I was able to capture the entire fall forest.
This relates to the “default” zoom range, which is covered by the usual kit lenses. For an APS-C camera, that typically is 17-50 mm; equaling 24-70 mm on a full-frame camera. For reference: the back camera on an Apple iPhone, depending on the model and converted to full-frame, has a focal length of 25-30 mm. This should not imply that this “default” range is boring – on the contrary. Depending on whether you want to capture an entire tree, a plant, or just a couple of leaves, there’s a lot of creative leeway.
It is worthwhile to play with zoom, aperture, and object distance; even, or in particular, with the kit lens. The most important recommendation in this context is: change your perspective! The usual snapshots taken from eye height quickly become boring. Hence, when you’re out and about: look straight up – what is above you? Get down on your knees and photograph the little mushroom as it pushes through the leaves into the grazing light of the setting sun…
If there is such a thing as a “must have” lens for every photographer with a single-lens reflex or mirrorless camera, then it certainly is the 50 mm ƒ/1.8, and for a simple reason: value for money. Basically, every camera manufacturer offers one for a little money; it usually costs around 100 Euros. It is small, light, and versatile, which has earned it the nickname “nifty fifty”. On a full frame camera, this is a standard focal length, perceived to offer a very natural perspective similar to what the human eye sees. On an APS-C camera, the field of view equals 80 mm, so it can be considered a slight telephoto lens.
The distinguishing characteristic is its wide open aperture of ƒ/1.8. Most kit lenses have a maximum aperture of ƒ/4 or ƒ/4.5 at 50 mm, that’s a difference of 2-3 stops. This means that the “nifty fifty” not only lets in a lot of light; it can also provide a much narrower depth of field. This makes it a popular all-round lens, which is often used for portrait work. So why not take some portraits of colorful plants?
This category basically covers everything with a focal length of 70 mm and up. There are essentially two types of lenses: the telephoto zoom lenses, like my Tamron 70-300 mm ƒ/4-5.6, and the prime lenses, especially macro lenses, in the range of 90-150 mm. The main difference is in how close you can get to your subject. With my aforementioned 70-300 mm zoom lens, the shortest distance I can still focus at is 1.5 meters. With the 90 mm macro, I can get as close as 30 centimeters!
This obviously has a significant impact on the creative possibilities. However, keep in mind: a macro lens can take more than just macro images, and you can use a telephoto zoom not only to capture things that are far away. You can probably guess where this going: I’m talking about perspective again.
With long hedges or bushes as shown below, you can try a “grazing shot”. It shows the details of the leaves and blossoms as well as the extent of the hedge in a single image. In a frontal picture, you could only see one of the two, depending on the distance. This works in the same way horizontally on a flowering meadow. It’s not a macro in the original sense, but I make use of the wide-open aperture and resulting narrow depth of field of the macro lens to show just a small stripe of the Kerria bush in focus.
I have taken the following image with my Tamron 70-300 mm, even though at 92 mm, I could have taken it with the macro lens just as well. I didn’t have it with me, though, and I actually preferred the flexibility offered by the zoom lens on that photo excursion. The blossoms are at the minimum focusing distance (1.5 m). In the end, the best lens to take a picture with is always the one you have with you.
Of course, the distinguishing feature of telephoto lenses is to pull in distant objects. This allows for capturing details to which you cannot get close, for whatever reason. Blossoms in the crown of a tree are a good example. The narrow angle of view also allows controlling the background, or getting rid of it entirely. The image of the Japanese Maple above shows an almost evenly yellow background, made from trees with yellow leaves. I could have gotten closer to the leaves and used a shorter focal length, thus a wider angle of view. But then the house on the right side, and the garden shed on the left side, would show up in the frame and the background would no longer be evenly yellow.
How much the background gets blurred not only depends on the focal length and aperture setting, but just as much from the ratio between the two distances; camera – subject and subject – background. The two images of the Japanese Maple above and the Cherry Blossoms below were taken with identical settings, and the trees in the background were at about the same distance in both pictures. However, the maple was much closer to the camera, hence you can see a substantial difference in the appearance of the background.
Recommendation: Well, that’s quite obvious in this case, isn’t it? Go outside and try it out!
What I’ve learned: In the end, it doesn’t matter which camera or lenses you have – interesting perspectives can be found all around you. Up close, far away, from above, from below, wide angle, telephoto, with or against the sun… It’s worthwhile to simply grab your camera next time you go on leisurely stroll or walk your dog.
Last but not least, some YouTube videos with further inspiration:
- Bryan Peterson: Seeing the Obvious
- Gavin Hoey: Autumn 15 Minute Photo Challenge (including post-processing)
- RonsAmazingProducts: Fall Photography Tips And Ideas
Picture Credits: All pictures – own images.