Tag Archives: landscape

Photographs: Sierra Nevada, Photographs: Yosemite

Lower Young Lake Shoreline, Dusk

1 Comment

Lower Young Lake Shoreline, Dusk
Lower Young Lake Shoreline, Dusk. Yosemite National Park, California. September 10, 2007. © Copyright G Dan Mitchell.

I spent several days in the Young Lakes area of the Yosemite Sierra Nevada back-country on a solo pack trip late last year. Although Young Lakes are very popular during the summer season and can be reached by a one-day roundtrip hike, this I was alone at the lake on a quiet evening following an afternoon of rainy weather.

keywords: black and white, shoreline, lower, young, lake, fall, autumn, evening, dusk, clouds, misty, beach, rocks, reflections, water, surface, trees, forest, silhouette, mountains, peaks, alpine, ridge, camping, hiking, backpacking, travel, scenic, landscape, stock, grass

Equipment, Technique

Using the Wrong Tool for the Job: Which Lens is ‘Best’?

Leave a comment

These are things that everyone knows about picking the right equipment for the subject, right?

Use wide angle lenses to shoot landscapes. When people ask what lens to get, I always ask them what they’ll be shooting. If they say landscape I generally recommend something wide rather than something long. Here’s an example of use of a very wide angle lens on a landscape shot:

318

First Light, Banner Peak and Thousand Island Lake

Use long lenses to shoot sports. Everyone notices all of the Really Big Lenses at sporting events. I sure saw plenty of them at this week’s Amgen Tour of California bike race. Heck, I even used one myself to get shots like this one:

887

Riding to the Starting Line, Prolog Time Trial, 2008 Tour of California

But wait a minute…

Sometimes the “common wisdom” can be exactly wrong, or at least it is possible to get interesting results by doing the opposite of the obvious thing. How about a landscape shot with a very long lens:

879

Big Sur Fisherman, Winter Surf

And here is another bicycle racing shot, done with an ultra wide lens. (That’s Mario Cipollini banking into this turn, for the cycling fans out there.)

904

The Peloton Enters San Jose – 2008 Amgen Tour of California

I’ll share one bit of technical information here. All four shots were made with two lenses. Both of the wide angle shots – landscape and cycling – were done with a 17-40mm zoom at the wide angle end. Both of the telephoto shots were done with a 100-400mm telephoto at the long end.

Just to tweak another assumption about “the right equipment,” both bicycle racing shots were done with a Canon 5D – and everyone knows that the 5D is only useful for landscapes and that you can’t shoot action subjects with it. ;-)

Equipment, Tests

Corner Sharpness of the Canon 17-40mm f/4 L Lens on Full Frame

Leave a comment

Since the question of how the Canon EF 17-40 f/4 L performs across the frame for landscape photography comes up periodically, I have posted an older test photo I made last year (2007) – updated here to include a comparison corner and center sharpness.

Canon5D17_40f16CornerVsCenter.jpg

Technical data: Canon 5D. Canon EF 17-40mm f/4 L lens. Focal length: 17mm. Aperture: f/16. Shutter speed: 1/60 second. Shot on the tripod with MLU and remote release. If the full image were reproduced at this resolution the print would be about five feet wide. (Not that I’d do that – it is a really boring photograph! :-) In a more typical size print the corners would like very good, indeed.

A 100% crop would not be expected to be “razor sharp” – and we see typical results here. It is impressive to see how well the corner image quality holds up – despite the fact that grass is one of the most challenging subjects for a digital sensor and the fact that this part of the scene was much closer to the camera than the focus point in the center of the scene – i.e. the corner section showing the grass is only a few feet from the camera, and the camera is focused hundreds of feet away on the objects in the center of the frame. (On that subject, I’m convinced that a good number of the reports of “poor corner performance” in ultra wide lenses are actually due to the subjects in the corner being much closer to the camera position than the subjects in the center of the frame, especially when the “tests” are done by shooting actual landscape subjects.)

BOTTOM LINE: What does this tell us, how do we view this in the context of reports of soft corners on the EF 17-40mm f/4 lens, and what does this mean for anyone trying to choose a wide (or ultra-wide in the case of full-frame cameras) Canon zoom lens?

While this lens is soft in the corners when shot wide open, the lens is not particularly soft in the corners when stopped down. If your primary use for such a lens is, for example, shooting very low light handheld wide angle photographs the 17-40 is perhaps not your best choice. (The EF 16-35mm f/2.8 on full frame or the EFS 17-55mm f/2.8 IS on a cropped sensor body could be more appropriate zooms.) On the other hand, if you are primarily interested in subjects that are usually shot at smaller apertures (urban/wild landscapes, architecture, etc.) then the 17-40 can be an outstanding lens – though this is more true on a full frame body than on a crop body, given that you are unlikely to use the smaller apertures on a crop sensor body given the diffraction blur issues there. So, to state it very succinctly…

… the Canon EF 17-40mm f/4 lens is an excellent lens for shooting deep DOF small-aperture photography on a full-frame camera. (It is OK but not necessarily ideal for use with cropped sensor bodies, where I would prefer the EFS 17-55mm f/2.8 IS.)

G Dan Mitchell is a California photographer whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email

Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.


Photographs: Central California, Photographs: Nature, Photographs: Northern California, Photographs: Ocean & Coast

Cliffs, Surf, and Fog – California Coastline

Leave a comment
Cliffs, Surf, and Fog
“Cliffs, Surf, and Fog” — Fog and winter light on cliffs and Pacific coast surf south of San Francisco.

I have always been fascinated by light shining directly through the atmosphere, coming straight on towards me – the brighter and more luminous the glow the better. You frequently find me aiming my camera almost straight toward the sun. (I’ve become a master at shading lenses with hands, hat, pieces of paper, you name it.) I also love atmospheric recession, the illumination of distance by the haze, as more distant subjects lose contrast and detail. This scene had all of those things, and perhaps even more.

I had been driving the coast highway (highway 1) between Santa Cruz and San Francisco on this winter day, and in places it was very foggy – but here it was the kind of fog that, while dense near the ground, is shallow enough that the light from the sun shines though and can even make looking at the clouds almost unbearable. I pulled over at a place where it looked like I might be able to walk out onto a shoreline bluff high above the water and see over the edge to the water and cliffs below and beyond. A saw this line-up of receding cliffs dropping to the surf and decided to shoot along them towards the sun. (I was surprised to find later that hidden in the fog is a small creek dropping from one section of the cliff in a small water fall.)

This high key image is a bit different from what I usually do. The fog was backlit by some fairly bright sunlight and, although it is nearly impossible to see in this little jpg image, there is a lot of detail in the frothy white surface of the water on the right side.

COMMENT OR QUESTION? Scroll down to the comment form.

Prints are available. Read about licensing and print sales.

G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.
Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email