The landscape lens rodeo roundup. Yeehaw!
Welcome back to another edition of the do-it-yourself/buy-it-yourself blog series. A lot of our workshop and tour students are still using the lenses that came with their cameras (the kit lenses) and have asked us what lenses they should be upgrading to in order to take their photography to the next level.
What you need to know
As of the last 5 years or so, every camera and lens you can buy is very high in quality regardless of the cost, and can take great images in the right hands. So buying a more expensive camera or lens will not make you a better photographer. Your purchases should therefore be towards equipment that can do things that your existing equipment cannot, rather than just upgrading towards something “better”.
The capabilities of your next lens boil down to two things: Focal length and maximum aperture. Other factors such as sharpness, distortion, and more nitty gritty things like “coma” and “chromatic aberration” are so well-controlled across all modern lenses that I would argue they’re not worth worrying about, because you will not notice them in your photos unless you look very, very closely. But focal length and maximum aperture have no substitute.
The focal length is the first number, or range of numbers, in millimeters, that identifies the purpose of a lens. It represents how wide or narrow (telephoto) the perspective of a lens is - a wide lens is best for landscapes, whereas a telephoto lens is better for portraits, wildlife, or sports. A wide angle lens would typically have a low number such as 16mm, while a telephoto lens would be 100mm or 200mm. A mid-range focal length such as 50mm would be considered “normal”, because it represents approximately the same perspective as the naked human eye, and is neither wide nor telephoto.
A “prime” or “fixed” lens has only one focal length, such as 14mm, or 105mm. A zoom lens contains a range of focal lengths, such as 18-55mm, or 24-70mm.
The maximum aperture is the next number that identifies a lens, and represents how wide the aperture of the lens can open to let in more light. A lens that has a lower maximum aperture number can open wider, and is therefore better for low-light situations such as star photography, or for limiting depth of field for portraiture. So for instance a lens that is called a “14-24mm f/2.8” is a wide angle zoom lens that can open up to f/2.8 at it’s largest aperture setting, and is ideal for landscape photography, including low-light and night situations. A lens that is called a “85mm f/1.8” is a prime (fixed) telephoto lens with a very large aperture suited for portraiture. Generally lenses with larger maximum apertures (lower f/ number) are bigger, heavier, and more expensive than the same focal length lens with a smaller maximum aperture (higher f/number)
Don’t be too enamored by a zoom lens that has too wide a range of focal lengths, such as 24-270mm, and claims to do it all. That might be the one situation where you end up a bit disappointed by a noticeable lack of sharpness in your images. Lenses that are somewhat specialized tend to perform better than lenses that try to cover too much ground.
Lenses for digital SLR and mirrorless cameras are made for two main types of camera bodies: Full-frame (35mm sensor size) cameras, and crop-sensor cameras (smaller sensor sizes). And the focal length numbers mean different things depending on what camera you are using.
For camera brands that make both full frame and crop sensor models, usually the full-frame lenses will also fit on their crop sensor cameras, even though the focal lengths will change in meaning.
Choose your lens based on the shots you intend to make and the type of camera body you have. These are the lenses we recommend based on our personal experience and the experiences of photographers we trust.
Ultra-wide angle lenses for landscape photography
For crop sensor cameras:
Tokina ATX-I 11-16mm CF f/2.8 FOR Canon OR Nikon
Our top pick for an affordable landscape lens. With a bright 2.8 aperture, it would be a great investment if you want to get into night sky photography. I launched my career with Tokina wide angle lenses, so I know how good they are for budding photographers on a budget.
Nikon 10-20mm f/4.5-5.6
This is a very affordable lens for Nikon users looking for something wider than the kit lens for doing true landscape photography, and it has image stabilization! The aperture is not particularly bright, so it may not be the best for night sky images. But you can’t expect too much for a price tag under $300.
Canon 10-18mm f/4.5-5.6
This is Canon’s entry into the ultra-wide, ultra-affordable category. Similar to the Nikon lens, it offers image stabilization, but also has smooth and quiet focusing for video shooting, if you aspire to do some of that. Like the Nikon lens, it doesn’t have a very bright maximum aperture.
Sony 10-18mm f/4 for e-mount mirrorless
This one is definitely not as affordable for a crop sensor wide angle lens, but it is a versatile option for both still photos and videos, with smooth silent focusing, has a brighter aperture than most lenses in this category and is extremely lightweight. You’ll also get image stabilization when used with new Sony bodies that have it built-in.
An incredibly sharp and capable ultra-wide zoom that both Allie and I have depended on for making our professional landscape images. At $1200, it may not sound “cheap”, but it’s still hundreds less than its competition from Nikon and Canon. We love how good the sunbursts are on this lens, and it also excels at night sky photography. With great image stabilization, it also works well when you’re too lazy to set up the tripod (ahem, like Allie sometimes). The downsides are that it can’t take screw-on filters and is big and clunky.
Nikon 14-24mm f/2.8
This lens has been around forever, virtually unchanged, and still commands a high price tag whether you buy it used or new, so you know it’s a champion. Really solidly built, and great for night photography just like the Tamron. The Nikon is a bit more compact than the Tamron, but doesn’t have quite as big a range of focal lengths, and also does not take screw-on filters.
Canon 16-35mm f/2.8
Canon lenses in this price/performance range have great weather sealing, so they are great for shooting in adverse conditions. I depended on this lens for professional use for many years, and can testify to how sharp it is, especially at the wide end. And since it isn’t quite as wide as the Nikon and Tamron, it can actually take conventional screw-on filters.
Sony 16-35mm f/2.8 for e-mount
One thing I can say about Sony lenses is that they are very good, but very expensive! At $2200 retail, this ultra-wide is a financial stretch for any photographer. But the quality is certainly there. If you get into the Sony E-mount system, be aware you’ll be spending more money to buy native system lenses than your Nikon and Canon friends. This lens can also take screw-on filters.
Stay tuned for more of our “Lens Roundup” blogs where we’ll talk about Midrange zooms, Telephoto lenses, and more!