Using a telephoto lens is one of the most powerful tools for capturing landscape photography. It enables you to explore perspectives far beyond what classic wide-angle shots can achieve, allowing for creative and compelling compositions. However, using a telephoto lens can be tricky, especially if you’re just getting started. In this article, I share my top seven mistakes to avoid when using a telephoto lens, along with some technical advice and creative tips to enhance your photography.
1. Not Paying Attention to Shutter Speed
Selecting the correct shutter speed is crucial when using a telephoto lens for landscape photography. Telephoto lenses magnify distant objects, making even minor camera shakes more noticeable compared to wide-angle lenses. My general rule of thumb (which is a bit overkill) is to use a shutter speed that is twice the focal length of your lens. For instance, if you’re shooting at 400mm, a shutter speed of 1/800 of a second is recommended when hand-holding the camera. This ensures sharp images, but depending on your steadiness and the environmental conditions, you might be able to go as low as 1/400 of a second. Don’t forget to activate your camera’s in-body image stabilization (IBIS) and lens stabilization, which may allow for even slower shutter speeds.
If you're using a tripod, longer exposures are possible. Just remember to turn off stabilization and use a timer release or self-timer to avoid any blur from pressing the shutter. Even the smallest movement can impact the sharpness of a 400mm shot with a slow shutter speed.
2. Struggling to Find Your Subject
One common challenge with telephoto lenses is finding your subject, especially when transitioning from a wide-angle perspective. It’s often less obvious where to focus your attention when zoomed in. To tackle this, start by taking in the landscape without your camera. Let your eyes wander and identify elements that catch your interest. Once you’re ready, use the widest focal length on your zoom lens, like 70mm on a 70-200mm lens or 100mm on a 100-400mm lens. It’s easier to scan the landscape at the wider end before gradually zooming in to refine your composition.
When you’ve identified your subject, slowly zoom in and see how the composition evolves. Look around the edges to see what kind of distractions you are adding or excluding in the scene. If you need to fine-tune your framing, consider using a tripod, which allows for a more deliberate approach.
3. Not Stabilizing for Long Exposures
When shooting long exposures with a telephoto lens, proper stabilization is essential. A sturdy tripod is a must, and if you’re using a large lens, a lens collar will help maintain the center of gravity. Mounting a heavy lens on the camera without a collar can lead to instability, especially during windy conditions. In such cases, find natural cover like rocks or trees to shield your setup, or lower the tripod closer to the ground. If all else fails, you can use your jacket to block the wind.
4. Misjudging Focus
Focusing with a telephoto lens can range from simple to complex, depending on the scene. If you're photographing a distant subject, everything in the frame will generally be on the same plane of focus at infinity, making it easy to achieve sharpness across the image. Aperture settings are less critical in these situations.
However, if you’re capturing a scene with multiple elements at different distances—like waves crashing at various points—you’ll need to consider using a higher aperture to increase the depth of field. An aperture of f/11 or higher might be necessary, but be cautious not to exceed f/16, as lens diffraction can soften the image. It’s wise to test your specific lens to find the optimal aperture.
As for where to focus, prioritize the subject that’s most important to the viewer. For moving subjects like waves, I use autofocus with a spot meter to track the focal point, typically somewhere toward the center of the frame. If the scene requires sharpness across the entire frame, consider focus stacking—taking multiple shots at different focus points and blending them in post-processing. This technique is best used with static objects rather than anything in motion.
Creatively, you can use out-of-focus areas to enhance your composition. Try using some bushes or foreground elements to help frame your subject. Alternatively, sometimes having an out-of-focus background can help to isolate the subject. It really depends on the look you want to go for.
5. Sticking to the Obvious Instead of Getting Creative
It’s easy to focus on the most obvious subjects, but don’t be afraid to explore the scene and step out of your comfort zone. While capturing clear subjects by zooming in is perfectly fine, some of the most compelling images come from experimenting with textures, lines, shapes, and unconventional angles. For instance, while photographing in New York City, I initially aimed to capture classic night cityscapes. But by looking for interesting patterns or using odd angles, you could transform familiar scenes into something entirely different. Don’t hesitate to explore your creativity with telephoto lenses and see what kind of interesting stories you can tell with it.
6. Zooming in Without Considering Composition
A common mistake that I was very guilty of when first picking up my 70-200mm lens was zooming straight to the maximum focal length without considering how it impacted the composition. While you may have the ability to zoom in to 200mm or 400mm, sometimes this can be too close for the scene. Many of my best telephoto images are captured at the lower end of the zoom range, around 100mm or 150mm. Pay attention to the edges of your photo and the breathing room around your subject. Creating minimalism in your composition might require more space than you initially thought.
One technique is to set up your desired composition and then slightly zoom out to give yourself cropping room. This allows you to adjust the aspect ratio or experiment with different crops during post-processing.
7. Staying Stationary and Not Changing Your Perspective
Finally, don’t make the mistake of staying in one spot with your telephoto lens. While it’s tempting to stay put and rely on the lens’s zoom capabilities, moving around can significantly change your perspective and improve your composition. Just as you would with a wide-angle lens, explore the scene, change your position, and see how it affects the overall shot. If part of your scene is obstructed or could be improved from a different angle, don’t hesitate to move. Whether it’s walking further down a trail or driving to a different viewpoint, changing your location can lead to more dynamic and compelling images.
I really hope these tips were helpful for you. If you enjoyed them, you can check out my website for more tutorials and workshops!
Of course, this is assuming you can afford that glass lol. Any 18-135mm apsc shooters here?
There are a lot of great, affordable telelenses out there on apsc. It depends on your brand, but look at Tamron/Sigma glass and get them used at MPB or Keh camera.
I'll probably get a 70-200 EF at some point but first I want to get a 24-70 f/2.8 for my 5D mark ii
Great lens, I owned that one for many years!
I’ve had both of those lenses. You are talking high quality glass. I found that I used the 24-70 most frequently. Why? They reflect the middle range of vision. Warning: The 70-200 is heavy. In fact it is the same weight as my 100-400. I am up in my years so weight is a major concern. Great lenses.
sometimes a very wide 18mm angle shot is a good one. However, I find myself shooting with a larger lens and closer view angle even if I want a larger shot in the end more often these days, by turning the shot into a multi-shot-pano.
I use the Nikon Z 18-140 on my Z50 and Z fc, great lens, I actually prefer the longer focal length than ultra-wides for landscapes. I just need to produce some good photos.
True of any long focal length lenses, not just telephoto lenses. But I guess most people just don't know the difference...
In the broad sense of the tip headlines, sure, they are transferable. Especially the ones about creativity and being stationary. But getting into the actual tip details, there are far different needs for, say, a 400mm shot than a 16mm shot. Especially in terms of finding a subject, stability, shutter speed for sharpness, and where to focus/how.
A 16mm isn't a long focal length for 35mm or micro 4/3 formats. I was talking about "any long focal length lenses", such as 400mm telephoto vs. 400mm conventional.
I'm sorry. I misread your initial response. I didn't see the "long" in there.
Sure, I understand what you mean. But this seems to be a pretty technical distinction that I do not personally feel is valuable to most readers of the article or viewers of the video. Most people reading this are diving into long-lens photography using either a telephoto lens or a zoom with telephoto capabilities and are looking for some practical advice.
If they're diving into long lens photography, it's not a bad idea to know the most basic terms of long lens photography.
If you would like to write an article on the differences between every lens through history and submit that to Fstoppers I am sure they will post it.
But again to reiterate here I dont personally find it relavent to my tips on how to help people take landscape photography.
I think educational articles about landscape photography should help people correctly understand the tools and terminology of landscape photography. You think educational articles should be tips on how to do landscape photography like you do landscape photography. Got it.
I guess I just think "experts" should get the basics right, including the basic vocabulary in the headline. Who knows, maybe this little exchange led a few people to find out what a telephoto lens actually is. The technicals are really rather interesting. But we're beating the proverbial dead horse. You can have the last word.
I think most people know the difference, they just don't feel the need to be pedantic.
Most people don't. And most photographers don't. And if you try to tell them, you're accused of being pedantic.
I use a Nikon 80-400 lens about 75% of the time. Always on a tripod. I shoot primarily two frame panos to get a wider final image. The only exception is if I come across some wildlife, then I increase the iso to get a faster shutter speed and hand hold. Longer lenses are my preference.
Nice, I love doing panos on mine as well! Nice to get that extra resolution when you need it.
Amazing images as always Michael. You are doing great things. If you keep this up for another 10 or 20 years or more your portfolio will be unmatched.
I've taken the foot off my 100-400mm and put a normal arca swiss plate right on the bit where the foot normally attaches (had to give the plate a tickle with the angle grinder to make it work). I found the foot itself was a bit like a spring and made it less stable in wind. It's also more compact now in the bag.
Pic in case anyone's interested
Thanks so much Guy, I really appreciate that! I hope to keep shooting for the rest of my life. I can’t help looking back at images I took 5-10+ ago thinking my work peaked! Haha but that’s another discussion for another article. I want to write something about self doubt and imposter syndrome as it’s something I have delt with my entire career.
Interesting tactic you have there with the bottom piece! Was the original bracket a bit loose? I am surprised it would move in the wind, but I haven’t used that lens a ton personally.
It's difficult to see your own work objectively, I'm sure you haven't peaked yet! Your new stuff is always top notch.
I felt like there was a resonance to the lens in high wind and removing the foot locks it tight to the ballhead so it feels stiffer. Either way it fits in the bag easier.
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Valuable and valid tips from a creative author.
Thanks so much Normund!
I've gone almost exclusively to the NIKKOR Z 14-24mm f/2.8 S since it gives me a greater amount of control of the fore, mid, & backgrounds.
I did something similar from 2013-2015. I almost took all my images with the same 14-24 2.8 Nikon lens. I was solely focused on Seascapes/Astro, so I totally understand the appeal of sticking with the ultra-wide.
Just remember not to restrict yourself too much. There are so many fantastic opportunities to use a zoom lens in situations where the wide lens can't capture it.
Michael - First, thank you for an interesting article. Second, I agree with you that other lenses can also work -- it's situation dependant. Still, sometimes, I'll pick a particular lens & spend the day walking around our farm with it. This helps me to understand what that particular lens is capable of in my hands.
Great article…. I’ve made many of these mistakes. The big one for me was shutter speed. It really took me quite awhile to get comfortable pushing ISO to get fast shutter speeds in low light or in windy conditions. When I got passed that mental roadblock, my telephoto work really opened up.
Thanks so much Ed, glad to hear
You broke through the issue!
affordable; not nearly as good.
Photography; a never ending search for perfection
experience; knowing what doesn't work
Asking what's affordable is asking for experience to tell you what's not good and hoping it might be
The Nikkor IF 400mm 5.6 AIs on an Crop Factor D200, then Resized using an AI program for larger files. One thing I discovered best is the low noise and using Resize programs that D200 delivers, and the IQ of this manual Nikkor is extremely high. Good resolution and low noise is ideal for AI.The colors and feel of the CCD sensor are unique. Under $500 including editingware, overcoming IQ with unique feel and a look not many users share today
Do not overlook the Tamron 70-300. Sure it lacks a bunch of features seen in lenses four times the price, but as a budget AF tele-zoom it has outstanding glass. I love the top end at 300 which is still quite usable and at around 250 it is awesome. A lot of tele lenses kind of stink at the extreme ends of their range so a lens that still works fine all the way out at 300 is a marvelous accomplishment given the sub-$500 price. Not the fastest thing I own though with a max of f6.3 zoomed in and f5.6 at 70.
The included photo here is via the Tamron 70-300 shot out my truck window at a red light.