Using telephotos for landscapes

Getting started

Using a telephoto for landscapes isn’t always easy, but the results can be amazing if you frame your image right. It’s about moving away from the wide-angle mindset and finding creative angles, getting closer, isolating details and creating a different narrative. That’s how you can capture something unique compared to a traditional wide-angle landscape, where there’s so much happening all at once.

A classic landscape lens, such as the NIKKOR Z 14-24mm f/2.8 S, lets you capture more of the scene in a single frame. It’s one of my favourites when I need to photograph a wide view, but a 24-70mm, such as the new NIKKOR Z 24-70mm f/2.8 S II, is another great option. A telephoto, by contrast, is any lens with a longer-than-standard focal length, typically 85mm and above. It brings you much closer to your subject, closer than our eyes can see, with a narrow field of view that magnifies distant details. Unlike a wide-angle, which exaggerates space, a telephoto compresses perspective, stacking foreground and background together. That compression, along with the extra reach, is why telephotos are so popular for sports, wildlife and portraits, and why I believe they have so much potential for landscapes, too.

Finding the right location

There’s always a good frame to be found with a telephoto lens, even at a classic wide-angle location. It might change the subject I’m looking for, but not the location. Pre-visualise your compositions, because a telephoto doesn’t show the whole scene, so scout with your eyes for subjects worth isolating. Getting up high is also beneficial, as layers of hills, mountains or trees line up more easily at the same level. And think about open space. With a telephoto you can zoom right in, so wide scenery gives plenty of opportunities to find those details and layers.

Framing the scene

With a wide-angle, I’m usually thinking about what I can include: a strong foreground, leading lines, something to pull the viewer in. With a telephoto it’s the opposite – I’m focused on what to exclude. I scan for shapes, light or layers that stand out on their own, isolating and simplifying rather than trying to show everything. It also slows me down, because even the smallest shift in position can completely change how the background lines up.

Working the range

For landscapes I usually keep the aperture between f/6.3 and f/11, adjusting as needed. The Z9’s in-camera stabilisation is excellent, and I’ll often set it to Sport mode for extra stability. Shutter speed is at least the same as the focal length, and I like Wide-area AF (S) for precise focus control. Once I’ve got those basics dialled in, it’s all about how each focal length behaves and adapting my approach to get the best from it.

180mm

180mm is a flexible focal length for landscapes. I can usually handhold the camera and it’s easy to follow moving subjects. I’ll keep the shutter at least 1/200 secs and the aperture around f/6.3 to f/8. What I like is that it isolates the subject while still keeping some context. And because the background isn’t compressed too much, the result feels natural.

200mm

200mm gives a little more compression, which works really well with fog or light across layers of hills. The narrower field of view means you need to be more careful with composition. I like to use it for playing with depth of field, making either the foreground or background sharp. My favourite range is 200-300mm, as it gives strong separation between subject and background while still keeping more of the scene in the frame than at, say, 600mm.

300mm

At 300mm things start to feel more abstract, and this is often where a tripod comes in handy. I’ll keep the shutter at 1/300 sec or faster, and if there’s haze or mist in the distance I’ll usually add some de-haze in post-production. At this focal length compression really starts to make a difference, and the scene takes on a more graphic quality. Foregrounds can be tricky to include, so I look for overlapping elements to bring depth into the image.

400mm

At 400mm the compression is dramatic, so distant peaks or details really pop. The challenge here is that even small movements change the composition a lot, so I spend more time refining my position. I find it really helps to be up high or at the same level as the subject to make the most of this focal length.

500mm

At 500mm you’re into the extreme telephoto range, and this is where a tripod is crucial. I’ll adjust ISO or aperture to keep the shutter speed fast enough, so 1/500 sec or faster here. People sometimes worry about raising the ISO when using fast shutter speeds and wide apertures, but Nikon cameras handle noise really well, and there are excellent de-noise tools in editing software if you need them.

600mm

600mm takes things even further. The shutter speed should be at least 1/600 sec, which helps keep the image sharp at such a long reach. This is a great focal length for creating abstract scenes, where you’re pulling out tiny details from a vast landscape. Composition becomes very sensitive. Even the smallest step to the side can completely change how the background lines up, so I’m always moving my set-up around to find a stronger frame.

Top tips

1.  Ask yourself, “What’s the story?”

I always start by asking myself what I want to say. Wide-angle is about showing the whole scene, but with a telephoto I can draw in close, highlighting shapes or intimate details. If I notice repeating forms, layers of mountains or a single peak glowing in the light, that’s when a telephoto makes sense.

2. Use weather for drama

Fog, haze or golden-hour light enhance separation and add mood in compressed scenes. For fog weaving between trees or sunlight catching the tops of them, I’ll reach for 600mm to get close.

3. Get some support

Even minor shake at 200mm can ruin sharpness, so a tripod is definitely helpful when working with telephotos. It also gives you the chance to fine-tune your camera angle and lock in the composition.

4. Fill the frame
One of the biggest frustrations working with telephotos is not being able to capture the whole subject, such as a rainbow. That’s where a wide-angle would be needed. But it’s also interesting to see a rainbow fill the frame with a telephoto, as it feels completely different  

5. Embrace the restriction

I actually enjoy the challenge of only using one focal length. It makes me think differently and look for frames I might otherwise miss. I start paying attention to small shifts in position, changes in light or how elements overlap, which really sharpens my composition skills. 

6. Patience is key

Waiting for the right light can be the thing that makes a great picture. So, if it’s possible, it’s a good idea to arrive early, especially if you’re planning for a sunrise or sunset, for example.

7. De-haze in post

You might find your photos and videos look a bit ‘hazy’. That would be atmospheric haze. To overcome this, you can use the de-haze function in your editing software, and/or add a bit of contrast. This is not something you would usually think about when editing wide-angle photos, but here, with these long focal lengths, it really works well.