DEVELOP YOUR COMPOSITION SKILLS

Learn how to create a perfectly balanced image when framing with a wide-angle optic

The most noticeable characteristic of a wide-angle image is the expansive field of view, which results in much of a scene being visible within the frame. This is of course the purpose of a wide lens, but it is important to recognise that there is more than one reason for choosing a wide-angle optic.

One reason may be to fit more of a subject into the frame, but alternatively it may be a choice based on creative intention. Perspective is greatly exaggerated at wide focal lengths, which can emphasise leading lines, thereby introducing an exceptional sense of depth. When used correctly this can make a strong image out of otherwise mundane scenes. For example, when shooting interiors, the photographer may select a 14mm lens in order to include all four walls in the composition, which may be a procedural step in their regular workflow. The decision to alter the camera height or distance from foreground subjects is purely artistic and requires a more complex approach. If applied incorrectly, an unnatural perspective can become uncomfortable to look at, and can negatively impact on the success of the image.

When composing a wide frame it is also vital to remember backgrounds, since depth of field is a less-effective method of controlling visible detail. Focus depth is extended at wide focal lengths, so background blurring is not as pronounced, meaning the photographer must be confident that colour and detail complement the subject.

Another aspect of wide-angle photography that requires professional expertise is the controlling of context and subject placement. Since so much of the scene is visible, it is exceptionally challenging to limit context, meaning compositions can become ‘literal’ rather than suggestive of a theme or emotion – a key reason for beginners failing to create superlative images. The subject must be arranged so as to make a feature of relative distance between objects in the frame, thereby re-introducing a narrative tone that can easily be lost where too much information is present along the edge of the picture. A useful process is to place the subject, adjust the foreground presence, examine the periphery and finally reconsider the best focal length. The professional approach to wide-angle composition is to choose the lens based on the scene, not the inverse – a wide view is not a reason for making an image.

“Choose the lens based on the scene”