A professional photographer is urging landscape photography enthusiasts to reconsider their automatic reliance on wide-angle lenses, arguing that this widespread practice may be limiting creativity and producing uninspired compositions. Mujahid Ur Rehman, known as Muji, suggests that telephoto and mid-range lenses could be the key to creating more compelling and focused landscape photographs.
The conventional wisdom that wide-angle lenses are essential tools for landscape photography has become deeply ingrained among photographers, but Rehman argues this approach can actually hinder artistic development. According to the Cape Town-based professional photographer and filmmaker, effective composition involves not only including natural elements but also making crucial decisions about what to exclude from the frame.
"You may be reaching for the wrong glass to capture those stunning landscapes, trading intentional composition for uninspired vastness," Rehman explains. He notes that wide-angle lenses present several compositional challenges that many photographers overlook. These lenses make distant subjects appear smaller and farther away than they appear to the naked eye, introduce lens distortion that can be undesirable in certain scenes, and often force the inclusion of foreground elements that may distract from the main subject.
Rehman's critique stems from practical experience during his photography work in Namibia, where he found himself frequently using a 70-300mm telephoto lens because wide-angle lenses couldn't effectively capture the scene's beauty. He describes a failed attempt to photograph the iconic Deadvlei location, where his wide-angle approach resulted in massive sand dunes appearing deceptively small despite taking about an hour to climb.
"It seems like I am making a desperate attempt to create a foreground with the dried mud cracks using a wide-angle lens," Rehman reflects on one of his unsuccessful shots. "The trees appear smaller than they really are, and believe me, those sand dunes are massive. They take about an hour to climb, yet they look quite small in this photo."
Telephoto and mid-range lenses offer several distinct advantages for landscape photography, according to Rehman's analysis. These lenses can break down a scene into multiple, manageable compositions while compressing the scene to bring distant elements closer and make them more prominent in the frame. They help focus the viewer's attention on the primary subject and capture distant details that embody the essence of the subject without requiring photographers to move physically closer, which could compromise the desired aesthetic impact.
Rehman demonstrates this principle with examples from Sossusvlei, Namibia, where he photographed a dune from approximately one kilometer away using a telephoto lens. "Shooting it with a wide-angle lens was useless, as it would have rendered it very small," he explains. Another example shows a shot of the Namibian desert taken at 194mm from a considerable distance, which he contrasts with what he describes as a "pretty but lacks meaning" wide-angle view of the same location.
The photography expert emphasizes that his message isn't about completely abandoning wide-angle lenses but rather using them more thoughtfully. "I am a wide-angle photography enthusiast and use wide-angle lenses extensively," Rehman clarifies in response to reader feedback. "This article I wrote aims to raise awareness that wide-angle lenses can sometimes be a trap."
For aspiring landscape photographers, Rehman recommends developing intuition and constantly evaluating scenes before settling on lens choices. He advises photographers to avoid preconceived ideas about locations, especially when visiting them for the first time, and to resist defaulting to wide-angle lenses simply because they're shooting landscapes.
The approach Rehman advocates involves three key steps: first, carefully observing the scene; second, training the eye to recognize potential compositions; and third, using judgment to select the appropriate tool—whether wide, mid-range, or telephoto—that best isolates the subject and eliminates distractions. This methodology ensures that equipment facilitates rather than hinders creativity.
The photography community has responded with mixed reactions to Rehman's perspective. Some professionals have shared similar experiences, with one photographer noting that they spent an entire year in New Zealand using only a 50mm prime lens and never felt limited by the lack of wider focal lengths. Others have praised the article's directness and practical approach to lens selection.
Rehman's shift in lens preference reflects his evolving photographic philosophy. While his default used to be 16-35mm or 17-28mm lenses, he now finds himself more inclined toward 24-70mm ranges for general photography work. This evolution demonstrates how even experienced photographers can benefit from regularly reassessing their tools and techniques.
The discussion touches on broader themes within landscape photography, including concerns about the genre becoming overly focused on editing techniques rather than genuine observation of nature. However, Rehman maintains that the joy of photography lies in the creative process itself, regardless of technological advances that might eventually reduce the need for traditional camera work.
