Traditionally, the term ultrawides was reserved for lenses of 24mm and wider for a camera that was loaded with film. With DSLR’s, this holds true for bodies with full frame sensors. The same applies to what manufacturers now refer to as focal lengths that are “equivalents” to APS sized sensors. To keep things simple and not worry about doing the math, know that if you have, or intend to purchase, a lens in the 12-24 “equivalent” range, you’re good. The greater the magnification factor of your sensor, the wider the ”equivalent” you’ll need to have.

Ultrawides are most commonly used in tight quarters to take in the entire space. For instance, if you’re in a small room but you need to photograph all that’s included on the same frame, use an ultrawide. The same holds true if you’re outdoors. If you’re in a big city and you need to include the tall buildings in a single capture or in a mountainous area and need to include the peak and its reflection in a lake, an ultrawide may be necessary. 

©Russ Burden

Ultrawides take some getting used to. The wider the lens, the more careful you’ll need to be as it’s easy to include your feet in the frame. It’s essential you study every square millimeter of the composition as a very small movement of the camera creates a huge difference in what’s included in the viewfinder. If you tip the lens up or down, be very cognizant of vertical lines that appear along the edges of the frame. The wider the lens, the more they will be distorted. The lines bend and appear as if they will converge somewhat like railroad track like distortion. Many photographers use this distortion as a creative tool but if the goal is to keep all lines straight, it’s essential to match the angle of the camera to the angle of the lines - think architecture type images.

©Russ Burden

Another aspect of wide angle distortion about which to be aware is proximity of the closest subject to the front of the lens. The effect can be used to create comic book type effects of people. A huge nose and distorted forehead is the result of photographing a person’s face if an ultrawide is placed close to the subject. The effect can be applied to a landscape but to the photographer’s benefit. A small group of flowers can be made to look much larger the closer the lens is placed to it. In effect, the photographer is distorting the reality of the foreground element to create a commanding foreground focal point. 

An ultrawide inherently provides an extreme amount of depth of field. Landscape photographers often use them in windy conditions as they can use faster shutter speeds to freeze a wind blown foreground. If an f8 aperture is all that’s needed to provide the depth of field, the corresponding shutter speed may be fast enough to freeze the foreground subject as opposed to the photographer needing to stop down to f22 which may necessitate too slow a shutter speed. 

©Russ Burden

Creatively, ultrawides are a great tool. In that they’re not often used, images made with them that show off their positive and artistic qualities stand out in a crowd. The images show a fresh perspective. If you have one tucked away in your camera bag but don’t often use it, take off the lens you currently have on your camera and replace it with the ultrawide. Rephotograph many of the same subjects in your comfort zone using it. Get in super close to take advantage of its deep depth of field and exaggerated perspective.   You just may find it’s more of a “go to” lens than you thought.

©Russ Burden

To learn more about this topic, join me on one of my Nature Photo Tours. Visit russburdenphotography.com and click on the NATURE TOURS button for more information. Also, email me to be placed on my Tip of the Week list and to receive announcements about upcoming tours specials or to pick up a copy of my book, Amphoto’s Complete Book of Photography. You can purchase a signed copy directly from me or visit your local book store or Amazon. Contact me at rburden@ecentral.com to order your signed copy.