You can experiment with different numbers here to gain a sense of how altering the physical set-up affects the optical results in this type of problem.

The above story is absolutely true, but it leaves out one important detail. That photograph was not the first one I shot. This one was...

The lens formula in physics relates the focal length of an image formed by a thin lens, the distance of the image from the center of the lens, and the distance of the object from the center of the lens. The equation is

A few years ago, my wife and I went on a fall driving tour through part of Northern Ontario. After a great day of shooting we stopped at a beautiful lakeside restaurant, walked in, were seated by the waitress, and each handed a menu. After a cursory glance at the offerings I looked out the restaurant window and saw a photo opportunity that I just couldn't pass up. I put the menu down, told my wife to order something for me, and rushed out of the restaurant. (I'm certain that the waitress thought we'd had a fight.)

Peter has been a dedicated Olympus shooter for nearly 40 years, and has found a way to combine his passion for photography with his love of teaching to develop photography workshops with a focus on landscape, wildlife and astrophotography. Peter’s work has been published in a number of magazines including Canadian Geographic, Shutterbug and Outdoor Photographer. He maintains his own blog with an emphasis on tutorials that assist others in bringing their photography up to the next level.

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When light rays traveling in parallel are bent as they pass through a convex lens, they are bent toward, and thus become focused on, a common point on the opposite side of the lens. This point, F, is called the focal point, and the distance to F from the center of the lens, denoted f, is called the focal length.

Most of us are creatures of habit, and those habits can creep into our photography. It's easy to get stuck in a rut and use the same wide-angle lens, and the same compositional strategies when shooting landscapes. A telephoto lens can open up the possibilities and allow you to see the world in new and interesting ways.

A telephoto lens is a great tool to help isolate your subject from distractions that might pull focus. As a photographer you have the power to control what your viewer sees, and more importantly, what your viewer doesn't see in the final image. A longer focal length can simplify your composition. Just remember to leave some breathing room around your subject. You still want to ensure that there is space for the eye to explore the surroundings and provide context for the main subject.

Telephoto lenses have several characteristics that impact the final image. Of course, the important one is that they have greater reach and therefore pull your subject in closer and have it fill more of the frame. In the process they provide a smaller field of view and greater compression. The greater the focal length, the more pronounced these characteristics become.

Photography is built on the elements of design - line, pattern, shape, etc. A good photographer tries to incorporate these into most of their images. Using a telephoto lens can isolate these elements from the 'big picture' and create an interesting natural abstract.

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I liked the shot, so I packed the gear back into the car and headed into the restaurant where a wonderful pickerel dinner and a glass of wine was waiting for me.

The power of a magnifying lens is just the inverse of its focal length: P = 1 / f. This means that lenses that have short focal lengths have strong magnification capabilities, whereas a higher value of f implies lower magnifying power.

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One of the best skills that any photographer can develop is the ability to mentally 'see' the final photograph before they even bring the camera up to their eye. Part of that pre-visualization is knowing how your camera gear 'sees'. Each lens you own will capture the scene in different ways, and although I mainly rely on my wide-angle lenses to capture landscape scenes there are several reasons why a telephoto lens may be the better choice for some situations.

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For most photographers this may sound like a silly question, but it bares mentioning that, when it comes to focal length, anything beyond a 50mm equivalent is considered to be a telephoto lens. For those who shoot with a crop sensor that focal length will be smaller. For example, a micro 4/3s camera has a 2x crop factor making anything beyond 25mm fall within the telephoto range.

Linear magnification refers to one of the properties of convex lenses, or those that show an outward curvature, like a sphere that has been severely flattened. Their counterparts in the optical world are concave lenses, or those that are curved inward and bend light rays differently than convex lenses.

As I looked at the image on the LCD, I wasn't at all impressed. The wide-angle lens, my primary landscape tool, just wasn't cutting it for this scene. There was way too much negative space and the crescent moon was just a speck. I realized that to capture the scene the way my mind’s eye was seeing it, I would have to switch to my telephoto lens.

I grabbed by camera gear out of the car and quickly headed down to the shoreline. After a few setting changes, and some work with composition, I clicked the shutter release and got this shot...

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One of the issues with photographing a landscape using a longer telephoto lens is that you may not be able to capture as much of the scene as you would like due to the narrower field of view. To compensate for this, try creating panoramas. When I shoot panos I photograph in vertical orientation, overlap each image in the sequence by 30-40%, and since I rarely use a tripod for my landscape images, I use the built-in level to try to ensure each image lines up well.

Beck, Kevin. (2020, December 21). How To Calculate Linear Magnification. sciencing.com. Retrieved from https://www.sciencing.com/calculate-linear-magnification-6148080/

The negative sign as applied to an image that appears on the opposite side of the lens from the object indicates that the image is "real," i.e., that it can be projected onto a screen or some other medium. A virtual image, on the other hand, appears on the same side of the lens as the object and is not associated with a negative sign in pertinent equations.

My primary landscape lens is the M.Zuiko 7-14mm F2.8 PRO. It's fantastic for so many situations. But certainly not all. There are times when a telephoto lens is the better choice.

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Say you position a tube of lipstick 10 cm from a convex lens with a focal length of 6 cm. How far away will the image appear on the other side of the lens?

Beck, Kevin. How To Calculate Linear Magnification last modified March 24, 2022. https://www.sciencing.com/calculate-linear-magnification-6148080/

Olympus makes a variety of telephoto lenses. Many of them are great utility lenses that cover the entire gamut from wide angle to mid-range telephoto. My ‘workhorse’ lens is the 12-100mm F4.0 IS PRO. It has the perfect reach for many of the landscape shooting scenarios that I find myself in.

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Note that this is another way to express the concept of linear magnification. The ratio di to do is the same as the ratio of i to o. That is, the ratio of the height of the object to the height of its image is the same as the ratio of the length of the object to the length of its image.

Beck, Kevin. "How To Calculate Linear Magnification" sciencing.com, https://www.sciencing.com/calculate-linear-magnification-6148080/. 21 December 2020.

Linear magnification, also called lateral magnification or transverse magnification, is just the ratio of size of the image of an object created by a lens to the object's true size. If the image and the object are both in the same physical medium (e.g., water, air or outer space), then the lateral magnification formula is the size of the image divided by the size of the object:

Magnification is the process of appearing to enlarge an object for purposes of visual inspection and analysis. Microscopes, binoculars and telescopes all magnify things using the special tricks embedded in the nature of light-transducing lenses in a variety of shapes.

Telephoto lenses give the illusion that the space between objects has been compressed. This can create an interesting layered effect when photographing distant hills, or make a forest of trees appear denser, or exaggerate the curves in a winding stretch of highway. Part of the appeal of this type of shot is that our own eyes cannot see a scene in this way. Keep in mind that telephoto lenses provide less depth of field for subjects that are fairly close to the lens, but this is less likely to be an issue when pulling in more distant scenes.

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One scene almost demands the use of a longer lens - misty mornings. A low-lying mist can be difficult to capture with a wide angle lens, but zoom in and you see how the mist plays with the light. It also helps isolate your subject and simplify your composition. I rarely use a telephoto lens to photograph a sunrise, but when the sun is well defined through a thicker haze it seems a natural fit.

Although such topics lie beyond the scope of the present discussion, a variety of lens equations pertaining to a host of real-life situations, many of them involving changes in media (e.g., from air to water), can be uncovered with ease on the internet.

On a trip through southern Alberta I came across a beautiful lake with a mirrored reflection and some nice evening light. I attempted to create a wide-angle landscape shot, but with a rather dull foreground, and lack of interest in the sky, the final image wasn't doing the scene justice. Instead I switched to a longer focal length and pulled in the far shore. When your foreground lacks interest, switching to a telephoto lens will help emphasize details in the distant surroundings that you may not be able to get to. I will regularly use this approach when the sky lacks interest as well.

Here M is the magnification, i is the image height and o is the object height. The minus sign (sometimes omitted) is a reminder that images of objects formed by convex mirrors appear inverted, or upside-down.