The first thing to consider before choosing an aperture is what is important in your photograph. In fact, this is one of the most important things you should ask yourself whenever you are out taking landscape photos.

If you’re still not sure about what lens you should be using or how close to stand do the following. If you’re shooting a portrait use a lens somewhere 70-200mm and then stand somewhere where you can fit all of the horse/person in the frame. Humans for a close up portrait look closest to reality at around 70mm, for horses aim a little longer at 100mm. No matter your subject up to 200mm you can’t go far wrong and overall you may get overall a more aesthetically pleasing image.

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Give a camera phone to a beginner and sometimes they will get a good photograph, but give the same person a gfx100 and they would probably struggle, whereas if a pro had the Fujifilm camera, they would be able to manipulate the settings and the composition to get a great photo or at least the beginnings of a great photo.

If you have things really close to the lens, like 10-20cm away and also things on the horizon, and they are all important … you may have to focus stack, which is a whole new subject that I cover in this video.

On a tripod you could then legitimately shoot at f16, ISO 250 with a shutter speed of 1 second and get the same exposure but much more in focus … and if I didn’t have a tripod, in this case I would try to balance the camera on my bag, or on a wall, somewhere to stabilise the camera and use those better settings to get a good photograph.

I try to do this when I have set up the shot, and it has stopped me from getting too excited and forgetting to get the right settings, especially when there is some fleeting light that isn’t going to be around for long.

As a rule, you want to set your aperture between f11 and f16 to get more of your photograph in focus. Anything bigger than this, f1.4 - f5.6, will start to blur the foreground and anything smaller (f18-f32) will start to soften the whole photograph.

Once you understand how perspective distortion affects how you see an object, it allows you to select the appropriate lens for your subject. The simplest way is walk back until your subject looks in proportion and normal. For a horse I would want to be standing at least 10 metres back possibly a bit more. It will depend on if I’m shooting the whole horse or just it’s head. Now I am in position I think about what I want my image to look like in the frame. Do I want the horse to fill the frame? Do I want it with lots of surroundings? If I want it to fill the frame I am going to want to use something 70mm+. If I want to include scenery I’m going to rock a 24mm!

Have you noticed when taking a photo of your horse with your phone that their head is huge, and I mean HUGE? Yes you’re not going mad it will look disproportionally hug. This is due to something called perspective distortion. There are two main types of distortion that occur when taking a photo and they have both similar and different linked effects. The first is perspective distortion and the second optical. Optical is broken into the sub categories of barrel, pin and moustache distortion.

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Image below left is a straight out of camera 24mm image showing barrel distortion and associated vignette. Below right (or second image if viewing on a mobile) shows the corrected image using only Lightroom corrections. Even at 24mm, as there are no straight lines to highlight it the barrel distortion is minimal.

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This is great for beginners as aperture isn’t so important to get everything in focus. But just know that the bigger sensors do give better quality as there is physically more sensor to capture the small details in the frame … however they need a higher level of understanding of photography to get the best out of them.

If you have to stand further away than the ‘ideal’ viewing point you will start seeing compression. This won’t be that noticeable unless using a much longer focal length. The compression effect basically makes two points seem closer together than they actually are. Again this is caused by your position in relation to the objects, not by the lens. Look at a mountain range from many many miles away and the mountain peaks will look like they are on top of each other. In reality they are potentially miles apart. All you do with a long zoom lens (300mm+) is make the effect more noticeable. The further away you are from something the closer two objects in front of one another will look, but it’s most obvious when you zoom in.

This photo was taken at f2.8 on the RX10iii … it isn’t the world’s best photo, but I really like how it came out … and I have this hanging on my wall at home.

The amount of distortion all three create is actually normally quite minimal except at the very widest focal lengths. Optical distortion is often blamed incorrectly for the effects of perspective distortion which is far more noticeable.

You won’t always get it right and sometimes you will look back at your photographs and wonder what you were thinking … in fact, I sometimes still do this, and I have been a photographer since 1996 … and this is what makes photography so frustrating and infuriating but when you get it right, it really does make it all worthwhile, after all, if it was easy, it would get really boring really quickly!

Depth of field refers to how much is in focus from front to back. Generally, with a smaller aperture (higher F-number), the depth of field will be larger than with a bigger aperture (smaller f-number).

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Aperture is the size of the hole you set your camera to to let light in. It is displayed as an f number and the smaller the f number the bigger the hole.

This table shows the approximate equivalent depths of field depending on aperture and sensor size with a fixed distance to the subject

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If you look at the above photo of the robin, the fence closest to the camera is big, furthest away it is small. All of it is exactly the same height but it looks smaller because it is further away. The closer you are to the object the more dramatic the distortion fall off will be from front to back.

If everything is far away and all at the same distance from you, you can use the sweet spot of the lens at around f8 if there is enough light for this setting.

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The often misunderstood distortion is perspective. It is not caused by the camera or lens, but your position in relation to the subject. Often people call it lens or focal length distortion which is incorrect.

The bigger the object the further back you will need to stand. For buildings you are likely to meet issues with vertical perspective distortion wherever you stand, unless miles away! On the most part unless a specialist architectural photographer it’s not a huge worry. If it is, you can use a tilt-shift lens which is designed to specifically counteract the effects of perspective distortion. Be warned though they are not cheap!

This photograph was shot at f16 and everything from the grass in the foreground to the horizon is in focus. This wouldn’t have been the case if I had used a wider aperture like f5.6.

If this isn’t an option, you need to rethink your photograph. Is there a way to use that shallow depth of field to add to the photograph?

Well, this comes down to a lot of different things from the quality of the sensor, the quality of the glass, the dynamic range of the camera and many other factors. So, there is a lot more to this than just picking one camera that fits all. Different cameras and different sensors work better for certain needs, conditions and skill levels.

You may be wondering what focal length do we see in? The answer is the eye sees at 22mm. BUT given to lots of clever science in reality it is closest to the effects of a 50mm lens. I would though rarely shoot a portrait at 50mm as it is not the most flattering! For humans for a head only portrait I would shoot at at least 70mm. For horses 100mm, but I often shoot at 200mm as I like the subtle effects of compression. At 200mm you will get more background blur/bokeh than you will at 70mm. You must weigh up which elements are most important to your artistic vision. The right/below image was shot at 200mm but with the angle etc does not show notable compression distortion.

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Let’s say you want to photograph some grand trees and show how big they are compared to a couple of walkers in the environment. Then the trees and the people are important, and you don’t have to worry about having a bit of blur in the foreground, in fact in this example below, I’d say it is preferable to blur out the foreground, so you control where the viewer will look … and to do this, you use a really wide aperture (Which is a low f number). Click here if you are unsure how the aperture f number rating works.

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So if you are shooting with a camera that has a 1” sensor, you could get everything in focus from front to back with an aperture of f4 whereas with a medium format camera, you might have to shoot at f16.

But actually sometimes distortion is good and desirable so you don’t always have to correct it. The prime example of this is when using a fisheye lens. They are designed to push barrel distortion to the limits as a desired effect. You wouldn’t purposefully use a fisheye lens, then try and correct the distortion, it’s an artistic choice.

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Let’s say you are at ISO 1000, the shutter speed is at 1/50 second with a 50mm lens on the Sony A7iii, shooting handheld, and to get a good exposure you must open the aperture up to f4.

Katie Mortimore is a creative wedding & equestrian photographer based on the Wiltshire Hampshire border who travels across Britain for projects.

As you raise your f number, making the aperture smaller, the image becomes sharper, and most lenses are sharpest around f8. However, this doesn’t mean you should just shoot everything at f8. You need to take into consideration the depth of field.

The other day I was out on-location taking photographs of a big landscape, and the foreground was starting to get a bit blurry … this got me thinking about the best apertures to use for landscape photography to get the most out of my camera.

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Firstly let’s discuss optical or lens distortion which is created due to the optics of the glass inside the lens. If you’ve not seen the glass inside they are not flat but instead have curves. The curve varies on each according to the lens focal width. Commonly wide angle lenses create barrel distortion and telephoto lens pincushion distortion. A small selection of mainly older, but some modern lenses create moustache distortion.

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The suggested ideal focal length where optical distortion is minimal is somewhere around 200mm but honestly is minimal from 50mm up.

So if you were to take a photograph of a scene with a medium format camera like the Fujifilm GFX100 and then photograph the same scene with the Sony RX100, at the same aperture, distance and relative focal length, the RX100 would have a much deeper depth of field giving you more in focus from front to back …

However, this is only considering a certain type of landscape scenario. Different apertures can be beneficial in different circumstances, and I cover all those circumstances in this article …

With all three types of optical distortion, if you were to imagine a grid of squares overlaid on the image you would see a different distortions pattern. In all though the centre vertical and horizontal lines will be straight.

If you need to get everything in focus, you must get the camera on a tripod so you can close your aperture down, letting you lengthen your shutter speed and lower your ISO.

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Other times, the whole of your photograph might be really far away, like this mountain in the Dolomites. If this is the case, you can get away with wider apertures as it is all so far away, and all on the same focal plane.

I have a range of articles covering both the basics and more in depth areas of photography (see below!). Plus I also offer 1-2-1 mentoring and training.

If we step away from cameras entirely and think about what we see with our own eyes instead it can be easier to understand. If you stood next to a very long wall, say the great wall of china, the bit of the wall you are next to will look utterly enormous, but a bit of wall a mile away will look tiny. We all know the wall is still enormous a mile away but because of our perspective to it, it looks small.

Take this image right (below) if you look carefully the horse is actually jumping the middle element of a combination, not the last. You can see poles from all three parts which are between 7-11m between one another. As this was shot at 400mm the gaps between them look smaller than they actually are. 99% of the time compression is not going to be an issue for you. It can make a horse/object look ‘stouter’ than it actually is. I would leave your 300mm+ lenses for sport images when you really need them. Aka when you can’t stand close enough to your subject to use a 70-200mm!

Every lens has a sweet spot and (almost) every lens has a bit of a weakness. This can vary from lens to lens, but generally, wide open, at the lower f-numbers all but the most expensive lenses will be soft around the edges.

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People get confused and think the lens is creating the distortion which is inaccurate. If you choose a position and then take several photos at different focal lengths in the same position, you will see the same level of distortion in each photo. The photo to the right/below shows an image taken at 24mm with a crop window applied. That same image cropped is then below next to a 42mm image slightly cropped and a 70mm uncropped image. As you can see they are essentially identical. There is no change in distortion, because my distance between the horse did not change between them.

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If everything in the image is important, then you need to use a smaller aperture, and something like f11 to f16 is a great aperture for this … most of the time! Read on and you will start to understand what I mean.

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If you don’t have a lens circa 70-200mm you will need to still stand in the same position then crop the resulting image out of camera. Do not stand closer to the object to compensate.

Now if you want to have a read about getting better exposures in your landscape photographs, click here, I go into detail about getting better photographs when you are out hiking with your camera!

You can’t really raise the ISO as your shot will become noisier, you can’t lower the shutter speed because you will start to blur the shot from the movement of your hands … so what do you do?

Another thing to take into consideration is the size of the sensor. The bigger the sensor, the shallower the depth of field is for a given aperture at a fixed distance.

Barrel distortion is as it sounds, shaped like a barrel. Imagine the middle of each side being pulled out away from the centre. Pincushion is the opposite where the centre of each side is pushed in. Moustache is a combination of the two and the hardest to deal with as the distortion can be very irregular.

But fear not optical distortion is normally very easy to correct. Most mainstream lenses will have a lens correction profile. They are available with popular editing programs to apply to an image with the click of a button. The metadata from your camera will tell the program the lens used so you only need to click to confirm application.