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Jan-15a - Winter Vase_4857b.jpg
More experiments with still-life and interior lighting. This was done
with halogen work-lights and processed as "incandescent" white balance through Bibble software. I also spent some time trying to find a good depth-of-field setting. The total depth of the subject was about 9" and it was 3' in front of the background wall and about 4.5' from the camera. I wanted the entire subject in focus, but the background as blurred as possible. This was shot with a Canon f1.4 50mm lens, and I did a whole series in 2/3-stop increments from f1.4 through f18. I ended up with this f5.6 as my preferred shot. The f1.4 just couldn't keep the entire subject in focus, and of course the smallest lens openings made the background sharper and more distracting than I wanted. The thing I found most interesting was that in a couple of cases, a larger stop produced a better image than a smaller on. For example, this f5.6 was noticeably clearer than the f7.1 shot. I'm not sure why that would be. JD |
#2
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Jan-15a - Winter Vase_4857b.jpg
In article , John - Pa.
wrote: More experiments with still-life and interior lighting. This was done with halogen work-lights and processed as "incandescent" white balance through Bibble software. I also spent some time trying to find a good depth-of-field setting. The total depth of the subject was about 9" and it was 3' in front of the background wall and about 4.5' from the camera. I wanted the entire subject in focus, but the background as blurred as possible. This was shot with a Canon f1.4 50mm lens, and I did a whole series in 2/3-stop increments from f1.4 through f18. I ended up with this f5.6 as my preferred shot. The f1.4 just couldn't keep the entire subject in focus, and of course the smallest lens openings made the background sharper and more distracting than I wanted. The thing I found most interesting was that in a couple of cases, a larger stop produced a better image than a smaller on. For example, this f5.6 was noticeably clearer than the f7.1 shot. I'm not sure why that would be. JD begin 644 Winter Vase_4857b.jpg It looks very nice. :-) -- Peace, Om Remove _ to validate e-mails. "My mother never saw the irony in calling me a Son of a bitch" -- Jack Nicholson |
#3
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Jan-15a - Winter Vase_4857b.jpg
John - Pa. wrote:
[...]sharper and more distracting than I wanted. The thing I found most interesting was that in a couple of cases, a larger stop produced a better image than a smaller on. For example, this f5.6 was noticeably clearer than the f7.1 shot. I'm not sure why that would be. JD The smaller stop's larger "depth of field" means there is a larger region where the light rays _almost_ focus, which shows up as a slight fuzziness. It's this "almost focus" that produces the illusion of larger depth of field, BTW. HTH |
#4
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Jan-15a - Winter Vase_4857b.jpg
John - Pa. wrote:
[...] The thing I found most interesting was that in a couple of cases, a larger stop produced a better image than a smaller on. For example, this f5.6 was noticeably clearer than the f7.1 shot. I'm not sure why that would be. JD PS: forgot to say it's a good picture of a lovely arrangement. Well done! |
#5
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Jan-15a - Winter Vase_4857b.jpg
On Mon, 15 Jan 2007 10:36:17 -0500, John - Pa. wrote:
More experiments with still-life and interior lighting. This was done with halogen work-lights and processed as "incandescent" white balance through Bibble software. I also spent some time trying to find a good depth-of-field setting. The total depth of the subject was about 9" and it was 3' in front of the background wall and about 4.5' from the camera. I wanted the entire subject in focus, but the background as blurred as possible. This was shot with a Canon f1.4 50mm lens, and I did a whole series in 2/3-stop increments from f1.4 through f18. I ended up with this f5.6 as my preferred shot. The f1.4 just couldn't keep the entire subject in focus, and of course the smallest lens openings made the background sharper and more distracting than I wanted. The thing I found most interesting was that in a couple of cases, a larger stop produced a better image than a smaller on. For example, this f5.6 was noticeably clearer than the f7.1 shot. I'm not sure why that would be. JD It is a beautiful shot. Who would think that thistles and things could be so beautiful. |
#6
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Jan-15a - Winter Vase_4857b.jpg
John, that's a beautiful composition and you have made the most of the
light - browns do very well in warm light. The clearer image @ f/5.6 isn't surprising, you had '"just enough" depth of field and the actual MTF (Modulation Transfer Function) in a prime lens is usually best when near wide open and decreases as the aperture is closed down, when the diffraction limit is reached. The trick is in adjusting focus so that the depth of field is "just enough" at the largest possible aperture. Regards, David "Routemeister" Thompson http://picasaweb.google.com/david.routemeister John - Pa. wrote in message ... More experiments with still-life and interior lighting. This was done with halogen work-lights and processed as "incandescent" white balance through Bibble software. I also spent some time trying to find a good depth-of-field setting. The total depth of the subject was about 9" and it was 3' in front of the background wall and about 4.5' from the camera. I wanted the entire subject in focus, but the background as blurred as possible. This was shot with a Canon f1.4 50mm lens, and I did a whole series in 2/3-stop increments from f1.4 through f18. I ended up with this f5.6 as my preferred shot. The f1.4 just couldn't keep the entire subject in focus, and of course the smallest lens openings made the background sharper and more distracting than I wanted. The thing I found most interesting was that in a couple of cases, a larger stop produced a better image than a smaller on. For example, this f5.6 was noticeably clearer than the f7.1 shot. I'm not sure why that would be. JD -------------------------------------------------------------------------------- I am using the free version of SPAMfighter for private users. It has removed 8159 spam emails to date. Paying users do not have this message in their emails. Try SPAMfighter for free now! |
#7
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Jan-15a - Winter Vase_4857b.jpg
John, that's a beautiful composition and you have made the most of the
light - browns do very well in warm light. The clearer image @ f/5.6 isn't surprising, you had '"just enough" depth of field and the actual MTF (Modulation Transfer Function) in a prime lens is usually best when near wide open and decreases as the aperture is closed down, when the diffraction limit is reached. The trick is in adjusting focus so that the depth of field is "just enough" at the largest possible aperture. Regards, David "Routemeister" Thompson http://picasaweb.google.com/david.routemeister John - Pa. wrote in message ... More experiments with still-life and interior lighting. This was done with halogen work-lights and processed as "incandescent" white balance through Bibble software. I also spent some time trying to find a good depth-of-field setting. The total depth of the subject was about 9" and it was 3' in front of the background wall and about 4.5' from the camera. I wanted the entire subject in focus, but the background as blurred as possible. This was shot with a Canon f1.4 50mm lens, and I did a whole series in 2/3-stop increments from f1.4 through f18. I ended up with this f5.6 as my preferred shot. The f1.4 just couldn't keep the entire subject in focus, and of course the smallest lens openings made the background sharper and more distracting than I wanted. The thing I found most interesting was that in a couple of cases, a larger stop produced a better image than a smaller on. For example, this f5.6 was noticeably clearer than the f7.1 shot. I'm not sure why that would be. JD -------------------------------------------------------------------------------- I am using the free version of SPAMfighter for private users. It has removed 8159 spam emails to date. Paying users do not have this message in their emails. Try SPAMfighter for free now! |
#8
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Jan-15a - Winter Vase_4857b.jpg
Beautiful photo John!
~Bob John - Pa. wrote in message ... More experiments with still-life and interior lighting. This was done with halogen work-lights and processed as "incandescent" white balance through Bibble software. I also spent some time trying to find a good depth-of-field setting. The total depth of the subject was about 9" and it was 3' in front of the background wall and about 4.5' from the camera. I wanted the entire subject in focus, but the background as blurred as possible. This was shot with a Canon f1.4 50mm lens, and I did a whole series in 2/3-stop increments from f1.4 through f18. I ended up with this f5.6 as my preferred shot. The f1.4 just couldn't keep the entire subject in focus, and of course the smallest lens openings made the background sharper and more distracting than I wanted. The thing I found most interesting was that in a couple of cases, a larger stop produced a better image than a smaller on. For example, this f5.6 was noticeably clearer than the f7.1 shot. I'm not sure why that would be. JD |
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