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Fun with MF images 2024
- Thread starter MGrayson
- Start date
stngoldberg
Well-known member
I love your images
stanley
hasselblad 503cw
Well-known member
Hasselblad 503CW P65+ ISO 50 1/15 CFE 350MM SA @F5.6 
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Hiver_0007
Bill Caulfeild-Browne
Well-known member
Katherine Cove, Lake Superior. XF/IQ4/45mm BR
Bill Caulfeild-Browne
Well-known member
Hattie Cove, Lake Superior. XF/IQ4/APO 300mm
Bill Caulfeild-Browne
Well-known member
Road to infinity. XF/150mm.
tenmangu81
Well-known member
Bordeaux, France. Rainy day.
Hasselblad X1D II + XCD45P. Lightroom Classic.
Hasselblad X1D II + XCD45P. Lightroom Classic.
B0026346
B0026350
stngoldberg
Well-known member
Still life image, Hat
stanley
stanley
MGrayson
Subscriber and Workshop Member
I really, REALLY, was going to go outside and wander around the city today to take pictures. I even have a new (old) lens, and it's a great one - the Mamiya 645 200/2.8 APO (Thank you, @JoelM ). Sharp wide open (ok, a bit of fringing wide open), about the same size and weight as the Canon 200/2.8 or the Zeiss 250/5.6 SA. Notice the aperture difference between the Mamiya and the Zeiss! Now being an old telephoto, its close focus isn't THAT close. Like 8 feet. OTOH, it's a 200mm, so I can fill up the frame with you know who. But I was NOT going to show another Soup pic.
Well... the sky is dark overcast. So here is almost full frame X2D, Mamiya 645 200/2.8 APO, 1/160, ISO 1600.
Edit: This is not about sensor size, but about focal length. Apologies for the earlier version of this post, which had a significant, but false, conclusion. That's the way research goes. If one percent of your ideas work, it means you're not having enough ideas.
Portraiture with different focal length lenses gets a lot of discussion, but it's almost always about the geometry of the head - ears, nose, chin - separation from the background, and how they render differently from wide angle to telephoto. But there's another effect that seldom gets mentioned. Here's the problem. DoF *is* focal length agnostic, that is, if you have the same image framing (more accurately, same magnification, but we'll let it slide) and the same f-stop, you get (almost) the same DoF - the bokeh near the focal plane is the same for different focal lengths. But the bokeh changes a lot as you move further away from the zone of focus. Here, physical aperture size starts to take over. This should, perhaps, be the subject of its own thread, but I'll do it here first.
As always, I start with a universal principle: Every light ray that enters the lens appears in the image exactly where it passes through the plane of focus. This is annoyingly powerful. In fact, it defines the plane of focus. If Bob's nose is on the plane of focus, then every light ray from a point on Bob's nose appears at the same point in the final image. In other words, his nose is in focus. Any point off that plane will have light rays - the ones that enter the camera - fill out a circle on the plane of focus, and that is exactly how it will appear in the final image. Reread this paragraph until you feel it in your bones.
What about DoF? A spot a bit behind the plane of focus will shoot a cone of light rays at the lens opening. That cone intersects the focal plane in a small disk, and so that small disk is how that point appears in the final image. How fast that disk grows depends only on the cone angle. And THAT is the same for different focal lengths with adjusted subject distances and the same f-stops.
Very close to the focal plane we see
Choose a Circle of Confusion (how big a dot has to get before you feel it's not in focus). Say, 0.01 units. The horizontal line at height 0.01 crosses the curves at about 0.04 units on either side of the focal plane. That's your zone of "good enough" focus.
But when you get further away from the zone of focus, the smaller lens aperture cone stays at a sharper angle than the larger lens - the bokeh disks keep increasing for the large lens, whereas they quickly level off for the smaller one. A distant light source will appear the size of the physical aperture placed on the focal plane in the final image, and that DOES scale with focal length.
Here's the actual bokeh size away from the focal plane Note that the smaller lens gets bigger bokeh on the camera side because the lens itself is much closer to the subject.
The shorter lens has a quicker transition from linear growing bokeh to constant size bokeh
Well, I'll leave it here,
Matt
(Actually, donut bokeh and cat eye bokeh stem from the shapes of the cone of light rays entering the lens. Mirror lenses have a secondary mirror blocking the center of the lens, and wide aperture cones get vignetted by the lens construction when the point is off near the edge.)
Well... the sky is dark overcast. So here is almost full frame X2D, Mamiya 645 200/2.8 APO, 1/160, ISO 1600.
Edit: This is not about sensor size, but about focal length. Apologies for the earlier version of this post, which had a significant, but false, conclusion. That's the way research goes. If one percent of your ideas work, it means you're not having enough ideas.
Portraiture with different focal length lenses gets a lot of discussion, but it's almost always about the geometry of the head - ears, nose, chin - separation from the background, and how they render differently from wide angle to telephoto. But there's another effect that seldom gets mentioned. Here's the problem. DoF *is* focal length agnostic, that is, if you have the same image framing (more accurately, same magnification, but we'll let it slide) and the same f-stop, you get (almost) the same DoF - the bokeh near the focal plane is the same for different focal lengths. But the bokeh changes a lot as you move further away from the zone of focus. Here, physical aperture size starts to take over. This should, perhaps, be the subject of its own thread, but I'll do it here first.
As always, I start with a universal principle: Every light ray that enters the lens appears in the image exactly where it passes through the plane of focus. This is annoyingly powerful. In fact, it defines the plane of focus. If Bob's nose is on the plane of focus, then every light ray from a point on Bob's nose appears at the same point in the final image. In other words, his nose is in focus. Any point off that plane will have light rays - the ones that enter the camera - fill out a circle on the plane of focus, and that is exactly how it will appear in the final image. Reread this paragraph until you feel it in your bones.
What about DoF? A spot a bit behind the plane of focus will shoot a cone of light rays at the lens opening. That cone intersects the focal plane in a small disk, and so that small disk is how that point appears in the final image. How fast that disk grows depends only on the cone angle. And THAT is the same for different focal lengths with adjusted subject distances and the same f-stops.
Very close to the focal plane we see
Choose a Circle of Confusion (how big a dot has to get before you feel it's not in focus). Say, 0.01 units. The horizontal line at height 0.01 crosses the curves at about 0.04 units on either side of the focal plane. That's your zone of "good enough" focus.
But when you get further away from the zone of focus, the smaller lens aperture cone stays at a sharper angle than the larger lens - the bokeh disks keep increasing for the large lens, whereas they quickly level off for the smaller one. A distant light source will appear the size of the physical aperture placed on the focal plane in the final image, and that DOES scale with focal length.
Here's the actual bokeh size away from the focal plane Note that the smaller lens gets bigger bokeh on the camera side because the lens itself is much closer to the subject.
The shorter lens has a quicker transition from linear growing bokeh to constant size bokeh
Well, I'll leave it here,
Matt
(Actually, donut bokeh and cat eye bokeh stem from the shapes of the cone of light rays entering the lens. Mirror lenses have a secondary mirror blocking the center of the lens, and wide aperture cones get vignetted by the lens construction when the point is off near the edge.)
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Wherever I Lay My Hat, Thats My Home- Paul Young
stngoldberg
Well-known member
Lately I’ve been entertaining myself creating still life images.
The detail on the leaves and the tulips is most likely a function of the the phase one blue ring 80mm lens along with the 150mpx sensor
Stanley
The detail on the leaves and the tulips is most likely a function of the the phase one blue ring 80mm lens along with the 150mpx sensor
Stanley
mristuccia
Well-known member
Etna Vulcan seen from Siracusa, Sicily.
Hasselblad 503CW + CFV-50c Mk I + Planar 80 C T*.
Hand held
Hasselblad 503CW + CFV-50c Mk I + Planar 80 C T*.
Hand held
drunkenspyder
Well-known member
You should have given a word count alert. I could have poured and enjoyed a glass of Pinot with this post.I really, REALLY, was going to go outside and wander around the city today to take pictures. I even have a new (old) lens, and it's a great one - the Mamiya 645 200/2.8 APO (Thank you, @JoelM ). Sharp wide open (ok, a bit of fringing wide open), about the same size and weight as the Canon 200/2.8 or the Zeiss 250/5.6 SA. Notice the aperture difference between the Mamiya and the Zeiss! Now being an old telephoto, its close focus isn't THAT close. Like 8 feet. OTOH, it's a 200mm, so I can fill up the frame with you know who. But I was NOT going to show another Soup pic.
Well... the sky is dark overcast. So here is almost full frame X2D, Mamiya 645 200/2.8 APO, 1/160, ISO 1600.
Edit: This is not about sensor size, but about focal length. Apologies for the earlier version of this post, which had a significant, but false, conclusion. That's the way research goes. If one percent of your ideas work, it means you're not having enough ideas.
Portraiture with different focal length lenses gets a lot of discussion, but it's almost always about the geometry of the head - ears, nose, chin - separation from the background, and how they render differently from wide angle to telephoto. But there's another effect that seldom gets mentioned. Here's the problem. DoF *is* focal length agnostic, that is, if you have the same image framing (more accurately, same magnification, but we'll let it slide) and the same f-stop, you get (almost) the same DoF - the bokeh near the focal plane is the same for different focal lengths. But the bokeh changes a lot as you move further away from the zone of focus. Here, physical aperture size starts to take over. This should, perhaps, be the subject of its own thread, but I'll do it here first.
As always, I start with a universal principle: Every light ray that enters the lens appears in the image exactly where it passes through the plane of focus. This is annoyingly powerful. In fact, it defines the plane of focus. If Bob's nose is on the plane of focus, then every light ray from a point on Bob's nose appears at the same point in the final image. In other words, his nose is in focus. Any point off that plane will have light rays - the ones that enter the camera - fill out a circle on the plane of focus, and that is exactly how it will appear in the final image. Reread this paragraph until you feel it in your bones.
What about DoF? A spot a bit behind the plane of focus will shoot a cone of light rays at the lens opening. That cone intersects the focal plane in a small disk, and so that small disk is how that point appears in the final image. How fast that disk grows depends only on the cone angle. And THAT is the same for different focal lengths with adjusted subject distances and the same f-stops.
Very close to the focal plane we see
Choose a Circle of Confusion (how big a dot has to get before you feel it's not in focus). Say, 0.01 units. The horizontal line at height 0.01 crosses the curves at about 0.04 units on either side of the focal plane. That's your zone of "good enough" focus.
But when you get further away from the zone of focus, the smaller lens aperture cone stays at a sharper angle than the larger lens - the bokeh disks keep increasing for the large lens, whereas they quickly level off for the smaller one. A distant light source will appear the size of the physical aperture placed on the focal plane in the final image, and that DOES scale with focal length.
Here's the actual bokeh size away from the focal plane Note that the smaller lens gets bigger bokeh on the camera side because the lens itself is much closer to the subject.
The shorter lens has a quicker transition from linear growing bokeh to constant size bokeh
Well, I'll leave it here,
Matt
(Actually, donut bokeh and cat eye bokeh stem from the shapes of the cone of light rays entering the lens. Mirror lenses have a secondary mirror blocking the center of the lens, and wide aperture cones get vignetted by the lens construction when the point is off near the edge.)
Matt
P.S. I like that lens also. Much as I love my Superachromats 250 and 350, more often than not, I find myself carrying the Mamiyas.
PeterA
Well-known member
I'm thinking the photograph could do with more above ...lovely tones
cunim
Well-known member
This one has a biblical tinge. Yes, I know the boat is Viking but .. oh well. IQ4, 138 HR, moved (not stacked)
This wood was found buried in the desert sand, within the boundaries of a ruined fortress destroyed by the Romans more than 2000 years ago. This little artefact is very old. For some reason, it reminds me of the story of Jonah and the whale.
This wood was found buried in the desert sand, within the boundaries of a ruined fortress destroyed by the Romans more than 2000 years ago. This little artefact is very old. For some reason, it reminds me of the story of Jonah and the whale.
Bill Caulfeild-Browne
Well-known member
Thanks - I'll try that and post if it works! (I think there was some distracting element in the background.)
P. Chong
Well-known member
The Sultan's Mosque, viewed through the gateway along Kandahar Street. On the right is the rest of the mosque complex. On the right is a famous Padang restaurant. And in the background is the towering Park View, a building we locals call Gotham City, for the gretesques decorating the top of the building.
Alpa 12 Plus, Rodenstock HR32 with Phase One IQ4 150.
Alpa 12 Plus, Rodenstock HR32 with Phase One IQ4 150.