Tag: Flowers

The mid-range deep of field is on your side!

To Be or Not To Be (as for to have or not to have…)


Olympus M.Zuiko 14-42mm @ 42mm, 1/125sec F5.6 ISO200 Monochrome

There is the ones who are searching for the minimal deep-of-field and there is the others that are looking for a maximum deep-of-field. Portraits, sports, fashion are part of the first category and landscape, architectural, illustration are dedicated in the second type of photography. And to get such results within the traditional optical limitations i.e. maximum aperture in one case and less light diffraction in the other way you have to rely on specific cameras or/and lenses that may be expansive and far less versatile.

Panasonic Lumix G Vario 12-32mm @ 32mm, 1/125sec F5.6 ISO200

Since I am not very fond of big and costly photo equipment my answer to that challenge is simply the following. Why not exploring more abordable photo material and discover how to get image results that will fulfil those special tasks regarding the amount of deep-of-field (DOF) that will satisfy yours needs. Is it possible by using very basic optics such as so-call “kit” lenses? In my modest examples I have tried to outreach the usual standard imposed to these products.And dont forget in this digital world of wonders that most of the time “what you see is what you get” usually apply!

How can we definite mid-range deep-of-field (Mid-DOF)? Anything between two extreme: almost no deep-of-field or about infinite deep-of-field like in landscape photography. So Mid-DOF can be assimilated as an intermediate area between the closest and the longest(or infinite) distances. Most lenses for compact camera format (M4/3, APS-C and 24 X 36mm called wrongly “full-frame”) if not all have the ability to do mid-range deep-of-field by using their smaller aperture settings such as F4.0, 5.6, 8,0 or 11.

Panasonic Lumix G Vario 35-100mm @ 100mm, 1/800sec F7.1 ISO 200 Monochrome

The safety gap
If you are facing many various picture taking conditions it is good to rely on a certain deep-of-field margin. This “safety gap” ensure you that critical focusing is at least obtained for the principal subject  especially considering its volume aspect for example on a face, on objects with incrustations, etc. Sometimes you won’t be able or you will simply forget to double check the full clarity of your subject. This is why a mid-range deep-of-field will play as an insurance for your final image results.

Optical quality pick of the lens
Rarely you will get the optimum quality of your image by using the maximum aperture available on the lens. Furthermore we know already that the diffraction phenomena for an optics will appear by using its minimum aperture. So the best output will be registered in selecting the medium aperture such as F4.0, F5.6 or F8.0 on many lens model or even at F2.8 with lenses doted of a larger maximum aperture (F1.7, F1.8, F2.0).

Compactness
Lens models that are designed with a more moderate or modest maximum aperture are reckoned to be more compact and lighter package a big advantage if you have to carry them extendely. Their smaller size mean also more discretion or less intimidating aspect. All these consideration of better mobility and less carrying fatigue will be fully appreciated for your street or traveling photo projects or any other situation that required an additional effort from your part.

Good pricing on your part
Many moderate maximum aperture lens models are far less expensive compare to their “Pro” counterparts. Often they are available on special selling package with the camera at a ridiculous add-on price tag. I can recommend you without any doubts the Olympus M.Zuiko 14-42mm F3.5-5.6 II R & 12-50mm F3.5-6.3 EZ or the Panasonic Lumix G Vario 12-32mm & 12-60mm both F3.5-5.6 OIS or the Fujifilm Fujinon XF 16-50mm F3.5-5.6 & 18-55mm F2.8-4.0 both OIS which are all excellent optical tools.

Panasonic Lumix G Vario 12-32mm @ 32mm, 1/320sec F5.6 ISO200

What you loose? Essentially a larger maximum aperture for a minimal DOF, a higher quality design and construction and often a better sealing protection for using the lenses in adverse conditions. But you will double or triple your price tag to get them. And you will have to bring them with you…

A picture should tell a story and that story can be very limited when you are selecting a very narrow deep of field or on the contrary the story can be very long (translate boring) if you choose an infinite deep of field. Something in between could be the best thing to do… The choice is yours but a mid-range deep of field choice is certainly on your side. And the beauty of
this is already available on the most affordable (kit) zoom lenses.

Fix our attention on focal fixed lenses. Mix with the Fix(es)!

 

Panasonic Lumix G 42.5mm F1.7

It is a matter of fact that I have a basic tendency to privilege the focal fixed lenses over the zoom (or vari-focal) ones when it comes to qualify them as creative photographic tools. In every formats prime lenses are usually faster, often smaller, seem better built, less intrusive, nicely balanced and easier to handhold and control. The good zoom lenses and more the “Pro” ones are often bigger units with natively smaller maximum aperture but yes their respective variation of focal length represent by itself a big advantage in term of versatility and handling speed. But even considering this specific factor the focal fix lenses are still strongly alive and popular among photographers from professionals to simply amateurs.

Fujinon XF 60mm F2.4 Macro

One of a beauty of the compact format is that the most serious manufacturer players, Fujifilm, Olympus and Panasonic, have really invested on focal fixed lenses as major part of their line-up right from the start. One of the best early example was the Olympus M.Zuiko 12mm F2.0 an equivalent of the 24mm in 35mm film format. We are still waiting for a similar lens offer in APS-C format from Canon and Nikon D-SLR which represent in my sens a mesure of the non-committement from those two camera majors manufacturers for a compact format. And wide angle zoom lenses cannot be fully comparable to a good focal fix doted with a better maximum aperture.

Olympus M.Zuiko 45mm F1.8

Compaticity is another factor in favour of fixed focal lenses. Lighter and more discrete they are a serious tool for non-intimidating “on-the-spot” photography. Their larger maximum aperture give a greater latitude when you are facing low light condition. Moreover this advantage translate also by the availability of a shallow deep-of-feild that is helping you to better discriminate your principal subject from the foreground/background. With less optical distortion (or stronger in-body camera post-treatment) and less visible chromatic aberration the prime lenses will ask less post-editing treatment to get a finer picture.

And focal fixed lenses can be more spontaneous photographic tools in same case being less intrusive for the main subject as already mentioned.

Compare to the zoom optics, the focal fixed lenses will ask you more effort to apprehend your subject, prepare yourself and your equipment and take finally the picture. But the result will be very often more precise, more creative on your part and at the end more rewarding.

Olympus M.Zuiko 17mm F1.8
Panasonic Lumix G 42,5mm F1.7
Panasonic Lumix G 42.5mmF1.7
Panasonic Lumix G 20mm F1.7
Olympus M.Zuiko 75mm F1.8