Captain Kidd
Well-known
These two pictures by Harry Gruyaert show an incredible amount of depth of field, is this achieved just through using the hyperfocal type focusing, im wondering how close he was to the actual window in each case, apparently he used a 50mm lens mostly, 3 metres?. There is the chance those curtains are in fact giant curtains, the one with the swan boats might possibly be.
Attachments
pvdhaar
Peter
There are more ways than one to skin a cat.. Maybe this was done using focus stacking? I don't think you could get the left one through tilt alone, but tilting could definitely help in the right hand side image..
Maybe a tripod and a small aperture?
sevo
Fokutorendaburando
As you said, careful placement of elements and good framing will do the trick.
charjohncarter
Mentor
On my Elmar 50mm: f22 is 6 feet to Infinity. If he used a 35mm even greater.
Captain Kidd
Well-known
I doubt he stacked pictures, if you mean combining two to make one. Though what do you mean by “tilting”, I always thought that was related to landscapes that look like minatures.
I was thinking a 50mm, at about 3metres, though its the darkness of the day in the image on the right with the boats, could hardly be f16. It seems like a fast shutter speed.
I was thinking a 50mm, at about 3metres, though its the darkness of the day in the image on the right with the boats, could hardly be f16. It seems like a fast shutter speed.
Captain Kidd
Well-known
Thats amazing, 6ft to infinity, yeah it could have been something like that alright.
Captain Kidd
Well-known
Though the available light, I cant see it being f22.
BLKRCAT
75% Film
Tripod, F22. Done
sevo
Fokutorendaburando
The second image appears to have a much wider field of view than 50mm, by the way...
Captain Kidd
Well-known
sevo
Fokutorendaburando
Whatever it takes. With an overcast sky roughly in balance with the indoor light, something between 1/4 and 1/30 would be my meter-less guesstimate for f/16 on on ISO400 film. But given a Magnum photographer, it may just as well be from a recent pro DSLR with enough low-light performance to hand-hold that aperture.
and could even be a smaller sensor camera adding to greater depth of field.
BLKRCAT
75% Film
You are shooting aperture priority so as sevo says whatever the camera says to expose. If you were shooting film you could bracket and pick the best exposure.
Roger Hicks
Mentor
They're not actually all that sharp when enlarged on my screen. This may be an artifact of scaling for the internet, but equally, a Micro-Nikkor 55 stops down to f/32, marked on the lens as 5 feet to infinity, and it would be feasible to modify it to stop down to f/45 if you didn't mind a resolution of about 20 lp/mm.
And of course there are larger formats and optimized pinholes, but these would probably involve excessively long exposures.
Cheers,
R.
And of course there are larger formats and optimized pinholes, but these would probably involve excessively long exposures.
Cheers,
R.
BLKRCAT
75% Film
I think that at these apertures though diffraction would soften the image even if we had a full resolution image to look at.
bakemono
Established
sevo
Fokutorendaburando
I rather doubt that he bothered to wrestle with a relay lens for such a relatively trivial task - that effect is already achievable on FF (or 35mm film) with judicious stopping down and good compositing, and small sensor cameras will even do it without any effort.
Roger Hicks
Mentor
agf
Member
I know, it's a VERY late reply but if still of interest, the image with the swans has been shot by Gruyaert in South Korea in 2007, on a Canon 5D with a zoom lens set at 47.1mm; exposure: ISO 250, 1/320 at f/11, -1.33EV