This topic is in the 2012 archive. You can read it and like its posts here. It is read only.
Archive 2012f/8 and be there - interesting read !!!
p.1 #1f/8 and be there - interesting read !!!
So what is your favorite f - number ?
http://www.adorama.com/alc/0013109/article/f8-And-Be-There
Here is copy paste from article if link doesnot work
f/8 And Be There
Back to Outdoor and Travel page
Average of 23 ratings: 4.5 stars
23 comments Read comments Rate this article
It's not just a photographic technique: It's a philosophy for documentary, street, and travel photographers
By Sandy Ramirez
June 22, 2011
When asked how he was capable of getting such amazing images on a consistent basis, Arthur “Weegee” Fellig replied “Simple. f/8 and be there.” Since that time this simple statement has become the mantra of Documentary Photography, held as scripture, writ in stone.
“f/8 and be there” is a philosophy that's and dear to every documentary photographer’s heart, be they Street Photographers, Photo Journalist, or Travel Photographers. Of course this leads to another question…What on Earth was Weegee talking about?
“f/8 and Be There” is a very simple statement that addresses two very important aspects of documentary photography. The first is technical, the second a bit more philosophical. Let’s start with the technical aspect.
f/8
Most documentary photography is done on 35mm based systems using a 35mm lens. It’s a classic focal length for this sort of work, so classic that Fuji in it’s excellent X100 chose this angle of view for that camera. Leica’s entire reputation as a company is almost entirely based on its 35mm Summicron for the Leica M rangefinder.
Why has this focal length become so important to this type of photography? The 35mm field of view gives one enough space on the frame to allow the inclusion of the local environs, helping story telling without too much field distortion with its moderately wide angle. The other thing (and here is where the f8 part comes in) with its greater depth of field compared to a 50mm lens, one can preset the focus using a technique called zone focusing, allowing one to quickly shoot without focusing, assured that the image will be reasonably sharp. This is very important when shooting in a rapidly changing environment such as a street fair, or a battlefield.
Zone focusing takes advantage of what is called the hyperfocal point. Basically, all lenses of a given focal length and aperture when focused to a specific point will have a zone of focus in which items in that zone will appear in sharp focus. As an example a 35mm lens set at f/8 and focused to about 17 feet will have everything between 9 feet to infinity in reasonably sharp focus.
On the other hand, a 50mm lens set to the same values would have everything from 11 feet to 34 feet in focus, while a 21mm lens would have everything from 4.5 feet out to infinity in focus. To help determine what the zone of focus is at a given aperture most prime lenses on the market today have a depth of field scale. This is that list of numbers that seem to repeat on the lens symmetrically, as shown in the examples below.
The use of this technique is how a large number of the most famous photographs of the 20th Century were taken in the years before autofocus. Even with autofocus the lag can make you lose the “moment”, zone focusing is a manual focus technique that eliminates AF lag allowing for near instant response. Simply point, compose and shoot. Here is also a technique that requires the use of prime lenses.
Zoom lenses, while useful, are a nightmare to use with this technique. While it can be done, the math—and needed charts—are complex. To make matters worse, no modern zoom has a DOF scale on it. This means you need to zoom with your feet, and using a semi wide optic like, say a Nikon 35mm f/1.8 G means you need to get close to your subject matter, which brings us to Weegee’s 2nd point…
Be There
What Weegee means here is: Shoot what’s interesting...and he meant, really interesting. Let’s talk a little of what is interesting to shoot or at least my personal philosophy here on this subject. When I travel, the last thing I want to shoot is somewhere every tourist would go and shoot. Sure, the snap of the loved one in front of the Eiffel Tower is always cute but when I shoot I want the pictures to tell me the story of my trip. I want a slice of that culture and how I reacted to it in my album.
To get that, I try to stay away from the tourist areas and go to those places where the rest of the locals go. I try to really capture what life in London, Warsaw, Rome, or Paris is like. I try to avoid staged shots, smiling salesmen and the like. I want to capture the everyday people doing the everyday things that define their lives and culture. Here a little research ahead of time of the city you are to visit is helpful, and preselecting walking routes through said cities and memorizing them is useful. You have to be a silent observer.
You have to melt into the background so you can capture those special moments without interrupting them, or with your presence prevent them from happening. It takes a little patience and practice. Just remember to take your time, observe for a bit and become part of the environment’s background noise. When it seems the environment is comfortable with you, begin shooting. If you take your time, you’ll be able to casually snap away at very close ranges without anyone even realizing you are there. All this is of course helped by using a small, high-quality camera.
Smaller cameras tend not to be noticed as easily, and usually aren’t very “threatening” to those near you. Sure, the Canon 1DS Mark III or Nikon D3X are excellent cameras, but their large size makes them and you stand out like a sore thumb. Smaller cameras also tend to be a bit quieter, especially mirrorless systems such as the Sony NEX-5, Panasonic GF2, and the Olympus E-P2, and rangefinders like the unique and pricey Leica M9. These types of cameras let you shoot quickly and without being observed too often, allowing you to capture the environment around you in a more natural state of being.
So go out there and shoot. Take advantage of hyperfocal distance, practice blending in and being a casual observer. Now you can put Weegee's “f/8 and be there” into practice!
About The Author
A freelance photographer and writer for Adorama
> Learn more about Sandy
> Find more articles by Sandy
Edited on Apr 19, 2012 at 07:45 PM · View previous versions
http://www.adorama.com/alc/0013109/article/f8-And-Be-There
Here is copy paste from article if link doesnot work
f/8 And Be There
Back to Outdoor and Travel page
Average of 23 ratings: 4.5 stars
23 comments Read comments Rate this article
It's not just a photographic technique: It's a philosophy for documentary, street, and travel photographers
By Sandy Ramirez
June 22, 2011
When asked how he was capable of getting such amazing images on a consistent basis, Arthur “Weegee” Fellig replied “Simple. f/8 and be there.” Since that time this simple statement has become the mantra of Documentary Photography, held as scripture, writ in stone.
“f/8 and be there” is a philosophy that's and dear to every documentary photographer’s heart, be they Street Photographers, Photo Journalist, or Travel Photographers. Of course this leads to another question…What on Earth was Weegee talking about?
“f/8 and Be There” is a very simple statement that addresses two very important aspects of documentary photography. The first is technical, the second a bit more philosophical. Let’s start with the technical aspect.
f/8
Most documentary photography is done on 35mm based systems using a 35mm lens. It’s a classic focal length for this sort of work, so classic that Fuji in it’s excellent X100 chose this angle of view for that camera. Leica’s entire reputation as a company is almost entirely based on its 35mm Summicron for the Leica M rangefinder.
Why has this focal length become so important to this type of photography? The 35mm field of view gives one enough space on the frame to allow the inclusion of the local environs, helping story telling without too much field distortion with its moderately wide angle. The other thing (and here is where the f8 part comes in) with its greater depth of field compared to a 50mm lens, one can preset the focus using a technique called zone focusing, allowing one to quickly shoot without focusing, assured that the image will be reasonably sharp. This is very important when shooting in a rapidly changing environment such as a street fair, or a battlefield.
Zone focusing takes advantage of what is called the hyperfocal point. Basically, all lenses of a given focal length and aperture when focused to a specific point will have a zone of focus in which items in that zone will appear in sharp focus. As an example a 35mm lens set at f/8 and focused to about 17 feet will have everything between 9 feet to infinity in reasonably sharp focus.
On the other hand, a 50mm lens set to the same values would have everything from 11 feet to 34 feet in focus, while a 21mm lens would have everything from 4.5 feet out to infinity in focus. To help determine what the zone of focus is at a given aperture most prime lenses on the market today have a depth of field scale. This is that list of numbers that seem to repeat on the lens symmetrically, as shown in the examples below.
The use of this technique is how a large number of the most famous photographs of the 20th Century were taken in the years before autofocus. Even with autofocus the lag can make you lose the “moment”, zone focusing is a manual focus technique that eliminates AF lag allowing for near instant response. Simply point, compose and shoot. Here is also a technique that requires the use of prime lenses.
Zoom lenses, while useful, are a nightmare to use with this technique. While it can be done, the math—and needed charts—are complex. To make matters worse, no modern zoom has a DOF scale on it. This means you need to zoom with your feet, and using a semi wide optic like, say a Nikon 35mm f/1.8 G means you need to get close to your subject matter, which brings us to Weegee’s 2nd point…
Be There
What Weegee means here is: Shoot what’s interesting...and he meant, really interesting. Let’s talk a little of what is interesting to shoot or at least my personal philosophy here on this subject. When I travel, the last thing I want to shoot is somewhere every tourist would go and shoot. Sure, the snap of the loved one in front of the Eiffel Tower is always cute but when I shoot I want the pictures to tell me the story of my trip. I want a slice of that culture and how I reacted to it in my album.
To get that, I try to stay away from the tourist areas and go to those places where the rest of the locals go. I try to really capture what life in London, Warsaw, Rome, or Paris is like. I try to avoid staged shots, smiling salesmen and the like. I want to capture the everyday people doing the everyday things that define their lives and culture. Here a little research ahead of time of the city you are to visit is helpful, and preselecting walking routes through said cities and memorizing them is useful. You have to be a silent observer.
You have to melt into the background so you can capture those special moments without interrupting them, or with your presence prevent them from happening. It takes a little patience and practice. Just remember to take your time, observe for a bit and become part of the environment’s background noise. When it seems the environment is comfortable with you, begin shooting. If you take your time, you’ll be able to casually snap away at very close ranges without anyone even realizing you are there. All this is of course helped by using a small, high-quality camera.
Smaller cameras tend not to be noticed as easily, and usually aren’t very “threatening” to those near you. Sure, the Canon 1DS Mark III or Nikon D3X are excellent cameras, but their large size makes them and you stand out like a sore thumb. Smaller cameras also tend to be a bit quieter, especially mirrorless systems such as the Sony NEX-5, Panasonic GF2, and the Olympus E-P2, and rangefinders like the unique and pricey Leica M9. These types of cameras let you shoot quickly and without being observed too often, allowing you to capture the environment around you in a more natural state of being.
So go out there and shoot. Take advantage of hyperfocal distance, practice blending in and being a casual observer. Now you can put Weegee's “f/8 and be there” into practice!
About The Author
A freelance photographer and writer for Adorama
> Learn more about Sandy
> Find more articles by Sandy
Edited on Apr 19, 2012 at 07:45 PM · View previous versions
Apr 19, 2012 at 06:53 PM
p.1 #2f/8 and be there - interesting read !!!
The other thing about f/8 is it's around the sweet spot for sharpness for most lenses.
Of course... f/8 isn't terribly useful for weddings much of the time. I tend to live at f/2 - f/2.8, though as well as my bodies handle high-ISO I should probably make a habit of shooting at more like f/4.
Of course... f/8 isn't terribly useful for weddings much of the time. I tend to live at f/2 - f/2.8, though as well as my bodies handle high-ISO I should probably make a habit of shooting at more like f/4.
Apr 19, 2012 at 07:03 PM
p.1 #3f/8 and be there - interesting read !!!
Article is gone now....
but my friends and I use this term as a method to describe old school, classical style wedding portraiture... f/8 and be there.
but my friends and I use this term as a method to describe old school, classical style wedding portraiture... f/8 and be there.
Apr 19, 2012 at 07:04 PM
p.1 #4f/8 and be there - interesting read !!!
Link not working? I just get: "We're sorry; the page you requested can't be located."
And I always thought that expression referred to it being more important to actually be present at the right moment with your camera, ready to shoot, rather than fiddling with settings and missing the shot.
And I always thought that expression referred to it being more important to actually be present at the right moment with your camera, ready to shoot, rather than fiddling with settings and missing the shot.
Apr 19, 2012 at 07:06 PM
p.1 #5f/8 and be there - interesting read !!!
I've always associated "f/8 and be there" with news togs. If in doubt, the view was, stick it to f/8 and capture the event rather than over complexity and risk missing something monumental.
Apr 19, 2012 at 07:21 PM
p.1 #6f/8 and be there - interesting read !!!
tonyhart wrote:
I've always associated "f/8 and be there" with news togs. If in doubt, the view was, stick it to f/8 and capture the event rather than over complexity and risk missing something monumental.
I always associated it with war photographer where the most important part was simply to be there.
I've always associated "f/8 and be there" with news togs. If in doubt, the view was, stick it to f/8 and capture the event rather than over complexity and risk missing something monumental.
I always associated it with war photographer where the most important part was simply to be there.
Apr 19, 2012 at 07:28 PM
p.1 #7f/8 and be there - interesting read !!!
tonyhart wrote:
I've always associated "f/8 and be there" with news togs. If in doubt, the view was, stick it to f/8 and capture the event rather than over complexity and risk missing something monumental.
Yup, this is where my association hails from.
I've always associated "f/8 and be there" with news togs. If in doubt, the view was, stick it to f/8 and capture the event rather than over complexity and risk missing something monumental.
Yup, this is where my association hails from.
Apr 19, 2012 at 07:32 PM
p.1 #8f/8 and be there - interesting read !!!
mjoshi wrote:
So what is your favorite f - number ?
http://www.adorama.com/alc/0013109/article/f8-And-Be-There
okay here is copy paste from article itself - I'm not sure why article went missing but this is interesting read.
f/8 And Be There
Back to Outdoor and Travel page
Average of 23 ratings: 4.5 stars
It's not just a photographic technique: It's a philosophy for documentary, street, and travel photographers
By Sandy Ramirez
June 22, 2011
When asked how he was capable of getting such amazing images on a consistent basis, Arthur “Weegee” Fellig replied “Simple. f/8 and be there.” Since that time this simple statement has become the mantra of Documentary Photography, held as scripture, writ in stone.
“f/8 and be there” is a philosophy that's and dear to every documentary photographer’s heart, be they Street Photographers, Photo Journalist, or Travel Photographers. Of course this leads to another question…What on Earth was Weegee talking about?
“f/8 and Be There” is a very simple statement that addresses two very important aspects of documentary photography. The first is technical, the second a bit more philosophical. Let’s start with the technical aspect.
f/8
Most documentary photography is done on 35mm based systems using a 35mm lens. It’s a classic focal length for this sort of work, so classic that Fuji in it’s excellent X100 chose this angle of view for that camera. Leica’s entire reputation as a company is almost entirely based on its 35mm Summicron for the Leica M rangefinder.
Why has this focal length become so important to this type of photography? The 35mm field of view gives one enough space on the frame to allow the inclusion of the local environs, helping story telling without too much field distortion with its moderately wide angle. The other thing (and here is where the f8 part comes in) with its greater depth of field compared to a 50mm lens, one can preset the focus using a technique called zone focusing, allowing one to quickly shoot without focusing, assured that the image will be reasonably sharp. This is very important when shooting in a rapidly changing environment such as a street fair, or a battlefield.
Zone focusing takes advantage of what is called the hyperfocal point. Basically, all lenses of a given focal length and aperture when focused to a specific point will have a zone of focus in which items in that zone will appear in sharp focus. As an example a 35mm lens set at f/8 and focused to about 17 feet will have everything between 9 feet to infinity in reasonably sharp focus.
On the other hand, a 50mm lens set to the same values would have everything from 11 feet to 34 feet in focus, while a 21mm lens would have everything from 4.5 feet out to infinity in focus. To help determine what the zone of focus is at a given aperture most prime lenses on the market today have a depth of field scale. This is that list of numbers that seem to repeat on the lens symmetrically, as shown in the examples below.
35mm lens set to the hyperfocal at f/8. The red area shows the range of focus at f/8.
35mm lens at f/8 set of a zone of focus of just over 4 feet to about 10 feet.
The use of this technique is how a large number of the most famous photographs of the 20th Century were taken in the years before autofocus. Even with autofocus the lag can make you lose the “moment”, zone focusing is a manual focus technique that eliminates AF lag allowing for near instant response. Simply point, compose and shoot. Here is also a technique that requires the use of prime lenses.
Zoom lenses, while useful, are a nightmare to use with this technique. While it can be done, the math—and needed charts—are complex. To make matters worse, no modern zoom has a DOF scale on it. This means you need to zoom with your feet, and using a semi wide optic like, say a Nikon 35mm f/1.8 G means you need to get close to your subject matter, which brings us to Weegee’s 2nd point…
Be There
What Weegee means here is: Shoot what’s interesting...and he meant, really interesting. Let’s talk a little of what is interesting to shoot or at least my personal philosophy here on this subject. When I travel, the last thing I want to shoot is somewhere every tourist would go and shoot. Sure, the snap of the loved one in front of the Eiffel Tower is always cute but when I shoot I want the pictures to tell me the story of my trip. I want a slice of that culture and how I reacted to it in my album.
To get that, I try to stay away from the tourist areas and go to those places where the rest of the locals go. I try to really capture what life in London, Warsaw, Rome, or Paris is like. I try to avoid staged shots, smiling salesmen and the like. I want to capture the everyday people doing the everyday things that define their lives and culture. Here a little research ahead of time of the city you are to visit is helpful, and preselecting walking routes through said cities and memorizing them is useful. You have to be a silent observer.
You have to melt into the background so you can capture those special moments without interrupting them, or with your presence prevent them from happening. It takes a little patience and practice. Just remember to take your time, observe for a bit and become part of the environment’s background noise. When it seems the environment is comfortable with you, begin shooting. If you take your time, you’ll be able to casually snap away at very close ranges without anyone even realizing you are there. All this is of course helped by using a small, high-quality camera.
Smaller cameras tend not to be noticed as easily, and usually aren’t very “threatening” to those near you. Sure, the Canon 1DS Mark III or Nikon D3X are excellent cameras, but their large size makes them and you stand out like a sore thumb. Smaller cameras also tend to be a bit quieter, especially mirrorless systems such as the Sony NEX-5, Panasonic GF2, and the Olympus E-P2, and rangefinders like the unique and pricey Leica M9. These types of cameras let you shoot quickly and without being observed too often, allowing you to capture the environment around you in a more natural state of being.
So go out there and shoot. Take advantage of hyperfocal distance, practice blending in and being a casual observer. Now you can put Weegee's “f/8 and be there” into practice!
About The Author
A freelance photographer and writer for Adorama
> Learn more about Sandy
> Find more articles by Sandy
So what is your favorite f - number ?
http://www.adorama.com/alc/0013109/article/f8-And-Be-There
okay here is copy paste from article itself - I'm not sure why article went missing but this is interesting read.
f/8 And Be There
Back to Outdoor and Travel page
Average of 23 ratings: 4.5 stars
It's not just a photographic technique: It's a philosophy for documentary, street, and travel photographers
By Sandy Ramirez
June 22, 2011
When asked how he was capable of getting such amazing images on a consistent basis, Arthur “Weegee” Fellig replied “Simple. f/8 and be there.” Since that time this simple statement has become the mantra of Documentary Photography, held as scripture, writ in stone.
“f/8 and be there” is a philosophy that's and dear to every documentary photographer’s heart, be they Street Photographers, Photo Journalist, or Travel Photographers. Of course this leads to another question…What on Earth was Weegee talking about?
“f/8 and Be There” is a very simple statement that addresses two very important aspects of documentary photography. The first is technical, the second a bit more philosophical. Let’s start with the technical aspect.
f/8
Most documentary photography is done on 35mm based systems using a 35mm lens. It’s a classic focal length for this sort of work, so classic that Fuji in it’s excellent X100 chose this angle of view for that camera. Leica’s entire reputation as a company is almost entirely based on its 35mm Summicron for the Leica M rangefinder.
Why has this focal length become so important to this type of photography? The 35mm field of view gives one enough space on the frame to allow the inclusion of the local environs, helping story telling without too much field distortion with its moderately wide angle. The other thing (and here is where the f8 part comes in) with its greater depth of field compared to a 50mm lens, one can preset the focus using a technique called zone focusing, allowing one to quickly shoot without focusing, assured that the image will be reasonably sharp. This is very important when shooting in a rapidly changing environment such as a street fair, or a battlefield.
Zone focusing takes advantage of what is called the hyperfocal point. Basically, all lenses of a given focal length and aperture when focused to a specific point will have a zone of focus in which items in that zone will appear in sharp focus. As an example a 35mm lens set at f/8 and focused to about 17 feet will have everything between 9 feet to infinity in reasonably sharp focus.
On the other hand, a 50mm lens set to the same values would have everything from 11 feet to 34 feet in focus, while a 21mm lens would have everything from 4.5 feet out to infinity in focus. To help determine what the zone of focus is at a given aperture most prime lenses on the market today have a depth of field scale. This is that list of numbers that seem to repeat on the lens symmetrically, as shown in the examples below.
35mm lens set to the hyperfocal at f/8. The red area shows the range of focus at f/8.
35mm lens at f/8 set of a zone of focus of just over 4 feet to about 10 feet.
The use of this technique is how a large number of the most famous photographs of the 20th Century were taken in the years before autofocus. Even with autofocus the lag can make you lose the “moment”, zone focusing is a manual focus technique that eliminates AF lag allowing for near instant response. Simply point, compose and shoot. Here is also a technique that requires the use of prime lenses.
Zoom lenses, while useful, are a nightmare to use with this technique. While it can be done, the math—and needed charts—are complex. To make matters worse, no modern zoom has a DOF scale on it. This means you need to zoom with your feet, and using a semi wide optic like, say a Nikon 35mm f/1.8 G means you need to get close to your subject matter, which brings us to Weegee’s 2nd point…
Be There
What Weegee means here is: Shoot what’s interesting...and he meant, really interesting. Let’s talk a little of what is interesting to shoot or at least my personal philosophy here on this subject. When I travel, the last thing I want to shoot is somewhere every tourist would go and shoot. Sure, the snap of the loved one in front of the Eiffel Tower is always cute but when I shoot I want the pictures to tell me the story of my trip. I want a slice of that culture and how I reacted to it in my album.
To get that, I try to stay away from the tourist areas and go to those places where the rest of the locals go. I try to really capture what life in London, Warsaw, Rome, or Paris is like. I try to avoid staged shots, smiling salesmen and the like. I want to capture the everyday people doing the everyday things that define their lives and culture. Here a little research ahead of time of the city you are to visit is helpful, and preselecting walking routes through said cities and memorizing them is useful. You have to be a silent observer.
You have to melt into the background so you can capture those special moments without interrupting them, or with your presence prevent them from happening. It takes a little patience and practice. Just remember to take your time, observe for a bit and become part of the environment’s background noise. When it seems the environment is comfortable with you, begin shooting. If you take your time, you’ll be able to casually snap away at very close ranges without anyone even realizing you are there. All this is of course helped by using a small, high-quality camera.
Smaller cameras tend not to be noticed as easily, and usually aren’t very “threatening” to those near you. Sure, the Canon 1DS Mark III or Nikon D3X are excellent cameras, but their large size makes them and you stand out like a sore thumb. Smaller cameras also tend to be a bit quieter, especially mirrorless systems such as the Sony NEX-5, Panasonic GF2, and the Olympus E-P2, and rangefinders like the unique and pricey Leica M9. These types of cameras let you shoot quickly and without being observed too often, allowing you to capture the environment around you in a more natural state of being.
So go out there and shoot. Take advantage of hyperfocal distance, practice blending in and being a casual observer. Now you can put Weegee's “f/8 and be there” into practice!
About The Author
A freelance photographer and writer for Adorama
> Learn more about Sandy
> Find more articles by Sandy
Apr 19, 2012 at 07:42 PM
p.1 #9f/8 and be there - interesting read !!!
This is a great technique for shooting some portions of the wedding. Always hold the camera in your hand and switch to MF and F8.
You can catch some great moments this way. Sure AF is only a split second but sometimes thats all it takes to miss a moment.
You can catch some great moments this way. Sure AF is only a split second but sometimes thats all it takes to miss a moment.
Apr 19, 2012 at 08:03 PM
p.1 #10f/8 and be there - interesting read !!!
They did a 28mm at f11 wedding challenge here:
http://www.theblogisfound.com/
X100 should be perfect for this
TTLKurtis wrote:
The other thing about f/8 is it's around the sweet spot for sharpness for most lenses.
Of course... f/8 isn't terribly useful for weddings much of the time. I tend to live at f/2 - f/2.8, though as well as my bodies handle high-ISO I should probably make a habit of shooting at more like f/4.
http://www.theblogisfound.com/
X100 should be perfect for this
TTLKurtis wrote:
The other thing about f/8 is it's around the sweet spot for sharpness for most lenses.
Of course... f/8 isn't terribly useful for weddings much of the time. I tend to live at f/2 - f/2.8, though as well as my bodies handle high-ISO I should probably make a habit of shooting at more like f/4.
Apr 19, 2012 at 08:14 PM
p.1 #11f/8 and be there - interesting read !!!
RichardLavigne wrote:
Article is gone now....
but my friends and I use this term as a method to describe old school, classical style wedding portraiture... f/8 and be there.
Article isn't gone but Fred was clever and added referral code automatically to any Adorama link (smart cookie that Fred is). You have to right click the link and copy link location and paste in new window.
Article is gone now....
but my friends and I use this term as a method to describe old school, classical style wedding portraiture... f/8 and be there.
Article isn't gone but Fred was clever and added referral code automatically to any Adorama link (smart cookie that Fred is). You have to right click the link and copy link location and paste in new window.
Apr 19, 2012 at 08:29 PM
p.1 #12f/8 and be there - interesting read !!!
Okay this brings to very interesting question - having super fast lens like 85F1.2 will be of any use if all you are going to shoot is at F2.8 or smaller? I played "uncle bob" in my brother-in-law's wedding. My other cousin brought his 5DMKII + 7D combo to shoot informal family pictures as Indian weddings goes on for 3 days with all rituals.
I played with 7D+70-200F2.8, most of time shooting at F2.8, ISO1600 and keeping shutter above 1/60. Most of pictures came out pretty good. So brings back to point having faster glass is great but if you cannot employ bigger than f2.8 than what is difference between 85F1.2 and 85F1.8 ?
I played with 7D+70-200F2.8, most of time shooting at F2.8, ISO1600 and keeping shutter above 1/60. Most of pictures came out pretty good. So brings back to point having faster glass is great but if you cannot employ bigger than f2.8 than what is difference between 85F1.2 and 85F1.8 ?
Apr 19, 2012 at 08:32 PM
p.1 #13f/8 and be there - interesting read !!!
mjoshi wrote:
So brings back to point having faster glass is great but if you cannot employ bigger than f2.8 than what is difference between 85F1.2 and 85F1.8 ?
Aside from some subtle or not so subtle image quality differences, depending on the lenses in question, basically... $$$$ vs $$$
So brings back to point having faster glass is great but if you cannot employ bigger than f2.8 than what is difference between 85F1.2 and 85F1.8 ?
Aside from some subtle or not so subtle image quality differences, depending on the lenses in question, basically... $$$$ vs $$$
Apr 19, 2012 at 08:42 PM
p.1 #14f/8 and be there - interesting read !!!
mjoshi wrote:
So brings back to point having faster glass is great but if you cannot employ bigger than f2.8 than what is difference between 85F1.2 and 85F1.8 ?
I think there is a difference in the flare control as well.
I used the 85L and 35L as my main combo on 2 5Ds.- but im seriously considering adding the 28 1.8 and 85 1.8 for just a compact and discreet setup. This allows me to leave behing the 16-35 as well because 28mm is wide enough for me.
So brings back to point having faster glass is great but if you cannot employ bigger than f2.8 than what is difference between 85F1.2 and 85F1.8 ?
I think there is a difference in the flare control as well.
I used the 85L and 35L as my main combo on 2 5Ds.- but im seriously considering adding the 28 1.8 and 85 1.8 for just a compact and discreet setup. This allows me to leave behing the 16-35 as well because 28mm is wide enough for me.
Apr 19, 2012 at 09:33 PM
p.1 #15f/8 and be there - interesting read !!!
Interesting thanks for posting
Apr 19, 2012 at 10:36 PM
p.1 #16f/8 and be there - interesting read !!!
I really don't think the "f/8" in that statement is meant to be taken that literally, it's more about actually being there being the most important thing.
Apr 20, 2012 at 04:13 AM
p.1 #17f/8 and be there - interesting read !!!
mjoshi wrote:
Okay this brings to very interesting question - having super fast lens like 85F1.2 will be of any use if all you are going to shoot is at F2.8 or smaller? I played "uncle bob" in my brother-in-law's wedding. My other cousin brought his 5DMKII + 7D combo to shoot informal family pictures as Indian weddings goes on for 3 days with all rituals.
I played with 7D+70-200F2.8, most of time shooting at F2.8, ISO1600 and keeping shutter above 1/60. Most of pictures came out pretty good. So brings back to point having faster glass is great but if you cannot...Show more →
The difference would be you cannot practice the "f8 and be there" mantra with an 85mm lens. the whole point of the f8 aperture at 35mm is everything the human eye sees can be reasonably captured at that focal length and with reasonable focus.
Okay this brings to very interesting question - having super fast lens like 85F1.2 will be of any use if all you are going to shoot is at F2.8 or smaller? I played "uncle bob" in my brother-in-law's wedding. My other cousin brought his 5DMKII + 7D combo to shoot informal family pictures as Indian weddings goes on for 3 days with all rituals.
I played with 7D+70-200F2.8, most of time shooting at F2.8, ISO1600 and keeping shutter above 1/60. Most of pictures came out pretty good. So brings back to point having faster glass is great but if you cannot...Show more →
The difference would be you cannot practice the "f8 and be there" mantra with an 85mm lens. the whole point of the f8 aperture at 35mm is everything the human eye sees can be reasonably captured at that focal length and with reasonable focus.
Apr 20, 2012 at 05:46 AM
p.1 #18f/8 and be there - interesting read !!!
weegee didn't shoot small format, so f/8 meant something quite different in terms of dof. i believe he set his press camera at 10 feet and became very good at estimating subject distance, like a focus puller would.
Apr 20, 2012 at 05:59 AM
p.1 #19f/8 and be there - interesting read !!!
Mike Tuomey wrote:
weegee didn't shoot small format, so f/8 meant something quite different in terms of dof. i believe he set his press camera at 10 feet and became very good at estimating subject distance, like a focus puller would.
Weegee shot with a 4x5 Speed Graphic. All the f8 talk in the article is baloney, someone who loves the sound of their own voice.
I've always interpreted the "f8" part of the response to mean "keep it simple" from a technical standpoint. Anyone who has shot at night with a Speed Graphic and #2 flash bulbs has a better understanding of what he meant. I bet he shot Super XX.
weegee didn't shoot small format, so f/8 meant something quite different in terms of dof. i believe he set his press camera at 10 feet and became very good at estimating subject distance, like a focus puller would.
Weegee shot with a 4x5 Speed Graphic. All the f8 talk in the article is baloney, someone who loves the sound of their own voice.
I've always interpreted the "f8" part of the response to mean "keep it simple" from a technical standpoint. Anyone who has shot at night with a Speed Graphic and #2 flash bulbs has a better understanding of what he meant. I bet he shot Super XX.
Apr 20, 2012 at 06:54 AM
p.1 #20f/8 and be there - interesting read !!!
dmacmillan wrote:
Weegee shot with a 4x5 Speed Graphic. All the f8 talk in the article is baloney, someone who loves the sound of their own voice.
I've always interpreted the "f8" part of the response to mean "keep it simple" from a technical standpoint. Anyone who has shot at night with a Speed Graphic and #2 flash bulbs has a better understanding of what he meant. I bet he shot Super XX.
He was probably also using a normal lens like a 135mm which was standard on a press camera...not a wide angle. There's supposed to be a 4 stop difference in DOF between 35mm and 4x5, so f8 on a press camera is like f2 on a 35mm...which is a whole different game that what the author is talking about. I've also found that the rangefinder on my Crown Graphic is actually pretty fast to use...it's really only slower than a manual focus 35mm because it has a separate viewfinder. If I shot the thing for a living I'm sure I'd be pretty fast with it. I always took "f8 and be there" to mean that being in the right place at the right time was half the battle.
That said, even if what the author is talking about has nothing to do with Weegee, the article does have a good point about using an inconspicuous camera for documentary photography...and a point and shoot usually has so much DOF even wide open you don't need f8
.
Mike Tuomey wrote
weegee didn't shoot small format, so f/8 meant something quite different in terms of dof. i believe he set his press camera at 10 feet and became very good at estimating subject distance, like a focus puller would.I've always interpreted the "f8" part of the response to mean "keep it simple" from a technical standpoint. Anyone who has shot at night with a Speed Graphic and #2 flash bulbs has a better understanding of what he meant. I bet he shot Super XX.
He was probably also using a normal lens like a 135mm which was standard on a press camera...not a wide angle. There's supposed to be a 4 stop difference in DOF between 35mm and 4x5, so f8 on a press camera is like f2 on a 35mm...which is a whole different game that what the author is talking about. I've also found that the rangefinder on my Crown Graphic is actually pretty fast to use...it's really only slower than a manual focus 35mm because it has a separate viewfinder. If I shot the thing for a living I'm sure I'd be pretty fast with it. I always took "f8 and be there" to mean that being in the right place at the right time was half the battle.
That said, even if what the author is talking about has nothing to do with Weegee, the article does have a good point about using an inconspicuous camera for documentary photography...and a point and shoot usually has so much DOF even wide open you don't need f8
. Apr 20, 2012 at 07:27 AM