I agree..it\'s fine to think,i all use a longer lens to take this shot to get compression, with the thought that you\'ll back up to frame the shot.
But it\'s not a strawman. I\'ve had numerous discussions with multiple photographers who think that it\'s the focal length alone: I.e., a shot taken with a full frame camera with an 85mm lens and one taken with an APS C camera at 56mm from the same spot (with obviously identical framing) will yield completely different perspectives and different levels of compression. It\'s a very commonly held belief. I even had to correct Doug Kaye, who is on This Week in Photo, who stated that in one of his podcasts. He argued with me until I showed him the article I wrote on it, after which he had a smack the head moment.
justruss wrote: Lee Saxon wrote: Jman13 wrote:
Aren\'t sharp to blur transitions a function of lens design, and not inherent to the format? Explain how a slight increase in sensor size using a slower lens translates to a differing sharp to blur transition. The Leica lenses might give you a different look than what you get on the Sony/Zeiss lenses, but as a result of the format? Nah.
Man, there are people (not just in the general public but on serious photography and cinematography forums) who are completely oblivious to color profiles / color science / debayering algorithms to such an extent that (a) in the cine world many select cameras based on their default profiles (nevermind that you can change those even if you *aren\'t* shooting raw) and (b) here the stills world people actually think CCD has an inherently different look than CMOS (and Leica is actually rumored to be releasing a CCD camera to appease them).
You\'re never going to convince these people that blur transition is inherent to lens design not frame size or that color gradation is inherent to bit depth not frame size. Might as well save yourself the heartburn.
No, but these things aren\'t totally independent either. You may not be able to look at the output of 10 cameras and sort them by CCD and CMOS-- but you\'re kidding yourself (and taking too much hear burn medicine) if you think that the design constraints associated with CCD vs CMOS don\'t have an impact on the output (or choices made regarding electronics and knock-on impacts on color science decisions).
Jman13 wrote: Lee Saxon wrote:
Man, there are people (not just in the general public but on serious photography and cinematography forums) who are completely oblivious to color profiles / color science / debayering algorithms to such an extent that (a) in the cine world many select cameras based on their default profiles (nevermind that you can change those even if you *aren\'t* shooting raw) and (b) here the stills world people actually think CCD has an inherently different look than CMOS (and Leica is actually rumored to be releasing a CCD camera to appease them).
You\'re never going to convince these people that blur transition is inherent to lens design not frame size or that color gradation is inherent to bit depth not frame size. Might as well save yourself the heartburn.
Heck, I\'ve been trying for years to correct the fallacy that longer focal lengths change perspective. Especially egregious is when they say they like FF because an 85mm lens has a more flattering perspective and compression vs. a 55mm lens on APS-C. (If you believe that, you\'re wrong...perspective is solely a function of distance).
This is another straw man. Perspective doesn\'t change because of focal lengths-- but back in the real world photographers move forward or backward when framing an image in part because of the focal length of their lenses and the format of what they are shooting (not to mention sticky things like MFD). It doesn\'t matter that you can get the same perspective shooting a 14mm or 400mm lens... in the real world you don\'t shoot those two lenses at the same subjects from the same distances (and that\'s not even discussing resolution, enlargement, output, viewing distance).
Similar relationships hold when considering larger formats.
Optics is one thing (my background is physics, mind you). Actual shooting, in the real world, means that we ultimately think and make decisions in terms of concepts like \"functionally\" and \"equivalent.\"
Jun 21, 2016 at 05:08 PM
Previous versions of Jman13's message #13613336 « Official: Hasselblad X1D-50c Medium Format Mirrorless »
