The bike shot above reminded me of another two-wheeler shot.
These are what I'd call "medium" 3D-ishness. Hopefully a creation of depth sensory, yet without quite being a dominating technical effort.
All shot with glass I don't own any more. I've had "stronger" and "weaker" 3D-ish (i.e. rates of transition in different zones) producers. My lens choices do still lean toward lenses that have a reasonably larger exit pupil relationship ... but, I'm not dominated in the quest for it as I was many years ago. Those lenses (Nikon, Zeiss, Mamiya, Oly) bridged brands, but they have long since been sold / traded for variety of reasons beyond the "ability" to generate a 3D-ish "pop". That said, I do tend to steer clear of lenses with smallish exit pupils ... and prefer a reasonable amount of micro-contrast, plus well corrected, but not quite perfect, clinically, so.
Because human physiological response includes saturation / color levels as contributing information as visual cues to depth, the monochromes are a bit more challenging (sans color rate of transition) to yield things spatially retarding / advancing. The reliance is then on tonal values and acuity rates of transition. More than one way (lens / not lens) to generate those rates of transition for differentiation that yield different plane info / perception.
The bike shot above reminded me of another two-wheeler shot.
These are what I'd call "medium" 3D-ishness. Hopefully a creation of depth sensory, yet without quite being a dominating technical effort.
All shot with glass I don't own any more. I've had "stronger" and "weaker" 3D-ish (i.e. rates of transition in different zones) producers. My lens choices do still lean toward lenses that have a reasonably larger exit pupil relationship ... but, I'm not dominated in the quest for it as I was many years ago. Those lenses (Nikon, Zeiss, Mamiya, Oly) bridged brands, but they have long since been sold / traded for variety of reasons beyond the "ability" to generate a 3D-ish "pop". That said, I do tend to steer clear of lenses with smallish exit pupils ... and prefer a reasonable amount of micro-contrast, plus well corrected, but not quite perfect, clinically, so.
Because human physiological response includes saturation / color levels as contributing information as visual cues to depth, the monochromes are a bit more challenging (sans color rate of transition) to yield things spatially retarding / advancing. The reliance is then on tonal values and acuity rates of transition. More than one way (lens / not lens) to generate those rates of transition for differentiation that yield different plane info / perception.
The bike shot above reminded me of another two-wheeler shot.
These are what I'd call "medium" 3D-ishness. Hopefully a creation of depth sensory, yet without quite being a dominating technical effort.
All shot with glass I don't own any more. I've had "stronger" and "weaker" 3D-ish (i.e. rates of transition in different zones) producers. My lens choices do still lean toward lenses that have a reasonably larger exit pupil relationship ... but, I'm not dominated in the quest for it as I was many years ago. Those lenses (Nikon, Zeiss, Mamiya, Oly) bridged brands, but they have long since been sold / traded for variety of reasons beyond the "ability" to generate a 3D-ish "pop". That said, I do tend to steer clear of lenses with smallish exit pupils ... and prefer a reasonable amount of micro-contrast, plus well corrected, but not quite perfect, clinically, so.
Because human physiological response includes saturation / color levels as contributing information as visual cues to depth, the monochromes are a bit more challenging (sans color rate of transition) to yield things spatially retarding / advancing. The reliance is then on tonal values and acuity rates of transition. More than one way (lens / not lens) to generate those rates of transition for differentiation that yield different plane info / perception.
Mar 03, 2023 at 07:52 AM
Previous versions of RustyBug's message #16184741 « which lens has the most 3D POP? »
