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  • No. 33 - Controlled Zones of Sharpness

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    No. 33 - Controlled Zones of Sharpness (1)

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    10 views6 pages

    No. 33 - Controlled Zones of Sharpness

    Uploaded by

    xiansha

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 6
    Controlled zones of sharpness sinar For the ultimate image ‘Notinfrequenty the assignment layout from Fig. 2: The Scheimptug rule fe ey tho artist or art director expects the photo- IT the tree main optical planes (mage, los, ‘grapher {0 “photograph the impossble subject) are parailo, the image 1s evenly (Fi. 1). The problem is usually perspective sharp over ls whole plane. rendering or'an unrealsable depth of feld. Once ons ofthese planes is inclined relative Butbyknowing something about sharpness fo any othe. you achiove overal sharpness istibuton control and depth of feld and in theimage plane only ithe tree panes especially withthe right view carmeraoutft™— _tersect ma common ine. you can often achieve, more than” You tought feasibo Fig 4: First probiem: Locate point H on the asymmetric tt axis ‘and it unl the images sharp at HT. Thats al Fig. 4 Fig. 1: Often tho artist's or art director's layout specifies photographically impossi- ‘le requrements Preparations ‘The starting point for any approach i the subject to be photographed. Select the amora viewpoint according t the requie- ments of the layout. The viewport in turn ‘tates the focal length of the ln to be Used = and so aieady resticts your creative ‘scope. in deciding whats feasbi, consider ‘what effects can be achieved with contro fod sharpness and deliperate unsharpness. The actual focus. setting on the camera should Become more tha means to an end. However this is posible only with an up-to- dato wow camera design of simple, handy and. procise focusing “adlustmenis and ‘movements. Here are some practical case Studies, First problom: ‘Sharpness in main subject plane, ‘no sharpness wanted elsewhere. Solving this frst problem rales on the Scheimpfiug "condition of intersecting planes (Fig. 2). Tho idea sto restrict sharp hess to principalplanein the subject spac, Important here in practice are simple, pre- cise and fully controllable camera move sinar SINAR p2 INARI v voy wel) | af ny ania wh + ea et —— +t dl wf ot Vv (1) Thanks tothe asymmetric axes you can Jocate on the markod tit or swing axis a Point of the subject plane that isto be sharp. (2) Focus on that (or) axis (8) Tit by the rack-and-pinon agjustment Lntithe image is sharp also at 1 (or). ‘Thatisall eo Figs. Sand'4) Fig. 5: The counter tt Locate an “ant-Scheimpfug” plane aright ‘angles fo the subject plane. The sharp zone iSin this case contnad to tho watch. Seve tive sharpness conto calls for lage aper= tures; that n tur noods very precise focus. ing. For the ultimate image “Tits and swings with the SINAR 12: (1) Locate @ point of the required subject Blane onthe tt or swing axis. (2) Focus ont or). (8) Sot the angle scalo dial to 0; focus unt H1 (or) appears sharp. (4) Road off tivsuing angi, set it on the camera, refocus. That sal. (See Figs. and 4) ‘Second problem: Emphasising a single item by selective ‘sharpness. Hore wo have to establish countertited plane. a kind of “ant-Scheimplug” situa tion, The best way of dentiying such aplane 'sto set up a printed cara (asa focusing lc) In the subject, at ight angles tothe subject ‘lane that you want to souate in sharpness Focus the camera and tit or swing in the same way as inthe frst case. Usually you Wil have to do both, covering the card Fig. 6 sharply by tits betwoon H and H1, and then by swings between V and Vi. Femave the ‘card before exposing) See Fig. 5 ‘To maintain corect perspective, the swings and tits ~ carried aut with th rea standare are then iransterred to the lens standard the camara movements are not jase, that involves cumbersome successive ap: ‘proximations, as each adjustment upsets {he sharpness of previously focused points ‘And to maka the focus realy selective, his kind of shot needs the largest avalabe lens aportura. Hence you must be able to locate plane of maximum sharpness precsaly ‘where needed. Fg. 6) Fig. 6: Ettect of countertiting jn our exe ample: Selective sharpness picks out an ‘bject against the backround to enhance Image impact. sinar For the ultimate image ‘Third problem: Limited depth of field behind and in front ‘of an incined plane “The strength ofthe ew cameras ite ability to focus on an inlined plane located any wherein the subject space. In aditon you fan of course stop down the lens fo contol Sdopth of fold in Font of this piano and be- hind. On35 mm cameras a depth ef feldin-

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