Picture This!
It’s What’s Up Front That Counts: Lens Effects—Super Wide, Fisheye, Distortion, Super Depth Of Field
Shutterbug Staff, November, 2006
Our Picture This! assignment this month was “It’s What’s
Up Front That Counts,” the implication being that the lens, lens attachments,
and of course where the lens is pointed has a profound influence upon any image.
Although you could crop into an image made with a 24mm lens to gain the same
perspective as one shot with a 50mm, there’s the context of the coverage
that makes it all look so different. Readers responded with a lots of images
that ranged from super wide to super close with lens attachments, using both
incredibly deep and extremely shallow depth of field. Overall, each and every
one we saw was made with an awareness that content and context can add up for
powerful imagery.
Frog’s Eye View |
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Jim Bitten used a shallow depth of field and a Sigma 50mm f/2.8
macro lens on his Konica Minolta 5D to get up close and personal
with this frog caught by his children.
© 2006, Jim Bitten, All Rights Reserved
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Still And Motion |
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This selective plane of focus was created by Howe Sim using a
Nikon D100 and a Lensbaby 2.0.
© 2006, Howe Sim, All Rights Reserved
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Beach Volleyball |
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Ball,
net, player, and action all work great in this shot by Frank Goroszko.
He worked with a Nikon F100 and Tamron 24-70mm lens with a Pro-Optic
0.5 Wide Angle Converter. He photographed on Fujifilm’s
Superia 400 with an exposure of f/11 at 1/1000 sec.
© 2006, Frank Goroszko, All Rights Reserved
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Distortion |
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Looking through a glass with optical glass, Amy VandenBerg made
this shot with a Nikon D70s and Nikkor 18-70mm lens; exposure
was f/4.5 at 1/4 sec.
© 2006, Amy VandenBerg, All Rights Reserved
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Droplet |
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Kevin Hanley made this colorful and fascinating shot with a Nikon
D70 and Nikkor 80-400mm VR lens with a Kenko extension tube. To
freeze the drop he used a Nikon SB-800 Speedlight on an extension
cord and an SB-600 Speedlight in Remote mode.
© 2006, Kevin Hanley, All Rights Reserved
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Open Window, Insert Snout |
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Wrote Aaron Mahler, “An overly curious bovine at Virginia
Safari Park. This guy was incredibly gentle, curious, and more
than a bit slobbery as he snuffled around for snacks on our drive
through the park.” Mahler worked with a Canon EOS 20D and
Sigma 8mm fisheye lens. Exposure was f/9 at 1/200 sec.
© 2006, Aaron Mahler, All Rights Reserved
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Deep, Deep Depth Of Field |
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Kathryn Salmon caught sharpness near to far that encompassed the
roses and the Mission Santa Barbara in the background. She worked
with a Canon EOS 30D and Canon 17-85mm IS lens and used an f/22
aperture.
© 2006, Kathryn Salmon, All Rights Reserved
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Shallow, Shallow Depth Of Field |
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Linda Hoopes caught these droplets of water on a spiderweb, made
distinct by using a Nikon D70 and 18-70mm lens with +1 and +4
close-up filters. Exposure was f/4.5 at 1/250 sec, with on-camera
flash.
© 2006, Linda Hoopes, All Rights Reserved
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Tulip Wide View |
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This flowing image of tulips in a glass vase was made by Ray Ross
with a Nikon N50 camera and Tamron 28-80mm lens with a Quantaray
+3 close-up lens. He exposed on Kodak’s 400 Max film.
© 2006, Ray Ross, All Rights Reserved
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Three Exposures |
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Kurt A. Pare’ gave us a new twist on the assignment by combining
three exposures made through his Leica R9 and Leica VARIO-ELMAR
28-70mm lens. He triple exposed on Kodak’s Ektachrome E100VS
film using three different focal length settings.
© 2006, Kurt A. Pare’, All Rights Reserved
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