The dreamy effect in the image above results from the lens wide open at f2.2. To get enough interesting detail I used the detail slider of lightzone – bibble5 currently offers no such tool. There was no toning necessary as the evening (non-)light with shutter speeds of 10 to 30s provided a natural blue toning.
In these not so bright days and with strictly limited daylight time budget for photography, the nearby parks and gardens are a natural choice. Using my primes at wide open f-stops, I always have to translate the image during framing as the viewfinder does not at all show the abstract patterns that get recorded by the sensor. What was first astonishing and then annoying me, has now become a nice exercise in visualizing beyond the image in the viefinder.
And sometimes the pattern of the plant repeats in the flow of the background lines. No, I did not see this before, but I was even happier when discovering it.
Today I finally held in my hand what I was looking for since re-starting photography: A probably 15 years old second hand Minolta 1.4/85mm lens. Aah – that were the times when all lenses were built completely from metal. That definitely gives a solid feeling! And then that front lens, what an amount of glass! But I didn’t bother for long with admiring the outer qualities, instead I used my lunch break for a walk in the nearest park. That shallow DoF and blurry background is amazing (the shot above was taken stopped down half a f-stop) but what was demanding at least for the first frames is the discrepancy between the viewfinder image and what gets recorded on the sensor: In the viewfinder you simply do not see that shallow DoF and background blur or bokeh. The reason is the “optimisation” of the former ground glass into an array of micro-structures that are much brighter than any groundglass could be, but similarly to a loupe offers a virtual image to the eye. And this image does not obey to even only widely similar optical laws of the rendering on a groundglass. Well, without that artifice the viewfinder would be unbearably dark with the zoom lenses that are the standard now.
I am a happy camper for now, as this lens allows me to bask in low DoF images and, as I hope, those wonderful airy discs of out-of-focus light sources. Additionally I will try those fine portraits where only the pupils are rendered sharply but already nose and ears get enwrapped in soft and flattering unsharpness.
I’ve always been interested in reflections and the corresponding circles of confusion that the backlight brings out so strongly. But photographing for decades, up to now I had never deliberately misfocused – sharpness for a long time was like a holy cow for me, as I see it as one of the genuine characteristics of photography to render the scene sharp and full of details. This small creek I found 2 weeks back during our hike in the Berchtesgaden national park, and the quality of the autumn light I found transported best in this blurred rendering of the scene.
This image is probably more conventional, and it was easy for me to accept. Backlight is the light I cherish the most since decades, however it eluded me often back in the film days. Chimping has improved my skills in dealing with this light form very much, and now I find more time to deal with the colours in this light situation.
