Portraits and Depth of Field
Dec 10, 2019 17:06:26 #
"What the heck is "Bokeh"? one may ask. Photo-Jargon is funny- folks invent new names for old stuff and then they do-all kinds of etymology and argue about what it really means. I understand it is a word of Japanese derivation, I have nothing against the word- it's a nice word but the concept of selective focus and background management has been around for a very long time. So...folks say good bokeh, bad bokeh, no bokeh so what's all that about?
To answer that question let's discuss the function of a background in traditional portraiture. It is to isolate the subject on a non-distracting field so that the viewer's eye is directed to the motif of the image that is the subject. The background can be jet black (low key) or snow-white (high key which is NO bokeh. If, however, the is some color or tone in the background that adds tonal or color mass which adds dimensionality, that's kind of a 3-D effect that creates the illusion that the viewer can enter the image and walk around the subject- nor exactly a hologram, but the image will no look like a cut and paste job. So..if desired, a low key treatment can still have a dark background but with just enough color or tone to suggest space. A high key image can have a touch of light pastel for the same effect. This is part of the story.
Good bokeh can also enhance mood, add a kind of rhythm to the background and suggest many other imaginative elements.
Bad bokeh happens when the background becomes cluttered, too definite, inharmonious, color-wise, with the subject's skin tone or clothing or too bright and therefore distracting. Worse "bokeh" is little multi-colored polka dots or balls of light which obviously become distracting. Added "bokeh" applied in post-processing is usually very incongruous or detectable unless expertly done. Problems happen when the opacity is not well controlled and/or the effect is obviously inappropriate for the scene or subject and simply looks artificial.
Many of these principles apply to the studio and indoor and outdoor environmental photography. Background management can be employed in natural light and artificial light in both continuous and flash lighting. Bokeh is usually associated with natural light photography in out of doors environment but it can be simulated in the studio.
MARKETING? There are lenses that are touted as being especially compatible with "bokeh" techniques- this having to do with the construction of the diaphragm blades as to their shape and quantity which influences how the lens renders out-of-focus points of light. Of course, focal length, camera/subject distance, subject/background distance and the degree of shallow depth of field all factor in.
I have achieved good results from many different lenses, some might be better or more adaptable to the technique but it's really a matter of taste. I am not big on little round balls, discs or dots of light all the time, so I create interference by shooting through twigs grass, foliage. or a use a thin strip of black pinstripe tape on a clear filter or a think black cable tie stretched across the lens shade, near the lent these alter the shape of the blobs of light and can create various rhythms and further breaks up what could be a distracting background. Hopefully, nobody is "selling you a bill o good" when they say that some lenses are better for bokeh effects to produce a better look but again, you have to be the judge and you need to understand how to control all of the aforementioned elements. Also, think about this- if the configuration of the diaphragm blades greatly affects the style of the bokeh, a very fast lens may be an advantage. Weh the lens is wide open the diaphragm blades may be completely out of the light path. When you stop down to f/2.0, f/2.8 or even f/4, you may sull have shallow enough depth of field but the diaphragm blades will be in the light path and affect the shape of the out of focus points of light. You may not want or need to shoot an f/1.2 or f/1.9 but stopping down a stop or two may maximize the effect you are trying to achieve.
To answer that question let's discuss the function of a background in traditional portraiture. It is to isolate the subject on a non-distracting field so that the viewer's eye is directed to the motif of the image that is the subject. The background can be jet black (low key) or snow-white (high key which is NO bokeh. If, however, the is some color or tone in the background that adds tonal or color mass which adds dimensionality, that's kind of a 3-D effect that creates the illusion that the viewer can enter the image and walk around the subject- nor exactly a hologram, but the image will no look like a cut and paste job. So..if desired, a low key treatment can still have a dark background but with just enough color or tone to suggest space. A high key image can have a touch of light pastel for the same effect. This is part of the story.
Good bokeh can also enhance mood, add a kind of rhythm to the background and suggest many other imaginative elements.
Bad bokeh happens when the background becomes cluttered, too definite, inharmonious, color-wise, with the subject's skin tone or clothing or too bright and therefore distracting. Worse "bokeh" is little multi-colored polka dots or balls of light which obviously become distracting. Added "bokeh" applied in post-processing is usually very incongruous or detectable unless expertly done. Problems happen when the opacity is not well controlled and/or the effect is obviously inappropriate for the scene or subject and simply looks artificial.
Many of these principles apply to the studio and indoor and outdoor environmental photography. Background management can be employed in natural light and artificial light in both continuous and flash lighting. Bokeh is usually associated with natural light photography in out of doors environment but it can be simulated in the studio.
MARKETING? There are lenses that are touted as being especially compatible with "bokeh" techniques- this having to do with the construction of the diaphragm blades as to their shape and quantity which influences how the lens renders out-of-focus points of light. Of course, focal length, camera/subject distance, subject/background distance and the degree of shallow depth of field all factor in.
I have achieved good results from many different lenses, some might be better or more adaptable to the technique but it's really a matter of taste. I am not big on little round balls, discs or dots of light all the time, so I create interference by shooting through twigs grass, foliage. or a use a thin strip of black pinstripe tape on a clear filter or a think black cable tie stretched across the lens shade, near the lent these alter the shape of the blobs of light and can create various rhythms and further breaks up what could be a distracting background. Hopefully, nobody is "selling you a bill o good" when they say that some lenses are better for bokeh effects to produce a better look but again, you have to be the judge and you need to understand how to control all of the aforementioned elements. Also, think about this- if the configuration of the diaphragm blades greatly affects the style of the bokeh, a very fast lens may be an advantage. Weh the lens is wide open the diaphragm blades may be completely out of the light path. When you stop down to f/2.0, f/2.8 or even f/4, you may sull have shallow enough depth of field but the diaphragm blades will be in the light path and affect the shape of the out of focus points of light. You may not want or need to shoot an f/1.2 or f/1.9 but stopping down a stop or two may maximize the effect you are trying to achieve.
Dec 10, 2019 17:18:46 #
davyboy
Loc: Anoka Mn.
tgreenhaw wrote:
When shooting portraits with an 85mm lens what f stop do you like to use? I'm looking for nice bokeh but also with sharpness on subjects. Here is a shot of my wife and new granddaughter. I would have liked my granddaughter to be sharper... This was shot at f1.8 and I think 2.8 might have done better but at the expense of a nicer background.
Is there a good rule of thumb?
Should I consider focus stacking and if so, whats a good method?
Is there a good rule of thumb?
Should I consider focus stacking and if so, whats a good method?
Sorry to poop on everyone’s parade but I think the pic looks fantastic just the way it is! I see no red eye, no lint. Just a beautiful pic of a beautiful woman. Why does every little speck have to be perfect when 90 percent of the folks viewing it will never notice?
Dec 10, 2019 17:22:22 #
davyboy wrote:
Just a beautiful pic of a beautiful woman.
:-) Aww shucks... Thanks for the kind words
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Dec 10, 2019 18:18:07 #
davyboy wrote:
Sorry to poop on everyone’s parade but I think the pic looks fantastic just the way it is! I see no red eye, no lint. Just a beautiful pic of a beautiful woman. Why does every little speck have to be perfect when 90 percent of the folks viewing it will never notice?
The famous Barbra Streisand hit song is "Don't RAIN On My Parade" not the other word (UGH)
Nobody said anythg detrimental about the OP's image and everyone only took time to offer their technical advice. The perfection and nip-picking is for the other 10%, in your estimation, that do look at every fine detail. The OP can scan all the texts and make his own decision as how to approach his question.
Dec 11, 2019 17:48:27 #
raymondh wrote:
My compliments to Mr Shapiro for investing the time for this insightful & comprehensive response. Good people on UHH!!
Ed, has been a great advisor in the Wedding section as well as the Professional and Advanced Portraiture section. I have encouraged him to publish a book or video tutorial. He could probably have enough material just from all the insightful & comprehensive posts on UH.
If you want to reply, then register here. Registration is free and your account is created instantly, so you can post right away.
Check out Street Photography section of our forum.