Forced Perspective Photography
Mar 16, 2023 15:29:06 #
Cany143 wrote:
I've no idea what tutorials you've seen, but the near/far focus problems you've described sounds as though --and is what I'd strongly suggest-- you'd be well advised to look into focus stacking.
Mar 16, 2023 15:38:08 #
MJPerini wrote:
I think what you are referring to as forced perspe... (show quote)
Tilt and shift is my preference, but thaz real $$. The earlier mention about focus stacking could save a lotta $$.
Acoarst combining both would handle any forced perspective that the OP can dream up. But again, T/S lenses aint cheap, and the less expensive ones are not for SLRs.
Mar 16, 2023 15:44:06 #
Timmers
Loc: San Antonio Texas.
User ID wrote:
Well acoarst. Youve never understood much anywho, so itz par for the curse.
This is pretty much an old wives tale. This represents an effect for lenses when wide open, as a lens is stopped down the effect tends to move towards an even distribution of the focus and oddly enough as you move past the minimum aperture position the lens can exabit a reversing where there is more in focus to the forward position than the rear of the hyper focal distance.
Mar 16, 2023 16:03:50 #
Forced (or any othere perspective issue or treatment) simplified.
PERSPECTIVE is controlled by distance NOT focal length but focal length factors into the technique. Weh using a wide-angle lens we can include more of the subject in the frame at closer distances. So, working at these distances that are closer than if we were using a"normal" lens makes wide-angle lenses a very applicable tool when forcing perspectives. With a 35mm full-frame digital camera, focal lengths between 24mm and 35mm are recommended for this application. There are- of course, equivalent focal lengths for other formats.
DEPTH OF FIELD: DOP is mainly a function of the aperture but is affected by focal length and distance as well. Short focal lengths tend to have more easily obtainable DOP than longer ones and DOP can become very critical at wider apertures and closer distances.
DIFFRACTION: In the olden days of film, aperture settings of f/22, 32, or even 64 were commonplace. Optical diffraction existed but I suppose the film was less prone to its ill effects. Large format lenses were somewhat slower, their sweet spot was further up the scale, and many flat-field and process lenses were in use and were designed to perform well whnt stopped down. Nowadas DIFRACTION is a major and feard BOOGIE MAN! To me, it's like prescription drugs- the doctor decides if the benefits outweigh the risks and side effects. The photographers have to be decided and make compromises based on their knowledge of their lenses' performance and the degree of enlargement of any given image.
TILT AND PERSPECTIVE CONTROL LENSES: In the old days, serious commercial, fine art, landscape, and architectural photography were done witht large foram view cameras. The tilts rise/falls, and swings, enable every form of perspective, distortion, and DOP alteration and control. The Scleimpflug method, whereby the front standard of the camer could be tiled to enable increasing DOP at wider apertures. Tilt the back of the camera could further enhance this effect AND be employed to FORCEr perspective, even with a "normal" lens. Othere adjustments could correct converging parallel lines and the dreaded "building falling over frontward or backward distortion. One could just about bed this came into a "pretzel" to accomplish multiple corrections and special effects. A tilt/PC les can do SOME but not ALL of these shenanigans. This is becas unless you have a specai custom-made rig, you can not tilt or swing the BACK of the camera.
In landscape photography, formed perspectives are easy. A wide-angle lens can usually produce the illusion that the foreground is faster for the subject than it is in real life. You are utilizing a controlled degree of distortion to achieve the effect. This would not bode well in a closeup portrait because it might have your subject resembling Pinocchio! Extremely forced perspective in real estate photography is problematic because it misrepresents and exaggerates the size of rooms. In artistic work- HAVE AT IT.
If you keep the cameras parallel to taller subjects such as buildings, you should not get too much "fall over" or serious converge b parallels and still exaggerate foreground and, or make foreword space for framing the subject in foliage, archways, etc.
MACRO? Good luck! DOP can be critical- fractions of inches. This is where PC lenses and/or focus staking come into play. In the attached shot of the coins, I use a customized camer with both tiltable from standard and BACK so I was able to force the perspective and maintain DOP at a fairly close distance forom the subject. It was time-consuming and took a lot of testing to get it right. The "Old Castel" shot was fun. I was on the way home from the police station where was picking up my firearms permit. The sun was settg over our Museum of Nature and a grabbed this shot with my cellphone camera and over-processed the hell out of it! I like the "path"! no muss no fuss! Oh, I sold my guns- a 12 Guage for clay pigeons and an 8mm Mauser (collector's item)- my lovely wife does not want those things in the house!
POST PROCESSING- You can force perspective and "stretch" images in editing. The same applications that are used to correct convergence and cerian distortion can be used to introduce distortion and exaggeration of lines.
DEPTH OF FIELD: There is a kidsof of "old wives tales" and some so-called rules thumb pertaining to DOP. My advice is to take some time and read up on "HYPERFOCAL DISTANCE", this will enable you to KNOW exactly where to focus on, in a given scene or on a set, to maximize DOP when required. The odd "1/3 into the scene works some of the time but is not applicable in all situations.
PERSPECTIVE is controlled by distance NOT focal length but focal length factors into the technique. Weh using a wide-angle lens we can include more of the subject in the frame at closer distances. So, working at these distances that are closer than if we were using a"normal" lens makes wide-angle lenses a very applicable tool when forcing perspectives. With a 35mm full-frame digital camera, focal lengths between 24mm and 35mm are recommended for this application. There are- of course, equivalent focal lengths for other formats.
DEPTH OF FIELD: DOP is mainly a function of the aperture but is affected by focal length and distance as well. Short focal lengths tend to have more easily obtainable DOP than longer ones and DOP can become very critical at wider apertures and closer distances.
DIFFRACTION: In the olden days of film, aperture settings of f/22, 32, or even 64 were commonplace. Optical diffraction existed but I suppose the film was less prone to its ill effects. Large format lenses were somewhat slower, their sweet spot was further up the scale, and many flat-field and process lenses were in use and were designed to perform well whnt stopped down. Nowadas DIFRACTION is a major and feard BOOGIE MAN! To me, it's like prescription drugs- the doctor decides if the benefits outweigh the risks and side effects. The photographers have to be decided and make compromises based on their knowledge of their lenses' performance and the degree of enlargement of any given image.
TILT AND PERSPECTIVE CONTROL LENSES: In the old days, serious commercial, fine art, landscape, and architectural photography were done witht large foram view cameras. The tilts rise/falls, and swings, enable every form of perspective, distortion, and DOP alteration and control. The Scleimpflug method, whereby the front standard of the camer could be tiled to enable increasing DOP at wider apertures. Tilt the back of the camera could further enhance this effect AND be employed to FORCEr perspective, even with a "normal" lens. Othere adjustments could correct converging parallel lines and the dreaded "building falling over frontward or backward distortion. One could just about bed this came into a "pretzel" to accomplish multiple corrections and special effects. A tilt/PC les can do SOME but not ALL of these shenanigans. This is becas unless you have a specai custom-made rig, you can not tilt or swing the BACK of the camera.
In landscape photography, formed perspectives are easy. A wide-angle lens can usually produce the illusion that the foreground is faster for the subject than it is in real life. You are utilizing a controlled degree of distortion to achieve the effect. This would not bode well in a closeup portrait because it might have your subject resembling Pinocchio! Extremely forced perspective in real estate photography is problematic because it misrepresents and exaggerates the size of rooms. In artistic work- HAVE AT IT.
If you keep the cameras parallel to taller subjects such as buildings, you should not get too much "fall over" or serious converge b parallels and still exaggerate foreground and, or make foreword space for framing the subject in foliage, archways, etc.
MACRO? Good luck! DOP can be critical- fractions of inches. This is where PC lenses and/or focus staking come into play. In the attached shot of the coins, I use a customized camer with both tiltable from standard and BACK so I was able to force the perspective and maintain DOP at a fairly close distance forom the subject. It was time-consuming and took a lot of testing to get it right. The "Old Castel" shot was fun. I was on the way home from the police station where was picking up my firearms permit. The sun was settg over our Museum of Nature and a grabbed this shot with my cellphone camera and over-processed the hell out of it! I like the "path"! no muss no fuss! Oh, I sold my guns- a 12 Guage for clay pigeons and an 8mm Mauser (collector's item)- my lovely wife does not want those things in the house!
POST PROCESSING- You can force perspective and "stretch" images in editing. The same applications that are used to correct convergence and cerian distortion can be used to introduce distortion and exaggeration of lines.
DEPTH OF FIELD: There is a kidsof of "old wives tales" and some so-called rules thumb pertaining to DOP. My advice is to take some time and read up on "HYPERFOCAL DISTANCE", this will enable you to KNOW exactly where to focus on, in a given scene or on a set, to maximize DOP when required. The odd "1/3 into the scene works some of the time but is not applicable in all situations.
Mar 16, 2023 16:56:00 #
Sidwalkastronomy
Loc: New Jersey Shore
User ID wrote:
But thaz not gonna increase DoF :-(
Thaz gonna both examples of your fine English skills.is that your official troll language.
On behalf of the UHH community grow up and stop trolling
Mar 16, 2023 19:42:51 #
dwmoar
Loc: Oregon, Willamette Valley
dbrugger25 wrote:
When my Canon cameras focus, the lens is wide open so you don't see the depth if field through the viewfinder. You will see it when you look at the photos after taken.
Have you tried it using the DOF preview button on the front of the camera? On the 50D it is on the lower right side of the lens mount. on my Rebel SL2 it is right next to the lens release button on the left side.
Mar 16, 2023 19:53:13 #
Timmers wrote:
This is pretty much an old wives tale. This represents an effect for lenses when wide open, as a lens is stopped down the effect tends to move towards an even distribution of the focus and oddly enough as you move past the minimum aperture position the lens can exabit a reversing where there is more in focus to the forward position than the rear of the hyper focal distance.
Not being an Olde Wive Ive never bought into those tales myselves. But Hawgsville has its huge contingent of such "experts". How could any simple question bloat out to 10 or more pages without their input ? Letsee how long this candle might burn.
Mar 16, 2023 20:01:58 #
Mar 16, 2023 20:08:39 #
Sidwalkastronomy wrote:
Thaz gonna both examples of your fine English skills.is that your official troll language.
On behalf of the UHH community grow up and stop trolling
On behalf of the UHH community grow up and stop trolling
You cannot speak on anyones behalf ... not even your own. Your own posts are just grammatical hog slop. Youre always the pot calling the kettle black.
As for me trolling ? Show one example ... just one. You cannot cuz there are none. Parrots like yourselves dont even know what youre saying.
Mar 16, 2023 20:19:04 #
Timmers wrote:
This is pretty much an old wives tale. This represents an effect for lenses when wide open, as a lens is stopped down the effect tends to move towards an even distribution of the focus and oddly enough as you move past the minimum aperture position the lens can exabit a reversing where there is more in focus to the forward position than the rear of the hyper focal distance.
"As you move past the minimum aperture position ... " ??!?!
Skyewz me but "moving past" either the minimum or the maximum seems kinda contrary to the very idea of "minimum" or "maximum" which acoarst represent the limits. There must be some clearer way to say what you mean ?
Mar 16, 2023 20:37:31 #
Sidwalkastronomy
Loc: New Jersey Shore
User ID wrote:
You cannot speak on anyones behalf ... not even your own. Your own posts are just grammatical hog slop. Youre always the pot calling the kettle black.
As for me trolling ? Show one example ... just one. You cannot cuz there are none. Parrots like yourselves dont even know what youre saying.
As for me trolling ? Show one example ... just one. You cannot cuz there are none. Parrots like yourselves dont even know what youre saying.
Can't find one cause EVERY POST OF YOURS is troll material.
Your made up spelling serves what purpose, please explain.
And your racist comment calling me black is not acceptable.
Why not grow up and stay on topic. Everyone has typos but you changing the English language is puzzling at best.
Is you mom under your dest cleaning up cookie crumbs or she acting like a vacuum. Let us all know
Mar 16, 2023 20:38:59 #
Mar 16, 2023 20:48:53 #
Sidwalkastronomy
Loc: New Jersey Shore
Sidwalkastronomy wrote:
Can't find one cause EVERY POST OF YOURS is troll material.
Your made up spelling serves what purpose, please explain.
And your racist comment calling me black is not acceptable.
Why not grow up and stay on topic. Everyone has typos but you changing the English language is puzzling at best.
Is you mom under your dest cleaning up cookie crumbs or she acting like a vacuum. Let us all know
Your made up spelling serves what purpose, please explain.
And your racist comment calling me black is not acceptable.
Why not grow up and stay on topic. Everyone has typos but you changing the English language is puzzling at best.
Is you mom under your dest cleaning up cookie crumbs or she acting like a vacuum. Let us all know
I'm sorry I spelled vacuum wrong for your mom under your desk, it's spelled BJ, LOL
Mar 16, 2023 21:27:23 #
Sidwalkastronomy wrote:
Can't find one cause EVERY POST OF YOURS is troll material.
Your made up spelling serves what purpose, please explain.
And your racist comment calling me black is not acceptable.
Why not grow up and stay on topic. Everyone has typos but you changing the English language is puzzling at best.
Is you mom under your dest cleaning up cookie crumbs or she acting like a vacuum. Let us all know
Your made up spelling serves what purpose, please explain.
And your racist comment calling me black is not acceptable.
Why not grow up and stay on topic. Everyone has typos but you changing the English language is puzzling at best.
Is you mom under your dest cleaning up cookie crumbs or she acting like a vacuum. Let us all know
The only vacuum is between your ears.
Sooooo clearly here you persist at the pot calling the kettle black.
Mar 16, 2023 21:30:25 #
Sidwalkastronomy
Loc: New Jersey Shore
User ID wrote:
The only vacuum is between your ears.
Sooooo clearly here you persist in your calling the kettle black.
Sooooo clearly here you persist in your calling the kettle black.
Another racist black comment
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