Leica lens for WA human subject isolation?

[gpwhite]

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Low depth of field is relied on far to much for composition.

Low depth of field helps communicate your focal point but you can't rely on it to isolate a subject.

A wide angle is both really good for composition and also relatively more hard. Of course, depth can create a satisfactory "isolation" but really, who really wants that?

 

Paul, I really agree with your insights, and I am always trying to improve the balance between isolation and harshness, so to speak. I dug this shot out to send Linden regarding this thread, and, much as I like the composition, the dissolve to Thorsten's fancy M top plate could be smoother. Perhaps f/3.4, instead of f/2.8 next time on the 19mm.

 

The whole point of getting a graceful dissolve away from the focus point, using a WA, is the strength of Leica lenses, IMHO. But field curvature and distortion can be substantial problems with the Summiluxes... and to some extent with the 28mm Summicron at f/2.

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[Paul J]

But I don't agree with the notion that selective focus / subject isolation through shallow depth of field requires the photographer to forget good compositional and perspective discipline. These tools are not mutually exclusive.

 

Hi Winedemonium, perhaps I misunderstand you but I also don't agree that low depth of field requires a photographer to forget composition either. At all. It's certainly not a notion I'm trying to make. I don't think a photographer can ever forget composition.

 

A defined focal point from shallow depth field does not mean the eye will look at that thing first. Leading lines, negative space, geometry, highlights, shadows and colour lead the eye around the image regardless of what is in focus or not. That is what creates subject isolation primarily. On top, if that flow is interrupted with inappropriate bokeh, then it can easily become a distraction and a jar.

 

The perfect example is Peter's photo of the police officer. It's a well composed photo. It's not the shallow depth of field creating the isolation though, it's the leading lines of the background, the lines and arrows in the road on both sides, the arrow on his sleeve badge, the direction of his fingers; It all points to and directs the attention and flow to the face really well. Most of these elements are out of focus and yet they are still creating the flow of the image. So I think it would have been more emphasised and harmonious if these were were sharp.

 

So all I'm saying is subject isolation comes from composition and geometry long before it comes from depth of field and I question wether shallow depth of field, in most cases, has any wider relevance other that aesthetic.

[rirakuma]

I also think composition plays a great deal in subject isolation. Unless you're using a very fast lens like the summilux you won't always have the luxury of lenses melting away backgrounds. The 28 cron is a good choice though, that lens seems to have a lot of pop based on the samples I've seen. This is another one taken with the 21/2.8, I placed the subject in the middle and I believe the contrast makes them stand out from the scene. I really like how this lens controls distortion, the wide angle effect is quite subtle.

 

[Winedemonium]

Thanks you three. I have got a lot of value out of this thread.

 

Paul - thanks for clarifying your point, which I accept - that compositional elements are more important to a good image than selective focus. Indeed, shallow depth of field, one might argue, adds to the challenge.

 

rirakuma - I like this group photo. Your subject is separated by a three dimensional effect. Zeiss lenses seem to deliver this effect so well.

 

I think in the case of TheGodParticle's similar scene - the group of people looking at the view, that image's impact would not have been diminished if DOF had been deeper. The shallow DOF accentuates the image's intimacy and the background in the scene is still clear enough to give context, and emphaize the dreamy carefree-like emotion conveyed by the group enjoying the view. I think if the DOF had been shallower still - such that the background was a complete blur of melted colour, we would be lost, no knowing what it is the group is enjoying. If the DOF was deeper, perhaps the image would have more, rather than less, impact. I don't know. It's nice to have the option to try different DOF.

 

Colours in both scenes also help to convey the relaxed happiness conveyed.

 

I think I may experiment with some DOF "bracketing"....

[don daniel]

Summicron 28mm asph.:

Photographer St. Johann von Blende 1.4 auf Flickr

[Malvolio]

The 28 Cron is fantastic for subject isolation. I love it. Beautiful rendering

 

 

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[viramati]

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the 28 cron asph is my most used lens on the M. That being said I recently bought the CV21/1.8 when my WATE was in for repair and have to say that it has been a great addition to my collection. It is a bit soft on the edges wide open but if you want field separation then it really works well as stop it down a bit and it is really sharp. For under £800 it is a really gem