![]() All that matters is the variation of brightness and color.įilmmakers have long used long lenses to communicate distance between a character and their surroundings, or to focus the audiences attention on a character to the exclusion of all else. You could take a portrait in the middle of a trash dump and no one would be the wiser. As long as there is sufficient distance between the subject and the background, whatever is behind the subject will disappear into blobs of light and color. ![]() Because long lenses, combined with a low f-stop, provide a shallow depth of field. ![]() If photographers ever want to take a flattering portrait in an unflattering environment, one surefire method is to use a long lens, the longer the better. For the video at the end of this article, I shot with the SIGMA 100-400mm DG DN OS Contemporary. Several full frame cameras, such as the SIGMA fp, allow you to crop in on the sensor, effectively making your lens 50% longer with he click of a button, all without sacrificing resolution or compression. This means that a 100mm lens on a super 35 sensor will have the same field of view as a 150mm lens on a full frame. If you move to a super 35 sensor, you gain a extra 50% crop, so the lens will appear that much longer. ![]() If 50mm on a full frame sensor is a standard, anything longer than 75mm is generally considered long. Like all lens and camera discussions, the “longness” of a lens depends entirely on the mm of the lens and the size of the cameras sensor (or for celluloid, the size of the film plate). Let’s take a look at the SIGMA Cine 135mm T2 and the 100-400mm DG DN OS Contemporary. Long lenses are a powerful tool for storytelling, because of how differently they see space from the regular human eye, an effect filmmakers use for a variety of reasons. First invented to photograph objects that photographers couldn’t get close to, the long lens has since become a staple in cinematography because of the effects it has on space and perspective. ![]()
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