The distance from the subjects (and even more so the backgrounds) is
different - which affects the DOF. The DOF beyond the subject is always
greater than the DOF in front of the subject - after a certain distance! So
the view through the window will have a wider DOF than the background behind
the old lady so you're not really quite comparing like with like.
This is before all those other variables that people have listed.
Allan
PS No trees were harmed in the sending of this message and a very large
number of electrons were asked their permission to be terribly
inconvenienced. (And threw a party for them afterwards for being really cool
about it).
Disrupting the unnatural balance that you, as a conscious human being and a
confused mass of energy, have created.
-Disturb the mind -
>From: "Brian Swale" <bj@xxxxxxxxxxxxxxx>
>Reply-To: olympus@xxxxxxxxxx
>To: Chris Crawford <chris@xxxxxxxxxxxxxxxxxxxxxx>, olympus@xxxxxxxxxx
>Subject: [OM] Re: Le*ca and B&W ( long?)
>Date: Tue, 2 Jan 2007 04:44:16 +1300
>
>
>Hello all,
>
>Chris wrote
> >
> > Well for one thing, the OM 50 f 1.8 has horrid Bokeh, while Leica lenses
>are
> > usually better in that regard. The Leica 50mm f2 Summicron R is the
>only Leica
> > 50 that I have personally used and it's far superior to the Olympus
>lens. I Like
> > the OM-4T much better then the Leica R4 that I had. I hated the
>ergonomics of
> > the R4 so much I sold it and bought another OM-4T but I miss that
>Summicron.
> >
> > Here's a photo taken with the OM 50mm f1.8, shot at aperture of f4.
> >
>http://chriscrawfordphoto.com/fine_art/portfolio/marys-bar/photopages/marys-
> > bar15.htm See how harsh the out of focus areas are?
> >
> > Here's one with the Summicron, shot I think at f4 or 5.6.
> >
>http://chriscrawfordphoto.com/fine_art/portfolio/grandpa/photopages/dog1.htm
> > Look at the out of focus area outside the window, see how smooth it all
>is?
>
>The main differences I see between these two shots are ( AG can tell us the
>proper developer jargon)
>
>1) the smoothness of, and degree of, gradation from black to white;
>2) the detail of the white areas and whether or not the detail has been
>blown
>out.
>3) and as ( I think it was Chuck who pointed out) the distances from camera
>to offending background are different between shots AND as we all know,
>bokeh is affected greatly by how "fussy" the background is.
>4) I also think the sunlight was muted in the snow? shot and very much not
>muted in the salon shot. The range of exposure values between the shots
>was quite different. ( Adams's Zone system applies). ( is that " ' " right?
>:-)) )
>The lighting for the snow shot has come out very soft.
>
>
>ALSO
>
>From what I have read in Ansel Adams books but never personally put into
>practice :-(( these aspects of quality are affected greatly by choice of
>film,
>manner of development of film (including choice of developer chemicals),
>choice of enlargement paper, choice of developer chemicals for the
>enlargement print.
>
>So, I suppose to be *really picky* a reasonable test would have half the
>shots taken on one camera and the film then transferred to the other camera
>for the remaining shots. This evaluation would probably require a static
>interior setup that removes any chance of altered sunlight etc making
>uncontrolled differences, since the shots could not be taken nearly
>simultaneously.
>
>Or, two rolls of film, two cameras, expose at the same time at the same
>settings and develop on the same spool at the same time..
>
>Picky :-) But, to be fair, these matters must be taken into account.
>IMHO.
>
>Brian
>
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