Bokeh 101

Lesson 5/6 - Crop versus Full Frame

 

Bokeh 101

 

Lesson Info

Crop versus Full Frame

Crop versus full friend what's the difference I mean issue cropped in sandhamn wishes that curiosity full friend like you guys okay, so time this this since we discussed this already everything else has been discussed given one of the information that I've given you if I would take similar cameras, start a crop sensor camera and a full frame camera and had similar focal distance as it applies to that uh that center for example that a full frame camera and I had a twenty four millimeter on there twenty forty seventy it was them or so at the seventy side and I took a crop since the camera with a crop factor of one point five and I got a fifty on there they're almost the same it's almost the same fifty to seventy and shaking head now one point five times seventy equals seventy five and it's more or less the same just making sure so we go through that same process of it's about the same ok so if I took those same parameters and everything else is the same they should be the same photograph...

I should have the same if I take the crop since her camera and I switch it and we're going to test this three outs you guys know that so as much as you guys and shaking your head no, I'm gonna put you up here on stage and we're going to do this now if I take a thirty five millimetre lens and I photograph my subject at the same focal distance, same distance everything's the same and I just for the same exact positioning of the subject, my focal length, everything else is the same and I just for what I compensated for my focal length on the medium format. So I was shooting, for example, a thirty five millimetre equivalent on a crop since her camera and a thirty five of my full friend now a thirty five millimetre on from my full friend camera and putting it on my crops answer. I mean, putting a twenty four on a crop sensor camera of a factor of one point five and putting it on that micro I should have the same photo mathematically, so come up here, I love non believers and this is why we have two cameras. I will shoot you with a big, large first sit down from it so we're going to change distance. We're going to find a way to mark my distance. I don't know who's this water is perfect you like that's a good marker can you bring up light room for may somewhere someone is fringing newt up right now I feel like there should be music during this section let's judge is my one fifty I'm thinking it's seventy two, two hundred that's how my day way never had those days that you grabbed the wrong lens and you're like no that never happened that wasn't one of those you should I you know what? I'm not going to try to be fancy I'm just gonna shoot habit try already moved you guys don't have to judge me that way okay? I'm gonna take the most awkward photo view ever is a point to this we'll take one more let's say stay there okay, I'm here I'm currently a seventy millimeters according to my stats you like what am I doing here? Let's do some math you ready for the math? Seventy millimeters if I have a camera that is a smaller format and it's not a full frame camera what? We multiply by one point what about sam? We're gonna we're gonna I'm gonna be betty crocker here and we're not going to make exact measurements were going to get to about the same so in order to get a seventy millimeter what kind of one's doing it fifty years I feel like literally like betty crocker I mean lenses can a person packed till we have you know be like here you know that's she's like this one okay, so you said no so if I take the same photograph should be approximately the same in my theory and should it be the same in yours, right? Remember that ok no cf part in this one because I'm switching conspiracy theorists I'm being a conspiracy theorist you crop there and take it to one eighty sixthree I saw automatic who lose that is my camera ok same setting and I'm still in that line you're great has moved doctors off get a little tiny bit off you said there should be a big difference right big difference how much of a difference quantifiable difference on a five maybe twenty five percent difference kansan awesome perfect this isn't my camera has a different I after so nothing is in focus and that I often whatsoever and that's this's serious go back oh that was different take one more right there that's a good thing mike let me see the seventy example versus the second second the example versus the original five d mark three example just compared back to back thank you what was different? Focal length but what's actually the difference between those two photos you said twenty five percent no difference in the words of peter hurley shebang life that's what we're going with there's no difference in theory if I take the same camera at similar links my aperture should be the same has literally the depth of field the booking isn't influenced by the camera itself it's influenced by the lenses that I'm using right whereas if I took that same lens originally that I had that seventy two hundred and I put it on the seventy and shoot and I shoot you at that same seventy this is what you're talking about you gotta smile you're like I mean, we don't want to be here and embarrassed to go this way perfect you look like a news host like that's what you want to look like you have a mic in your hand so this is what you're talking about can I see those three mike, I'm sorry thank you light this is a book a class, not a porsche at this portrait I would have you they're like ok, pack your lips just throw down exactly this's what you're talking about twenty five percent is because you thought that if I use the lens equivalent to what works on a crying a full from camera crops enters the same thing saying exactly this is a way when you go buy lenses, you go buy equivalents what you want a photograph so I find I want to shoot let's say thirty five and I have a corrupt sensor camera with a crop fact of one point five one point six then I know that I need to buy a twenty four if I want to get to thirty five because of math that goes into that that's how complex thank you but no question so far you got a question let's let's hear but from my experience, if I should at one point eight beautiful frame and one point eight at the crops answer I'll have a difference in terms ofthe the depth of field which which it takes I'm gonna have you set up your next see I'm all for naysayers let's give after you my check high ok, so here's what we owe to test that they're so the little stringy lights behind you I don't actually use them here's what the stringing lights before it's to show you that when you're shooting a background doesn't matter what it isthe it can be even got to the middle of the forest I'm going to say it's a matter fact stay there for two seconds you and I'm going to look at this I proved that right right you go that way what's what's the thing behind that man I'm asking that might tell us it's a it's a it's a trick you can tell that basically yeah you can see it okay I say that because everybody overcompensates for brok right? Everybody tries to make everything completely blurry and that's all they want focuses on a person's face. Generally speaking, I want to focus on you don't want to focus on the background everything blur okay but you can still use book it's a player narrative you saw as a tree so I'm looking at this grander scale so I want you guys to think that the only way that you can shoot book is by light it's behind somebody because that's generally when you go online and you go look for things that's what happens used the theory for what we're discussing here to go on location and see different things so the tree that you see appointed that's going the tree that you see here okay there's light shining to that tree they're small little speckles of light we're going ahead and apply that same principle to shooting the trade questions in here you guys are scared of me? Is that is that what we're discussing here? I had a question about that porch it you did of that gentleman that was kind of laying across. Um can I see the presentation? He was later questioned, you know, but you were using ah mia six forty five remember that whole word and yeah, six forty five df and I was wondering does that also because it's that's a um medium format uh camera are you is that it's also affecting the deputy field? The camera sensor is larger than the thirty five yeah it's a lot larger so it seems that I have a thinner plain and focus I can I can manipulate my focus better than I was thirty five or anything that I have there like I love it paper thin focus I can literally if I look at his face with that one ten and focus on his eye and completely get the eye lashes out of focus that photo to give you equivalent of when it's like in a computer is two hundred fifty megabytes, every single image. So when I'm re touching it, sometimes they go toe about a gig in size, so I generally do it not in my computer, like so there's a lot of information out there, but I want to look pretty that's my pretty like we'll go with that, um, when you're photographing somebody with that deep depth of field, actually, it actually could be really difficult to do because this specific image I can literally zoom into his watch and see ever individual cuff link this big on screen, because that's, how much information is that? So if your regular portrait photographer and maybe that's not right for you, because if you're trying to shoot let's, say somebody in focus and you're getting things out of focus all the time, it depends on what you're using in such like if you're going toe shoot weddings, for example, I probably wouldn't should meet in format all the time unless you're that good where you can get everything in focus. Because for example, if you want to get something out of focus and wedding and he takes the same principle of what we discussed today right and you should, you know, shallow depth of field and you shoot something that has a larger sensor and everything else you want to be out of focus but miss it by an inch so these wedding photos this is why I don't you wedding season I don't make those mistakes like fashion, I can redo it can't redo a wedding and I wanted just we'll discuss that perfect stay there so we're going to the math again fifty millimeters I should have what equivalent about the same on my fool friend mike eighty five it should be about seventy five so indifferent get seventy five and take this out somebody somebody is yelling at me for not having cover on this camera any questions on switching lenses sounds to me like people are computed depth of field with okay just to be sure jeff is defining a cz the out of focus elements correct depth of field is what's in focus what what's in focus versus what's out of focus really is the quality of the background blur so it's how to achieve the rounder softer lights it's how to achieve less if we talked about the donut shapes and all of that has a factor within depth of field but it's defined by okay in quality exactly should be about seventy here perfect. This one is shot at what I can see the last settings of the last photo here's what? One eight of yes that's why I'm sinister settings sorry about your settings again apparently I can't answer questions at the same time for me I'm being extremely sarcastic so you guys know that from new york has anybody else realized that I'm an only child say that all the time but question what? Fifteen your question ok? Are you just putting that up to your face so you cannot pretend toe speak into the mike and be a reporter that we really know about what's happened here man you know I'm like this in real life, right? This is enough like this is me this is who I am as a person so okay to eight isis two hundred switch to apatow priority mode I'm going to shoot at two eight s o two thousand so what I'm changing now is my shutter speed that's it seemed whatever it wants. Okay, once I judge this, then we'll go ahead and use the camera that's what we're using right now, mike you're tethered, I'm sure, but I gave you enough time to do that. I hope reason to seventy which is cropped at fifty millimeters is what you want perfect okay to wait she was probably nube okay there whatsoever because the plane to focus and how far you are from that background my correct in saying that without looking at the photo and we'll discuss that before I hadn't had it looked at the photo yet and I know that there's no book right there is how much I don't consider that book it's like a book like that little tiny thing that say we need to not to do that again okay so we need a seventy million you know what such lenses listen I want somebody start singing a tune in the background over there something finally get the card that's it I'm using mark three and we said to eight and a seventy equivalent right well the settings on that one ok four hundred two h that's like it does in manual mode I have a terrible right here I'm trying to replicate that down can you show me this two differences that's him side by side how big of a difference is that honestly bigger different bigger difference massive difference learn more just like fractional didn't listen watch this I'm gonna still shoot at a seventy where is it and all I'm going to do and this is the whole thing about experimenting right was going on location miss you little further than I would know what I change subject took a little bit of resistance moved the chair of foot towards delights right there, that's watching anything the point I'm trying to make to this what's different distance from the subject of the plane are focused. So when I was standing there, my plan of focuses a lot closer than it was here, right? So the distance may be moving from shooting. This isn't exact formulas. I told you, I'm being betty crocker before, right? So even mean, moving here, this is what I had here, so ultimately can affect the quality of the blur. I don't have a specific and we again we're at a close. So the thin plan to focus your here with that finner planet focus here so I'm literally focused. And if I move in or out, it can change that that fractional the point is that's why there's a difference in those two photos? There really isn't. If I sat this on the tripod and shot same two photos, it would be almost exact. Okay, he's like you drink like grilling may know this is may I'm sarcastic, man. Thank you. Perfect. Ok, so what did you see? That you're so pretty light you saw distance from their subject to the background, right? Changed just the book in the background you saw the fact that if I moved myself from that subject, I also influence what happens there in getting closer to our subjects increases the amount of blur that we have in our photos, for they were going to a certain point where you get distortion. All right, so I could get us closer. So I want to that subject. But at some point, his head's not gonna be the same shape it was when I first started. And ultimately, I need to make sure that I haven't have two options. I could make him with pretty, or I can give ok there's times where I might not be gay, but I get both perfectly, and you kind of have to judge what you're ultimately trying to do. If you're fine with him, having, like a misshapen head were where he does, and that next no offense, that's my fault, that's, what happens, you get to close that subject, and they're gonna have distortion.

Class Description

Bokeh lends depth, beauty, and interest to photographs – learn the art of capturing it from fashion and portrait photographer, Jeff Rojas.

In this class Jeff will guide you through the process of creating different bokeh shapes using both available and artificial light. You’ll learn about the lenses that are most effective at capturing bokeh and you’ll learn some creative solutions for creating bokeh on a budget.  

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