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Thread: Does changing aperture move the focus point

  1. #31
    Tin Can's Avatar
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    Re: Does changing aperture move the focus point

    It took me years to get comfortable with wide open SF

    I have lens variety, now

    the more I research big Pinhole with many books

    the better I see
    Tin Can

  2. #32

    Join Date
    Mar 2005
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    Newbury, Vermont
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    Re: Does changing aperture move the focus point

    XKAES...I cannot seem to access that Fujinon brochure on my computer...but how old is it? And to which specific lenses/vintages does it refer?

    While I sometimes, even with my quite modern lenses (and assuming I have some good catch lighted textures) will check the actual focus with a lens stopped down...I more often am stopping down to simply check DOF, finding it a risky proposition to entrust a relatively darkened image to indicate a precise focus plane. I'd therefore be quite surprised at Fuji's recommendation unless the lens(es) in question exhibited quite visible shifts in focus.

    Then again...do keep in mind that Ansel Adams reflexively knew just how much to correct (without visually re-checking his focus) the focus-shift prior to making his wonderful "Moonrise" photograph!

  3. #33

    Join Date
    Feb 2015
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    Sheridan, Colorado
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    2,432

    Re: Does changing aperture move the focus point

    Fujinon is only talking "focusing stopped down" regarding its SOFT FOCUS lenses.

    The manual is the only one that they produced in the '70s & 80's. They must have produced new manuals during the CM-W period, but I don't have that.

    DOES ANYONE HAVE ONE TO SHARE????

    Anyway, if you can't access the PDF file, try another BROWSER or OPERATING SYSTEM -- it's there. You are probably being blocked by your ISP "insecurity".

  4. #34
    Drew Wiley
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    Sep 2008
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    Re: Does changing aperture move the focus point

    Even the last of the regular Dagors, the splendid multicoated 14 inch Kern, exhibited a bit of focus shift until a third of a stop before f/11, and none further down. No big deal. If you can't stand the idea of refocussing a tiny amount, just start out at f/11 instead. It will still be plenty bright.

    As far as old timers went, Dagor focus shift probably wouldn't have any visible difference in a contact print, that is, independent of depth of field issues. And per immortalized St Ansel, who we all know did everything photographic better than everyone else who has ever lived, or ever will... uh,er ...relatively few of his 8x10 negs were particularly sharp by modern standards, including Moonrise. But they generally worked reasonably well up to around 20X24 print size, which is less than a 3X magnification. Double that, and detail in many of them gets mushy fast. That's why he often had his very large prints printed lower contrast and somewhat warmer in tone by a commercial lab better equipped than himself. Lower contrast disguised those flaws better; and as one backed off to view the image, it took on a more poetic gentler feel rather than his classic, hard contrast, more dramatic version. I'm not necessarily referring to Moonrise per se, which had all kinds of printing issues, but to a number of his most famous landscapes. Most sheet films per se were pretty damn grainy back then, among the numerous logistical issues which he faced to a greater extent than we do today. He wasn't using a huge precision aerial film camera like Bradford Washburn often did.

    Per practice, I always double focus. First, at full aperture relative to the general composition, including all movements. Second, halfway stopped down to my intended working aperture, in order to home in on just key elements I want to be in perfect focus within the overall scheme of things. Since the image will be rather dim the second time, I seek out some bright little highlight or line in the key area which makes life easier. With closeups, I might temporarily add a little
    sparkly aluminum foil to a key spot, or in a cave a tunnel, a laser pointer beam. Since people do tend to get nose up to even my large prints, it's important to choreograph their visual response exactly the way I want it, with the eye seeking out detail, but then following that with respect to the greater composition, so that it's effective at both level - both close up and backed away from. A fun challenging game at least.

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