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- Tristan
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Alright, am I being Mr Thickie here... How does he produce that second image (the one with the geezer kissing the lady in red) without any "post-production except for the inclusion of the artists watermark."?
I mean, look at the different areas in and out of focus... you can't do that with DOF and you can't do that with a soft spot filter... so if it's a JPEG straight out of camera, with no cheating, how?
Alright, am I being Mr Thickie here... How does he produce that second image (the one with the geezer kissing the lady in red) without any "post-production except for the inclusion of the artist’s watermark."?
I mean, look at the different areas in and out of focus... you can't do that with DOF and you can't do that with a soft spot filter... so if it's a JPEG straight out of camera, with no cheating, how?
Vincent quite regularly uses several tilt shift lenses in his stuff, it even says underneath the image it was taken with the Canon TS-E 45mm f2.8. In the video you can see how he actually manipulates the dof while filming.
Vincent quite regularly uses several tilt shift lenses in his stuff, it even says underneath the image it was taken with the Canon TS-E 45mm f2.8. In the video you can see how he actually manipulates the dof while filming.
For those who care this chap has compared a Canon 5D MKII (10 megapixel sRAW vs a D700) at high ISO.
http://forums.dpreview.com/forums/read.asp?forum=1032&message=30227337
I'm not totally convinced that using a pixel-binned sRAW is apples-to-apples but its interesting.
For those who care this chap has compared a Canon 5D MKII (10 megapixel sRAW vs a D700) at high ISO.
http://forums.dpreview.com/forums/read.asp?forum=1032&message=30227337
I'm not totally convinced that using a pixel-binned sRAW is apples-to-apples but its interesting.