Texdance wrote:
> On Thu, 5 Jul 2001 16:18:54 -0400 (EDT), you wrote:
> >I want a wall-sized (meters on a side -- 3mx4m or larger) macro shot
> >staring down into the center of an orange tiger lilly with enough depth
> >of field that the (stamens?) projecting into the foreground are sharp,
>
> That's not a difficult shot - just take most any 35mm
> camera and 100mmm lens, stop down to f22, and shoot
> with a subject distance of 36 inches. The DOF would be
> about 4.4 inches.
>
> It's the enlargement that's challenging. The 35mm shot
> described above will give a field of view of 7.6 x 11.5
> inches, so you would be looking at having several
> lilies in the photo.
You know, it never even occurred to me to back up for DOF
and use just a small portion of the negative. (The composition
I'm thinking of wouldn't even include the entire lilly, BTW.
The photos I was looking at that gave me the idea were ones
I shot with a 50mm on a bellows (on a Spotmatic).))
> Sure, you could enlarge this to any size. The
> determining factor for "sharpness" at wall-size
> (assuming you used hi-res film/lens to take a sharp
> photo, and got a sharp enlargement) is the viewing
> distance.
I'm thinking 2-3 meters. It would be seen from much
farther away, but I want the effect to work when the
viewer is close enough that the image takes up a huge
portion of their field of view. Close enough for that
"falling into it" feeling to kick in. If it doesn't
look _razor_sharp_ at 2 meters, it'll probably still
be okay, but I'd like it to be pretty darned sharp at
3 meters.
> The tilt-and-swing guys have a technique to get more
> DOF from a given focal length.
Oh? I _vaguely_ recall hearing something about this
before, but I don't understand how it works. Sounds
useful.
> Or maybe
> there is some slice-and-dice computer methodology using
> multiple images to get one sharp composite.
Another thing that hadn't occured to me -- I'm going to
have to play with the math a bit and see if I can figure
anything out.
-- Glenn
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