a little fuzziness is oh so nice

say hello to sam as seen through my old canon ae-1, a 30 or 40 year-old metal body slr.

i've heard people say they want to get away from the "point-and-shoot" look and get a "nice camera" that takes great pictures with "fuzzy backgrounds", etc. i've also heard of people going out and buying an slr hoping to get those great pictures but then being disappointed with the point-and-shoot-like results from their expensive new slr.

so what's the problem? how do you escape the grasp of the point-and-shoot?


their are two solutions to start with - both relatively easy to implement. interestingly enough, the camera actually has little to do with the problem.

the first is the flash. if you just use the default flash settings you'll get a very brightly lit picture just like a point-and-shoot camera will give you. you can usually set the flash to a "fill flash" setting or manually tone it down so it's not so intense. and don't be afraid to bump up the iso setting in low light. but this is all beside the point, i want to talk about the fuzzy backgrounds that are oh so nice.

the fuzziness is caused by shallow depth of field and the two things that effect depth of field are the size of the aperture (bigger = shallower depth of field) and magnification (higher magnification = shallower depth of field). as for the magnification, think about macro photography or telephoto photography - both magnify the subject quite a bit and therefore produce shallow depth of field. this leaves big apertures to do the work when it comes to normal shots of people and such.


back to the problem - most new slr's come with zoom lenses (everybody loves zoom lenses, right?) and most zoom lenses don't have very big maximum apertures so it's a bit more difficult to get the fuzzy effect with these lenses.

solution? sacrifice the zoom capability and get a fixed focal length (non-zoom) "normal" lens. something around a 50mm lens should be good. just make sure the lens has a big maximum aperture - you can find this right in the description of the lens. it will say something like "Nikon 50mm f/1.8D AF Nikkor Lens" - the number 1.8 is the maximum aperture. remember that with apertures the smaller the number is the larger the aperture will be, so an "f/1.8" lens is pretty good.


all the pictures in this post were taken at f/1.8 (wide open) at about 1/60 or 1/125 second on 400 speed kodak tri-x film without a flash.

these lenses are also very inexpensive - usually somewhere around 100 bones. you'll have to zoom with your feet instead of the lens but that's a small price to pay for a big aperture.

a little more pinhole

here are a couple more pinhole photographs for your enjoyment...


this is an old abandoned office next to where i worked during college - it was pretty trashed on the inside and kind of falling apart in some places. for some reason i'm fascinated by old abandoned structures. seeing them is like talking to someone from an older generation - they have stories and experiences that you can't find anywhere else.


this is another picture taken with my panoramic pinhole camera. this is the sun setting over the beach at ocean shores, washington. i took this while on a road trip with a good friend. this was our first stop in washington on our way up to seattle. beautiful place.

this next photograph isn't a pinhole image but rather a picture i took to help demonstrate how images get flipped upside down and backwards when they pass through a pinhole or a lens.


the image is passing through one of my large format lenses and being projected onto the wall.

one more thing - during my last semester of college i had a technical writing class. for my final project i wrote a manual on how to build and use your own pinhole camera. so if you already have a basic knowledge of photography and you'd like to make and use your own here's a link to a pdf version of my manual. look for the box with the link that says "click here to start download".

pinhole pt. 1

pinhole photography is usually thought of as just something you "did in a photography class in high school" - something used merely as a learning tool to teach photographic principles and some of the history behind photography.

fortunately this isn't all it's good for.

so why use a slow, labor intensive method of photography in our digital age? a well-built pinhole camera with a carefully crafted (or laser-drilled) pinhole can take very high quality pictures. pinhole cameras can even be designed to take pictures that just can't be taken with regular cameras.

since pinhole cameras don't have lenses they have infinite depth of field - everything in front of the pinhole is equally in focus. also, since you are most likely making your own camera (they can also be purchased online) you can modify the film plane in any way you want to. a good example of this is having a curved back on the camera. i built a camera out of a section of 10 inch pvc pipe that holds 3 pieces of 4x5 inch film to form a sort of panoramic tryptich (here's a drawing of the camera). it has a whopping 150 degree view. the train picture in my blog header above was taken with this camera.

here's a picture of the gallivan center in salt lake city that was also taken with this camera.



here's another pinhole image that i took with a regular old 150 mm pinhole camera with 4x5 film. it's a staircase in the joseph fielding smith building at byu - looking up.


unfortunately if you're looking for crystal clear pictures then pinhole photography may not be for you. the images have a softer feel because the pinhole isn't able to focus the objects perfectly. however, this softness can also add to the aesthetic of the picture. if you're going for a sharper pinhole image you can use a larger type of film - like 4x5 inch sheet film - and the details will be a lot sharper.

it's definitely an exciting experience building a camera from scratch that actually takes new and exciting pictures.

as for pinhole pt. 2, i plan on making a camera obscura and photographing the image cast on the wall. for those of you who didn't have that high school photography class, a camera obscura (literally dark room) is a completely darkened room with a small hole at one end. the scene on the other side of the hole is projected (upside down and backwards) onto the opposite wall. it's basically the precursor to the camera. pretty exciting...

scanography pt. 1

have you ever thought to use a scanner as a camera? truthfully i hadn't until i stumbled upon "scanography" on the internet. basically it's using a scanner to take pictures of objects. usually scanners are used to scan images and pictures, etc. but then you're limited by the resolution of the image that your scanning. you don't get much more than a digital copy of your picture that's been degraded by being enlarged.

so what if you scan something that isn't limited by resolution - the closer you look the more detail you see. i tried this with some japanese maple leaves in the fall last year. the result is a high resolution image that i could print out at 40 inches wide.



this technique can also be used with 3d objects - check out dawn campbell's flower scans for some examples.

as for pt. 2 of this post... i'm hoping that in the near future i can try out another branch of scanography - using the scanner as an actual camera by placing a light tight box on the scanner with one of my large format lenses on the front of it. because of how the scanner captures images (with a moving bar) anything that is moving in the scene will be distorted depending on how it's moving.

take a look at this site for some examples (those are cars in the street on the bottom right).

scenes from the boston subway

did you ever see castaway? you know how a friendship grows between tom hanks and wilson, the volleyball? well, while we were in boston i made a friend kind of like wilson; he was hand drawn (with what i think was a light colored lip stick) on a tile wall of the alewife station of the boston subway (the "t"). i would pass this little guy every day when i would get off the subway on my way to work.

i first noticed him because of his simple shape - an arc, a straight line, a squiggle for teeth and two eyes. i thought it was pretty clever. i also liked how it was someone else's addition to the "established art" that already existed on the wall - the painted tiles (which i assume were placed there to break up the monotony of the brownish red tile-covered wall).



i also love how the tiles are all a little uneven - it gives the wall more texture.

i've included this detail from the picture just to give you an idea of how awesome the resolution is on 4x5 film.



there was just something nice about the porter square t station. i loved the big arching wall and the big pipes sticking out on the side. the next best thing about this t stop has got to be the absurdly long escalator. i swear it must go up like 5 stories. don't look down if you have trouble with heights!



edit: i just discovered that the escalator goes about 143 feet from bottom to top. and at an angle somewhere between 25 and 30 degrees that would put it at a total of 60 to 70 feet vertical rise (thanks pythagoras!). so i guess i wasn't too far off when i said it went up 5 stories!