Canon 5D Mark III | 50mm | F2.8 | 1/400 | ISO100
I LOVE to shoot pictures that I know will make people say “How did he do that?”. This is usually something said by non-photographers that have a very limited knowledge of the capabilities of using a modern digital camera. However.. an image like this is likely to even make a photographer question the steps taken to achieve this look.
It’s quite a new concept, and is difficult to explain so I’ll keep it short and sweet.
I am able to create these wild, flarey’, butter bokeh dreamy images using this technique, which (I believe) originated from the video side of things. More specifically DSLR shooters.
It involves disconnecting the lens from your camera, holding it in-front of the sensor at various different angles to allow the focus to shift and the light to leak in at the top, bottom and sides of the lens. I first discovered this technique in early 2012 from an insanely talented photographer and film maker James Miller (Visit his site – http://www.millerandmiller.co.uk/film/)
James has some AMAZING examples of this technique at it’s very best. He is considered the professional Whacker to many film makers in the industry, alike! 😉
Shot with the Nikon (Nikkor-S) 50mm 1.4 Pre-AI (Fully manual lens) – This lens is painfully sharp *Cuts finger*. I know the key to producing good things in the media industry is not the tools you use, but the skills behind the tools. BUT that said, this lens is astounding. By far the sharpest tool on my belt. When you combine that sharpness with such a lens, which a certain amount of skill, It just make it all worth while.
I have found F2/2.8 and upwards is the sweet spot for this lens, hence why I choose an aperture between there. Though for optimum flaring and flare from the sun, it is recommended by James to shoot at F2 if your lens is sharp enough.
There isn’t much to say about this picture, Other than the focus was on the fine detail of the stray cotton strands. I specifically used the lens whacking technique instead of a Canon 50mm because the sun was at it’s brightest. Casting a very harsh, and hard light on the doorway to my house. And when shooting using this technique, I have found it between to be facing direct sunlight, or have it directly above and not behind.