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In the garden: Plant behavior

Moat thigmotropism:

Schneider 2x tele. I see the idea here, in terms of the focal plane, or whatever they call it, but I still don't like the idea. I think if was DaVinci who thought distance was a function of haze; I'd rather think that way than in and out of focus. Still, the lens expresses what it can express and can't do anything else; it's only glass, after all.

This is my second tallest and strongest filbert tree. I don't know why it is turning first. Sun is pretty much equal for all three of my filberts, I think. Could it be quality of the soil?

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V. Arnold's picture
Submitted by V. Arnold on

..."depth of field". Depth of field is completely at the composer's command when the composer understands "depth of field" (critical for composition).

Submitted by Dromaius on

Although the tiny sensors that come on tablet computer cameras will typically make it difficult to achieve a super shallow DOF.

Submitted by lambert on

From Wikipedia (sigh):

In optics, particularly as it relates to film and photography, depth of field (DOF) is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image.

I don't want a super-shallow depth of field. Especially in the tapestry-type photos, I want a much greater depth of field, because that accords much more with my personal visual experience of looking at a complete system. That's what one gets with a view camera, but although the Schneider lens that Dromaius chivvied me into getting are much improved, they do not give me what I really want.

I looked up the f/64 (!!!) group in Wikipedia, and was stunned to find out their background:

The late 1920s and early 1930s were a time of substantial social and economic unrest in the United States.[2] The United States was suffering through the Great Depression, and people were seeking some respite from their everyday hardships. The American West was seen as the base for future economic recovery because of massive public works projects like the Hoover Dam.[3] The public sought out news and images of the West because it represented a land of hope in an otherwise bleak time. They were increasingly attracted to the work of such photographers as Ansel Adams, whose strikingly detailed photographs of the American West were seen as "pictorial testimony…of inspiration and redemptive power."[1]

At the same time, workers throughout the country were beginning to organize for better wages and working conditions. There was a growing movement among the economically oppressed to band together for solidarity and bargaining strength, and photographers were directly participating in these activities. Shortly before Group f/64 was formed, Edward Weston went to a meeting of the John Reed Club, which was founded to support Marxist artists and writers.[4] These circumstances not only helped set up the situation in which a group of like-minded friends decided to come together around a common interest, but they played a significant role in how they thought about their effort. Group f/64 was more than a club of artists; they described themselves as engaged in a battle against a "tide of oppressive pictorialism" and purposely called their defining proclamation a manifesto, with all the political overtones that the name implies.[4]

While all of this social change was going on, photographers were struggling to redefine what their medium looked like and what it was supposed to represent. Until the 1920s the primary aesthetic standard of photography was pictorialism, championed by Alfred Stieglitz and others as the highest form of photographic art. That began to change in the early 1920s with a new generation of photographers like Paul Strand and Imogen Cunningham, but by the end of that decade there was no clear successor to pictorialism as a common visual art form. Photographers like Weston were tired of the old way of seeing and were eager to promote their new vision.

So clearly I have inadvertantly hooked into the zeitgeist in some way. Like gardening, I have operated from very partial knowledge and come to a good result.