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Posts Tagged ‘SoftFocus’

Canon patent application teases full-frame 58mm F1.4 ‘soft-focus’ lens

28 Jun

An interesting new patent application from Canon details a series of potential lens designs with an adjustable soft-focus feature.

Japanese patent application number 2018-97240 lays out the groundwork and schematics for four different full-frame camera lens designs that feature a dual-focus system: a 58mm F1.4, a 35m F1.8, a 105mm F2 and a 70-200mm F4.

According to the patent application, the first focusing module would be used for the traditional purpose of focusing on the subject matter. The other module, however, isn’t for the sake of focusing, but to intentionally soften the image using spherical aberration.

The patent application details two specific challenges designing such a lens: trying to focus the lens, which is a challenge to do when spherical aberration is present in the image, and having variable soft-focus, so you can add as much or as little spherical aberration as you see fit for the scene—something not possible with past soft-focus lenses.

Below is the computer-translated text from the patent detailing how the soft-focus module would work:

A second arrangement state by which said 1st focus group and said 2nd focus group are arranged so that a second aberration amount which will be in a focusing state in the aforementioned predetermined object distance, and is different from said first aberration amount may be generated.

Regardless of whether or not one of these lens designs ever makes it to market, this isn’t the first time a soft-focus lens has been made. In 1935, Leitz created the Thambar 90mm F2.2, a classic Leica lens renowned for its dream-like aesthetic. In fact, Leica released a modernized M-mount version of the Thambar 90mm F2.2 late last year as well.

As with all patents and patent applications, this design may never leave the metaphorical paper. But it’s interesting nonetheless.

Articles: Digital Photography Review (dpreview.com)

 
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Leica is resurrecting the soft-focus Thambar 90mm F2.2 portrait lens from 1935

18 Oct

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Leica is getting into the lens resurrection game, announcing earlier today that it will bring back the Thambar-M 1:2.2/90: a portrait lens from 1935 that’s famous for exceptional spherical aberration that creates extremely soft images. The Thambar-M will be an accurate reproduction of the original lens, only this time around in the M mount instead of the L screw mount.

The lens features a 20-bladed iris that produces round, out-of-focus highlights, and only four elements arranged in three groups. Its softness comes about through uncorrected spherical aberrations that are more obvious when the lens is used wide open, and which can be emphasized via the use of an included centre spot filter that prevents axial light passing through the construction.

With the light from the centre of the lens blocked, the majority of image recording light comes from the edges where the aberration is at its strongest.

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Without the centre spot filter the lens is still soft, but becomes sharper as the aperture is closed and the aberration subsides. The barrel of the Thambar has twin aperture markings that show in white the reduced aperture values when the spot filter is used, as well as the recommended range of apertures that can be used with the filter in place.

Originally made only in a run of 3,000 in 1935, this new version will be much more widely available starting mid-November, and will cost you £5095/$ 6495. For more information see the Leica website, or read this article on the Leica blog.

Press Release

Leica Camera AG presents a modern renaissance of the classic lens – the Leica Thambar-M 1:2.2/90

A legend reborn: following the Leica Summaron-M 1:5.6/28, Leica Camera AG has further expanded its lens portfolio with the Thambar-M 1:2.2/90, the modern renaissance of another classic lens. Just like its namesake from 1935, the contemporary incarnation of the lens is distinguished by its characteristic soft-focus effect and unmistakeable bokeh. Its focal length of 90 mm is suitable for photography in a multitude of scenarios and is as good as predestined for capturing portraits with a uniquely aesthetic atmosphere that cannot be reproduced in digital postprocessing. The new Thambar-M is thus an exciting addition to the existing Leica M lens portfolio and brings photographers entirely new possibilities for creative composition.

The optical design of its ancestor remains almost unchanged in the new Thambar-M 1:2.2/90. It has therefore also inherited the characteristic properties of its predecessor. The only difference is that the four elements in three groups that make up the design have now been single-coated to protect the glass against environmental influences and surface corrosion. The 20 blades of its iris deliver a unique bokeh with perfectly round rendition of point light sources.

The soft look of the Thambar is the result of intentionally accepted under-correction of spherical aberration. This under-correction increases towards the edges of the optical system with the consequence that not only the depth of focus, but also the degree of softening can be precisely controlled by means of the stepless aperture setting. The effect is more pronounced as apertures increase, and is continually reduced as the lens is stopped down to smaller apertures.

The design of the original lens has been almost completely preserved in today’s Thambar-M 1:2.2/90. The black paint finish, the proportions of the lens and its aperture engravings in red and white correspond to the appearance of the original. In addition to this, slight modifications have been made that bring the lens into line with the current, minimalist design of modern M-Lenses. These include the knurling, the lettering and scales and the specific use of sharp edges and bevelling that underline the precision of the lens design.

‘The name Thambar has always been preceded by the adjective ‘legendary’ – rightly so. It portrays people with a wonderful aura, in a romantic way – but landscapes too are raised to a higher, incomparably aesthetic plane. The addition of a new incarnation of this classic lens to our selection of vintage lenses was one of our greatest wishes – to my great delight, this wish has now been fulfilled.’ emphasises Dr. Andreas Kaufmann, majority shareholder and chairman of the supervisory board of Leica Camera AG.

As is the case with all Leica lenses, the Leica Thambar-M 1:2.2/90 is also manufactured in strict compliance with the most stringent quality criteria. The use of only the best materials in its construction guarantee the familiar long working life of all Leica lenses. As was the case with the original lens, the lens hood, the ring of the centre-spot filter and both front and rear lens caps are made of metal. Even smallest details, like the felt lining of the lens hood and the front cap, contribute to the exceptional perceived quality of this lens. The design of the rigid lens keeper in ‘Vintage Brown’ leather is identical to that of the original from 80 years ago in almost every respect and, as in the past, the centre-spot filter can be safely and conveniently stowed away in its lid.

The Leica Thambar-M 1:2.2/90 will be on sale from mid-November 2017.

Articles: Digital Photography Review (dpreview.com)

 
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How to Create Abstract Images With a Soft-Focus Look Using Vaseline

09 May

As a rule, sticky substances and photography don’t mix. For a beloved camera, any liquid substance is a cause for concern. So naturally, I was surprised when I stumbled upon a neat trick used by glamor photographers back in the day. Actresses of the 1920s and 30s were photographed in the soft-focus style that photographers like Alfred Stieglitz and Edward Steichen developed.

Arnold Grethe and Victor Georg, photographers of Vanity Fair used hazy focus, diffusion filters, and other techniques to soften the portraits of actors, particularly women. This stylized softness was adopted by American filmmakers who before then had stuck to the sharpest focus possible. Doris Day, queen of romantic glamor portraiture was rumored to have insisted that photographers use diffusion filters to soften the focus of her photographs. And sometimes, in a pinch, photographers applied Vaseline or petroleum jelly to the lenses.

How to Create a Soft-Focus Look With Vaseline

An abstract photograph of yellow flowers, taken with Vaseline or petroleum jelly applied to a clear filter. The waves in the image reflect the density of the petroleum jelly applied to the lens.

How to make a soft-focus look with petroleum jelly

Creating a diffusion filter with petroleum jelly is actually quite simple, and a lot less messy than it sounds. First, raid your bathroom cupboard for some Vaseline. If you don’t already have a supply, you can purchase a tub from your local pharmacy.

Next, you’ll need to apply the jelly to your lens. There are two ways to go about this. One method is to first stretch a layer or two of cling wrap over the front of your lens, forming a barrier between the jelly and the lens. Fix the cling wrap with a rubber band and double check for holes in the plastic before you start applying the jelly. The potential risk of this method is that the plastic might rupture, causing the jelly to ooze all over your lens instead.

How to Create a Soft-Focus Look With Vaseline

Alternatively, if you have a spare clear filter handy, you could smear petroleum jelly all over that instead. This is a little simpler and you can remove the jelly with alcohol wipes later. Either way, DO NOT apply the petroleum jelly directly to your camera lens – it won’t end well.

How to Create a Soft-Focus Look With Vaseline

This abstract photograph of water was taken with only a thin level of petroleum jelly applied to the center of the lens filter.

Method of application

Start off by adding very small amounts of petroleum jelly to your lens or cling-wrap rig. You can apply the petroleum jelly with your finger, a brush, or some additional plastic for varying results. I’ve found that if you use your finger to apply the jelly, it can leave abrupt areas that affect the softness of the resulting image. Even in very small amounts, the softening effect of the petroleum jelly is quite pronounced. The more you add, the more abstracted the resulting photograph will be.

How to Create a Soft-Focus Look With Vaseline

The direction in which you apply the petroleum jelly also has a significant impact on the outcome of your photograph. Swiping the petroleum jelly in one direction could result in a completely different effect to that of jelly applied in the opposite direction. Experiment with different application methods by tracing different shapes into the lens with your finger.

I also pack some alcohol or glass wipes in case I want to remove a portion of the Vaseline for artistic purposes.

How to Create a Soft-Focus Look With Vaseline

How to Create a Soft-Focus Look With Vaseline

The direction that the petroleum jelly is applied impacts how the resulting photograph will look. For this image, I applied streaks of petroleum jelly around the outer edges of the filter. I then used a tissue to clear the center area. This resulted in a clearer view of the subject in the center of the photograph, and streaks of color on the edges.

How to Create a Soft-Focus Look With Vaseline

A balance between abstraction and soft-focus, this effect was achieved with different densities of petroleum jelly distributed over the lens filter.

How to Create a Soft-Focus Look With Vaseline

For this effect I used my finger to draw zig-zag patterns in the layer of petroleum jelly on my filter. The resulting image is clearly shaped by the sharp edges I traced.

How to Create a Soft-Focus Look With Vaseline

An abstracted image of tree branches with diffused light peaking through the leaves.

When finished, carefully remove the cling wrap or filter. You can wipe the filter down with some alcohol wipes before stowing it away for later use.

Try it

Give this fun abstract soft-focus technique a try and share your results in the comments section below.

The post How to Create Abstract Images With a Soft-Focus Look Using Vaseline by Megan Kennedy appeared first on Digital Photography School.


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