http://www.wayn.com/waynblog.html?wci=viewentry&entry_key=124695

http://www.wayn.com/waynblog.html?wci=viewentry&entry_key=124695

hospitality photography

For nearly ten years fieid in hotel photographer has specialized in hospitality photography. Over that time, he has become quite adept at shooting lifestyle, architecture and products shots for clients around the world.
By founding PONS FRAMES PHOTOGRAPHY, context was given to his visual strengths by combining talents to offer hospitality photography and imaging specifically to high-end clientele in the PONS FRAMES.

GREEN PARK Hotel, have provided a framework from which to fully understand the intricate yet improvisational nature of successfully capturing imagery on location.

Our expertise in how to get the job done, regardless of logistical or time constraints, places us as a dependable and affordable option to service your every hospitality photography need.

port phtographs ponsframes 9840755732

Depth-of-field is the zone of sharpness both in front and behind the main subject. When you focus on your subject, you can choose to blur the background and foreground, or have everything in sharp focus. You can control depth-of-field by changing the lens aperture. Larger apertures (smaller numbers) give shallower depth-of-field which soften the background and the foreground (above picture). Smaller apertures (larger numbers) give greater sharpness. Image size also has an effect on depth-of-field, as well as lens selection. Depth-of-field decreases as the image size increases at any given f-stop. If you switch from a 200mm lens to a 100mm lens, and shoot from exact same spot and f-stop, you get more depth-of-field with a 100mm lens. What you have done by using a shorter lens is decreased the image size, and when you decrease magnification, you gain more depth-of-field. Regardless of the lens focal length, all lenses produce same depth-of-field at the same f-stop, if you keep image size the same. For instance, if you use a 100mm lens set at f-11 and then back off twice as far and switch to a 200mm lens set at f-11 and shoot same image size, depth-of-field will be the same with both lenses. The background will look different in the two pictures because of the different angles of view, but depth-of-field will be the same. You might have heard that wide-angle lenses have greater depth-of-field than telephoto lenses. This is not exactly true. Only if you shoot from the same spot wide-angle lenses give more depth-of-field.

You can preview depth-of-field if your camera has a depth-of-field preview. First select an f-stop and then press depth-of-field preview button. The lens closes down to the selected f-stop, so you can check the zone of sharpness in the viewfinder. The image will look darker when you use depth-of-field preview since you are no longer viewing with the lens wide open.



Depth-of-field preview button

Some people have difficulty using the depth-of-field preview. They only see a darker image but can't see increased depth-of-field. The best way to use depth-of-field is by closing the lens down 1 or 2 stops at a time so your eyes have enough time to adjust to the darker viewfinder. If you go from f-2.8 to f-22 you'll have difficulty seeing through the viewfinder. You can also use depth-of-field scale on your lenses to estimate depth-of-field. First focus on your subject, and then check depth-of-field scale for f-stop that you think gives the result you wish to obtain. Distances are shown for different f-stops for both the near and far limits of the zone of sharpness. Not all lenses have depth-of-field scale, especially zooms, but almost all fixed focal lenses include depth-of-field scale. Use the f-stop that gives you the depth-of-field you need. If f-11 gives you enough depth-of-field, don't use f-22. You loose two stops of light which results in a slower shutter speed that might cause blurred images if your subject is moving. Very small apertures also reduce overall sharpness due to diffraction................................................... At times you will notice that no matter how much you stop the lens down, you still won't get everything in sharp focus. Large format users have a great advantage over other formats. They use camera movements known as tilt and shift to alter the plane of focus. The plane of focus is usually parallel to the film. If your plane of focus is not parallel to the film plane you might have difficulty bringing everything into sharp focus. Large format cameras allow you to alter the plane of focus and move it instead of having it parallel to the film plane. This gives much better depth-of-field. Some 35mm and medium format systems offer tilt and shift lenses which allow lens movements similar to view cameras. These lenses can be used for increasing depth-of-field.

When you want to buy a new lens, always consider its largest and smallest apertures. Many photographers use fast lenses not just because they offer a brighter viewing or faster shutter speeds, but for more control over depth-of-field. Portrait photographers for example, carry 85mm f-1.4 and 135mm f-2 lenses. They can use the wide open apertures to create a soft background to remove any distractions. Wildlife and sports photographers use 300mm and 400mm f-2.8 telephoto lenses to get the fastest shutter speeds possible, while fashion photographers use these same lenses wide open to photograph models from a distance and create a soft out of focus background. Understanding depth-of-field is as important as learning exposure and composition if you want to produce best possible pictures.

Recommended Lens

Sigma 70-200mm F2.8 EX HSM Lens
Sigma's has been known the world over for their innovative design, ease of use and for the excellent results that their zoom lenses produce - this offering is no exception. The new 70-200mm f2.8 EX APO IF HSM lens features an apochromatic optical design and four elements composed of Special Low Dispersion (SLD) glass for high image contrast, resolution and color saturation. For optimum performance in just about any photographic situation, an internal focusing system means that the front barrel does not rotate during focusing. For stability and the use of specialty filters, This internal focusing system is a must. The internal zooming mechanism allows the lens length to remain constant during zooming. Sigma's new Hyper Sonic Motors (H.S.M.) provide silent, responsive autofocus action with both Canon and Nikon AF SLR cameras. The H.S.M. feature also permits manual adjustment of focus without the necessity of switching off the autofocus function.. The Focus Free mechanism keeps the manual focus ring from spinning when the camera is auto-focusing. The 70-200mm f2.8 EX APO IF HSM is fully compatible with both the Sigma AF 1.4X and 2X APO EX Tele-converters. The new dedicated 1.4x APO Tele-converter features a high performance 5 element/3 group optical design, and it is optimized for use with long telephoto and tele-zoom lenses.


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