If you cannot get close to your subject, but still want to isolate it with a background blur, then use a long focal length lens. The lens focal length changes the perceived depth of field That is because there is a huge distance between my camera and the subject I’m trying to photograph. The bokeh really depends on that distance, because I can shoot a landscape scene with an aperture of f/1.8, and there will be no background blur. The shorter the distance between your subject and the camera, the shallower the depth of field will be. If you cannot afford a lens with a big aperture nor a macro lens, extension tubes are a good solution to extend your focusing distance. Standard lenses have a limit regarding their focussing distance. Note that macro photographers use special lenses that enables them to take images really close to their subjects. Here I used an aperture of f/1.8 with the 50mm, and got as close as possible.Įven if you have an aperture of, let’s say f/5.6, if you get your camera really close to your subject, you will have a blurry background. The closer you get to your subject, the more blurred the background will be. This works with your camera the same as it down with you eyes. You will notice that the background won’t be blurred anymore. Now move your thumb farther away from your eye, keeping your thumb in focus. While focusing on your thumb, notice that you cannot clearly see the background. Let me show you my point: lift your right thumb (or left thumb -it doesn’t really matter) in front of your right eye and stare at it while closing your left eye. The camera to subject distance controls the depth of field But, there are other ways you can blur your background without having a wide aperture. With a big aperture, you will be sure to get a nice background blur. You probably know this already, but this is important to mention before giving the two other points. With a regular lens like 50mm, you will start getting nice bokeh starting from f/2.8. So lesson number one is to buy a lens with a really big aperture – this is the first way to achieve flattering background blur. You can find other lenses with an aperture of f/1.4 or f/1.2 but the bigger the aperture, the more expensive the lens. It is a relatively cheap lens to get started with portraits. I had to buy a lens with a bigger aperture to get a completely blurred background, and the Canon 50mm f/1.8 was the answer. I later understood that bokeh depended a lot on how big my aperture was – I wanted to get bokeh for portraits with a focal length of 50mm. After hours of trying to get a background blur with my aperture of f/3.5, I was left very frustrated because I did not get the results that I saw on the internet. However, they did not mention a lot of other factors to get this result, like how big should my aperture be. ![]() The user’s manual on my camera told me to just use the smallest f/stop on my lens and I would automatically blur the background. With a staggering 2,359,000 dots, it delivers a fantastically detailed, rich preview of what you’re about to shoot.The first thing I did not understand when I first started photography is that I used the biggest aperture on my lens but the background was not completely blurred.Īt that time I used the 18-55mm canon kit lens with its maximum aperture of f/3.5. The crisp, bright vari-angle screen can be tilted up, down and flipped around to face frontwards, but the super-sharp OLED viewfinder impresses even more. ![]() The lens barrel, meanwhile, features two handy switches, one of which turns optical image stabilisation on or off (the latter is useful when using tripods, if you’re wondering why you’d ever turn OIS off) the other toggles the lens’ twistable ring between zoom and manual focus modes. There are five “Fn” function buttons, each of which is customisable. In other words, there are plenty of controls on offer – but not an unreasonable or confusing amount. The FZ1000 is Panasonic’s top bridge camera, and thus aimed chiefly at photographers familiar with the ins and outs of a camera. The FZ1000 does come with a removable lens hood to cut down on glare from the sun and other light sources, and that’s one small advantage we can give to Panasonic. The logo is different a few of the buttons and control knobs are different the strap is different (Leica’s is larger and better) the textures of the tough plastic body and slightly rubbery grip are different – but essentially the two cameras are identical. Interestingly, thats a single gram heavier than the Leica V-Lux, despite the two cameras being near-identical in terms of their exteriors. It’s not particularly heavy however, weighing 831g. This is as big as many DSLRs, in fact, and dwarfs compact system cameras like those in Panasonic’s own Lumix G range. The FZ1000 is a fair size, which might surprise those who assume bridge cameras offer a more compact alternative to DSLRs.
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