Bokeh Babble

Gabriel,

That is why I said that comparing across focal lengths is a bit unfair. All things being equal, a longer lens is always going to have a greater OOF effect than shorter ones. For instance, I think that the Canon 50/1.4 (EF) is one of the best bokeh lenses ever. But I also think that the 70-200/2.8 gives even more dramatic OOF effect and bokeh. Does that mean that the 70-200 actually trumps the 50? I don't think so. They should be judged within their focal length class.

More importantly, they need to be judged under the same subject and testing conditions.

I believe within the 50mm class, the Canon 1.5 has very pleasing bokeh. I agree that those two shots you've selected aren't the best samples of bokeh. And here is where the fine print is ... would similar 50mms have fared better? That is always the trouble with bokeh comparisons, usually there are no controls for similar subjects and similar lighting conditions. For instance, I see a lot of bokeh tests where the tester has selected trees with tons of leaves in the background. Come on, who are we kidding, no lens does well with that background 😛
Or cases where there are an inordinate amount of circular pinpoint lights in the background. Or parallel line patterns .... etc. etc.

The only way to know for sure is to test each lens under the same controls 🙂 Just haven't seen any comprehensive test. So the best I can say is, I like the Canon 1.5 within the 50 class.

And within the 35mm class, I'd rank the lux-asph and cron-asph highest. But this is like asking what a woman's objective beauty is ... to every man (or woman) there is only a subjective answer 😀

gabrielma said:
You think the 35 cron and lux asphs are "below" the level of this kind of bokeh?:
 
When I am working on a problem, I never think about beauty but when I have finished, if the solution is not beautiful, I know it is wrong.

- R. Buckminster Fuller

I think that a good, modern lens formula takes OOF artifacts into account as a matter of course, neither obsessing madly over the matter nor tossing off as insignificant. This, IMO, is part of the (oh dear, that word again!) gestalt of good lens design, which isn't a static thing. I've put my three M-Hexanons through a lot in the four years I've had them, and I'd say none of them do violence in the area of bokeh, while the lens permanently attached to my (older) Konica Auto S3 suffers by way of possessing only six or seven diaphragm blades (but otherwise is a decent optic). Somehow, my diminutive Ricoh GR1 has as many blades (10) in its 28mm f/2.8 lens as all my Hexar's lenses, and it shows in what I've printed. I don't get neurotic about the "B" word, but I don't pretend it's insignificant; I can't, given some of the crazy lighting conditions I insist on shooting under. One doesn't decide not to shoot something based on one's misgivings about bokeh in a given lens (or so I hope); to use old drag-racing argot, you "run what ya brung". But it helps to have a lens of balanced design...hopefully not too pricey as a result.


- Barrett
 
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Thank you, Flyfisher Tom (or just "Tom"?). Very few people seem to understand that there aren't hard and fast rules for everything. Cookie cutters are good for making cookies, not broad conclusions.
 
I really like the look of the:

50/1.4 (E43)
35/1.4 (pre ASPH)

Both compliment each other at F stops 1.4, 1.4/2 and 2, using TX 400.
The slightly lower contrast also helps when scanning the negs on the Nikon Coolscan 5000 so i can get the maximum tonal range.
2 other's i'm considering are the Zeiss ZM Sonnar 50/1.5 and the V/C Nokton 35/1.2 for better flare control when shooting against the light (something i usually avoid but sometimes i have no choice).
 
On the subject of bokeh, this page is very interesting:

http://www.kenrockwell.com/tech/bokeh.htm

It points out that soft background blur comes at the expense of soft foreground blur; that you can have either of those but not both, and which you get depends on whether the lens's spherical aberation is overcorrected in the background and hence undercorrected in the foreground, or vice versa.

I have (on my SLR, so not strictly relevant) a 50mm lens with gorgeous foreground blur but the background does show the parallel lines feature that people tend not to like so much. To be honest I'd prefer it the other way around, but life's tough sometimes.
 
I think 75mm is a sweet spot for bokeh...all the 75mm lenses I have used have great bokeh...the 75mm summilux being the best, then the 75 summicron and the 75mm Xenotar in the rolleiflex. They are all superb when it comes to OOF areas.
 
I really like the "bokeh" of the new Leica ASPH Lux in both 35 and 50.

The seem to go out of focus faster than the older lenses, but with a smooth transition. My shots show that they render the OOF area smoothly and with a nice soft texture at wide aperatures. The other thing which really attracts me to these lenses is the sharpness, textures, and tonal rendering which is excellent.

Best,

Ray
 
That's one of the nice things about the ASPH lenses is that they are so sharp wide open that the difference between the plane of focus and the out of focus area is very strong, which makes the image really pop. Some people like this and some don't, but it can be a very interesting effect.
 
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