Sanjin Jukic
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Here is Leica Elmarit-R 28mm 1:2.8 a shot description shooting guide:
"Artistic considerations
For the 28mm and for the 35mm lens the well-known phrase by
Robert Capa is valid: "If your picture isn’t good enough, you
weren’t close enough". Often a wide angle lens is used just to
get more information on the negative. But the problems with
composition grow disproportionally. If you cram too much into
the frame, it is difficult to get a clear and simple composition.
And the subjects will become small details behind an empty
foreground. The 35mm perspective is only efficient if the subject
is almost touchable. With the 28mm this effect is even
more pronounced. Here one should literally be close to the
skin. Wide angle lenses are often employed for landscapes,
interiors, and buildings. In these cases one should stop down to
get very sharp pictures as it is the crispness of the details that
tells the story. The true domain of the moderate wide angles is
the reportage or documentary snapshot at closer distances.
The large depth of field will help to cover up slight unsharpness
due to errors in focusing. The photographic challenge is the
figure-ground relationship and the size relation between backand
foreground subjects. The details in the background are
very small and because there are so many details (due to the
field angle) the background can be very distracting. It is simpler
to take a good picture with a 90mm than with a 28mm. Therefore
you should be close to the main subject and let the surroundings
support your statement with good choice of detail and
structure.
Conclusion
These 28 and 35mm lenses are eminently suited for the spontaneous
snapshot and for the more formal artistic pictures. In
any case one should start with pictures of subjects not farther
away from the camera than 3m. Close range photography is the
best approach to start with. In this range you can learn to see
and study the wide angle effects. In fact you can photograph
almost everything with these lenses. The most important thing
is the style of language of your photography. The play with the
depth of field and the size relationships in fore- and bakkground
are the decisive factors here for a good or bad image.
The lenses can only be the means to an end.
The Elmarit-R 28mm f/2.8 is a challenge
for photographers who need the best possible
definition in their style of photography. The lenses with
focal lengths of 28mm and 35mm belong to the group of classical
focal lengths of the 35mm-format’s tradition."
Erwin Puts LINK>>>
Leica Elmarit-R 28mm 1:2.8 at wide open 2.8, ISO 320, shutter speed 1/50 sec on Canon 40D.
Leica Elmarit-R 28mm 1:2.8 at f/4, ISO 320, shutter speed 1/50 sec on Canon 40D.
Leica Elmarit-R 28mm 1:2.8 at f/4, ISO 320, shutter speed 1/50 sec on Canon 40D.
Leica Elmarit-R 28mm 1:2.8 at wide open 2.8, ISO320, shutter speed 1/50 sec on Canon 40D.
"Artistic considerations
For the 28mm and for the 35mm lens the well-known phrase by
Robert Capa is valid: "If your picture isn’t good enough, you
weren’t close enough". Often a wide angle lens is used just to
get more information on the negative. But the problems with
composition grow disproportionally. If you cram too much into
the frame, it is difficult to get a clear and simple composition.
And the subjects will become small details behind an empty
foreground. The 35mm perspective is only efficient if the subject
is almost touchable. With the 28mm this effect is even
more pronounced. Here one should literally be close to the
skin. Wide angle lenses are often employed for landscapes,
interiors, and buildings. In these cases one should stop down to
get very sharp pictures as it is the crispness of the details that
tells the story. The true domain of the moderate wide angles is
the reportage or documentary snapshot at closer distances.
The large depth of field will help to cover up slight unsharpness
due to errors in focusing. The photographic challenge is the
figure-ground relationship and the size relation between backand
foreground subjects. The details in the background are
very small and because there are so many details (due to the
field angle) the background can be very distracting. It is simpler
to take a good picture with a 90mm than with a 28mm. Therefore
you should be close to the main subject and let the surroundings
support your statement with good choice of detail and
structure.
Conclusion
These 28 and 35mm lenses are eminently suited for the spontaneous
snapshot and for the more formal artistic pictures. In
any case one should start with pictures of subjects not farther
away from the camera than 3m. Close range photography is the
best approach to start with. In this range you can learn to see
and study the wide angle effects. In fact you can photograph
almost everything with these lenses. The most important thing
is the style of language of your photography. The play with the
depth of field and the size relationships in fore- and bakkground
are the decisive factors here for a good or bad image.
The lenses can only be the means to an end.
The Elmarit-R 28mm f/2.8 is a challenge
for photographers who need the best possible
definition in their style of photography. The lenses with
focal lengths of 28mm and 35mm belong to the group of classical
focal lengths of the 35mm-format’s tradition."
Erwin Puts LINK>>>
Leica Elmarit-R 28mm 1:2.8 at wide open 2.8, ISO 320, shutter speed 1/50 sec on Canon 40D.
Leica Elmarit-R 28mm 1:2.8 at f/4, ISO 320, shutter speed 1/50 sec on Canon 40D.
Leica Elmarit-R 28mm 1:2.8 at f/4, ISO 320, shutter speed 1/50 sec on Canon 40D.
Leica Elmarit-R 28mm 1:2.8 at wide open 2.8, ISO320, shutter speed 1/50 sec on Canon 40D.
