I got a Nikon Camera...........



I never suggested it did.
i.e. That the sitter might be discomforted by the possibility that he or she would be portrayed with a big nose.
Unless that is, they're knowledgable photographers who are being photographed against their will for some reason. i.e tied to the chair or similar.
The two are entirely separate.
Photographing a sitter (a relative stranger ) close- up with a wide angle angle lens will result in two entirely separate things.
a) By invading their personal space you may make them feel uncomfortable
b) The barrel lens distortion imparted by the wide angle lens will make their face appear more rounded and centre of the field their nose, more bulbous. Which admittedly may subsequently make them angry and demand their money back.
michael adams
...
it's

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wrote:

Well here's one I prepared earlier
It makes things appear rounded. So the centre of the field - the nose is wider while the edges of the face are narrower.
There are plenty of diagrams on the web which explain it very well. Just imagine the sitter's nose is running down the middle of the diagram and the edge of his face are running down the sides.
michael adams
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On 28/07/2015 22:46, michael adams wrote:

Obviously not well enough.
Take a photo of a flat surface like a brick wall, if the edges bow outwards its barrel distortion, if inwards its pincushion distortion if neither it has no optical distortion but will still distort the image perspective.
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wrote:

Barrel distortion occurs across the whole image. If there are verticals these will be bowed outwards from the centre line and will close up at the top and bottom. Just like a real barrel in fact. The sitters nose runs down the centre line and if its also on the horizontal where there is maximum distortion then the outside edges of his nose will appear to bow outwards rather than straight up and down.
michael adams
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You are definitely a dope.
The perspective issue will occur with a lens (such as a 50mm equiv) that has *no* barrel distortion, if you get close enough to the subject's face.
1) Mount your 50mm equiv lens
2) Take a pic of a brick wall from say 10 feet away. Review the pic to confirm the lens shows no noticeable barrel distortion.
3) Now get as close to the subject's face as the lens will focus, and notice the *perspective* distortion (and consequent big conk) on taking the pic.
Simples.
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wrote:

'
Before calling other people names Timmy, perhaps you should ponder the fact that it wasn't me who was too stupid to work out for himself, that the best solution when considering security screws was to hide them in some way.
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Oh nice try. I expect I shall change them to roundheads and then superglue them, in fact, when I get a round tuit.
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Why not paint them gold while you're at it, and put little notices either side with arrows on them ?
michael adams
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On Monday, 27 July 2015 21:30:39 UTC+1, Tim Streater wrote:

What even Mehmet Ozyurek

There's the prblem the majority of what's called good photos is decided by who's in the shot and what they are doing in it rather than anything else.
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On Mon, 27 Jul 2015 21:30:25 +0100, Tim Streater wrote:

Reminds me of a huge controversy surrounding a shot of Robert Maxwell taken close up with a fisheye lens in the late 1980s. His nose looked ENORMOUS. The photographer nearly lost his job over the screams of antisemitism from the usual over-sensitive types.
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On Mon, 27 Jul 2015 21:30:25 +0100, Tim Streater wrote:

That's an issue purely to do with perspective distortion. It has nothing to do with the focal length of the lens other than too long a focal length will over-fill the frame if you can't back off far enough from the subject and too short a focal length simply means you will lose resolution when you enlarge the small image to a a frame filling size when keeping a sufficient distance to avoid perspective distortion.
The problem when using a long lens is a lot less obvious, provided you can step back from the subject to properly frame it. However, using a wide angle lens tempts the photographer into compensating by moving much closer than the ideal distance of about 2 to 3 metres.
The golden rule for portrait photography is "Avoid camera to subject distances less than 2 metres.".
--
Johnny B Good

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On Tuesday, 28 July 2015 20:47:32 UTC+1, Johnny B Good wrote:

which is cause by haviong a wider angle in view.

it's ngot everything to do with it.

the reason people use wide angle lenes general is that bthey want more in teh picture and can;t achive that by stepping back.

that's because the field of view is wider.

unless you're doing portraits of insects or other small items.
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On Wed, 29 Jul 2015 02:08:10 -0700, whisky-dave wrote:

It has nothing to do with angle of view, just camera to subject distance. Wide angle lenses tend to introduce barrel distortion which can exaggerate the effect of 'perspective distortion' but that distortion is readily corrected by photo processing software (either in camera or on a PC).

Regarding the issue of 'perspective distortion', the focal length has nothing whatsoever to do with it.

Well observed!

We don't regard such photography as 'portraiture'. In fact, when the subject is a small insect or object, perspective distortion doesn't become an issue until the front element of the lens is within millimetres of the subject (if then).
I think the confusion between cause and effect arise out of the fact that we refer to effects related to perspective as a "distortion" when in fact, strictly speaking, it's not a distortion as such in its own right.
Whilst barrel distortion (trivially correctable in software these days) does produce an effect which looks similar to the effect of perspective distortion, it's not the prime cause of such 'distortion'. In the case of portraiture work, it's merely a matter of distance (being much too close in with a wide angle lens - you can't really be too far away with a telephoto).
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On 27/07/2015 14:36, whisky-dave wrote:

It's all about numbers - the larger the number the better the camera!
More pixels often means more noise. Longer zoom = blurred hand held pictures.
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Why do we persist in used "35mm Equivalent" when describing lenses? A generation is now taking up photography that has never owned a 35mm camera. I would suggest "angle of view" would be a useful and universal description. The effect of the angle can readily be estimated.
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Because the sensors of different cameras have different sizes, which means that the actual lens focal length doesn't tell you much. And no one knows anything about angle of view or how it relates to anything.
In 35mm terms, a 50mm lens is standard, anything shorter is wide angle and anything longer is telephoto. With a 50mm lens on a film SLR, what you see through the viewfinder is the same size as with your eye not looking through a v/f.
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wrote:

I know that beacause I was brought up on 35mm. My point is that many were not. I believe 50mm has approx 45 degree angle of view. Why not define it as this and a telephoto as a decreasing angle of view. It would be universal.
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Converting to 35mm equiv is universal.
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But it is meaningless to young people who have not had to select a lens for a 35mm SLR
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On 27/07/15 22:56, DerbyBorn wrote:

well how would you categorise a 100mm lens that fits both a 35mm camera and a DX CCD camera?
Its giot a differnt abngle depoending on what its strapped on.
All you have to do is realise that a 35mm lens is 'standard' on DX format as a 50mm is 'standard' on 35mm.
The 35mm lens doesnt magically become a 50mm lens on a different cemera!
Any more than a 150mm lens is not a standard* on medium format.
* or whatever, in fact, it is...
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