Soft focus
Lens flaw From Wikipedia, the free encyclopedia
In photography, soft focus is a lens flaw, in which the lens forms images that are blurred due to uncorrected spherical aberration. A soft focus lens deliberately introduces spherical aberration which blurs fine texture in the image while retaining sharp edges across areas of high contrast; it is not the same as an out-of-focus image, and the effect cannot be achieved simply by defocusing a sharp lens. Soft focus is also the name of the style of photograph produced by such a lens.
Example using Canon EF 135 mm f/2.8 Soft Focus
An image of a bottle with a heavy soft focus effect.
An image of the same bottle, but without soft focus.
Photography
Summarize
Perspective
Effect
Soft focus has been described as "an image that is in focus but has a halo of out-of-focus images around it."[1] The first deliberate use of undercorrected spherical aberration, resulting in halos around highlights (also known as "pearly" highlights),[2] is thought to have been by French pictorialists around 1900, spreading to the United States, where these lenses were most popular between 1910 and 1930.[3]: 106 Noted practitioners of soft focus photography include Julia Margaret Cameron,[4] Bob Guccione,[5] and early Edward Weston, though Weston was later credited with moving photography away from soft focus pictorialism.[6][7]
The soft focus effect is used primarily in glamour photography, because it eliminates blemishes. In general, soft focus photography produces a misty, dream-like image, sometimes characterized as romantic.[8]
Technique
Special focusing techniques may be required to use a soft focus lens. For example, a front-focusing technique was suggested for the Kodak Portrait, in which the point of focus was placed closer to the camera than the actual subject.[2] Unlike typical camera lenses, which have a generally symmetric depth of field characteristic extending both in front of and behind the point of focus, the uncorrected spherical aberration results in a depth of field which extends past (behind) the point of focus, but not in front.[9]
Physically, the effect of a soft focus lens may be approximated by the use of diffusion filter or other method, such as stretching a nylon stocking over the front of the lens, or smearing petroleum jelly on a clear filter or on the front element or even the back element of the lens itself.[10] The latter is less recommended because successive cleaning always introduces a risk to damage the lens's surface.
It can also be approximated with post-processing procedures, either during photographic printing or through digital manipulation. Specifically, highlights in an image are blurred, but the bokeh effects of soft focus cannot be reproduced[citation needed].
Design
Because soft focus results from what are considered technical flaws, typically spherical and chromatic aberration, many older lenses had soft focus built in as a side effect of their construction. For example, the two-element cemented meniscus lens fitted to early Vest Pocket Kodak cameras had a dish-shaped hood[11] which controlled spherical aberration by reducing the effective aperture to f/11; when the hood is removed, the resulting uncorrected images have a strong soft focus effect. After this modification, the lens enjoyed significant popularity in Japan during the 1970s, remounted to modern cameras.[12][13] Photographers called this lens the Vestan (ベス単), referring to the camera's name and single-group lens construction,[14] and the technique was championed by several Japanese photographers, including Shōji Ueda.[15] The basic design of this lens was revived in 2016 as the Yasuhara MOMO 100.[16]
Some lenses designed and sold during the heyday of soft focus lenses (c. 1910–1930), including the Pinkham & Smith Visual Quality series[17][18] and Busch Nicola Perscheid,[19] were designed intentionally to take advantage of these flaws. As color films became available, well-managed spherical aberration became more desirable than chromatic aberration.
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Newer lenses are optimized to minimize optical aberrations, but starting from the 1970s, manufacturers began releasing specialized contemporary lenses which are designed with adjustable levels of spherical aberration at wide apertures. The effect can be disabled entirely as well, in which case the lens is sharp.[21] These modern soft focus lenses and their effect on the images should be considered distinct from the effect of lenses designed to render smooth bokeh using an apodization filter, such as the Minolta STF 135mm f/2.8 [T4.5].[22]
As described in U.S. Patent 4,124,276,[20] realized as the Minolta Varisoft Rokkor,[23]: C9 a modern example with variable spherical aberration is a six-element, five-group lens which can be divided into three composite lens groups, marked A-I, A-II, and B. The first four elements (A-I, closest to the object being photographed) are moved as a unit to focus the lens, increasing the meniscus-shaped air gap between A-I and A-II as the lens is focused closer. The air gap distance between A-II and B is used to control spherical aberration; spherical aberration increases as the distance between A-II and B grows.[20] In the patent summary, the inventors noted the object side lens group (A-I) was a Tessar design, although they added that any suitable lens would do, such as a Cooke triplet or Double Gauss lens; the preferred embodiment uses two meniscus lenses on the image side to control spherical aberration.[20]
As an alternative to variable element spacing, some soft focus lenses such as the Rodenstock Imagon use interchangeable sieve aperture "grid" or "diffusion" discs which have a perforated annular shape to control the balance of light recorded between the relatively well-corrected center of the lens and the uncorrected periphery. As light from the periphery is restricted, the soft focus effect becomes less pronounced. Effective aperture values (for computing exposure) range from f/5.8 to f/11.5.[24][25]
Examples
Summarize
Perspective
Some examples of soft focus lenses, including modern (after 1950) lenses with controllable amounts of spherical aberration, include:[26]: 27–28
Spec Lens |
FL (mm) | Ap. | Intro. | Min. focus | Const. | Dimensions | Method[a] | Notes / Refs. | |||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Mfr. | Name | Mount(s) | Ele | Grp | Φ×L | Wgt. | Filter (mm) | ||||||
| Canon | New FD 85mm f/2.8 Soft Focus | FD | 85 | f/2.8–22 | 1983 | 0.8 m (31 in) | 6 | 4 | 70×70 mm (2.8×2.8 in) | 400 g (14 oz) | 58 | V | Sliding soft focus control[21][27] |
| Canon | EF 135mm f/2.8 Soft Focus | EF | 135 | f/2.8–32 | 1987 | 1.3 m (51 in) | 7 | 6 | 69.2×98.4 mm (2.7×3.9 in) | 390 g (14 oz) | 52 | V | [28][29] |
| Fujifilm | EBC Fujinon-SF 85mm f/4 | M42 | 85 | f/4–16 | c. 1975 | 1 m (39 in) | 4 | 4 | 63.5×64.5 mm (2.5×2.5 in) | 285 g (10.1 oz) | 49 | CS | [30] |
| Fujifilm | GX(M) SF 190mm f/8.0 | GX680 | 190 | f/8–64 | 1988 | 1.52 m (60 in) | 3 | 3 | 101.0×107.0×104.0 mm (4.0×4.2×4.1 in) | 690 g (24 oz) | 82 | CS | Discontinued 2011[31][32] |
| Fujifilm | Fujinon-SF | #1 | 180 | f/5.6–22 | ? | varies | 3 | 3 | 48×42.5 mm (1.9×1.7 in) | 240 g (8.5 oz) | 46 | CS | [33][34] |
| #2/#3 | 250 | 70×61 mm (2.8×2.4 in) | 550 g (19 oz) | 67 | |||||||||
| barrel | 420 | 85×77.5 mm (3.3×3.1 in) | 980 g (35 oz) | 82 | |||||||||
| Kenko | MC Soft 35mm F:4 | T2 | 35 | f/4–22 | ? | 0.3 m (12 in) | ? | ? | ? | ? | 52 | C | |
| Kenko | べスタンSoft 45mm F:4.5 | "P"[b] | 45 | f/4.5–22 | 1995 | 0.35 m (14 in) | 2 | 1 | 64×50 mm (2.5×2.0 in) | 265 g (9.3 oz) | 52 | C | [36][37] |
| Kenko | MC Soft 85mm F:2.5 | "P"[b] | 85 | f/2.5–8 | 1987 | 0.8 m (31 in) | 3 | 3 | 66×76 mm (2.6×3.0 in) | 315 g (11.1 oz) | 52 | C | [35][38] |
| Kiyohara Optical | Kiyohara Soft VK50R | (multiple)[c] | 50 | f/4.5–16 | 1987 | 0.45 m (18 in) | 2 | 1 | ? | 125 g (4.4 oz) | 40.5 | C | Designed by Takano Eiichi.[39][40] |
| Kiyohara Optical | Kiyohara Soft VK70R | (multiple)[c] | 70 | f/5–11 | 1986 | 0.6 m (24 in) | 2 | 1 | 49×60 mm (1.9×2.4 in) | 136 g (4.8 oz) | 49 | C | Designed by Eiichi Sakurai.[41][42] |
| Lensbaby | Soft Focus Optic | (multiple)[d] | 50 | f/2–22 | 2009 | 0.3–0.45 m (12–18 in) | 2 | 1 | 49×34 mm (1.9×1.3 in) | ? | — | S | 3 magnetic sieve aperture discs, f/3.3 and f/4.8 overall.[43][44][45] |
| Lensbaby | Soft Focus II | (multiple)[d] | 50 | f/2.5–22 | 2022 | 0.38 m (15 in) | 2 | 1 | ? | ? | 46 | CS | Internal diaphragm + magnetic sieve apertures[46][47] |
| Minolta | Varisoft Rokkor 85mm f/2.8 | SR/ MC/ MD | 85 | f/2.8–16 | 1978 | 0.8 m (31 in) | 6 | 5 | 70×80 mm (2.8×3.1 in) | 430 g (15 oz) | 55 | V | [48][49] |
| Nikon | Fuwatto Soft (ふわっと ソフト) | NF | 90 | f/4.8 | 1995 | 0.4 m (16 in) | 2 | 1 | 60×112.5 mm (2.4×4.4 in) | 300 g (11 oz) | 52 | W | Included in Amusing Lenses (1995) / Fun Fun LensSet (2000)[50][51][52] |
| Rodenstock | Imagon | #3 (typ. Φ=65.3 mm) | 200 | H 5.8–11.5 | 1926 | varies | 2 | 1 | 102×78 mm (4.0×3.1 in) | 510 g (18 oz) | 55 (slip-on) | S | Most commonly found in 200, 250, or 300mm, but 170, 360, 420, and 480mm exist.[53][24][25]: 13 [54][55] |
| 250 | 102×84.5 mm (4.0×3.3 in) | 510 g (18 oz) | |||||||||||
| #3 or #4 | 300 | 102×91 mm (4.0×3.6 in) | 540 g (19 oz) | 55 or 78 (slip-on) | |||||||||
- Notes
- Basic method of achieving soft focus effects:
- C (conventional aperture)
- The lens is undercorrected for spherical aberration when the diaphragm is fully open. A conventional iris diaphragm is closed to minimize spherical aberration. Typically, the soft focus effect is controlled directly by the aperture setting, and these lenses do not have a separate control for soft focus.
- S (sieve aperture)
- The lens is undercorrected for spherical aberration when the diaphragm is fully open. A sieve aperture (perforated annulus) is used to change the balance of image-forming light between the relatively well-corrected center of the lens and undercorrected periphery of the lens. Light from the periphery is suppressed to minimize spherical aberration. Typically, the soft focus effect is controlled by adding or removing a physical element to the lens to restrict or add light from the periphery.
- CS (conventional + sieve aperture)
- The lens is undercorrected for spherical aberration when the diaphragm is fully open. An internal sieve aperture (perforated annulus) is permanently fixed to set a default balance of image-forming light between the relatively well-corrected center of the lens and undercorrected periphery of the lens when the diaphragm is fully open. Typically, the soft focus effect is controlled by a conventional, adjustable iris diaphragm to restrict light from the periphery. When light from the periphery is suppressed, spherical aberration is minimized.
- V (variable element spacing)
- The lens is corrected for spherical aberration. An element or group of elements is moved relative to the rest of the elements to adjust the degree of spherical aberration correction. Typically, these lenses have a separate control for the soft focus effect to displace the corrective element(s).
- W (Waterhouse aperture)
- The lens is undercorrected for spherical aberration when the diaphragm is fully open. A Waterhouse stop is added to change spherical aberration, with the smallest diaphragm openings resulting in minimal spherical aberration. Typically, the soft focus effect is controlled by the aperture selected, and these lenses do not have a separate control for soft focus.
- The "P" mount uses same Φ42×1 mm thread mount as the M42 lens mount, but with an extended 55.0 mm flange-back distance instead of the 45.46 mm flange-back distance of M42; a short extension tube may be helpful.[35]
- This is a lens unit that is inserted into a mechanical body, which Lensbaby calls the Optic Swap System (OSS). OSS lens units are compatible with the Lensbaby Composer, Composer Pro, Muse, Control Freak, Spark, and Scout mechanical bodies, which are available with multiple camera system mounts, including EF, NF, A/α, PK, E/NEX, 4/3, and μ4/3.
- Kodak Portrait (4×5+)[2]
- Leica Thambar 90mm f/2.2 (M39)[56]
- Lensbaby Velvet 28 f/2.5, 56mm f/1.6, 85mm f/1.8, and Trio 28 (multiple dSLR and mirrorless camera systems)[57]
- Mamiya-Sekor SF C 145mm f/4.0 (M645)[58]
- Mamiya-Sekor SF C 150mm f/4.0 (RB67)[59]
- Mamiya Soft M 180mm f/4.0 D/L Variable Soft Focus (RZ67)[60]
- Minolta AF 100mm f/2.8 (A/α)[61]
- SMC Pentax-FA 28mm f/2.8 SOFT (PK)[62]
- SMC Pentax Soft 85mm f/2.2 (PK)[63]
- SMC Pentax-F 85mm f/2.8 SOFT (PK)[64][65]
- SMC Pentax-FA 85mm f/2.8 SOFT (PK)[66]
- SMC Pentax 67 Soft 120mm f/3.5 (P67)[67]
- Petzval portrait (4×5+)
- Seibold Dreamagon 90mm f/4
- Sima Soft Focus 100mm f/2 (T)[68]
- Spiratone Portragon 100mm f/4 (T)[69]
- Tamron SP 70–150mm f/2.8 Soft (Adaptall-2)[70]
- Wollensak Veritar (4×5+)[71]
- Yasuhara Momo 100 43mm f/6.4 (multiple dSLR and mirrorless camera systems)[72][73]
Thambar
Very rare Leica soft-focus Thambar lens from the 1930s with original leather case. In front, left to right: Rear cap, special dot filter, lens shade, front cap.
A portrait taken with a Leica Thambar soft-focus lens
In 1935, Leitz released a legendary soft-focus lens, the Thambar 90mm f/2.2, for the Leica rangefinder cameras. It was supplied with a special filter to block light through the center of the lens, resulting in the image being formed by relatively uncorrected aberrations through the periphery.[56]
It was made in small numbers, no more than 3000 units, and is a rare collector's item today.[74] In 2017, a new version was produced, costing $6,495. A lens from the original series can fetch between $3,000 and $8,000, depending on condition.[75]
See also
References
External links
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