![]() What is actually more important than the lens you use are the distance relations in the scene. I guess most of you were already aware of this □ Distance Relations The take away message from this section: all else equal a faster lens of the same focal length will (or should, see “optical vignetting” section) yield more blur and a longer lens with the same maximum aperture will also yield more blur (you need to adjust the distance to your subject for similar framing though). Sony A7rII | Olympus OM 250mm 2.0 Zuiko | f/2.0 Bigger is generally better here, I already talked about this in my article about Brenizer/Bokehpanorama, so maybe have a look there if you are curious what lenses to use in order to achieve the highest “quantity” of bokeh in your pictures. What becomes obvious here: focal length and maximum aperture are both equally important and if you divide focal length by maximum aperture you get the size of the entrance pupil, which is a good reference point to evaluate the “blur potential” of a certain lens. Sony A7III | Canon EF 200mm 2.0 L IS | f/2.0 Now a 35mm f/2.8 most people wouldn’t consider fast whereas a 400mm f/2.8 is considered a very fast tele lens, despite both having a maximum aperture of f/2.8. What is a fast lens? A 50mm lens with a maximum aperture of f/0.95 probably is, same goes for an 85mm f/1.4 lens. The quantity of the bokeh depends not only on the lens’ specifications or the distance relations in the scene, but also on the optical vignetting and field curvature characteristics of a given lens. ![]() Quantity Sony A7III | Zhong Yi 135mm 1.4 | f/1.4
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