Thanks for the compliments!!!!
My "horrible" comment was a severe case of "tongue in cheek". The 50/1.4
under certain circumstanses has some pretty nasty bokeh as those highlights
turn into footballs which can make "nature" pictures--especially flower
pictures look a bit off. But for a non-nature (although some may argue that
point) such as this one I knew that the lens was going to give me an
artistic edge.
One thing that did surprise me is the bokeh on the guitar strings. The
expanding lines remained hard-edged and didn't develop the penumbra which is
visible in strings on the near side of the in-focus plane. My 35/2.8 and
100/2.8 tend to generate a softer bokeh on the far side of the in-focus
plane.
I also shot this digitally with the 50/1.4 and 14-50. The increased working
distance on 4/3 changed the composition which is ok, but different. The
14-50 at around 25mm have the same perspective, but the maximum diameter of
the bokeh is a fraction this shot.
Note: Misinterpretation of horn-tooting to follow:
I visualized this photograph before picking up the camera. I was talking
with the player earlier and closely examined his beautiful guitar. While the
band was warming up, the technical guys were adjusting sound and stage
lighting. This particular shot caught the lighting where a motion spot
(intelligent lights) was directly on him and the various color washes filled
in giving color texture. As the lighting was rapidly changing, no two shots
were anywhere near the same.
The visualization process led me to immediately load up the OM-3Ti with film
(I hadn't loaded the camera yet and was having doubts about using it since I
got the new L1) and place the 50/1.4 on it. I shot half a roll on the guitar
and a violin (more hubba hubba pictures), before remembering that I had a
digital camera and should also shoot it with that. Exposure was determined
with the Sekonic L-508 lightmeter using the ambient dome. I believe the
setting was 1/60 at F1.4 using ISO 800 film.
The hardest part was timing the shot where the lighting was right and the
fingering such that it didn't look like he was flipping us off.
Personally, one of the things that I find intruiging about the shot is how
the hand is centered forming two distinct halves to the image, neither side
is the same and each seem to complement each other. One side has lines the
other side has round things. You spend time on one side of the image and
then time on the other. I didn't PLAN that one, it just happened.
AG (blind squirrel finds nut) Schnozz
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