how about a DOF tutorial??

How would you propose to test a circle of confusion?

If you mean -- has anyone extracted the portion of a wide-angle (supposedly in-focus) background and blown it up to be the same size as the telephoto shot's background, then yes we've tested that and yes, when blown up to the same size it looks equally fuzzy.
 
I am so glad I found this thread! I just ordered my first nikon 50mm lens today and I have no clue how to use it. I can't wait to start experimenting! I'm saving this thread.
Thanks Barry!
thanks everyone!

Luis
 
My issues don't really lie in not knowing what the settings do - learning about aperture, shutter speed, and ISO was pretty second nature to me - but in exactly how to use them in a standard way that both best fits with having to use a shutter of 60 and a ISO of 100 or 200, and also trying to keep in the right psychological and filmic direction with framing and perception.

For example, do you try your best to think along the lines of "Okay, what does the human eye see in this situation?" and try your best to frame your shot using focal lengths and depth of field almost just like what the human eye would see if it was in the camera's position - or do you try your best to simply make things look pretty even though the frame could never occur in human vision? Is there really a standard or text-book chart for what psychologically effects the human mind best when someone is watching a film, or is it more about, again, making sure the frame at least doesn't look like a newbie film? Or is that exactly the same thing? Do the filmmakers set up each and every frame according to the mood, dialogue tone, plot, ect ect, or do they simply try for a standard of "Okay, this at least looks pretty."

Personally, I'd love to know the answers to questions such as "What's the magical aperture number that strikes the human eye as beautiful yet natural?" - "Do you base your frame on what your eye sees in the position, or do you simply try to put a unique spin on it?" - "What focal lengths are unacceptable for any sort of marketable film, and which ones are even the absolute best to beautify your subject's features?" - "What are some techniques used in crop sensor framing that create unique adaptions, not simply 'work arounds'?"- Basically, I'd love to read stuff like that all day long.
 
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