Originally posted by Wheatfield Originally posted by RioRico: Diffraction diminishes that contradiction, softens the entire scene. Of course, stopping down all the way doesn't hurt if the picture is for a postcard.
It also doesn't hurt if there is no noticable loss from diffraction, which is often the case when taking photographs of things that are not 1000:1 TOC test charts.
The whole diffraction limit thing is mostly a myth brought on by people who pixel peep focus charts.
And, without restarting the Diffraction Limit Wars, I must beg to differ. I refer to old handbooks on field and nature photography, written in pre-digital days by technical photographers concerned with maximizing IQ, and they emphasize the problems of diffraction, sometimes serious. I look at my own photos, where I may shoot wide and crop (a habit from my MF days), and see diffraction softening. I'm not shooting focus charts, and I'm not pixel-peeping -- there are times when I just need to squeeze out the best resolution possible.
No, diffraction is not a problem with small displays, small prints, especially matted-glassed-framed prints hung on a wall. Diffraction is also less of a problem in color images lacking sharp details, than in greyscale images WITH sharp details. In high-ISO noisy/grainy human-interest shots, diffraction is not a problem. But as I've pointed out, when we look at landscapes and flowers and arthropods, and structures and artifacts and such things, we want to see detail. And unless we display that image small, diffraction loses some detail.
Quote: In the real world of photography it is just one other thing that may or may not be something to consider.
Photography encompasses many real worlds. Let's look at a subset: group portraits. With a small informal group like a couple or family or some friends, a soft image may be desirable. With a larger formal group, a class or company or association, extreme detail is required, so individual faces may be more clearly discerned. Shooting that large group without attention to detail renders them faceless, which can be a provacative social commentary but won't be appreciated much if the group is paying for the shot.
But, back to waterfalls. Look above at the pictures by Tuner571 and especially shadeless. Their drama comes from the contradiction of the soft flow of water against the sharp detail the the surroundings. If printed postcard-size (even big postcards) diffraction would not be an issue. But shown any larger, they'd gain impact by the rocks and trees in one, and the icy edges in the other, being razor-sharp. Or Mike Cash's strobe-lit splashes -- if each droplet was an indistinct blur, why bother viewing? (And actually they do look blurred, which lessens the impact.) If a human was tumbling or surfing down the waterfall we could ignore the lack of definition. WOW! LOOK AT THE ACTION! But unless the intent is an overall soft impressionistic watercolor-and-ink suggestion of natural beauty, we'd rather see detail.
So much is dependent on the presentation. I've shot moderately long exposures of silkily-flowing-water-on-sharp-rocks in B&W with a 1mpx (912x1216) P&S, the image saved as a TIFF, rescaled and sharpened a little in PP and printed at 9x12cm, matted-glassed-framed-hung, that look great. Almost anything looks good if you keep it small enough. Even me. I hope.