Tired Tracks - perspective + focus points

[eternalhope]

This is my first attempt at photographing train tracks- I quite like it as a subject matter, although could do with some pointers on how to work with perspective on long continuous lines.
For taking future tracks or roads, where is the preferred position for the focus point? In this shot I focussed in the middle section of the frame on the rail to the right.

Taken with Pentax MZ-60 (SLR) on Av with f/11 (I think - not having the luxury of EXIF data on digital means I need to rely on my scratchy memory! ). It was a bright summer's day day around 5pm. Thanks y'all!

[clockdoc]

Depth-of-field will vary depending on the focal length of the lens. The wider the angle, the greater the depth of field as a general rule for a given aperture. Remember that depth-of-field comes forward and goes away from the point of focus in a 1/3 - 2/3 ratio. That means that you will have to consider focusing at a point closer than where you did for this shot. When in doubt, use the wider angle part of a variable focal length lens and crop out the sharpest section of the image.

[jiminyClickit]

eternalhope,

Tilting horizon for an effect is OK; this doesn't look like that, and isn't mentioned in intro. It creates a tension in viewers, and gives Critiquer something to point out. Go by the vetical pole if RR ties are actually slanting.

It helps to find something to give the eye a reason to travel up those lines (tracks): tunnel, overpass, train.

[eternalhope]

Thanks for your recommendations clockdoc and jimminyclickit.

clockdoc- the 1/3:2/3 for DOF is helpful. Will keep that in mind.

jimminyclickit- I did attempt to do a tilt for effect....but obviously it was not achieved well. I see your point in having something to lead hte eye to- good advice. In what way does it create tension for you (so I know what kind of response it evokes in others)?

[wulf]

I think you could have tilted more; if you want to use that as an effect, make sure it looks like you did it on purpose (actually, I would be inclined to give you the benefit of the doubt but it would definitely have been worth experimenting with making it even more obvious).

For focusing, you can always keep the same focal distance but change your perspective so that the nearest rails are not so close to you. For example, if reasonable sharpness starts 20' away, compose your picture so the track at the bottom of the picture is about that distance. That avoids a large chunk of the foreground being blurred, which is generally an undesirable result.

Wulf

[jiminyClickit]

eternalhope,

Ever walk into an old house that had a slanted floor? Ever notice a picture on a wall was just a little crooked? Humans are geared to notice unlevelness. So when a photo is just a little "off," we sense something is leaning, not quite right. If you'd gone 25-50 degrees away from level, we'd know it wasn't an unplanned camera framing, or a moment of inattention, or that there was no earthquake when you took this photo.

Don't know what effect you thought that would have on people, other than, "Hmm, it's crooked."

[eternalhope]

Originally Posted by jiminyClickit

eternalhope,

Ever walk into an old house that had a slanted floor? Ever notice a picture on a wall was just a little crooked? Humans are geared to notice unlevelness. So when a photo is just a little "off," we sense something is leaning, not quite right. If you'd gone 25-50 degrees away from level, we'd know it wasn't an unplanned camera framing, or a moment of inattention, or that there was no earthquake when you took this photo.

Dn't know what effect you thought that would have on people, other than, "Hmm, it's crooked."

Ohhh...I see what you mean now....that would really irk me too!! From what I recall, I think I tried to get the right-sided track coming out of the corner of the frame to provide the viewer of a continuous journey into the distance. I didn't think much more apart from that...it was a rather hasty shot, now that I think about it.

[jiminyClickit]

eternalhope,

"I tried to get the right-sided track coming out of the corner of the frame to provide the viewer of a continuous journey into the distance."

That would work, and you could emphasize that with even more tilt, nearing a diagonal with the rail, perhaps even a lower shot to begin a large bit of rail ending far away and thin?