By MICHAEL PERKINS
PHOTOGRAPHERS LOVE A GOOD SCRAP. We spar about gear: we argue about technique: we defend both film and digital with equal fervor: we crab about the purity of our own artistic vision (as opposed to the pedestrian pap of other shooters).
We even squabble about what blur is. Or isn’t.
If you have an afternoon to burn sometime (and if you care) Google the phrase “bokeh versus blur” and get ready to rumble. Notwithstanding the fact that few outside photography’s elite inner circle had even heard of the word “bokeh” (in the original Japanese, literally “blur” or “haze”) until about a decade ago, many of us are now choosing up sides about what it, and blur, are…or are not. Does it finally matter? Depends on who you ask, and whether they’ve had a good night’s sleep and a solid breakfast. But let’s put on our waders and tenderly tiptoe into the slipstream. Watch out for alligators.
I would think of blur as any unfocused or under-defined area within a photograph, a place where textures become soft enough for their details to be indistinguishable. It is, essentially, a visual condition. Think of the trees behind your portrait subject that turn to soft mush when you set for a shallow depth of field. Because you want to showcase a face and not a tree, right? Simple.
By comparison, bokeh is the distinct pattern or texture of the blur, something which may or may not be considered “desirable” by photographers, as if it were another design element to be shaped to complement the foreground. This could be anything from replications of the shape of your aperture (little floating pentagrams) to egg-shaped dots in a swirl, or a million other things, depending on the performance and design of your particular lens. It is, as compared to mere blur, a visual quality.
Now, I realize that merely trying to assign simple definitions to these two things will automatically alienate me from a planet-sized portion of the internet, so go to it. But here’s the point I really want to make.
Blur or bokeh, their usefulness, their positive or negative effect, even their potential aesthetic appeal….these are all judgement calls and are totally in the eye of the beholder. Some of us will actually choose a lens based solely on what kind of bokeh it will produce. Conversely, others will never assign any artistic value or priority to the effect whatsoever…and that’s completely fine. I myself have definitely lived on both sides of the streets in this issue, and so, by turns, the whole thing both is and isn’t important, based on what the job at hand is. The main reason I study the debate is because it shapes the intentions of photographers, and so is part of an overall understanding of why we shoot, which is the main idea of this little small-town newspaper.
Bokeh has come to the fore in recent years because photographers seem to want to shape it no less than any other visual element within the frame. And, like anything else about our art that gets discussed to death, it can create clannish, even clownish posturing about what’s more “authentic”, a discussion which takes us nowhere fast. Finally, blur elements are just like trees, furniture, or buildings. Want ’em in your picture? Put ’em there, and God Bless. However, the only thing we don’t want to do, ever, is to try to develop a list of commandments, of things that are always good or always bad for the making of pictures. That shuts down discussion, and eventually clamps down on creativity.