Creative use of depth of field with the new NIKKOR Z 35mm f/1.2 S

Published in everything from The Sunday Times to The British Journal of Photography, Carolyn’s award-winning photography places a strong emphasis on story, emotion and visual language. Her portraits are a co-creation between herself and the subject, creating stills that feel powerful and honest. The Nikon Ambassador is especially drawn to working in natural or emotionally significant locations where place becomes a part of the narrative.

“I wanted to get creative and play with composition, light and mood and really investigate what a 35mm was capable of while telling an editorial story,” she informs Nikon magazine. With superior rendering, ultra-fast aperture and cinematic storytelling capabilities, the new NIKKOR 35mm pro lens allows the perfect balance of subject and environment. “It’s a real joy to work with a lens that can open up so wide,” she says. So, how did she get on in the, ahem, field?

Get creative with a team

Hot off receiving her lens, Carolyn sought out her team: model Imogen Getzels, stylist Trudy Fielding from My Vintage Beau, who she worked with to find four different vintage looks, and Marianna Easter from Smink Make Up to come up with a contemporary makeup look that would flow well with the vintage aesthetic. “Trudy and Marianna really responded to the brief well. Their skill with my artistic vision made it such a fun shoot!” Then, it was time to head to into the heather-filled Penistone Hill Country Park – “real Brontë land,” as Carolyn says.

Embrace the cinematic at f/7.1

“I work instinctively, and this location [above] felt like a scene from a film,” Carolyn says. “It’s very cinematic. There was harsh light on Imogen’s face so I made sure the aperture was smaller, and the shutter speed was quick at 1/5000 secs, otherwise it would have been super burnt out. I’m very conscious of composition – the photo wouldn’t have worked had I placed her in the middle, so she is slightly to the right (rule of thirds). It has a real dramatic intention to it and using f/7.1 you could really see the landscape.”

Isolate details with a dreamy focus fall-off

“At f/1.2 aperture, as in the photos above, the focus is on Imogen’s hands, face and hair, then the focus falls away,” says Carolyn. “Often, wide open equals a very shallow depth of field but it depends on where you are with the camera and the focal length – 35mm offers more background. I haven’t cropped into these images. I wanted to show the detail of the lace and the aperture creates a dreaminess to the image. As for any fashion assignment, you need to think about the clothing as well as the model’s portraits. It’s about highlighting the clothes, telling a story and showing the location.” And as for the monochrome? “There’s an element of drama! The light had become incredibly harsh. By removing the business of colour, you can see the detail of the lace more.”

Combine foreground elements with f/1.3 aperture

“Here [above], at f/1.3 I’m focusing on Imogen’s face as the harsh light shines down – she’s changed clothes, and the wide-open aperture adds a gentleness to the image. This undergrowth was beautiful, especially as the moors are so open and lack shade. I wanted to have her in a secluded environment to really tell a story. I was tempted to crop the highlights at the top that are slightly blown out, but I really like it.”

Go wild for wide depth of field at f/16

“I would never take portraits at f/16, but I love the wide depth of field across the landscape. Imogen is quite central – unusual for me – but I love that you can still make great portraits at f/16,” says Carolyn. “The NIKKOR Z 35mm f/1.2 S really is the perfect lens to show off the environment. Utilise its extensive aperture and play with the lens. Try it wide open and closed. It doesn’t distort at all – the edges are as focused as the middle.”

Lighting affects perception

“It’s Yorkshire – the light was changing constantly, from rain and grey clouds to bright, harsh sunlight. In this photograph [above], I’m looking at where she should be standing or sitting to be lit nicely in a more diffused way. Sometimes the light was changing dramatically. I love the challenge, though. Here, Imogen is photographed at f/3.2 – wide open enough that the focus falls off in the background. I’m using 3D Tracking here with AF-C to keep her eyes sharp. I always photograph in Manual – I like to have real control of the camera.”

“I’m often known for my moody, underexposed portraits but there’s something really beautiful with this overexposed look [above]. At f/2.2, it’s slightly more in focus and the bokeh in the background adds a summery touch. It’s bright and the light is flattering to Imogen’s skin tone. In Adobe Lightroom, I do minimal touch-ups: small tweaks to skin tone and reducing saturation.

Final thoughts

“This is a solid lens for pros – great for environmental portraits whether you’re taking stills of a trader at a market or on a fashion assignment. It allows you to experiment in creative and technical aspects,” says Carolyn. Her top advice? “Play with the lens. Think about what its purpose is. Use it for that purpose, then throw away all rules and experiment. Be playful.”

Meet the team

Model: Imogen Getzels

Stylist: Trudy Fielding, My Vintage Beau

Makeup: Marianna Easter, Smink Make Up

Behind the scenes photographer: Louise Rayner

Keep up with Carolyn’s work here and visit This is Also Motherhood and her latest exhibition, Hardy and Free.