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What I think is happening is that my camera is having an easier time focusing on the sharp-edged high contrast shapes in the leaf painting than in the softer edged, lower contrast shapes of my portraits.
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Perhaps it is giving me an "in focus" signal when it's just doing its best guess.
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As I think through what you are saying my initial thoughts are that the lens of the camera only focuses at a specific distance from the lens to the subject. Once that distance is determined it then falls on the film or pixels for interpretation.
I think your theory about soft edges has merit, especially when these edges (or transitions) relate to certain colors. I have always thought that film saw reds more easily (or differently) than the colors around it.
For example when a cheek turn very gradually from light to shadow, film seems to interprete this more harshly, accentuating the reds and thus creating a more harsh transition than how my eyes view the same painted surface.
When I view this painting in person it looks very different to my eyes. Very frustrating.
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