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Depth of eld is an indispensable creative tool but what exactly is it, and how can you control it?
Use Live View to help you judge focusing and depth of field accurately
epth of eld, or DoF for short, is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in a photo. We say acceptably sharp because only one point will be truly razor-sharp in your pictures, as your lens can only focus at a single distance. However, the sharpness falls off gradually both in front of and behind the point youre focusing on, and the depth of eld is a measure of how far this sharp area extends. Controlling the depth of eld makes a real difference to how your pictures look. The less depth of eld there is, the easier it is to blur backgrounds, which is often desirable for portraits. Increasing the depth of eld
You generally want as much depth of eld as you can get when shooting landscapes
helps you to capture more detail in a subject or scene, and youll generally want as much depth of eld as you can get when shooting landscapes and macro subjects. Your camera doesnt have a depth of eld control as such; rather its governed by a number of factors and camera settings. The distance to the subject (and the distance between subject and background), the focal length of the lens and the size of the cameras sensor all play a part, although its the choice of aperture thats generally seen as having the biggest impact. For those new to photography, the aperture is the hole in the lens that light has to pass through to reach the cameras imaging sensor. Its measured in f-stops, and can be adjusted from a wide aperture
(represented by a low f-stop number like f/2.8 or f/4) to a narrow aperture (with a high number, such as f/22 and f/32). The choice of aperture is key to controlling exposure, as wide apertures let in more light and narrower apertures let in less, and it also has a big bearing on depth of eld, with wide apertures reducing it and narrower ones increasing it.
f/2.8
f/16
subject one metre away. With a wide aperture of f/2.8, the depth of eld may only be 2cm at this close distance. However, if the lens was refocused on a subject 10 metres away, that same aperture may give a depth of eld of almost 170cm. Consequently, your focusing needs to be bang-on when you use extremely wide apertures at close distances, otherwise important details may look soft. Before you set the optimum aperture and position yourself at the perfect distance
to provide the depth of eld you want for a shot, you need to think about the best focal length to use. The lens doesnt affect the depth of eld per se when it comes to aperture selection, f/5.6 on a 20mm lens offers the same depth of eld as f/5.6 on a 200mm lens but the magnication offered by the focal length does play a part. Longer lenses have a narrower eld of view than wider ones, so they take in less of a scene, effectively making everything appear bigger
in the frame. This includes the background, with any blur becoming magnied too. Sensor size has a similar effect on the depth of eld. The larger the imaging sensor inside the camera is, the easier it is to create shallow depth of eld effects this is one of the reasons many pros reach for full-frame cameras. The smaller APS-C sensor that you nd in the majority of EOS bodies records a smaller area of the image projected by the lens, so everything appears larger in the
STEP BY STEP
A wide aperture of f/4 means the e extreme foreground and background detail appears out of focus
Pressing the depth of eld button accurately previews the DoF at the selected aperture of f/11
Specialist lenses
The problem with using very narrow apertures to extend the depth of eld is that it can reduce sharpness due to a phenomenon called diffraction. A wider aperture will produce a crisper image but with less DoF, so youll have to decide which is more important, or set an aperture somewhere in the middle. Not so if you use a tilt-shift lens: these pricey chunks of glass enable you to use a wide aperture for maximum sharpness, and then tilt the lens to adjust the plane of focus and maximise the depth of eld.
Its better to choose a narrow It a aperture, then increase the ISO to enable a safe handheld shutter speed
picture than it does using the same focal length on a full-frame camera; its a bit like cropping the shot in Photoshop. Attach a 50mm lens to an APS-C D-SLR like the 700D, for instance, and its effective view will be the same as that of an 80mm lens (50mm x 1.6 crop factor of the smaller sensor). On a full-frame camera such as the 6D, theres no crop factor it captures the full view of the lens. In order to get the same image size as on the 700D, youd need to be closer to the subject, and, as weve seen, the
closer you are to a subject the shallower the depth of eld becomes. Of course, cameras with smaller sensors can be useful if youre looking to maximise the depth of eld in your shots, and a technique called hyperfocal focusing will also help you to maximise front-to-back sharpness in a scene. This involves manually focusing the lens at a distance that will capture sharp detail from half the hyperfocal distance to innity see our step-by-step walkthrough on page 71. Q
Fisheye lenses
Each month we highlight a Canon EOS D-SLR or type of lens and provide handy advice to help you get more from your gear
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3 Exposure issues
The inclusion of such a wide expanse of scenery can cause severe contrast problems if you have a bright sky and a darker foreground. You may need to shoot several bracketed exposures, and combine the images in post-processing.
2 Get close
Because of the incredibly wide view of a sheye lens (up to 180 degrees, corner to corner), youll need to get much closer to a subject than would ordinarily be the case in order to prevent it from looking too small in the picture.