Aperture & Focal Length
Those of you that know how to control your debt lord I don't know how to control your doctor field take notes everybody knows you're aperture africanism was open thing in the world she manual shoe aperture you can control your aperture he's enough you're aperture is everybody's first go to it's the police that you're setting you make it happen and there's things out of focus is things in focus but let's let's look a couple images because I really want to show what's in focus versus out of focus because there's there's a couple issues with just assuming that your appetite is the only way to control your depth of field or how much background blur that wind up having so this images shot one five hundred f two five s o four hundred this next image is one eighty five six isil four hundred if I switch between what we had before and what we have after there's not a significant difference in the background blur one is shot at two eight the other one is shot five six and the reason is if you lo...
ok at how the distance of my background this we're going to talk about the distance of background from your subject I'm going to have the same amount of blur my background because I'm controlling my my aperture based on my distance to my subject your focal length we'll go back two seconds before we go there machine a perfect example so this is actually my motorcycle I ride a motorcycle in new york city this gets me to trouble all the time nice trouble like people jumping on my bike and wanting to take photos like this randomly if you look at the side humor that's on his left hand it's completely out of focus, I'm shooting at two five, two wide open right there's a very thin in plain of focus five six same distance I now have it deciding there in focus because that block the focus that we have the background still the same about blurriness because of the distance of the subject of background, these are things as you're walking into seeing and you're walking into set that you should be thinking and I call this boring is situational analysis going in to figure out ok, what am I being presented? Because at the end of the day you want to know what's what you can do to resolve the situation, and I think what happened to me when I first started photography was walking to room, there were so many problems I was like, I don't know how to do this now, right? Because that's how we all start off but learning what how to resolve those issues or how to analyze those issues to make a resolution is important as a photographer situational analysis so your focal length now how many of you have been asked by your friends? What is millimeters mean in lens and you're like oh it's the length of the lens because we all lie when were first starting off because we have no idea what is this like let's? Just be honest at some point you told somebody that your millimeters was literally the length of your lens I would say seventy percent of us there's like a lot of yes and does like to nose and there's currently eight people there your focal length physics wise is the distance between your lends itself to what's capturing the information's it's literally how much distance terrace right it's not the size of the lens it's how everything in the compartment lives inside the lens itself so it's you can literally have a fifty millimeter lens for example signal makes this fifty I'm turning my lenses you guys even kill me fifty fifty millimeter lens eighty five fifteen eighty five tell the things in the mechanics work inside it's not the size literally of the lens stop lying to your friends that's what we're going with this why your fold focal distance matters let's get back to talking about this specific image is shot and have to wait okay I'm currently and that's was it an image more so to a form of a twenty four I met two point eight in theory, that background should be completely blurry or out of focus and it's not I can still see distance and we'll talk about exactly how that happened in control there suit angle of view your focal distance sounds really, really boring, but I never want you to forget this if you if you're watching online I'm looking I was like a like at the ceiling like if that's where everybody in the audience is online so you guys that are watching a lot and um I was going to remember this you're full your angle of view or what you're looking at will impact how you perceive what's out focus okay? So when you're shooting something like a micro four thirds or crops sensor camera, what you're seeing is a quote unquote zoomed in version of the same image that were taken with a false full size camera, right? Would you agree with that in regards to looking at this two different lenses? There's no difference with the full frame I'm getting extra information on the outsides so what I'm getting is a shorter angle of you we're gonna discuss a little later I'm gonna put the theory into practice with the lights that I have behind me with one of you, huh? Depth the field on location so I'm gonna take that same theory focal length and how it impacts the image itself so focal length for example I'm currently a twenty four millimeters I shot this from twenty four to two hundred at twenty four millimeters I'm shooting at a two eight consistently throughout the whole thing nothing switched aside from my focal length all the settings of the same the cameras the same my distance to the subject is the same but I want you to pay attention to the focus in the background and the way that my focal distance or the lengths are in my focal length effects the book in the background so I'm gonna go into this twice will go from twenty four two thirty five to fifty start looking the background two seventy tow one o five to two hundred what changed the whole background? The only thing that I changed out of my settings it's my focal distance twenty, forty two, two hundred right as right angle of view changes I'm getting more of a blurt background because what's happening is my subject is not closer and frame to the background then the background right? Because I'm focused on him the backgrounds essentially now further that's that's kind of how we look at things and I look at photography and your lens the way you're saying your eyes work writes if I'm for example I'm in a room like this and it focused on you everything else is completely out of focus right? Because I can see everything but it's completely out of focus versus if you and I were sitting close together I'm looking at you less is out of focus or sorry more is out of focus but I now see a perfect field of view of who you are versus I see maur focus distance there like when you're looking at me here you probably see me you see the background a tiny bit and as you get closer to me you're focused on me more things were getting out of focus something with your lines it's no different your lens works just messing with your eyes do we look at that again? Go back back I said back twenty four thirty five fifty, seventy one who find two hundred and you can start to see what I mentioned before the vignette ing in the background if you notice the way that the book is starting to shape it's more of around kind of form to it right can you do the same thing in studio? Does that same thing happen in studio no if you say so this is taken with the meeting format camera ok which has a very thin plan of focus so this is literally took this to exaggerate the same principle so after this I want you to make sure that you like instead of settings one twenty five seven one eye so thirty five when you're looking at to change your debt the field you have a couple varieties so you could manipulate which is your aperture your focal length your focal distance sorry your distance to the subject how close or how far you are so this I have a prime blends right so one one hundred ten millimeter f to it so you're saying that if I got closer to my subject I would have the same background and focus given the angle of view that we changed that correct he's like on your piece coming in short see I asked before if I were can replicate that same principle with on location that I would in studio what's the difference in studio versus out of out of obligation is truly versus it's the light control which you have what is there anything have to do with your lens and that's exactly the point is it doesn't it has the same effect lighting is to like the subject and it does go with the center but right now I'm gonna take that same image same settings I change my distance to the subject I didn't switch light everything still the same the backgrounds blur because I changed my angle of view or whatever seeing now he's on a thin plane of focus and that backgrounds out of focus look at the difference same settings same light difference and me stepping forward look at the textures in the background still works has nothing to do with light it only has to do with your lens that you choose, so if your portrait photographer, for example and you want to purchase a background like this, keep pointing at the screen like the tv thinking it's my tv and you're focused on the textures in the background if you don't want those textures or you want them blurrier are skewed or blurred out, you get close to your subject and just focus more so on your subject. So your background boost a blur on this specific image because of my angle of view more things aaron focus as we mentioned before, as we as I mentioned before like all of us with our eyes, if I'm further away from you and I'm looking at you this way I can still see other things and focus if we got really close and I only saw your eyes and that's it nothing else in the background same principle that your lens has the same focus. Yes, any question uh when you get a more dramatic changed by having the model come closer to you so that the ratio of the distance between you and the model is reduced and the ratio between the model in the background is increased suit the model itself has not moved I'm just showing distance to subject, but yes, that is the way that you can create distance from sorry more background blurting background so you can create if I were to move that subject away from the background like you just mentioned that focus on him, the background would be a little blur. However, if you are in new york city photographer and you don't have a thousand two thousand feet to script shooting, how can you move that subject that much distance? And those are the things that I think about suicide giving you multiple ways to be able to manipulate your depth of field because of the end of the day, for example, if I lived in florida, I know that I would have a garage and if I want to photograph my subjects and I wanted covered shade and I'm gonna photograph my subject in the garage, I have that extra wall that I can step out of my background, but if I don't have that availability to change the depth of field to focus on the subject, I have to move in lynch choice aperture your distance, your focal length, all those things play a parameter and just manipulating your apertures that's why everything in total it's still weird to see I also thirty five? I'd like to go and that I didn't go to photo school, so when I see I so thirty five, I'm like that's funny that's awesome! I'm honored we've been through this distance you're subject, nothing has changed here and regards setting aside from how close I'm getting to my subject and you just saw that this happens in studio as well nothing changes so my focal will my focal length is the same my distance the subject is the only thing I'm changing no camera settings nothing so look in the background blur and the lilacs that it they're getting blur I'm changing my depth of field by manipulating my distance to the subject not only can I change my focal length I can change just my distance to that subject I mentioned before in order for us to manipulate that background we need to understand how'd up to field plays a part in getting that debt backgrounds because ok isn't anything more than the quality of the background blur in your image as defined by your image but the final image not what's in your camera what you finally see that's there that's the qe one it's not measurable but the quantifiable reasoning behind now I could have walked in here read two lines drop this and walked out however to achieve your maximum that the field was one remember this get us close as you can to your subject or pull them closer to you or as far away from that background this possible ok get is wide open wide open as you can for the most dramatic effect we talked about this before a lot of photographers on lino part two they don't know why that happens.