Aperture: Depth of Field


Canon® Lenses: The Complete Guide


Lesson Info

Aperture: Depth of Field

So the next section a little bit of review you know we're going to talk about depth of field and this is something I talk a lot more about in my fundamentals class but we just need to address it here is we're going through these topics so depth of field what is in focus is control for the most part by three things the aperture setting we talked a little bit about that it's also controlled by the focal length remember our longer focal lengths have less step the field and our shooting distance how closely our to our subject and this because there are three different factors involved really can play havoc on how much depth the fields you get depending on where these three factors are so this is a photo of extremely shallow depth of field why is it extremely shallow? Well I would say the one point for setting is a pretty strong reason for it it's also because the subject is very close up to the camera hello kitty so we're very close to kitty and with the fifty millimeter lands well fifty i...

sn't necessarily going to exhibit a lot of depth of field or really shallow it's kind of in between but being very close and at one point four is why this one is so shallow now let's keep what we're going to keep this thing we're going to keep the aperture the same but we're going to go toe wide angle and now we have pretty much everything in focus. We're focused out, maybe twelve, fifteen feet beyond the camera. Pretty much everything is in focus here because we're using a wider angle lens, which exhibits more depth of field, and we're focused further away from the camera. Let's, move up to left, too, with an eighty five millimeter lens at f two. We're going to have our subject and focus, and our background is going to be out of focus and it's out of focus. Because f two's, pretty wide aperture, our subject is reasonably close to the camera here, maybe ten, fifteen feet away, something like that. And a telephoto lens tends to have shallow depth of field. Keeping the same. Two point. Oh, aperture. We have most things and focus here because they're further 00:01:59.839 --> 00:02:04. away from the camera with a less telephoto lens. 00:02:06.63 --> 00:02:09. Moving on up to two point. Eight, three hundred millimeter 00:02:09.82 --> 00:02:13. lands. Airy, shallow depth of field. Three hundred 00:02:13.39 --> 00:02:15. millimeter lenses have shallow depth of field, especially 00:02:15.65 --> 00:02:17. when they're focused up fairly close. It's. Hard to 00:02:17.96 --> 00:02:20. tell how far away these tulips are, but they're not 00:02:20.45 --> 00:02:23. too far away. They might be forty, fifty feet away. 00:02:26.1 --> 00:02:27. How about the same two point eight aperture with a 00:02:27.9 --> 00:02:31. wide angle lens? That's going to give us most everything 00:02:31.21 --> 00:02:33. and focus, especially when we get all the way back 00:02:33.04 --> 00:02:35. to twenty four. So if you like everything in focus, 00:02:36.08 --> 00:02:37. twenty fours are a good place to go. Move on up to f four with one hundred millimeter lands incredibly shallow depth of field I would say mostly in this case because we're focused very close up to our subject that's a pretty small object that we all know especially with a telephoto lens but f four with a wider angle lens yields a lot of depth of field and this are the types of shots and it's great with digital these days because I don't have to remember or take notes when I'm out shooting pictures I just grab my light room collection and I look for lenses shot at five point six with the three hundred millimeter lands I'm going to find a lot of shallow depth of field especially if I'm focused up fairly close on a subject and so you can look back and you're meditated to see what you're getting with different situations so five point six with the three hundred millimeter lands I would think that's pretty shallow depth of field but if the subjects are very far away I'm going to get a lot of depth of field because the subject's air so faraway so all three of these factors playing there and as you become more and more comfortable and used to your camera and the results that you're going to get you'll be able to predict this and see this maura's you are setting up your shots even before you put the camera, I finally got a full range I have been waiting for some place and it's always like it the most inopportune times I'm driving down and I was like, here's, a full rainbow it's gonna last three minutes. Stop the car! What? Where can you frame it up on? Actually, it was a double rainbow there, so in any case f ate getting everything in focus with a sixteen millimeter lens everything's kind of far away. The civil shack here is, oh, I don't know fifty feet away, but with that wide angle, you're going to get pretty much everything in focus, so as we're stopping our lens down were tending to get most things and focus, but when they're very close to the frame, even with the three hundred millimeter lands, very shallow depth of field, and so each of these three factors is kind of playing havoc with what's in focus and what's out of focus and so it's just kind of fun to compare different types of shots with the same aperture, which might have a lot in focus. We're very, very shallow depth of field because of the nature of the shot macro hundred millimeter lens up very close, you're going to get shallow depth of field it's the nature of focusing up very close. Everything in focus from the little mud flats in front of us to the castle in the background could have twenty two with a wide angle lens. You're going get tons of depth of field. With a four hundred millimeter lands f twenty two I still can't get all the penguins in focus because it's such a long focal length and so you know, every once in a while I get the question of, well, what has the greatest impact on depth of field isn't the aperture? Is it the focal length? Or is it how close you are to your subject and that's? It's a hard question to answer because I don't know that there's a way to prove it, but I think it would be how close you are to your subject is probably the most critical factors tow what's how much is going to be in focus? Because when you get in a macro photography and your work and ten inches away from a subject, it is very, very shallow depth of field. I think probably the second biggest impact we have is with the lens we choose as to what's going to be in focus, and the third and least amount of control that we have is in the actual aperture setting. But this varies and it's an opinion that's my opinion, you can tell me I'm wrong chat about it in the chat rooms, but that's that's kind of what I'm thinking about when it comes to depth of field.

Class Description

Working with interchangeable lenses can be both exciting and daunting to all levels of photographers. Canon® Lenses: The Complete Guide with John Greengo will prepare you to select the right lens and get the most out of all of your lens investments.

John Greengo is the master of making complex photography concepts easy to understand and in this class, he’ll bring all of your Canon® EOS DSLR lens options and operations into focus. You’ll learn about: 

  • Focal length and aperture
  • Canon® zoom lenses
  • Which lens accessories to buy
  • Third-party lenses
  • Maintaining a lens system
John will cover the full range of Canon® lenses, from ultra-wide to super-telephoto, zooms to primes, fisheye to perspective control. You’ll learn how to match the right lens to your needs and get insights on the best ways to use it.

Whether you are thinking about buying a new lens or just want to get the most out of what you already have, Canon® Lenses: The Complete Guide with John Greengo will help you out.


1Class Introduction 2Canon® Lens Basics 3Focal Length: Angle of View 4Focal Length: Normal Lenses 5Focal Length: Wide Angle Lenses 6Focal Length: Telephoto Lens 7Focal Length Rule of Thumb 8Field of View 9Aperture Basics 10Aperture: Maximum Aperture 11Aperture: Equivalent Focal Length 12Aperture: Depth of Field 13Aperture: Maximum Sharpness 14Aperture: Starburst Effect 15Aperture: Flare 16Aperture: Hyperfocal Distance 17Camera Mount System 18Canon® Lens Compatibility 19Canon® Lens Design 20Canon® Lens Composition 21Canon® Lens Shape 22Canon® Lens Coating 23Canon® Lens Focusing 24Lens Autofocus 25Canon® Lens Image Stabilization 26Canon® L Lenses 27Image Quality 28Canon® Zoom Lenses: Standard 29Canon® Super Zooms 30Canon® Wide Zooms 31Canon® Telephoto Zooms 32Prime Lens: Normal Lenses 33Prime Lens: Moderate Wide 34Prime Lens: Wide Angle 35Prime Lens: Ultra-Wide 36Prime Lens: Short Telephoto 37Prime Lens: Medium Telephoto 38Prime Lens: Super Telephoto 393rd Party Lenses Overview 403rd Party Prime Lenses 413rd Party Zoom Lenses 42Lens Accessories: Filters 43Lens Accessories: Lens Hoods 44Lens Accessories: Tripod Mount 45Lens Accessories: Extension Tubes 46Lens Accessories: Extenders 47Macro Lens: Reproduction Ratio 48Macro Lens: Technique and Choices 49Fisheye: Technique and Choices 50Tilt Shift: Techniques and Choices 51Make a Lens System Choice 52Choosing A Portrait Lens 53Choosing A Sports Lens 54Choosing A Landscape Lens 55Best Lenses for You 56Lens Maintenance 57Buying and Selling Lens 58What is John Greengo's Favorite Lens?