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The hyperfocal distance has a property called "consecutive depths of field", where a lens focused at an object whose distance from the lens is at the hyperfocal distance H will hold a depth of field from H/2 to infinity, if the lens is focused to H/2, the depth of field will be from H/3 to H; if the lens is then focused to H/3, the depth of ...
Because depth of field is a characteristic of lens focal length (in addition to aperture and focus distance setting), it is easier to achieve a deep-focus look with a smaller imaging sensor or film gauge. For example, a 40mm lens will give a 30-degree horizontal angle of view in the Super35 format.
If every part of the image is within the depth of field, it is fairly easy to simulate the effect of shallow depth of field that could be achieved by using tilt or swing; [27] however, if the image has a finite depth of field, post-production cannot simulate the sharpness that could be achieved by using tilt or swing to maximize the region of ...
Blurring parts of the photo simulates the shallow depth of field normally encountered in close-up photography, making the scene seem much smaller than it actually is; the blurring can be done either optically when the photograph is taken, or by digital postprocessing.
In 1932, Adams had a group show at the M. H. de Young Museum with Imogen Cunningham and Edward Weston, and they soon formed Group f/64 which espoused "pure or straight photography" over pictorialism (f /64 being a very small aperture setting that gives great depth of field). The group's manifesto stated: "Pure photography is defined as ...
The phrase depth of focus is sometimes erroneously used to refer to depth of field (DOF), which is the distance from the lens in acceptable focus, whereas the true meaning of depth of focus refers to the zone behind the lens wherein the film plane or sensor is placed to produce an in-focus image. Depth of field depends on the focus distance ...
Increasingly, macro photography is accomplished using compact digital cameras and small-sensor bridge cameras, combined with a high powered zoom lens and (optionally) a close-up diopter lens added to the front of the camera lens. The deep depth of field of these cameras is an advantage for macro work.
Good bokeh is also important for medium telephoto lenses (typically 85–150 mm on 35 mm format). When used in portrait photography (for their "natural" perspective), the photographer usually wants a shallow depth of field, so that the subject stands out sharply against a blurred background.