You can argue that not every image needs to be sharp from foreground to background. When you photograph with a long lens, the depth of field will not be enough, no matter how perfect you set the focus. And since the hyperfocal distance depends on the focal length of the lens you use, its usefulness is limited. But from my experience, acceptable sharpness is often not sharp enough. Focusing on this point ensures acceptable sharpness from half the hyperfocal distance toward infinity. Combining apertures between f/8 and f/11 with the correct focal point, called the hyperfocal distance, can yield great results. The good thing is that when photographing with a wide-angle lens, you can achieve a large depth of field without resorting to small apertures. Depending on your camera-lens combination, you will usually begin to notice this degradation of image quality for apertures smaller than f/11 if you zoom in close on an image during photo editing or if you create a large print of a photo. Stopping down a lens can decrease the overall sharpness of an image because of a phenomenon called diffraction. So, the formula to capture a photo containing elements in the near foreground and details in the background is to use an f-stop of f/16, f/19, or even f/22.īut not so fast. One of the first things I learned when starting with landscape photography was that selecting a small aperture results in a large depth of field. In this guide about focus stacking in landscape photography, I show you how focus stacking works in the field and how to stack photos during photo editing.
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