Sharp Front to Back
Sometimes you want the opposite of blur: a scene crisp from the flowers at your feet to the hills on the horizon. That's a deep depth of field, and it comes from a narrow aperture — a large f-number like f/8, f/11, or f/16.
Landscapes, cityscapes, architecture — anything where the whole scene is the subject — lives here. Stopping the aperture down pulls the entire frame into focus, so the eye is free to wander from foreground to background.
The trade-off: a narrow opening lets in less light, so in dim conditions the camera may choose a slower shutter speed. If your shots come out soft from camera shake, brace yourself or rest the camera on something solid.
Aperture Priority around f/8–f/11 (push to f/16 for huge front-to-back depth). Include a clear foreground and a distant background, and steady the camera — narrow apertures can mean slower shutter speeds in low light.
It counts when the nearest part of the scene and the far distance both look sharp at once. If the distance is soft, use a higher f-number; if the whole frame is blurry, the camera moved — steady it.
The assignment
Shoot a scene with depth — a landscape, a long street, a big room — so everything from the nearest detail to the far distance is sharp.
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