For anyone asking about how to apply this on a Large Format camera, it is very possible and very effective but the technique for doing it is a bit different. At the risk of sounding like a salesman on commission...I cover those techniques extensively in my Large Format Photography online course (including how to apply everything covered in this video as well as how to apply it with tilts/swings, how to use it to determine whether your tilt/swing is actually helping, whether you need more or less tilt/swing, and more).
Can't think of a better, more succinct, accurate and uniformly interesting photography channel on You Tube. I mention this, as I think you posted a piece a while back expressing some degree of personal doubts about 'being on the right track' and so on, so again, you're not just in the top percentile, you're in a class of your own. Top drawer stuff.
There’s no way hyperfocal distance is this easy. Been searching some tutorials on how it works and actually gave up on it, everyone explains it in a really complicated way, but you just made it so simple and so math free. Thanks!!
All I can say is WOW and THANK YOU! This is easily the best, clearest, most thorough explanation of this topic I've come across on TH-cam. Demonstrating on different (and very cool) cameras is a huge help as well. I don't know how it could have possibly taken me this long to come across your channel, but I'm glad I did. Can't wait to check out the rest of your content.
The little “L” shaped symbol to refer to the infinity symbol is not telling you the range of where infinity is, it’s just a little line so that they put the infinity symbol there without it overlapping with you farthest distance marker. But you correct about the temperature variations, it’s possible on some fluorite elements at higher temperature, the lens needs to be slightly closer to the focal plane to reach infinity, then usually the manufacturer will allow the focus ring to go past infinity at normal temperatures, a good example would be the Zeiss (Hasselblad) Superachromat 250……..must be the rum I had tonight, did I just wrote a comment correcting Nick Carver? 😅😅😅
Dear Nick, I am super grateful for this video. Tx a lot. Maybe I can give back some knowledge (Don already did): You are right about the Fujifilm lenses not having the markings. But: The Fuji Digital Cameras are giving you the Dof in the viewfinder with the help of the blue ranges left and right of the white focal point. Change to manual focus, then change the menu (AF page 2 „Depth of Field“) from „Pixel Basis“ to „Film-Format-Bais“ (assuming you are printing your photos) before using. Maybe you knew, maybe it helps others. Best, Peter
Compensating thermal expansion of the lens by going beyond infinity is typical for longer teles and specially when they have fluorite elements that are heat sensitive. TS lenses have to go beyond normal infinity to accommodate some special settings when the PoF angle has to be greater than 90°. With TS lenses the more they go far beyond infinity the better even when without tilting the lens field infinity is on the lens infinity marking.
Well looky here!! Nick has not only given us a detailed explanation of depth of field, but also the mythical hyperfocal distance!! If I were his bossman, I'd give him the rest of the day off AND an apple!! Thanks for making me a little more dangerous Nick!!!
Nick Carver channeling Grover from Sesame Street with all of the near and far 😂😂 As always, another excellent video and example of simplifying the overly complicated !
This is a master class. The video does not have enough likes in my opinion. Thanks, Nick, for sharing this info to amateur guys like me. I really appreciate it.
Just remember that when you are using your digital fuji, it can be set to show focusing scale while in manual focus mode. It then highlights the in-focus part of it on the scale considering current aperture value. It can also be set to how rigorous it will be.
Thanks for this comprehensive explanation. I would like to add that the engraved depth of field scales on lenses are a guide when using film. Depending on the pixel pitch of a digital camera, the actual DOF will differ. But as you pointed out, it all depends on what the goal of the photo is. In my analog photo era, I used the scale on the lenses because that was the practical way of getting everything in focus when shooting cars, interiours and landscapes. However, when I wanted to print a landscape larger than 20 x 30 cm, I would use the f/11 scale when using f/16 to make sure it would be in focus near to far. Blessed the digital camera, where you can immediately zoom on your photo to see if all that is good. With film you'd see your success or mistake a week later, but then I'd remember that and adjust future approaches. Best way to learn is to shoot, no matter what gear.
A excellent demonstration and explanation of this topic. I think I've gotten too lazy over the years with auto focusing. This is a good reminder of the "basics" I should be using instead. Thanks.
Nicely done, Nick! One thing though to mention: You say "this is how it's done on TLRs". Oh well, not always! To the best of my knowledge, none of the other TLRs, like all those Rolleiflexes and such, have that depth of field scale on the viewing lens. And as a matter of fact, the 3.5/105 mm lens is the only one in the Mamiya C-series range that has it. Not only do all the other lenses lack the diaphragm that allows to visually check DoF, but they also lack the DoF scale one the lens barrel. So all that remains is either guessing and hope for the best, or use a printed table (some older cameras have such a table printed on the back), or use a phone app. Since the Mamiya C-series has interchangeable lenses, the DoF table on the camera back won't work, so Mamiya supplies such tables for all available lenses in the cameras user manual. Now, would you pull out the manual to look up the right distance to focus on? I doubt it! I never did. I take my best guess and shoot. I call that "creativity" 😂
Almost perfectly done! The longer the lens, less depth of field! I think we oughta mention Barnack (Leica) and Berek (lens guy Leica) did 1st depth of field. scale. Barnack wanted to get 5x7" (not cm.) Go bigger, stop down.. If doing images for FB. Inst. Etc it works great! Small images! With hyperfocal distance, need for mis-auto-focus, not reqd. Brilliant explanation.
Hey Nick! That's a great video but, in my case (i have a Mamiya C220) i don't own that depth of field preview lens. My lens is a 80mm 2.8 blue dot so how can i search the hyperfocal? I've been looking for some grid as a reference but they don't apply for my camera. All i found were for models like Pentax, Mamiya 67 (RB or RZ)...Do you know another method to do this without that depth of field preview lens? Thank you so much.
The RZ67 lens' hyperfocal distance markings don't provide sharp infinity focus at reasonable viewing distances or print sizes. I always need to add a stop or two compensation. For example, if shooting at F32, I will use the hyperfocal distance associated with F22/F16.
Hey Nick! Great video as always. I was curious... what model is your Minolta? Looks like an XG-M possibly? If so I just picked one up for next to nothing and am enjoying the hell out of it thus far.
Good explanation, but... With the explanation of "when the infinity mark is wide" is incorrect. The slanted marking lines are only there to have enough space for the labeling, because the distances on the scales are too small to represent them differently, not because the hyperfocal distance is variable due to the climatic conditions (of all places) in THIS area (why not also, for example, between f/4 and f/11) and the oblique marking line defines a RANGE for the hyperfocal distance of aperture 11 or 22. As you can see, there is almost no distance between 3 m and infinity on the distance scale and the distance on the aperture scale between f/4 and f/11 and f/11 and f/22 is so narrow that the apertures 8 and 16, which are usually in between, cannot be displayed. The slanted marking lines do NOT represent a RANGE for the hyperfocal distance of f/11 and f/22, but are only intended to ensure legible labeling.
A great video for beginners, Nick, thank you! However, it doesn't seem complete without a disclaimer about definitions. "In focus" and "Out of focus" is subjective. If the lens is not precisely on mark -- it is technically out of focus, regardless of the aperture. The marks are there just as a guideline (to be fair -- a very educated guideline). Because of that the real way to go about this scale is to test it out for yourself and making mental notes of how accurate you consider this scale for a body/lens/film combination for your particular work. Maybe you will find that to achieve your in-focus you have to divide the scale by two (or you can tolerate multiplying it by two). But that is a bit more advanced, a beginner with a 35mm really should not go into such detail. UPD: Disregard that, you kinda get to it in the end, I hurried too much to write that comment :)
Me thinking i would just watch the video for the intertainment value, because i definitely know everything there is to know about depth of field. Well… I was wrong
I feel like a caveman clanking stones together (none of them flint) when I think about how I focused to infinity at f/22. Thanks for explaining it so well.
This was super informative. Have been doing photography for 7 years and thought I knew everything I should know. But I never thought about wasting depth of field into infinity. I think I have way too often just set my focus to infinity once my subject was a certain distance away from where I was standing. I thought when I shoot at f16 it doesn't matter anyway. I will definitly apply this next time I'm out shooting. Thank you, I learned a lot in these 19 minutes.
Hot damn that was useful! I knew how the depth of field scale worked but not to that degree or the hyperfocal distance. Thanks for the solid knowledge!
By far the best video online I can find explaining these topics. I got it down pat through experimenting and my own research but still like to watch videos on these topics in case they have anything I’ve missed, and they never do, but this video is an exception, great content!
Thanks for the helpful info Nick, making shooting a little easier now & more fun by understanding a more technical aspect. This should help us get way more images that we're stoked with. 👍🏻
Hello , this video is very interesting and very well done. Thanks for having posted it. I have however a question maybe it's not the perfect session where to ask but the subject "depths of fields" touches in some way the problem and the question I would like to ask to you. I have a Mamiya 645 - 50mm shift that makes 30 degrees shifts in all axis - so North,South,East,West but also in all intersections so North East, North West and so on, the problem is that, because acting on the axis you are basically putting the lens upside down to read the Hyperfocal scale in such conditions becomes difficult and in most cases useless. Any suggestion ?? Furthermore I have seen some colored scale in green , red on the body of the lens ,I guess these are for avoiding vignetting but I couldn't figured out how to,where, matches this scale with what ,where. thanking you in advance for your cooperation. L
Hello ok I got it now the alignment is made by the colored number on the scale and the same small colored line - they have to match , doing this allows you to be perfect aligned no vignett, and allows you to better check the Hyperfocal scale also
I like shooting at 2.8 on my RZ 110mm lens for portrait and I keep getting results that will be one eye in focus and the other not, or the chin only in focus and the eyes not. Any helpful thoughts on this would be so greatly appreciated!!
That’s the downside to using such a razor thin depth of field. The backgrounds look cool all out of focus, but you better nail you focus perfectly. And to get both eyes in focus, they need to be the exact same distance from the lens (head can’t be turned too much).
Thanks Nick. I had to learn to use a depth of field scale when I first learnt photography on my Dad's folding 35mm kodak retina.I also used it a lot when I was using my Pentax spotmatic on my early film weddings. Great video.Geoff
Great video, very well explained! Good and important last comment and solution with regards to level of sharpness on the near and far subject within the determined depth of field.
Perfect description. No need to bring up "circles of confusion." My margin of safety for DoF is usually one stop (where infinity has to be in focus, a landscape for example). If the meter says f/11 I put (rotate) the infinity symbol onto the f/8 engraved line. Thanks as always.
Manual focus ; though slower and in Street or Reportage is difficult ....still is BETTER , at least in my humble experience. I adjust the SONY Mirrorless using the Older Vintage lenses , and their hyperlocal distances. If you take the time to learn you will get amazing results.
Love these videos. Been following your work for several years now. Always enjoy the topics you pick out. So, I have a question about your TS lens. Do you shoot architectural or real estate interiors? If so, why a 24mm over the 17mm? I've been shooting with an 18-35mm lens for interiors, but I've reached a point where going with a tilt-shift is making a lot more sense with the level of projects I'm getting.
Exceptionally well presented, Nick, as others note. I appreciate your endnote on enlargement, which will help to curb some confusion and disappointment. Following some discussion on the LF Info forum a while back, I ran my own, careful tests on some of my M4 and 645 Pro lenses, enlarging to my expected max print size for each -- full-frame plus modest cropping room on 8x10 and 11x14 paper, for the two formats respectively, and viewing the prints at typical viewing distances. The results were revealing, with some surprising variations within a tendency to short-change DOF on the near, i.e., sharper focus on the far point. The variations I attribute to the approximating constraints of the scale over the full focusing range of the lens. An extra stop down was typically in order. As A. Adams liked to note, fortune favors the prepared mind.
I already knew about DoF scales and thought I knew how to use them but I did learn some stuff. Thanks! Though I use autofocus almost all the time, so I'm not sure when it will come in handy. Still, I love learning new stuff, so thanks!
yet again baffled how talented you are in making these instructional videos, dude! always from a practical view point but always enough theory behind it that it is understandable where you are coming from... to anyone who might be reading this comment: i cannot recommend nick's courses enough!! same thoughtful curriculum, same witty guy. 10/10.
Nick since you always keep it real with us, I’ll keep it real with you. Today was a rough day for me after a long day of work. However, I just got to a point where I’m sitting with a slice of hot apple pie and ice cream, looking for a good youtube video. I primarily shoot rangefinder cameras so this topic is something i’m quite familiar with; surely I’ll learn something from you after watching this though. Appreciate your videos 👍🏼
The Contax G/G2 are another example of “rangefinder” cameras, using a mechanism to adjust the view when attaching the lens. A very cool camera that’s almost perfect, suffering from a lackluster manual focus. Also, the Leica 28mm elmarit is a dream for depth of field scales on a lens.
This was fantastic and couldn't have come out a better time. I was diving into trying to understand how this works. Got some info here and there. But after a long sat down and your video came up on the exact subject. All I got to say is thank you!!!!
such a "basic" advice, but, yet, you gave it away for free and we should all be grateful for it, because you are the guy to go to when it comes to analogue photography stuff. so - thank you x100 :)
For anyone asking about how to apply this on a Large Format camera, it is very possible and very effective but the technique for doing it is a bit different. At the risk of sounding like a salesman on commission...I cover those techniques extensively in my Large Format Photography online course (including how to apply everything covered in this video as well as how to apply it with tilts/swings, how to use it to determine whether your tilt/swing is actually helping, whether you need more or less tilt/swing, and more).
Can't think of a better, more succinct, accurate and uniformly interesting photography channel on You Tube. I mention this, as I think you posted a piece a while back expressing some degree of personal doubts about 'being on the right track' and so on, so again, you're not just in the top percentile, you're in a class of your own.
Top drawer stuff.
There’s no way hyperfocal distance is this easy. Been searching some tutorials on how it works and actually gave up on it, everyone explains it in a really complicated way, but you just made it so simple and so math free. Thanks!!
All I can say is WOW and THANK YOU! This is easily the best, clearest, most thorough explanation of this topic I've come across on TH-cam. Demonstrating on different (and very cool) cameras is a huge help as well. I don't know how it could have possibly taken me this long to come across your channel, but I'm glad I did. Can't wait to check out the rest of your content.
This guy reads the manual.
this guy is the manual itself 😶
@@saidnidahmed4538 came here to say exactly that 😊
This guy ROCKS! 🤘🏻🤩
But everyone knows that real men don't read manuals ...
BS !
The little “L” shaped symbol to refer to the infinity symbol is not telling you the range of where infinity is, it’s just a little line so that they put the infinity symbol there without it overlapping with you farthest distance marker. But you correct about the temperature variations, it’s possible on some fluorite elements at higher temperature, the lens needs to be slightly closer to the focal plane to reach infinity, then usually the manufacturer will allow the focus ring to go past infinity at normal temperatures, a good example would be the Zeiss (Hasselblad) Superachromat 250……..must be the rum I had tonight, did I just wrote a comment correcting Nick Carver? 😅😅😅
Dear Nick, I am super grateful for this video. Tx a lot.
Maybe I can give back some knowledge (Don already did):
You are right about the Fujifilm lenses not having the markings. But: The Fuji Digital Cameras are giving you the Dof in the viewfinder with the help of the blue ranges left and right of the white focal point. Change to manual focus, then change the menu (AF page 2 „Depth of Field“) from „Pixel Basis“ to „Film-Format-Bais“ (assuming you are printing your photos) before using.
Maybe you knew, maybe it helps others.
Best, Peter
No liquor was harmed in the making of this production
Great video. Simple, accurate, and straight forward. Thanks Nick
Compensating thermal expansion of the lens by going beyond infinity is typical for longer teles and specially when they have fluorite elements that are heat sensitive.
TS lenses have to go beyond normal infinity to accommodate some special settings when the PoF angle has to be greater than 90°. With TS lenses the more they go far beyond infinity the better even when without tilting the lens field infinity is on the lens infinity marking.
Man. I didn't know that after two decades of shooting, I'd learn anything from a video about focusing. Thanks for proving me wrong.
Love hearing this kind of thing. Thank you!
Well looky here!! Nick has not only given us a detailed explanation of depth of field, but also the mythical hyperfocal distance!! If I were his bossman, I'd give him the rest of the day off AND an apple!! Thanks for making me a little more dangerous Nick!!!
Nick Carver channeling Grover from Sesame Street with all of the near and far 😂😂
As always, another excellent video and example of simplifying the overly complicated !
Hyperfocal distance: To Infinity, but Not Beyond!!!
This is a master class. The video does not have enough likes in my opinion. Thanks, Nick, for sharing this info to amateur guys like me. I really appreciate it.
Just remember that when you are using your digital fuji, it can be set to show focusing scale while in manual focus mode. It then highlights the in-focus part of it on the scale considering current aperture value. It can also be set to how rigorous it will be.
Great video as usually Nick!
Thanks for this comprehensive explanation.
I would like to add that the engraved depth of field scales on lenses are a guide when using film. Depending on the pixel pitch of a digital camera, the actual DOF will differ. But as you pointed out, it all depends on what the goal of the photo is.
In my analog photo era, I used the scale on the lenses because that was the practical way of getting everything in focus when shooting cars, interiours and landscapes. However, when I wanted to print a landscape larger than 20 x 30 cm, I would use the f/11 scale when using f/16 to make sure it would be in focus near to far.
Blessed the digital camera, where you can immediately zoom on your photo to see if all that is good. With film you'd see your success or mistake a week later, but then I'd remember that and adjust future approaches. Best way to learn is to shoot, no matter what gear.
This is an important and useful topic. Thank you.
A excellent demonstration and explanation of this topic. I think I've gotten too lazy over the years with auto focusing. This is a good reminder of the "basics" I should be using instead. Thanks.
Excellent tutorial Nick and very professional.
I have learnt considerably.
TQ.
Nicely done, Nick! One thing though to mention: You say "this is how it's done on TLRs". Oh well, not always! To the best of my knowledge, none of the other TLRs, like all those Rolleiflexes and such, have that depth of field scale on the viewing lens. And as a matter of fact, the 3.5/105 mm lens is the only one in the Mamiya C-series range that has it. Not only do all the other lenses lack the diaphragm that allows to visually check DoF, but they also lack the DoF scale one the lens barrel. So all that remains is either guessing and hope for the best, or use a printed table (some older cameras have such a table printed on the back), or use a phone app. Since the Mamiya C-series has interchangeable lenses, the DoF table on the camera back won't work, so Mamiya supplies such tables for all available lenses in the cameras user manual. Now, would you pull out the manual to look up the right distance to focus on? I doubt it! I never did. I take my best guess and shoot. I call that "creativity" 😂
Wow, this was a very useful guide, thank you so much!
Almost perfectly done! The longer the lens, less depth of field! I think we oughta mention Barnack (Leica) and Berek (lens guy Leica) did 1st depth of field. scale. Barnack wanted to get 5x7" (not cm.) Go bigger, stop down.. If doing images for FB. Inst. Etc it works great! Small images! With hyperfocal distance, need for mis-auto-focus, not reqd. Brilliant explanation.
Hey Nick! That's a great video but, in my case (i have a Mamiya C220) i don't own that depth of field preview lens. My lens is a 80mm 2.8 blue dot so how can i search the hyperfocal? I've been looking for some grid as a reference but they don't apply for my camera. All i found were for models like Pentax, Mamiya 67 (RB or RZ)...Do you know another method to do this without that depth of field preview lens? Thank you so much.
excellent video instruction regarding DOF & hyperfocal distances on manual focus lenses. Thank you.
Awesome video Nick! Thoroughly enjoyed every minute. Thanks!
The RZ67 lens' hyperfocal distance markings don't provide sharp infinity focus at reasonable viewing distances or print sizes. I always need to add a stop or two compensation. For example, if shooting at F32, I will use the hyperfocal distance associated with F22/F16.
Hey Nick! Great video as always. I was curious... what model is your Minolta? Looks like an XG-M possibly? If so I just picked one up for next to nothing and am enjoying the hell out of it thus far.
Good explanation, but... With the explanation of "when the infinity mark is wide" is incorrect. The slanted marking lines are only there to have enough space for the labeling, because the distances on the scales are too small to represent them differently, not because the hyperfocal distance is variable due to the climatic conditions (of all places) in THIS area (why not also, for example, between f/4 and f/11) and the oblique marking line defines a RANGE for the hyperfocal distance of aperture 11 or 22. As you can see, there is almost no distance between 3 m and infinity on the distance scale and the distance on the aperture scale between f/4 and f/11 and f/11 and f/22 is so narrow that the apertures 8 and 16, which are usually in between, cannot be displayed. The slanted marking lines do NOT represent a RANGE for the hyperfocal distance of f/11 and f/22, but are only intended to ensure legible labeling.
A great video for beginners, Nick, thank you!
However, it doesn't seem complete without a disclaimer about definitions.
"In focus" and "Out of focus" is subjective. If the lens is not precisely on mark -- it is technically out of focus, regardless of the aperture. The marks are there just as a guideline (to be fair -- a very educated guideline). Because of that the real way to go about this scale is to test it out for yourself and making mental notes of how accurate you consider this scale for a body/lens/film combination for your particular work. Maybe you will find that to achieve your in-focus you have to divide the scale by two (or you can tolerate multiplying it by two).
But that is a bit more advanced, a beginner with a 35mm really should not go into such detail.
UPD: Disregard that, you kinda get to it in the end, I hurried too much to write that comment :)
This video is amazingly clear. You explained the scale and hyperfocal approach perfectly. Thank you soo much!
🤯 you just unlocked a whole new plane of photography for me. Great examples, clear explanations. Thank you so much.
Thank you Nick. Awesome guide and explanation.
Thanks for sharing a very good video for understanding focus technic.
I feel I should be paying for this content thank you!
jfc, I've been using my RB 67 wrong all this time. Thanks Man!
Great video Nick. Helped me o figure that I knew about half of what I should have by now. Thank you friend!
Me thinking i would just watch the video for the intertainment value, because i definitely know everything there is to know about depth of field. Well… I was wrong
I feel like a caveman clanking stones together (none of them flint) when I think about how I focused to infinity at f/22. Thanks for explaining it so well.
What depth-of-field and hyperfocal focusing changes need to be made when shooting infrared photography?
Brilliant explanation, thank you. I will definitely use this video as a reference until it's sunk in for me.
Absolutely brilliant explanation of hyperfocal distance, so much simpler than I have ever had it explained before. 👍👍👍
Fantastic video! Just the description and tutorial I was looking for.
that was actually a pretty good video, i appreciate the flippant joking statements especially :) have a good one nick
Hello this video is remarkable, it's just excellent - thank you a lot for the very clear explanation
This was super informative. Have been doing photography for 7 years and thought I knew everything I should know. But I never thought about wasting depth of field into infinity. I think I have way too often just set my focus to infinity once my subject was a certain distance away from where I was standing. I thought when I shoot at f16 it doesn't matter anyway. I will definitly apply this next time I'm out shooting. Thank you, I learned a lot in these 19 minutes.
Great vid, man! You cleared that once perplexing doozy up for me in one go. 👏🏼
Great video 😃…. Cough circle of confusion….
Hot damn that was useful! I knew how the depth of field scale worked but not to that degree or the hyperfocal distance. Thanks for the solid knowledge!
Thank you for explaining that infinity "hook". Gave me a migraine.
By far the best video online I can find explaining these topics. I got it down pat through experimenting and my own research but still like to watch videos on these topics in case they have anything I’ve missed, and they never do, but this video is an exception, great content!
Excellent explanations!
Thanks You so much !
Thanks for the helpful info Nick, making shooting a little easier now & more fun by understanding a more technical aspect. This should help us get way more images that we're stoked with. 👍🏻
Perfectly explained. Thanks a lot!
I've been picking up some vintage lenses to adapt to my Canon R5. This is extremely helpful to get the most out of those old lenses!
Best explanation I’ve seen so far!!! Thnx :)
Hello , this video is very interesting and very well done. Thanks for having posted it. I have however a question maybe it's not the perfect session where to ask but the subject "depths of fields" touches in some way the problem and the question I would like to ask to you. I have a Mamiya 645 - 50mm shift that makes 30 degrees shifts in all axis - so North,South,East,West but also in all intersections so North East, North West and so on, the problem is that, because acting on the axis you are basically putting the lens upside down to read the Hyperfocal scale in such conditions becomes difficult and in most cases useless. Any suggestion ?? Furthermore I have seen some colored scale in green , red on the body of the lens ,I guess these are for avoiding vignetting but I couldn't figured out how to,where, matches this scale with what ,where. thanking you in advance for your cooperation. L
Hello ok I got it now the alignment is made by the colored number on the scale and the same small colored line - they have to match , doing this allows you to be perfect aligned no vignett, and allows you to better check the Hyperfocal scale also
i learned something today that'll help out a lot. Thank you!
Jesus…this broke my brain.
I like shooting at 2.8 on my RZ 110mm lens for portrait and I keep getting results that will be one eye in focus and the other not, or the chin only in focus and the eyes not. Any helpful thoughts on this would be so greatly appreciated!!
That’s the downside to using such a razor thin depth of field. The backgrounds look cool all out of focus, but you better nail you focus perfectly. And to get both eyes in focus, they need to be the exact same distance from the lens (head can’t be turned too much).
This was soo useful, thanks and subscribed
I don’t think any of my lenses for my C220 have a depth of field scale or an aperture on the viewing lens. I didn’t even know it was a thing.
You are right. Only the 105 mm lens has it!
too much math
Have your 6 year old explain to you so it will be razor clear.
Very helpful! Many Thanks!
I will need to watch this video several times...
I have MORE lenses ..... Yeahhhhh ...... 😆
Superb video and explanation
Finally.....a useful tutorial. THANK YOU!
Thanks Nick. I had to learn to use a depth of field scale when I first learnt photography on my Dad's folding 35mm kodak retina.I also used it a lot when I was using my Pentax spotmatic on my early film weddings. Great video.Geoff
Great video, very well explained! Good and important last comment and solution with regards to level of sharpness on the near and far subject within the determined depth of field.
Nick, very impressed with your videos after viewing just two this morning... so glad to have found you. 11/10. Don't stop.
Perfect description. No need to bring up "circles of confusion." My margin of safety for DoF is usually one stop (where infinity has to be in focus, a landscape for example). If the meter says f/11 I put (rotate) the infinity symbol onto the f/8 engraved line. Thanks as always.
Manual focus ; though slower and in Street or Reportage is difficult ....still is BETTER , at least in my humble experience. I adjust the SONY Mirrorless using the Older Vintage lenses , and their hyperlocal distances. If you take the time to learn you will get amazing results.
Great video Nick! Clearest definition of hyperlocal distance I've seen yet.
You have a new subscriber!
Love these videos. Been following your work for several years now. Always enjoy the topics you pick out. So, I have a question about your TS lens. Do you shoot architectural or real estate interiors? If so, why a 24mm over the 17mm? I've been shooting with an 18-35mm lens for interiors, but I've reached a point where going with a tilt-shift is making a lot more sense with the level of projects I'm getting.
Thanks Nick. To your last point, many experienced photographers advise giving a one stop buffer when using the hyperfocal distance scale markings.
Thank you very much!
Exceptionally well presented, Nick, as others note. I appreciate your endnote on enlargement, which will help to curb some confusion and disappointment. Following some discussion on the LF Info forum a while back, I ran my own, careful tests on some of my M4 and 645 Pro lenses, enlarging to my expected max print size for each -- full-frame plus modest cropping room on 8x10 and 11x14 paper, for the two formats respectively, and viewing the prints at typical viewing distances. The results were revealing, with some surprising variations within a tendency to short-change DOF on the near, i.e., sharper focus on the far point. The variations I attribute to the approximating constraints of the scale over the full focusing range of the lens. An extra stop down was typically in order. As A. Adams liked to note, fortune favors the prepared mind.
Thank you for this!
A great explanation.
I already knew about DoF scales and thought I knew how to use them but I did learn some stuff. Thanks! Though I use autofocus almost all the time, so I'm not sure when it will come in handy. Still, I love learning new stuff, so thanks!
yet again baffled how talented you are in making these instructional videos, dude! always from a practical view point but always enough theory behind it that it is understandable where you are coming from... to anyone who might be reading this comment: i cannot recommend nick's courses enough!! same thoughtful curriculum, same witty guy. 10/10.
Thanks, that was painless.
Perfect - really appreciated how you laid this all out and I had several "ah ha!" moments that will help, especially in my medium format work.
Nick since you always keep it real with us, I’ll keep it real with you. Today was a rough day for me after a long day of work. However, I just got to a point where I’m sitting with a slice of hot apple pie and ice cream, looking for a good youtube video. I primarily shoot rangefinder cameras so this topic is something i’m quite familiar with; surely I’ll learn something from you after watching this though. Appreciate your videos 👍🏼
Another homerun
Thanks for this!!
i'm saving this vid. tyvm
The Contax G/G2 are another example of “rangefinder” cameras, using a mechanism to adjust the view when attaching the lens. A very cool camera that’s almost perfect, suffering from a lackluster manual focus. Also, the Leica 28mm elmarit is a dream for depth of field scales on a lens.
Well explained.. : )
Excellent Nick. Far more comprehensive and informative than I was expecting.
This was fantastic and couldn't have come out a better time. I was diving into trying to understand how this works. Got some info here and there. But after a long sat down and your video came up on the exact subject. All I got to say is thank you!!!!
such a "basic" advice, but, yet, you gave it away for free and we should all be grateful for it, because you are the guy to go to when it comes to analogue photography stuff. so - thank you x100 :)
I feel so cool for using hyperfocal distance focusing without even knowing what it was called 😎
Thank you, I now have a much better understanding of the depth of field scale and the hyperfocal distance.
Every nick carver video I watch it proves to me how little knowledge I have about photography
Thanks, Nick!
Too much mind.
Thank you Nick, need to sit down and rewatch and rewatch and rewatch and rewatch, etc. Till it becomes clear in my head.
Loosing time