The lens should have two sets of gradations on the focusing ring. (Provided it is a manual focus camera, many autofocus lenses don't have a distance scale.) One set will be the focus distance, the other set will have the aperture 'f' numbers written beside them in a symmetrical set spaced either side of the focusin index mark.
These markings indicate what the manufacturer of the lens considers the field depth for a given lens.
If you set the infinity mark next to a particular 'f' number, the same 'f' number on the opposite side will be next to the closest point for close focus.
So if you want to ensure an object in the foreground is in focus, first focus on that object to find it's distance from the camera. Next select an aperture which allows that distance and infinity to both be positioned between the two aperture marks.
E.g. using my Pentax 50mm prime (Fixed focus) lens, set it to an aperture of f22, and place the infinity mark next to the f22 line. I find that an object only six feet away will also be in focus. At f16, it's about nine feet.
You would normally want to use the largest aperture you can to achieve this. First you normally want a shutter speed high enough to avoid camera shake for hand-held shots (a good minium is 1/focal length of the lens for 35mm cameras.). Secondly, lenses are theoretically not as sharp at smaller apertues than larger ones.
In practice lens qualtity limits the performance at the largest apertures, so the sharpest images are usually got at about the middle of the aperture range. (For an f2 lens somewhere between f5.6 and f11 will be best!)
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The hyperfocal distance is the point in the distance where (at any given point of lens foucs) everything from the nearest object ot the fartherst object (i.e. infinity) is in sharp focus. Usually this distance is one-third of the way between the camera and infinity. Ansel Adams (Google him) was the founder of the f/64 Club. Using the aperture 'stop' of f/64 made sure than EVERYTHING was is sharp focus. Unfortunately most modern lenses only 'go down' to f/16 or f/22, so just use the smallest f/stop figure on your lens. Also, the wider the angle of view of the lens, the more will be in focus. Or in other words, a 24mm lens (on a conventional 35mm camera) focused at a distance of, say, one third of the distance between 'nil' and 'infinity', will bring more objects into sharp focus - provided the lens is focused at a point about one third of the way from the camera position and infinity. For fun, experiment with a pin-hole camera - a home-made camera using a shoe-box, a piec of unexposed film and a 'lens' (just a piece of tinfoil with a pin-hole in it) to 'take' a photo - by uncovering the pin-hole (lens) for perhaps a minute or so - that's if your 'film' is actually a small piece (perhaps 4x5inches) of conventional photographic (enlarging) paper. Look it up in some 'old' photo tips and techniques books. Also look up Ansel Adams and/or his f/64 club and their work. Have fun! Conventional photography is about as much fun as you can hafe with your clothes one! :o)
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Solution #3
posted on Aug 08, 2005
maartenw - usenet poster
Rank: Apprentice Rating: 0%, 0 votes
At approximately the hyperfocal distance. More precisely, at So = h + f. In this condition the closest point that will be in focus is at half the subject distance. (Some authorities use this as the definition of hyperfocal distance.)
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