Lesson Info
39. Hyper-Focal Distance Focusing
Lessons
Buttons, Dials and Switches: What This Course is All About
03:37 2Setting Up Your Camera
05:25 3JPEG or RAW
03:11 4Compression
01:38 5Menu Settings for JPEG Shooting
05:19 6Module 1 Summary
01:42 7Applying White Balance
03:41 8Using White Balance Creatively
01:19Auto White Balance
03:07 10Module 2 Summary
01:31 11Controlling Exposure
01:23 12F Numbers
03:06 13Lens, Aperture, and Shutter Speed
03:32 14Exposure Modes
01:48 15Too Little or Too Much Light
02:34 16Manual Exposure Mode
01:37 17Aperture Priority Exposure Mode
02:23 18Module 3 Summary
01:40 19ISO in Practice
01:16 20ISO and Noise
05:03 21An Acceptable ISO
01:23 22Module 4 Summary
01:29 23Metering Modes
03:06 24The Light Meter
02:11 25The Bucket Test
02:12 26How To Read Tonality
02:32 27Being Creative With Tone
01:14 28Exposure Compensation
01:35 29High Contrast Lighting
03:39 30Histogram
02:06 31Highlights Alert
01:32 32Never Underexpose
04:16 33Digital Exposure Mantra
01:25 34Module 5 Summary
02:57 35Focus Modes
01:23 36Autofocus
02:59 37Point of Focus
02:35 38Depth of Field
02:41 39Hyper-Focal Distance Focusing
02:51 40Focus Tracking
04:19 41Manual Focus
01:57 42Predictive Focus
01:03 43Summary
02:32 44Buying Lenses
05:00 45Summary
01:45 46Quality of Light
01:32 47Direction of Light
01:52 48No Such Thing as Good Light
02:00 49Final Word
02:52 50BONUS - In Conversation with Art Wolfe
07:11 51BONUS - The Source of Creativity
06:34Lesson Info
Hyper-Focal Distance Focusing
When focus extends to sharpness, you might decide not to focus on the subject at all. For example, in a scene where I want sharpness from foreground to background, I want maximum depth of field. And that means focusing on a point other than the subject. Sound odd? Well, let me explain. You'll notice that even at F 22 which is the narrowest aperture Aiken set on this lens, the Fifth Stone is still out of focus or I've increased depth of field. But I haven't managed to increase it enough to get depth of field from foreground to the very background. So how do we achieve that? Well, I want to introduce you to a totally scary, completely frightening phrase called hyper focal distance focusing depth of field extends 1/3 in front of the point of focus and 2/3 behind the point of focus now in this particular scene, because I have my point of focus on this rock here on this rock is right in the foreground. I am losing all of that 1/3. That's in front of the point of focus. So what happens if I ...
move the point to focus from this rock and I bring it instead over to hear the second rock. Now the Second Rock is roughly 1/3 of the way into the picture. So by focusing here, I'm gaining all of that 1/3 area of depth of field in front of the point of focus, which is enough to keep the first rock shop on. I've moved the 2/3 from over here, too. Here. We should be enough to get me all the way back to the Fifth Rock in the scene, and that is hyper focal distance focusing. So let's see how this works. So what I'm doing now is I've still got the camera set at F 22. That's a very narrow aperture in the narrowest aperture I can get on this lens, we'll give you the most depth of field. But what I'm gonna do now is I'm going to change the focus point across to that second stone in the line. Now, this should give me enough depth of field to get the first stone sharp, using the third of depth of field that extends in front of the point of focus. Andi, enough depth of field behind to get the 3rd 4th and fifth stone shop. So let's just see. And there, if you look at the photograph, we'll see that the first stone is still sharp, picked up by the depth of field extending in front of the point of focus. The point of focus is on the second stone, and then there's enough depth of field stretching back to the 3rd 4th and fifth stone. So, using hyper focal distance, focusing every stone from foreground to background is shop.
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Ratings and Reviews
mark jacobson
What a marvelous course! What a marvelous teacher! When I went to college, my father would always ask me about my professors, more than the courses themselves. He was passionate about learning and although too busy with earning an income to go beyond an undergrad degree, continued to read 50 books a year. I still remember how he'd get almost visibly excited when I'd tell him about some special professor who taught with such enthusiasm and, more than just passion, evident delight and joy in the subject. 'Ah they're the best, son. How wonderful you have such a teacher." Well, he passed away decades ago but if he were still around I'd get a kick out of telling him about Chris Weston, the 'Prof' of this course. He's one of the very special ones: a teacher who's loved and lived his vocation--his avocation--since he was a boy--and still is as excited about it now as he was then. The result: a course that seems to be more a labor of love--of pouring far more energy and thought into the details then one typically finds in these courses--than anything else. Bravo Chris! I'm already on to your next one.
user-6402bf
Chris is an amazing instructor who dissects theory giving amazing analogies that bring concepts to life. I have rarely been able to sit through most video course for more than a half-hour but watched this one from beginning to end. A good refresher course if you've been away from the camera for awhile or there are some concepts that still illude you. I highly recommend this course and look forward to watching his others. Thank you for the clarity and great explanations.
Sky Bergman
This was an amazing class. I have looked at a number of basic photography classes. This one was by far the best I have seen. Chris is an exceptional teacher. He breaks things down into digestible information and then inspires you to be creative. Thank you!
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