You can solve the problem of getting everything in focus by shooting more than one photo. One having the foreground in focus and one having the background in focus and then blending these two photos. You can affect the shutter speed by attaching a 2-stop Neutral Density filter, which will produce the same shutter speed as f/16 but shooting at f/8. However, the shutter speed will be much faster than at f/16 and the depth of field much less as well. If you stay around f/8 the dust spots will not be very pronounced. You may want to reduce the dust spot problem, I know I do. As I established at the beginning of this article, there are some good reasons why you want to go for small apertures, but they come at a price of lack of sharpness and dust spots. Photography is full of compromises and now you have a couple more you have to make. Memorize that and just be sure not to go below that aperture. Notice the sharpness difference and decide what your limit should be. The best way to find your personal limit on your favorite lens is to put your camera on a tripod and shoot test shots at f/11, f/13, f/16, f/18 and f/22 or even further down if your lens has those apertures. You can never make them tack sharp, and you have to process them pretty hard to get something fairly sharp and acceptable. It is a gradual change, but personally, I have stopped going beyond f/16, simply because I find the photos too soft. The title of this article suggests that you should avoid using f/18-f/40. The Sony lens takes diffraction pretty hard while a Nikon 28-300mm I also own is less pronounced. What is certain for all lenses is that as the aperture gets smaller (bigger f-number) beyond f/13, the worse the lens performs in terms of sharpness.ĭiffraction becomes a problem around f/22 and the lens will become increasingly less sharp. What is common for most lenses, is that they produce the sharpest photos somewhere in the middle range, from f/7.1 to f/13 ( called the sweet spot). If your filters are not quite enough, you can also lower the aperture to f/22 or whatever is the smallest your lens can do. To get a longer exposure times, you can attach a Neutral Density Filter on your lens. It requires longer exposure times to smooth small ripples on the surface. On top of that, you want the water to be smooth. You want the foreground to be in focus as well as the mountains in the background. The photo below is a photo of a mountain lake in France. It serves as a classic example of what you as a landscape photographer may experience in the field. At the same time, you will also get longer exposure times. If you set your camera to a smaller aperture (that is a larger f-number), you will get a greater depth of field. It happens so, that these two goals go hand in hand with aperture. Get longer exposure times to blur moving objects like water or moving cars.To get everything within the frame in focus.Two common goals for a landscape or cityscape photographers are: In some cases, you can take advantage of that, in particular, if you are a landscape or cityscape photographer. The first one defines the exposure and the other one controls the depth of field.Ĭhanging the aperture will change both the exposure settings as well as the depth of field. The aperture plays a significant role in two different equations. In this article, you will learn a couple of quirky details about aperture and why you should avoid shooting in the top range of f/18 to f/40. The first weird thing is that large numbers means a small apertures. The bigger the number, the better, right? Wrong! The aperture is a strange thing and one you may find difficult to understand in depth.
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