Using Depth of Field for Pictorial Effects
 The amount of depth of field in a photograph will significantly affect the way individual visual elements are perceived. If everything is in focus due to a smaller aperture opening—such as in image (a), shot at f/11-16, or image (b), shot at f/22—there is a tendency to see all visual elements as unified parts of a whole composition. Also, visual clues, such as leading lines from foreground to background, are at their greatest impact when they are in sharp focus, as in the wheat field featured in image (b).
 On the other hand, if a very large aperture opening is used, then the resulting shallow depth of field will allow for the total isolation of a subject as typically seen in sports photography, such as in image (c), taken at f/2.8, or with everyday subjects such as the playful young boy in image (d), taken at f/4.0. This isolation, however, does not have to be from completely blurred areas around the subject. It is often helpful to have the background just discernable enough to support and give a context to the sharply focused subjects. This is the case with the cross-country runner in front of the other runners in example (e), taken at f/5.6 with a 250mm focal length, and the arctic hunters framed against the water and mountains in example (f), taken at f/6.7 with a 400mm lens. The faint outline of the trees in the background of example (g), taken at f/5.6, is enough to suggest a general outdoor setting for the three young people and their pet dog. Compare this to example (h), where an aperture of f/8 produces a sharply focused and specific background of snow making it perfect for a winter holiday greeting card. A shallow depth of field can also support the illusion of depth, as with the roadway behind the jogger appearing just slightly out of focus in example (i), taken at f/5.6-8.
 A subject can also be isolated entirely by selecting a plain background, as in the case of the airplane against a clear blue sky in image (j), taken at f/11 with a 400mm lens, or the speedboats against a dark, tree-lined shore in image (k), taken at f/11-16 with a 250mm focal length. And remember, the out-of-focus section of the picture does not always have to occur behind the subject. Throwing the foreground out-of-focus can sometimes produce interesting framing within the image to support the subject. This is the case with the banjo player and a nearby saxophone player in the foreground in example (l), taken at f/2.0 with a 85mm lens.
Ready to learn more?
 Photographers who need help getting in the mood and expanding their creative potential will find the guidance they’ve been seeking in this beautiful reference book. Using his most breathtaking work as examples, photographer Joseph Meehan demonstrates how to take photos that go beyond mere representation to make a statement, convey a feeling, or capture an emotional atmosphere. This is a must-have how-to for all photographers wishing to imbue their images with personal expression. Get Your Copy Today! ISBN 978-1600595776
About Joseph Meehan
 Joseph Meehan has been a professional photographer, writer and teacher for over 30 years. Hundreds of his images have been published in books and magazines all over the world. His style has been characterized by the New York Times as ". . . alive with color and sparkling with light." He served as the Senior Technical and New Products Editor of Photo District News for 12 years as well as writing articles and columns on photography and photographic techniques that appeared in such magazines as Popular Photography, Photographic Magazine, Outdoor Photography, and View Camera Magazine. Meehan also served as a contributing editor with the British Journal of Photography and the annual, The BJP Yearbook and is the former editor of the Photography Yearbook first published in Great Britain in 1935. His work has also been featured in all of these publications.
Joseph Meehan is the author of 25 books on photographic technique including: Panoramic Photography (Amphoto); The Photographer's Guide to Using Filters (Amphoto); Copying and Duplicating: Photographic and Digital Imaging Techniques (Kodak) and The Art of Close-up Photography (Fountain Press). His most recent books are: The Complete Guide to Filters for Digital Photography (Lark) and The Magic of Close-Up Photography (Lark). He also presents seminars and workshops at major venues such as PhotoPlus Expo, FotoFusion, DIMA/PMA, and MacWorld.
Joseph Meehan received his baccalaureate degree with honors from Columbia University and a Masters of Arts degree from Manhattan College. He lives in Salisbury, Connecticut, USA. www.josephmeehan.com
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A Special Note from the Author to Digital Image Cafe
Every photographer brings their own personal preferences and knowledge of their craft to each picture. In my work, I often look for a way of representing the subject in simple terms. For example, using strong optical or software soft-focus filters to mitigate or even eliminate details so that the larger elements totally dominate. Thus, in a portrait or figure study, I will sometimes combine Nikon's Soft 1 & 2 camera filters or use Tiffen's Dfx Soft/FX 5 filter in the computer to reduce surface textures to render only the basic shape and contours of the face or figure. I'll often do the same in a landscape setting where such details as leaves, grass or ripples on the surface of a lake are rendered very soft. As a result, the viewer concentrates on the overall shapes of the trees and the land. This is also why I like to photograph on foggy or misty days where details are diffused allowing larger shapes to emerge with more importance.