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In optics, particularly as it relates to film and photography, depth of field DOF, also called focus range or effective focus range, is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image. Although a lens can precisely focus at only one distance at a time, the decrease in sharpness is gradual on each side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions. In some cases, it may be desirable to have the entire image sharp, and a large DOF is appropriate. In other cases, a small DOF may be more effective, emphasizing the subject while de emphasizing the foreground and background. Nick-Rains-Leica-Akademie-Featured-Image.jpg' alt='Photoshop Edge F.X 2.3' title='Photoshop Edge F.X 2.3' />In cinematography, a large DOF is often called deep focus, and a small DOF is often called shallow focus. Circle of confusion criterion for depth of fieldedit. Digital techniques, such as ray tracing, can also render 3. D models with shallow depth of field for the same effect. Precise focus is possible at only one distance at that distance, a point object will produce a point image. At any other distance, a point object is defocused, and will produce a blur spot shaped like the aperture, which for the purpose of analysis is usually assumed to be circular. When this circular spot is sufficiently small, it is indistinguishable from a point, and appears to be in focus it is rendered as acceptably sharp. Game Resident Evil 4 For Psp'>Game Resident Evil 4 For Psp. The diameter of the circle increases with distance from the point of focus the largest circle that is indistinguishable from a point is known as the acceptable circle of confusion, or informally, simply as the circle of confusion. The acceptable circle of confusion is influenced by visual acuity, viewing conditions, and the amount by which the image is enlarged Ray 2. The increase of the circle diameter with defocus is gradual, so the limits of depth of field are not hard boundaries between sharp and unsharp. Motion pictureeditSimulation of the effect of changing a cameras aperture in half stops at left and from zero to infinity at rightFor 3. The limit of tolerable error was traditionally set at 0. More modern practice for 3. Still photographyeditFor full frame 3. Because the human eye is capable of resolving a spot with diameter about 14 mm at 2. X enlargement to make an 8x. For 6x. 6 cm format enlarged to 8x. X, hence the circle of confusion criterion is about 13. Similarly, for subminiature photography for example the Tessina with a frame format of 1. X enlargement, hence circle of confusion limit about 0. Many sources propose Co. C limits as a fraction of the film format diagonal, typically 11. The three formats above at fraction 11. Pc Suite For Android there. Object field methodseditTraditional depth of field formulas and tables assume equal circles of confusion for near and far objects. Some authors, such as Merklinger 1. The loss of detail in distant objects may be particularly noticeable with extreme enlargements. Achieving this additional sharpness in distant objects usually requires focusing beyond the hyperfocal distance, sometimes almost at infinity. For example, if photographing a cityscape with a traffic bollard in the foreground, this approach, termed the object field method by Merklinger, would recommend focusing very close to infinity, and stopping down to make the bollard sharp enough. With this approach, foreground objects cannot always be made perfectly sharp, but the loss of sharpness in near objects may be acceptable if recognizability of distant objects is paramount. Other authors Adams 1. Moritz von Rohr also used an object field method, but unlike Merklinger, he used the conventional criterion of a maximum circle of confusion diameter in the image plane, leading to unequal front and rear depths of field. Factors affecting depth of fieldedit. A 3. 5 mm lens set to f1. The depth of field scale top indicates that a subject which is anywhere between 1 and 2 meters in front of the camera will be rendered acceptably sharp. If the aperture were set to f2. Out of focus highlights have the shape of the lens aperture. Several other factors, such as subject matter, movement, camera to subject distance, lens focal length, selected lens f number, format size, and circle of confusion criteria also influence when a given defocus becomes noticeable. The combination of focal length, subject distance, and format size defines magnification at the film sensor plane. DOF is determined by subject magnification at the film sensor plane and the selected lens aperture or f number. For a given f number, increasing the magnification, either by moving closer to the subject or using a lens of greater focal length, decreases the DOF decreasing magnification increases DOF. For a given subject magnification, increasing the f number decreasing the aperture diameter increases the DOF decreasing f number decreases DOF. If the original image is enlarged to make the final image, the circle of confusion in the original image must be smaller than that in the final image by the ratio of enlargement. Cropping an image and enlarging to the same size final image as an uncropped image taken under the same conditions is equivalent to using a smaller format under the same conditions, so the cropped image has less DOF. Stroebel 1. 97. 6, 1. When focus is set to the hyperfocal distance, the DOF extends from half the hyperfocal distance to infinity, and the DOF is the largest possible for a given f number. Relationship of DOF to format sizeeditThe comparative DOFs of two different format sizes depend on the conditions of the comparison. The DOF for the smaller format can be either more than or less than that for the larger format. In the discussion that follows, it is assumed that the final images from both formats are the same size, are viewed from the same distance, and are judged with the same circle of confusion criterion. Derivations of the effects of format size are given under Derivation of the DOF formulae. Same picture for both formatseditWhen the same picture is taken in two different format sizes from the same distance at the same f number with lenses that give the same angle of view, and the final images e. DOF is, to a first approximation, inversely proportional to format size Stroebel 1. Though commonly used when comparing formats, the approximation is valid only when the subject distance is large in comparison with the focal length of the larger format and small in comparison with the hyperfocal distance of the smaller format. Moreover, the larger the format size, the longer a lens will need to be to capture the same framing as a smaller format. In motion pictures, for example, a frame with a 1. Conversely, using the same focal length lens with each of these formats will yield a progressively wider image as the film format gets larger a 5. Micro Cap Demo. Therefore, because the larger formats require longer lenses than the smaller ones, they will accordingly have a smaller depth of field. Compensations in exposure, framing, or subject distance need to be made in order to make one format look like it was filmed in another format. Same focal length for both formatseditMany small format digital SLR camera systems allow using many of the same lenses on both full frame and cropped format cameras.