Open The Aperture To Take A Slice Of Life

Whether you are shooting on film or digitally, you can take advantage of the physics of light to keep one “layer” of what you see through your viewfinder in focus and throw other parts of a view into a blur.

open the aperture

(But one of the joys of film photography is that, because a piece of 35mm or medium format film is larger than that of all but the most expensive digital sensors, it’s so much easier to dissect the world with your camera in this way. This is just a consequence of the laws of optics. Film camera bores like me also benefit from there being no computational sharpening of their images by default.)

The way to control the depth of the “slice” you take is with the aperture setting on your camera. This determines how wide the lens opens to let in light when you take a photograph. Usually an SLR camera can be put in “Aperture Priority Mode” (or some similarly named state). To do so you turn a dial on the camera to the “A” position. When I am taking candids, portraits, and most group shots this is my default setting.

I use Minolta bodies and lenses almost exclusively. They are extraordinarily good at focusing and setting exposure levels automatically so, while I will almost always adjust the aperture settings manually, I will alter the other settings by hand less often.

Because it is such an important aspect of making a picture and because it is also a subtle and counter-intuitive one I am going to have to explain setting the aperture over the course of multiple posts. I’ll come back to this subject repeatedly.

In the meantime, it’s good to know that most modern cameras also have a number of other, fully automatic, modes that will choose reasonable aperture settings for you. There’s more to these modes than apertures, but for simplicity’s sake it’s best to think of, for example, the Landscape mode as setting a small aperture to keep as much of a picturesque view in acceptable focus as possible, and the Portrait mode as setting a big aperture to lift the face of your subject out of the frame. Here are two illustrations from the Wikipedia “aperture” article to show you what I mean:

flowers photographed with a small aperture setting
small aperture

flowers photographed with a big aperture setting
big aperture

Remember:

  • You can use the aperture setting on your camera to choose the depth of the slice you take out of the world when you take a photograph.
  • You can use the “Aperture Priority” mode on your camera to give you the freedom to set the aperture manually while your camera handles everything else automatically.
  • You can use the other automatic modes on your camera (typically called “Portrait”, “Landscape”, and “Action” for example) to obtain some of the control of Aperture Priority mode without having to worry about finding the best aperture setting (or f-stop) for each photo you take.

Commentary

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  1. 1. February 8th, 2008

    Thanks for taking the time to post this article. ill you at some point go over using aperture to determine your lenses ideal range for obtainig a good Bokeh?

    Jamie
  2. 2. July 3rd, 2009

    Aperture is the number 1 thing that I focus on as a photographer. Weddings are full of background distractions like people, fixtures, lights, and so much junk sometimes. Focusing on the people and blurring everything else out in camera is much easier than trying to do it in photoshop.

    Brandon Mulnix
  3. 3. August 16th, 2009

    bokeh is the best criteria to use the background distractions are high. But you do run the risk of ruining a shot when multiple people are in the shot at varying distances.

    peter
  4. 4. September 22nd, 2009

    I love your blog

    Daralynn Gilliam

Trackbacks

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  2. [...] Default to aperture-priority mode (’A’-mode) as I recommended back here. At least when you are using a flash, shutter-speed slides down your list of things to worry about. (Later on I will explain how you can use shutter-priority mode to get lovely effects when photographing close, moving subjects in bright ambient light—ceilidh dancers for example.) [...]

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  3. [...] Posted by sepial at October 31st, 2006 One fascinating challenge of photography is the flatness of the medium. How can you capture reality when you can only press it into a crust of silver on a sheet of plastic? I have previously introduced the idea of using aperture settings to “slice” what you see into layers. This can give a strong sense of the relative depth of elements of a composition. Your viewer’s attention is literally focused on the most important part of the scene. You can also create a powerful illusion by including certain kinds of geometric elements in a view. Diagonal lines in particular give strong depth cues. Just like the careful use of aperture settings they: [...]

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  4. [...] Film stages are artificially uncluttered. When you see home movies of real settings you appreciate this immediately. Our visual systems filter irrelevant details from rea-world environments, but we find it much harder to see the wood from the trees in a two dimensional projection. Movie furniture, movie food, movie textiles are all carefully simplified. Unless you have complete control over your photographic environment—a studio, assistant(s), stylist(s)—or you can’t achieve the same effect, but you can tidy up the objects that are seen in your images in other ways, by framing closely on your main subject, by opening up the aperture to defocus less other elements, by choosing carefully the space in which you capture your images. [...]

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