Importance Of The Depth Of Field

The place in the woods was full of trees and falling branches, but the visibility was great. You could see clearly among all of them. A beautiful blue sky without any clouds, there was no shadows from the sun. The perfect day for a walk in the forest.

In Edward Hopper’s painting “The House by the Railroad” the house is the main focus. The railroad is in the foreground of the painting while simultaneously shielding a little piece of the bottom of the house, the main focus, from the viewer. The house provides a stark contrast to the railroad tracks because unlike the railroad, the house is painted using light colors like white and light green but goes on to include shadows in colors, such as dark green and black. The railroad on the other hand is all one color, one dimensional, and plain in comparison to the house. There is no context for the surroundings of this painting so one must infer that it is during the day based on the light blue background and that the house stands alone; there

While much of the neighborhood appears on-screen in the beginning of the shot, one important thing is notably off-screen the whole time: The view from which the camera pivots. Behind the camera was the apartment of L.B. Jeffries, and the camera pans to the left, inside his window, to finish with a brief tour around his living room that teaches us his most important character traits. We see first, in an extreme close-up of a cast, that Jeffries has a broken leg. And then the camera pans left and we see why: A broken camera appears on screen, and a rack focus shift to the background shows a photograph of an automobile accident with a tire flying straight at the camera. Then several other framed photographs of exciting events appear on the screen, telling us Jeffries is a photographer who craves adventure and excitement.

Arriving in the overgrown drive way trees start to crowd your vision, in the middle of all the trees I see an old beach house; that has stayed the same over the 18 years I have been going up there. Grandma is waiting outside on the front porch we all run up to give her a hug, then we go and start unpacking for a week’s worth of relaxing. First thing we do when were done unpacking is go to the old but new play structure. We sit on the swings and look out towards the big blue Michigan Lake. White caps cover most of the water along with passing boats, and some kayakers. Right over the horizon I can see the lights from the town, reaching into the sky. The sun is starting to set; the sky is painted with pink, orange, and yellow.

Consider the painting The Railroad Bride, Argenteuil by Claude Monet. This artwork looks simple, but uses geometry and one point linear perspective. Monet uses a sense of opposition is created by the alternating rhythm of light to dark established by the bridge pillars and the color orange and blue in both water and smoke from the train above. The light and dark areas given the picture asymmetrical balance between the dark and light areas. Monet uses one point linear perspective to create the bride. He uses proportions in the relationship between the parts of the object and the whole object by using geometry. Monet uses grid like geometry. The wooden structure support under the bridge is the same overall structure of grid and diagonals. Other lines are the apparent in the two diagonals as well as opposing directional lines of the train and the boat. The smoke shows direction of the wind and that the boat is moving that way as well. The visual weight/balance of the sail boat is smaller than the bridge. I believe the focal point is the new bridge for the train and new travels was is focal point in the picture.

1)The field of view in Figure 1-2 is a factor of 100 larger than the field of view in Figure 1-1. What aspects of Figure 1-2 increased by a factor of 100 relative to Figure 1-1? Did the height increase by that amount? The diameter? The area?

The same is true if you were to angle your camera down towards the ground. Generally, you will want to point your camera straight ahead focused on the object you are capturing.

If one wanted to see the sights of the vast world, there were many places to gaze upon the wonders of nature and of man.

It’s the grassy greens, near the winding pebbly road I remember first. The long stalks of spinifex still line the edges, though now neatly trimmed all around. The uneven crunch-crunch-crunch of the gravel as I drive my sunny Porsche across town. Even in winter, bindies pepper the half soccer field, other foliage: a bush dotted with withered yellow berries and emerging saplings surround the patchy lawn like spectators. Smack bang in the middle, winter clawing its way in, stands a grandiose resilient oak, basking under the mild heat of the country sun, glorified as it houses two tombs. Its boughs stretch towards me invitingly and I smile…

This video for starters, does a good job of establishing the setting of the neighborhood with a sequence of a few basics shots. In the beginning the viewers notices the long shot of the plane and the houses, a close up of the branch, and a cut away of the American flag. The videographer also uses natural sound, catching the

Notice that the angle of this photo is slightly higher than the last imaging, as well as taken from behind the two firemen; this creates the impact of the broad outlook. Clearly, the emphasis on the ruin of the blazing fires is captured in such a beautiful and artistic way by reason of the incinerating reds and the bright yellows. I too believe that the primary focus of the picture is the burnt down structure right in front of the firefighters. The way that viewers must see the photograph is that the focus makes it seem as if the building is set ablaze as the firemen struggle to stop the hectic disaster. Also, the framing sets the scene and expresses the complete story for such a minute quantity of elements; all that is observed is the two firemen standing in the road, a building, and flames behind it. As apparently seen, Stolarik did incredible work with his genius

Wells also like to use deep focus, where both foreground and background can be kept in focus simultaneously. This cinematic technique gives the audience a choice of where to look at rather than them being guided to see what the director wants you to focus on. One of the many scenes that used deep focus was when the mother is signing off her son Kane. In this particular scene all three planes are in focus- the mother at the front, father at the door, and young Kane

A red brick house on top of a small hill is where my memories reside. A slightly curved gravel road led to the front of the house. Eight or nine rose brown apple trees randomly covered the plush green lawn. Down the small hill, muddy brown water trickled down a ditch with cattails surrounding it. One enormous willow tree sat in the background, to the right of the house, to complete the picture. It almost seemed like a picture from a postcard. But when

When making a film a director tries to make the audience putting their emotions and their attentions on a particular object or character. If anything is of any importants in a scene the director would make an object stick out of a blurred background. When the audience sees this they will direct their attention to

The depth of field indicates what is significant in the street shot outside the cigar stand, having the Tramp, policeman and stand owner in focus. As the Tramp is escorted to the paddy wagon several observers walk into the frame and into focus, enhancing the narrative.