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20 Tips for Shooting With a Shallow Depth of Field

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Related course: Photography for Beginners

No doubt you’ve heard of the term shallow depth of field. This is one of the fundamental ideas behind why we use certain apertures.

In this article, we will run through what it means and how you can use it. Once you’ve learned how to control depth, your images will have a much greater impact.

Close up of white flowers shot using shallow depth of field

What’s It All About?

You get a shallower depth of field when you have a wide aperture. This always becomes confusing, as the word wide makes you think of the biggest end of the scale.

That’s not the case. What you get is actually a smaller aperture.

The widest aperture is the smallest f/stop possible. In some lenses, this can be as wide as f/1.2. The opposite would be f/22, which is a narrow or deep depth of field.

To add to the confusion, we also use wide-angle lenses, which tend to put more of the scene in focus. Although not giving you a super sharp image, the focal length plays a part in the available depth of field.

Full-frame cameras are slightly different than crop sensors, especially for focal length. Crop sensor cameras affect f-stop numbers and may increase them than what is written on the lens.

Depth of Field

Depth of field when photographing is very important. It is the difference between great photos with the entire scene in focus or singling out an area of a person’s face.

It’s the difference between great macro photography and an out of focus image. Shooting with the aperture wide open is a really good way of taking soft, naturally lit photos with your DSLR camera.

This is because the small aperture setting produces shallow depths of field, which allow the maximum amount of light in.

It’s also a great way of drawing the viewer’s eye to a certain part of the photo as the majority of the image will be out of focus.

Keep in mind that sensor size also affects how deep your DoF can get. The bigger the camera sensor, the deeper DoF.

The photos in this post were shot on 3 different Canon lenses; a 24-70 f/2.8, a 35mm f/1.4 and a 50mm f/1.8. Even though the maximum lens aperture varies, they were all shot at their maximum aperture or low f-stop number.

The reason for this is because the bokeh of the photo looks much better. Some images offer a close-up frame compared to others.

For the purpose of this post, think of it as the aesthetic quality of out-of-focus areas of a photograph. It relates to how ‘nice’ the background blur looks when out-of-focus.

Although the f-numbers 1.4 and 2.8 seem close together, 1.4 actually allows four times more light into the lens than 2.8.

If you’ve read my post on aperture, you’ll understand what this means but here’s a quick explanation of how it works:

F/1.4 is 2 stops wider than f/2.8: f/1.4, f/2, f/2.8… for every f-stop, the lens allows half as much light in, so f/2 allows half as much light as f/1.4 and f/2.8 allows half as much light as f/2.

Because these photos were shot with the aperture wide open, a lot more light can enter, creating much softer photos.

Note: A large aperture is the same as a wide aperture. 

The 20 Photography Tips You’re After

20 – Wide Bokeh

The wider the aperture, the wider your bokeh will be. Anything other than wide open will cause the bokeh to be the shape of the aperture rings (usually pentagonal or octagonal).

Bright bokeh lights behind a water splash, shot using shallow depth of field

19 – Soft Backgrounds

It’s a great way to produce soft backgrounds like in the photo below, shot at f/2.8.

This is great for landscape photography where you want a sharp subject in the foreground and a soft background.

A portrait of a man outdoors, shot at f/2.8 shallow depth of field

18 – Right Light

When you’re shooting indoors, there’s a lot less light available.

Bouncing the flash off a wall and shooting with a wide aperture creates just the right amount of light for a good exposure.

A portrait of a man indoor, shot with shallow depth of field

17 – Don’t Focus

When your aperture is wide open, your depth of field becomes extremely shallow and it’s hard to find a good focus point.

You can choose to worry about the focal point or, as I would advise, not worry at all.

In the photo below, shot at f/1.8, the lack of focus actually makes it look better in my opinion. The are outside the focus point is very shallow, drawing attention to it.

Close up of people holding beer cans - shallow depth of field photography

16 – Single Out

Shallow DoF helps draw the attention to a certain part of the body, leaving the rest blurred.

This will increase your image quality, and draw the viewer in.

Portrait of a small brown dog taken with a shallow depth of field

15 – Selective Focus

When you have multiple subjects in a scene, a wide aperture will only allow focus on one person, making it a great tool for selective focus in photography.

This is a great way to highlight your main subject.

Portrait of two men laughing shot using a shallow dof

14 – Eerie Mood

The photo below was shot with the aperture wide open. This kept the background blurred even though the subject wasn’t far away from it. That gives the photos an eerie feel in my opinion.

Eerie street photo shot with shallow depth of field

13 – Follow the Lines

To emphasize the DoF, place the subject in the scene moving away from you.

A chain fence shot with shallow depth of field

12 – Forget Your Foreground

The foreground may be out of focus but that doesn’t matter to me. Consider what’s in your foreground and how you can use it to spark some interest in your photo with a deeper depth of field.

A concert photography shot using shallow dof

11 – Careful Focusing

Be very careful where you’re focusing. Rather than on her nose, I focused on the light on her cheek underneath her sunglasses because that produced the best overall focus.

A portrait of a female model posing outdoors, shot with shallow depth of field

10 – Use Natural Light

Natural light is your best friend when shooting with a wide aperture.

A portrait of a male model posing outdoors

9 – Featured Placement

You can be more adventurous with placement of key features in a photo when using a shallow depth of field. The viewer’s eyes will be drawn to whatever you’ve focused on.

A portrait of a female model posing outdoors, shot with shallow depth of field

8 – Lens Flare

A wide aperture is important when shooting into the sun. The lens flare will be the same shape of your aperture.

Anything other than wide open will cause the bokeh to be the shape of the aperture rings (usually pentagonal or octagonal).

A portrait of a man outdoors, shot with shallow depth of field

7 – Divide and Conquer

Wide apertures are great if you want the viewer to only look at a single part of a photo.

Close up of a person holding a green guitar plectrum

6 – Focus on the Eyes

Top Tip! If you focus on the eyes of your subject, the rest of the face will appear in focus too. Even at f/1.4.

A humorous portrait of a man posing indoors

5 – Use the Shutter Speed

Wide aperture captures loads of light. This allows you to turn up your shutter speed and take photos while you’re walking, of other moving subjects.

The silhouette of three people walking through a tunnel

4 – Creative Motion Blur

If there’s movement in your photo, focus on the stillest part of the photo, like the lips in the photo below.

A portrait of a female model posing outdoors, shot with shallow depth of field

3 – Soft Foreground

Wide apertures are particularly effective if you’re shooting through objects in your foreground. It turns them to a soft blur.

A portrait of a female model posing outdoors, shot with shallow depth of field

2 – Multiple Points of Interest

If you’re going to be shooting with a wide aperture, consider what else you can put on that same focal plane and have multiple points of interest in the photo.

Not only did I focus on the model’s face but the flowers she was reaching for too.

A portrait of a female model posing outdoors, shot with shallow depth of field

1 – Lots of Light

The number one tip for gaining shallow depth of field photography is the abundance of light it gives you.

Sometimes, for those beautiful photos, you need all the light you can get.

A close up of green foliage shot with a shallow depth of field
Want to know more? Check out our article on depth of field and its creative uses.
And don’t forget to check out this video.

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6 comments
  1. Good post Josh,
    We shoot a lot of people too, and we love to shoot at 2.8 for the very reasons your talking about, but as I’m sure you have came across, when shooting real people, not models, its hard for them to stand still or hold an interesting pose long enough to keep 2.8 sharp within a certain range. So I have moved to f3.5 or even f4 most of the time to be safe. Still ads the same effect for the most part, and now with all the post production tools at our fingertips, I find that making sure those eyes are sharp most of the time is more important than trying to get it just right straight out of camera! Cheers
    Todd

  2. I think i spend 80% of the time at f4 and hardly ever go above f8 (unless i’m after some stars) and i’ve lenses that go down to f1.4 but find that too soft for me… And like the post above as long as the eyes are sharp i’m happy.
    Darren

  3. I don’t like the Jack Daniel’s photo, because it looks like there’s a big baby doll eye in the background! but other than that, it’s good. The weird background was just throwing me off.
    Great post. I’m hoping to get a 50 mm for Christmas which will really help in my aperture shooting.

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['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
[index]
[index]
[i]
[i]
[type='text']
[type='text']
[type='password']
[type='password']
[activeKey]
[activeKey]
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
[index]
[index]
[i]
[i]
[type='text']
[type='text']
[type='password']
[type='password']
[activeKey]
[activeKey]
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
['rmockx.RealPlayer G2 Control', 'rmocx.RealPlayer G2 Control.1', 'RealPlayer.RealPlayer(tm) ActiveX Control (32-bit)', 'RealVideo.RealVideo(tm) ActiveX Control (32-bit)', 'RealPlayer']
[index]
[index]
[i]
[i]