Thursday, October 28, 2010

The Histogram - demystified!


Many of the features of digital cameras are similar to those of film cameras, or can be related to film photography. Histograms are one of the exceptions. You might have come across them if you are a statistician, but histograms only entered the world of photography with digital imaging.

What is a histogram?
A histogram is a ‘diagram in which columns represent frequencies of various ranges of values of a quantity’, says The Concise Oxford Dictionary. This is one of those definitions that only makes sense once you have seen examples.

In statistics, histograms are used to make numbers visual. A simple diagram is usually much easier to understand than a mass of figures. Also, diagrams can reveal relationships between some of the numbers that are hidden in the raw data.

256 tones
In digital photography, a histogram displays the tonal distribution of an image. It does this by categorizing every pixel into one of 256 groups, where 0 is black, 255 is white and all the other numbers represent shades of grey.



This image of a flag and landscape translates into the histogram shown here. The peaks of the tones towards the centre of the histogram indicate that this is a well-exposed image.
Some cameras also show histograms for the red, green and blue components of the image. These are the colour histograms for the flag image.



On the histogram, the horizontal axis shows the group numbers with 0 (black) at the left and 255 (white at the right. The vertical axis indicates the number of pixels in each group.

Within these axes is the impression of a solid graph − in fact, what you are seeing is 256 upright lines crammed so close together that they are touching each other.

What does a histogram tell you? Well, if nothing else, it will warn you of over or underexposure. If there are lines right up against the left of the diagram, the chances are the image is underexposed. If there are lines right up against the right of the diagram, the image is probably overexposed. A typical well-exposed image will show the main distribution of tones around the centre, reducing towards the left and right (though there will be exceptions).

EOS digital cameras, except the DCS series, will show a histogram for each image you shoot. When an image is displayed on the preview screen, press the ‘info’ button to the left of the screen. The display will change to give you a smaller image, plus the histogram and some basic exposure data.

An additional feature is the ‘highlight alert’. This makes any overexposed areas within the image ‘blink’. This can be very useful when shooting static subjects, such as landscapes. If parts of the image blink, you can apply exposure compensation and take another shot to bring the tones into an acceptable range. Use this feature and you should never come away with another overexposed image.

Software
It is not just on the backs of EOS digital cameras where you will encounter histograms. You will also find them in some imaging software. The Canon File Viewer Utility shows them, for example, as does Digital Photo Professional. But the place many photographers will come across histograms is in Photoshop (Image>Histogram). Not only can you see the overall display, but you can also check the tones in each of the 256 levels for the overall image, or for each of the red, green and blue layers.

You will also find histograms in some of the other areas, such as Image>Adjust>Levels, where you can adjust the image to suit its output by clipping the levels so that you work with fewer than 256.


Sunday, October 24, 2010

Capturing the image: Sensor cleaning


Dust is a problem with all digital single-lens reflex cameras. It can enter the camera whenever you change the lens. This dust often finds its way to the glass filter that covers the digital sensor.

The sensor is made up of millions of light-sensitive elements, each around 6 to 8μm square. It does not need a very large piece of dust or dirt to cover one or more of these elements, or pixels. If a pixel is obscured, it does not receive much light and so that portion of the image will record as grey. These grey areas are most noticeable in light-toned areas of the photograph.


Dust on the sensor shows up as grey marks on the digital image.


This problem affects film too, but in film cameras the dust is wound on with each frame. In a digital camera, the dust remains on the glass filter and affects every subsequent exposure. It is easier to retouch digital images than negatives or prints, but it can still create a lot of work if you take a large number of exposures.

Reducing the problem
Surprisingly, research has shown that one of the main causes of dust is the camera itself. This explains why photographers who rarely change lenses still suffer dust problems.

There are two significant camera-related areas that generate dust. One is the shutter. Every time it fires, friction between the components can create dust. Recent shutter units for EOS cameras have been designed to generate a minimal amount of dust during their operation.

The other main problem area is the plastic body cap. Every time it is attached or removed, friction between the metal mount and the plastic cap can generate dust. Since the first half of 2005, the body cap has been made of a material that produces very little dust from friction.


A body cap made of a different plastic material helps to reduce the amount of dust inside the camera.



Is your sensor dirty?
Do you have dust on the sensor of your digital camera? Can you see small grey spots in light-toned areas, such as skies?

The marks will be grey and fuzzy because the dust is not actually in contact with the surface of the sensor. Instead, dust rests on the surface of the low-pass filter that lies on top of the sensor. The gap between the sensor and the dust is enough to throw the spots out-of-focus and allow some light to creep underneath.

You can check for dust by photographing a white wall or a sheet of white paper. Use a telephoto lens, or a zoom set to its longest focal length. Do not focus on the subject - set the minimum focusing distance. Select aperture-priority (Av) shooting mode on the camera’s command dial and set the smallest aperture (f/22, for example). Now make an exposure. The shutter speed will probably be quite slow, but there is no need for a tripod, as camera movement will not interfere with the test.

Transfer the image file to a computer and view the result with any good imaging software at a magnification of 100%. You will almost certainly see some grey marks - you have to decide if these are significant. Do you regularly have large areas of light tones in your images? If so, cleaning the sensor will be worthwhile.

Prevention is better than cure
You cannot stop dust getting into your digital camera, but you can reduce the risk a little using one or more of these simple procedures.

Switch the camera off before changing the lens. This reduces the static charge on the sensor and stops it attracting dust.


Turn the camera off before removing the body cap or changing a lens.



Never leave the camera with the lens mount open. When you remove a lens, replace it immediately with another or attach the camera body cap.

Avoid changing lenses in dusty situations. If you have to change a lens in these conditions, hold the camera with the lens mount facing down to reduce the risk of dust falling into the opening.

Keep the body cap free from dust. Did you know that the body cap and lens cap attach to each other? This will keep the inside of both caps clean when a lens is on the camera.


The body cap attached to the rear lens cap to keep both clean.

Cleaning the sensor
Whatever precautions you take, one day the sensor will need cleaning. Canon approves only two methods. The first method you can try yourself using a rubber air blower. The second involves sending the camera to a Canon Service Centre.

To use the air blower technique, switch the camera to its sensor-cleaning mode. This does not actually clean the sensor - it just gives access to the sensor by raising the reflex mirror and opening the shutter blades. It is recommended that you run the camera from a mains power supply, via a DC coupler, when using this mode, so that you are not relying on battery power to keep the shutter open.

Sensor cleaning mode is accessed in the same way on all the EOS professional digital cameras. While pressing the ‘Menu’ button, select the set-up menu screen (set-up 2 menu on the EOS-1D Mark II, EOS-1D Mark II N and EOS-1Ds Mark II). While pressing the ‘Select’ button, select ‘Sensor cleaning’. Release and press the ‘Select’ button and select ‘OK’. Release the ‘Select’ button and the LCD screen will show ‘Sensor cleaning’. Press the shutter button and the mirror will lock up and the shutter will open. Check the camera instruction manual if you need further details.

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The sensor-cleaning mode is accessed from the menu on the back of the camera.

The sensor-cleaning mode raises the reflex mirror and opens the shutter curtain - it does not actually clean the sensor.

The rubber blower technique is non-invasive, which means that even if the shutter closes during the procedure you are unlikely to damage the camera. All you need is a rubber blower bulb. These are often sold with a brush attachment and were originally used for cleaning film negatives and slides. Remove the brush so that you have a device that gives short jets of air as you give the bulb a sharp squeeze.

With the camera in sensor cleaning mode and the lens removed, place the tip of the blower just inside the camera lens mount and give a few bursts. This will dislodge any dust specks that are resting on the sensor. With luck the dust will be blown out of the camera.


Two or three sharp blasts from a rubber air blower will dislodge dust settled on the sensor cover.


Do not use compressed air from cans - it often contains liquid propellants that will smear the sensor.


Remember to switch off the sensor clean mode after removing dust.


Other cleaning techniques
There are several other sensor cleaning techniques that you may have heard of. None of these are approved by Canon as there is a risk of damage to the sensor. If you try any of these methods, it will be at your own risk, and could invalidate the camera warranty. We describe these methods for information only, and stress that we ONLY recommend the two Canon-approved methods described above.

The risk to the sensor is fairly small, because it is not actually the sensor that gets dirty. The sensor is protected by a glass filter and the dust settles on its surface. So removing the dust is rather like cleaning a lens filter - there is a risk of scratching the filter, but this risk is quite small if you follow the instructions carefully.

On the other hand, if you do scratch the sensor cover, the replacement cost will be a lot more than the cost of most lens filters.

The real danger in sensor cleaning is damage to the camera shutter. Except during an exposure, the sensor is covered by the blades of the shutter. To access the sensor, you need to open the blades. If these blades accidentally close while you are touching the sensor assembly with cleaning aids, a lot of expensive damage will occur. Do not attempt this type of cleaning unless you feel confident about your ability to do it without damaging your camera.

Brush work
While a rubber air blower will move lightly settled dust, it may not have any effect on dust that is attached more firmly. Brushing the surface of the sensor can be effective, but not with just any brush. You need one that is ultra-clean and just the right size for the sensor. Visible Dust brushes, though expensive, seem to have the right specification. They work by not merely brushing the dust away, but by using static to attract the dust onto the bristles. Ideally, a single sweep of the brush across the sensor will clear the dust. Visible Dust brushes come in different sizes to suit different sensor sizes. Read all the information at www.visibledust.com before proceeding. Remember, this technique is not approved by Canon and its use may affect your camera warranty.

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A Visible Dust brush is designed for cleaning digital camera sensors.

Swabbing the sensor
You can use a plastic spatula with a clean paper cover impregnated with liquid to swab the sensor. The liquid is usually methanol - an alcohol that evaporates rapidly without leaving any residue. You apply just a few drops of methanol to the end of the swab and wipe it firmly over the sensor. The end of the spatula is flexible, which means that it is difficult to apply excessive pressure. If you want to do a second swab, just reverse the motion, so that the opposite edge of the spatula is drawn back across the sensor (this avoids any dust or dirt from the first sweep being pressed back into the surface or the glass). Sensor Swabs and cleaning fluid are supplied by Photographic Solutions Inc. (www.photosol.com/swabproduct.htm) and Just Limited (www.cameraclean.co.uk/main/guarantee.php). Remember, this technique is not approved by Canon and its use may affect your camera warranty.


Wiping the sensor cover with a swab can remove stubborn particles of dust.


Grabbing the specks
There is a useful gadget for removing larger specks of dust from the sensor cover. Called SpeckGrabber, it is a tiny piece of rubber on the end of a stick. The rubber has a built-in tackiness, which means that dust will stick to it. To use, you wipe the rubber with a special cleaning tissue and then simply touch the surface of the sensor with the SpeckGrabber. The dust particle will come away. This is a very selective cleaning method, not suitable for cleaning the entire sensor area, so you may well want to use it in addition to one of the other techniques rather than on it’s own. SpeckGrabber (from Just Limited) is not approved by Canon and might affect your camera warranty.


The SpeckGrabber is useful for removing single particles of dust.


Software solutions
Despite all your attempts at preventing dust from getting to the sensor, and various methods of cleaning, you may find that some of your exposures are spoilt by grey marks. Fortunately, it is quite easy - and a lot safer - to clean up on a computer. Simply download the images files to your hard drive and open up an image in any good imaging software, such as Photoshop Elements or ArcSoft PhotoStudio (supplied free with many EOS camera models), or Photoshop. These all have a ‘clone tool’, or similar function, that allows you to select an area close to the dust speck, and copy this over the mark. With a little skill you can retouch the image so that it is impossible to see where the spots were.

Canon’s own imaging software - Digital Photo Professional - goes one step further. It not only has a standard clone function, but also offers automatic retouching. Canon has built its ‘FARE’ system into the software - the same technology used in scanners to overcome the problems of dust. If you choose ‘Repair (dark)’ from the Tools > Start Stamp Tool menu, and then select a small area that includes the dust speck, the mark will disappear like magic. Choosing ‘Repair (light)’ will work the same magic on white spots.

Digital Photo Professional is on the EOS Digital Solutions disk supplied with a many EOS digital models, but you may need to update the software to the latest version to take advantage of this auto-retouch feature. Go to www.canon-europe.com and follow the ‘Download software’ link.


The ‘Repair’ window in Canon’s Digital Photo Professional software provides an easy way to get rid of dark spots on your photographs. Simply position the green circle over the affected area and ‘click’ the computer mouse. The size of the circle can be adjusted with the ‘Radius’ control bar to suit the mark.



New techniques to combat dust
With the introduction of the EOS 400D in 2006 and the EOS-1D Mark III in 2007, Canon has revealed new technology to combat the problem of dust. It may not have been the first to tackle the problem of sensor dust in-camera, but Canon’s solution is one of the most comprehensive, and is proving to be very effective, even in extremely hostile environments.

Repelling the particles
We talk about dust settling on the digital sensor. This is not strictly true. The sensor is a sealed unit that includes a number of filters. If dust settles, it is on the front filter. This filter is treated with an anti-static charge process to repel static-charged dust.

Not only that, but this filter is further from the sensor than on earlier models. This throws the dust specks more out-of-focus, with the result that they are less likely to show on the image.


Shaking the sensor
In the EOS 400D and all digital EOS models since then, the filter in front of the sensor is attached to an ultrasonic vibrating unit driven by a piezoelectric element. When this is switched on, dust is shaken off the surface and is trapped by a sticky border surrounding the filter. The sensor assembly has an internal O-ring so that none of the dust can get between the filters or on to the sensor itself.


Although Canon is not the first with this type of anti-dust system, the camera vibrates the front filter of the sensor (low pass filter 1), rather than using an extra sheet of glass that might degrade optical performance.

The default setting of the camera operates the self-cleaning sensor for one second when the camera is turned on, and again when it is turned off. The off sequence is used because dust is more difficult to dislodge after is has been on the filter for a long period. Self-cleaning can be switched off using a menu command. You can also activate the cleaning sequence while the camera is switched on using a menu command.

Sensor cleaning never gets in the way of shooting. The moment you press the shutter button (partially or all the way), the sensor cleaning stops and you can take a picture.

The self-cleaning operation uses very little power, so it does not lead to a significant reduction in the number of shots possible from a charged battery. However, the piezoelectric element heats up during use so, to prevent overheating, it will not operate again for 3 seconds after use.

Dust Delete Data
If dust does stick, and you do not want to use a brush or swabs to clean it away, the new cameras have one more option. ‘Dust Delete Data’ maps the size and position of the particles and appends the information to the image files you capture. Then, when you open the file in Digital Photo Professional version 2.2 (supplied on CD with the camera), the software automatically erases the dust spots to give a clean image.

First, you have to obtain the Dust Delete Data. You do this by choosing the appropriate menu function and shooting a sheet of white paper that is out-of-focus. The camera overrides any settings you have made and fires at f/22 with a shutter speed of 1/2 second or faster, ISO 800, flash off, and single shot drive mode. If there is not enough light, or the lighting on the paper is very uneven, or the exposure is not adequate, a message will appear on the LCD asking you to try again.

Dust Delete Data works with both JPEG and RAW images. The data uses only a few kilobytes and does not affect the continuous shooting speed or maximum burst. The information is stored in the camera, so you do not need a CF card loaded when you capture the information. Once stored, it is applied to every image you shoot.

When you record Dust Delete Data, the date and time is also recorded, and appears on the menu so that you can check the last time it was done. It is recommended that you update the data before taking important pictures, or after changing lenses in a dusty place.

It can be a good idea to switch off the auto sensor-cleaning feature when using Dust Delete Data, or you might shake off dust that has been mapped.

You can erase Dust Delete Data, and so stop it being appended to images, by using the ‘Clear all camera settings’ menu item.




Wednesday, October 20, 2010

Depth-of-field


Depth-of-field

Autofocusing is not a new invention. It has been around for thousands of years as a feature of the human eye. Your eye reacts so quickly, and without conscious effort, that you probably don’t think of your eye as an autofocusing lens. The speed of focus of your eye also means that you are not really aware that much of what you see is out-of-focus. If you look at something in the foreground, it appears sharp. If you shift your eye to look at the background, this snaps into focus.
One way to be aware of this effect is to hold a finger up in front of your face, about half a metre away. Close one eye and look at your finger with the other. While concentrating on the finger, you will become aware that anything in the background is out of focus. Now look at the background and your finger will appear unsharp.
Much the same happens when you take a picture with your camera. The lens can only focus on one distance. Anything closer to or further from the camera will be unsharp. The difference is that the view is captured as a two-dimensional image. When you look at the image, only subjects at the focused distance will be sharp.
This effect can be very useful in isolating the main subject from its background. However, it is also possible to make some of the out of focus areas appear sharper. The area of apparent sharpness in an image is called the ‘depth-of-field’, and it is one of the main creative controls you have.
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A camera lens can only focus on one plane of the subject. This is the only area of the scene that is really sharp.
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However, a wider area of the scene may appear to be sharp. This area of apparent sharpness is called the depth-of-field.

Circles of confusion

Depth-of-field is possible because your eyes are not perfect. They can’t resolve the difference between a point and a very small circle of light. When a lens focuses, each point of the subject at the plane of focus is projected as a point on to the camera film or sensor. All these points give you a sharp image.
However, parts of the subject not in the plane of focus do not form image points on the film or sensor. The rays of light from these points on the subject come to a focus in front of or behind the film or sensor. This means that when these rays of light hit the film or sensor they form a small circle.
If this circle is so small that it appears as a point to your eyes, that part of the subject will appear sharp on the image. If your eyes see it as a circle, that part of the subject will appear unsharp. The largest circle that appears to be a point is called the ‘circle of confusion’ and is a key factor in defining depth-of-field.
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When rays are focused on the sensor or film plane, a point of light is formed. However, when the rays come from an area of the subject that is not in focus, a circle of light (shown in red) is formed. This area is known as a ‘circle of confusion’.

Sizing the circle

So what is the diameter of this circle? Well, that is where some of the confusion begins. How good is your eyesight? And what distance are you viewing from? With perfect vision, under ideal lighting, and at a normal reading distance, a circle of confusion might be as small as 0.06mm. But these conditions are far too strict for the real world and a figure of around 0.17mm is used in photography.
But there is another factor to consider. If you are shooting with 35mm film, you rarely view the image at its original size. You might have the film negative enlarged to give a 5x7 inch print. This is a 5x enlargement of the original image, so the 0.17mm circle of confusion will be enlarged to around 0.85mm – easily visible as a circle to most people. So what we need is a circle of confusion that gives a size of 0.17mm after being enlarged five times. A quick tap on a calculator shows this size to be about 0.034mm.
If your eye was part of the EF system, it might be described as a 15mm f/4 lens. However, there are problems in trying to compare the eye to a camera lens, as the eye concentrates on the central area of the subject, leaving the edges to peripheral vision. The performance of a camera lens is much more even over its entire field-of-view.
A circle of confusion is based on perception – it is not something that can be calculated precisely. This is why different depth-of-field charts and tables often give different results – they are based on different circle of confusion values. Canon uses a value of 0.035mm in depth-of-field calculations for its EF lenses on 35mm cameras. Some other manufacturers choose 0.030mm. On EOS digital cameras with the smaller APS-C format sensor, the image must be enlarged more to produce a 7x5 inch print, which means a smaller circle of confusion is needed. Canon uses 0.019mm in its calculations.

Depth-of-field factors

There are five main factors that affect depth-of-field.

Aperture

The lens aperture is the easiest way to control depth-of-field. The rule is simple – the smaller the aperture, the greater the depth-of-field. For example, f/16 will give you more depth-of-field than f/4. The reason small apertures give more depth-of-field is shown in the diagram. A smaller aperture gives a narrower beam of light from any given point on the subject. Other things being equal, the circle produced by an out-of-focus point will be smaller. As a very general rule, use apertures between about f/2.8 and f/8 for portraits where you want the background to be out-of-focus. Use an aperture between about f/11 and f/22 for landscapes where you want everything from the foreground to the far distance to appear sharp.
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A wide lens aperture produces a large circle of confusion (shown in red) from an out-of-focus area of the subject. A smaller lens aperture produces a smaller circle of confusion from the same area.

Focal length

You will usually choose the focal length to suit the subject rather than to suit the depth-of-field. However, the accepted rule is that you get more depth-of-field with wideangle lenses than with telephoto lenses. In fact, this rule is misleading. What actually happens is that a wideangle lens magnifies the subject less than a telephoto lens, which means that more of the image appears sharper. A simple test will show that if you take two photographs of the same subject from the same position with a wideangle and a telephoto focal length, then enlarge the centre of the wideangle image to match the view of the telephoto image, the depth-of-field will be identical.
However, depth-of-field is all about acceptable sharpness, and a wide-angle shot will give the appearance of greater sharpness across a scene. As a very general rule, wideangle lenses are good for landscapes where you want sharpness from front to back. A medium telephoto lens (around 100mm or 135mm) is good for portraits if you want an out-of-focus background.
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A wideangle setting on the EF-S10-22mm f/3.5-4.5 USM lens, combined with a small aperture of f1/16, gives extensive depth-of-field in this photograph taken in Oxford, England.

Subject distance

The greater the distance between the lens and the subject, the greater the depth-of-field is. The reason is much the same as that for focal length. Reduced magnification of the subject means there is greater apparent sharpness. Anyone who has tried close-up photography will realise that the opposite also applies – increased magnification gives a narrower depth-of-field. At life-size magnification, little more than the subject in the plane of focus will appear sharp, and the point you focus on will be critical to the success of the photograph.

Print size

Depth-of-field appears greater in small prints than in big enlargements from the same negative or digital file. This is because as the image is magnified, the circles of confusion appear larger.

Viewing distance

However, print size is less important than it might appear, because you normally view big enlargements from a greater distance than you view small prints. As the viewing distance increases, so does the apparent depth-of-field because the circles of confusion appear smaller to the eye. In practice, the combination of print size and viewing distance can cancel each other out.
Although not quite the same principle, a good example of the effect of size and distance is seen in giant advertising posters. Up close, all you see are large cyan, magenta, yellow and black dots. Move back and a clear image appears in what appears to be fine detail. In fact, there is no fine detail – the appearance of a continuous tone image is an optical illusion.

Setting depth-of-field

As you can see, defining depth-of-field is a fairly arbitrary affair. So how can you hope to control the results produced by your camera? Here is a range of options.

The rough guide

If you want a lot of depth-of-field, set a small lens aperture, such as f/16 or f/22. A small aperture may lead to a slow shutter speed, so use a tripod to reduce the effects of camera shake. Use a wide-angle lens for maximum effect. If you want a narrow depth-of-field, set a wide aperture, such as f/2.8 or f/4. Use a telephoto lens for maximum effect. If depth-of-field is not a critical factor in your composition, use an aperture of around f/5.6, f/8 or f/11. Your lens will usually give maximum performance at these settings.

Basic modes

You might think that using one of the Basic modes settings available on some EOS cameras would save you time and trouble. After all, surely the Landscape mode will give wide depth-of-field, while the Portrait mode will give an out-of-focus background? Unfortunately not. PIC modes are designed to give foolproof settings for beginners, avoiding the extremes of apertures or shutter speeds which give true creative control. The best advice is to shoot in aperture-priority (Av) mode.

Depth-of-field tables

Very precise figures for depth-of-field limits are available. EOS magazine publishes a booklet giving details for lenses from 14mm to 1200mm at a range of apertures and subject distances.
If you have access to the internet, various online calculators are available which give the information you need after the frame size, camera or circle-of-confusion are entered, along with the lens focal length, aperture and subject distance. There is a good calculator at www.dofmaster.com/dofjs.html
These tables and calculators often give the near and far limits of depth-of-field to two decimals places, or more. That’s because the figures are calculated using a mathematical equation. But there is a gradual change to apparent sharpness – it does not suddenly change at a precise distance from the main subject. So although tables and calculators are very useful in helping you choose a suitable aperture, the figures they give are only an approximate guide.

Depth-of-field AE

Fortunately, technology comes to your aid. Most EOS cameras have a built-in depth-of-field calculator. Earlier models use the Depth-of-field AE (DEP) mode.
In DEP mode, you position the active autofocus (AF) frame over the nearest point of the subject you want to appear sharp and press the shutter button. ‘dEP-1’ will appear in the viewfinder. Next, place the active AF frame over the farthest point you want to appear sharp and press the shutter button again. ‘dEP-2’ will appear in the viewfinder.
Now recompose the image in the viewfinder and partially depress the shutter button. In an instant, the camera will calculate the aperture needed to give the depth-of-field you want. The aperture and shutter speed values will be displayed in the viewfinder. If you are happy with these settings you can fully depress the shutter button to take the picture.
DEP mode can’t perform miracles. If the aperture value in the viewfinder blinks, it means that the depth-of-field you want isn’t possible – you must try again with the near and far limits of depth-of-field closer together.
You can use DEP mode to set a very narrow depth-of-field by making the dEP-1 and dEP-2 readings from the same area of the subject. However, this is a little pointless – you will get the same result more quickly by setting the maximum lens aperture in aperture-priority (Av) mode.
Cameras with Depth-of-field AE EOS-1D, EOS-1Ds.

Auto Depth mode

Depth mode gives you the depth-of-field you want without the need to know anything about circles of confusion. However, Canon has made the process even easier.
Auto Depth AE (A-DEP on the command dial) offers one-shot depth-of-field. All you have to do is compose the image so that all the areas of the subject that you want to be in focus are covered by the camera focusing points. As you press the shutter button, the camera will automatically calculate the aperture needed, and also select the appropriate shutter speed.
The advantage of A-DEP is that you only have to push the shutter button once, rather than the three times needed in DEP mode, so you can shoot more quickly. The disadvantage is that you can’t select the near and far limits of depth-of-field manually – you have to rely on the points selected by the camera.
Unfortunately, you can’t select between DEP and A-DEP – earlier models offer the first mode, while later models have the second. An exception to this is the EOS 10. When the command dial is set to ‘DEP’ and a single focus point is select, the camera sets DEP mode and you selected the near and far points in the usual way. However, when all three focus points are selected the camera changes to A-DEP mode and operates with a single press of the shutter button.
DEP and A-DEP modes do not operate on EOS cameras with flash photography. If you set a DEP mode and use either the built-in flash or a Speedlite, the camera will automatically revert to program (P) mode.
Cameras with Auto Depth mode: EOS 10D, 20D, 30D, 40D, 50D, 300D, 350D, 400D, 450D.

Hyperfocal distance

What is the maximum depth-of-field you can achieve in a photograph? You won’t get it by using the maximum focusing distance (infinity) of the lens. Depth-of-field extends both in front of and behind the focused distance, but if you have focused on infinity, there is nothing behind.
What you need to do is focus in such a way that the far limit of depth-of-field extends to infinity, which means focusing on the ‘hyperfocal distance’.
Finding the hyperfocal distance is actually quite easy. It is the near limit of depth-of-field when you are focused on infinity. And the interesting thing is that when you focus on the hyperfocal distance, the depth-of-field extends from half the hyperfocal distance to infinity.
So just look at a set of depth-of-field tables, find the near limit when the lens is focused on infinity, and divide this by two. Then set your camera lens to manual focusing (there is an AF/M switch on the side of most EF lenses) and turn the focusing ring to this distance.
Hyperfocal distance is not a fixed value for a lens – it changes with the aperture and the focal length – so you really need to carry depth-of-field tables to make effective use of it.