The most political decision you make is where you direct people’s eyes.
(Wim Wenders (1997) quoted in Bromberg & Chanarin, 2008)
Depth of field is a critical element in image composition, as it allows photographers to guide the viewer’s attention and shape the narrative of the image. A shallow depth of field immediately draws the viewer’s eye to the subject, creating a strong focal point, while a deeper depth of field encourages the viewer to explore the entire image, taking them on a visual journey.
Below, I explore how several renowned photographers have utilized depth of field in their work:
Ansel Adams (1902–1984)
Ansel Adams is best known for his iconic black-and-white images of National Parks in California, such as Yosemite. His work has been a major influence on my own photography, especially during my studies in black-and-white darkroom techniques in the mid-1990s. Adams was driven by a passion for documenting and preserving the wild open spaces of California and the United States.
His meticulous attention to detail was legendary; he often spent an entire day perfecting a single print, achieving remarkable tonal complexity. His use of large-format cameras, small apertures, and medium telephoto lenses was key to his technique. While many landscape photographers rely on wide-angle lenses, Adams preferred medium telephoto lenses to compress perspective, creating a sense of depth in his images.
Adams worked primarily in black and white because he felt it gave him greater control over his images than color negatives. His philosophy emphasized the importance of the “brain 12 inches behind the camera,” underscoring the significance of creative vision in photography.
Although his work has become ubiquitous in posters and souvenir shops, we must never overlook his profound impact on the art of photography. For those interested in his life and work, I recommend these documentaries:
Fay Godwin (1931–2005)
Fay Godwin was a British landscape photographer often compared to Ansel Adams. However, her work differed in that it focused not just on the natural landscape but also on the impact of human activity.
Godwin used deep depth of field to invite viewers to explore every detail of her images, which were razor-sharp from foreground to background. Unlike Adams, her compositions often included man-made objects such as dry stone walls, highlighting the interplay between humanity and nature.
A passionate advocate for public access to the British countryside, Godwin served as president of the Ramblers Association. Her book Our Forbidden Land (1990) highlighted the restrictions on public access to these spaces, blending her advocacy with her photography.
For more on Fay Godwin, visit this resource.
Shallow Depth of Field in Landscape Photography
While deep depth of field has traditionally been the hallmark of landscape photography, some contemporary photographers have challenged this norm by using shallow depth of field to great effect.
Gianluca Cosci, in his series Panem et Circenses, combines shallow depth of field with a low vantage point to isolate specific details in urban landscapes, creating a unique and intimate perspective. Similarly, Kim Kirkpatrick’s early work focuses on small details within landscapes, throwing the background into a beautiful bokeh effect. (For more, visit Kim Kirkpatrick’s gallery.)
A more traditional use of shallow depth of field can be seen in Mona Kuhn’s series Evidence. Her use of blur gives her images a soft, intimate feel, particularly in her portrayal of nudes, which makes them feel less voyeuristic. (Learn more about Kuhn’s work here.)
My Recent Experiment
On a recent trip, I took a shot to record my presence—a kind of “selfie,” though I prefer to avoid being in pictures myself. With the light behind me, I used my long shadow as a creative element in the composition. I chose an aperture of f/10 on a crop sensor to achieve sharpness from front to back, ensuring the entire scene was in focus.
