Landscape Photography Settings for Maximum Depth of Field

Landscapes with a large depth of field — a practical starting point

Sharpness from a close foreground to a distant background does not come from one universally correct setting. It depends on focal length, the distance to the nearest element, sensor size and the intended enlargement of the photograph. In landscape photography, settings should be treated as a starting point rather than a rigid recipe.

A good starting point

• a wide angle, e.g. 14–24 mm, when the frame includes a close foreground,
• ISO 100 or the camera’s lowest native ISO,
• an aperture of f/8–f/11 for very good sharpness in most scenes,
• f/16 when you genuinely need greater depth of field with a close foreground,
• a tripod, self-timer or remote release, and image stabilisation switched off on the tripod if recommended by the lens manufacturer.

Where to focus — hyperfocal distance in practice

When a landscape includes nearby rocks or flowers, focusing on the horizon can leave the foreground soft. The familiar advice to focus a third of the way into the scene can also fail when the nearest subject is close to the lens.

The hyperfocal distance is the focus distance that, for a given focal length and aperture, gives acceptable sharpness from roughly half that distance to infinity.

For example, if the hyperfocal distance is 2.4 m, focusing on a subject about 2.4 m away brings everything from roughly 1.2 m to the distant background into acceptable focus. Detail is still sharpest at the distance where you actually focused.

Hyperfocal distance table — Canon EOS R6 Mark II

This table assumes that you are using the entire full-frame sensor. It uses a conventional circle of confusion of 0.03 mm, a working limit for how much blur on the sensor counts as acceptably sharp.

All distances are in metres. Each value tells you where to focus. The near limit of acceptable sharpness lies closer to the camera.

These are calculated, rounded values. Two decimal places make it easier to compare settings. You do not need to set focus to the nearest centimetre, and the lens may not allow that degree of precision.

How to use the table

At 24 mm and f/8, the hyperfocal distance is about 2.42 m. Focus on a high-contrast detail at that distance. Acceptable sharpness should extend from about 1.21 m to infinity.

If a rock or flower that matters to the composition is only half a metre from the camera, it falls outside that range. Try changing the composition, choosing a wider focal length or taking a series of frames for focus stacking.

1. Choose your focal length and aperture, then look up the focus distance in the table.
2. Focus on a detail at that distance, either manually or with single-shot autofocus. Make sure the camera holds focus when you take the shot.
3. Take a test frame and magnify both the foreground and the distant background. Focus peaking is a useful guide, but magnification lets you check the detail itself.
4. If the depth of field is too shallow, take several frames at different focus distances and combine them using focus stacking. The depth of the scene determines how many frames you need. Two or three may be too few.

Limits of the calculation

Hyperfocal distance helps you plan a photograph. At 100% magnification or in a large print, you may want finer detail than the 0.03 mm criterion provides. In that case, consider a stricter criterion and focus stacking.

Stopping down to f/16 shortens the hyperfocal distance and increases depth of field, but diffraction can soften fine detail. Start at f/8–f/11 and check what you see in the photograph before stopping down further.

When in doubt

For a simple starting point with extensive depth of field, use a short focal length such as 10–16 mm, if your lens covers that range on full frame, and set f/16. At 10–14 mm, try focusing at about 0.5 m. At 16 mm, focus a little farther away, at about 0.6 m, because the hyperfocal distance is approximately 0.55 m.

These settings give a broad range of acceptable sharpness. Objects very close to the camera can still look soft, and diffraction at f/16 can reduce fine detail. Take a test shot and magnify the foreground and the background.

Why not always f/22?

Stopping down very far increases depth of field but may reduce fine detail through diffraction. Check f/8–f/11 first, then f/16 if the foreground requires it. If a single frame still cannot keep the whole scene sharp, stacking can be a better solution than f/22.

Checks before taking the photograph

• check the nearest element and the background in a magnified view,
• monitor the histogram, especially with a bright sky,
• take a backup frame with a different focus point when the scene has considerable depth.