How to set up autofocus on a new camera? How to use manual focusing on a digital camera lens.

Details Updated: May 28, 2016

In this article you will learn about how to use autofocus, what modes it has, why a photo is “out of focus”, blurry, how to avoid this and how, accordingly, to make photos as clear as possible!

Autofocus modes

First, let's talk about what autofocus modes are found in most modern cameras (as well as in some phones and video cameras). So, how do we set up autofocus...

One-Shot AF modeCanon or "AF-S"Nikon)
Most suitable for shooting stationary objects or, if necessary, first focusing and then changing the composition of the frame. When you press the shutter button halfway, the camera locks focus until you either release the button or press it all the way.

Continuous AF mode (AI Servo AF)Canon or "AF-C"Nikon)

Well suited for photographing moving objects. Or if it’s the other way around, you’re moving :) For example, if you’re taking pictures from the window of a moving vehicle. While the shutter button is pressed halfway, the focus will change automatically depending on the movement of objects in the frame, autofocus will, as it were, “follow” these objects.

AI Focus AF modeCanon or "AF-A"Nikon)

Used to automatically switch the autofocus mode. It is present in many SLR cameras and, in my opinion, is quite inconvenient - it is difficult to guess how it will behave, as a “follower” or as a “time-lapse”.

Manual Focus Mode

Typically, this mode is used when autofocus fails, or for special creative tasks. In order to focus manually (switch to manual focus mode), you usually need to use the corresponding switch on the camera lens (especially if we're talking about about a camera with interchangeable lenses).

Selecting a focus point/area

If you use autofocus, then in most cameras you can choose which part of the viewfinder (which “point”) will be focused on.

Fully automatic focusing and automatic focus point selection. In this mode, the camera usually focuses on the closest object in the frame. In this case, the points that were actually selected for focusing will most likely be marked/highlighted in the viewfinder when focusing is completed.
Center point focusing. This mode is available on most cameras, regardless of the manufacturer (Canon, Nikon and others), and is often present not only in DSLRs, but also in compact digital point-and-shoot cameras.
The peculiarity of this focusing mode is that the camera will focus only on the object that is in the very center of the viewfinder. This can be useful for more accurately focusing on the subject being photographed.
When choosing this type of focusing, the photographer usually proceeds as follows: points the center of the viewfinder at the subject being photographed, presses the shutter button halfway (on most cameras this leads to autofocus blocking) and then uses the viewfinder to select a good composition, being sure that his camera is focused properly.
Focusing on a selected point.
When you select this autofocus mode, focusing will be done on the point in the viewfinder that the photographer points to. This dot is usually highlighted in the viewfinder. In some of the most modern cameras, you can simply touch the viewfinder screen in the appropriate place to select the focus point. In most SLR cameras, there is a joystick or buttons or a disk (“wheel”) that replace it.
How is this applied in practice? Let me explain! For example, when shooting a portrait, so that focusing occurs precisely on the eyes of the model, the photographer can choose the focus point - which this moment“superimposed” on the eye of the model, without this it may happen that the camera automatically focuses not on the eyes, but on the nose...
Other options. Listed above are three main options for choosing focus areas. But each specific camera may have larger number options. Nikon cameras are particularly diverse in this regard.

Autofocus and focus points.
We can see such a picture in the instructions for Nikon camera D7000

Autofocus illuminator

If the subject you are shooting is too poorly lit, then the autofocus illuminator comes to the rescue! In low light conditions (in the dark), the built-in flash of your camera will automatically open and try to dispel the darkness! If you do not need this, turn off the autofocus illuminator in the menu of your camera (you can refer to its instructions), or switch to manual focus mode (the focus illuminator is also most often turned off).

Problems encountered with auto focusing

“Why doesn’t it focus?” “Why is it focusing in the wrong place?” “Why is autofocus so slow?” Many novice amateur photographers ask these questions!

The instructions for the Nikon D7000 camera have a wonderful illustration showing scenes in which autofocus may not perform at its best.

Difficulties with autofocus may occur in the following situations...

In cases No. 2 and No. 5, I recommend choosing a central focus point and trying to focus with it - EXACTLY aiming at the subject. Then, autofocus is unlikely to let you down! In other cases, if selecting a central focus point does not help, you should switch to manual mode. However, for example, in my practice, difficulties in cases 3, 4 and 6 were extremely rare.

Alignment, constant autofocus correction

But it also happens that even in favorable conditions, autofocus always focuses either a little closer than necessary, or a little further! Most often, SLR cameras suffer from this, especially after changing the lens. The reason may be in the lens, then the service center will be able to adjust it a little for you. This adjustment is called “adjustment”. But in some modern cameras, the focus alignment/correction function for selected lenses is already built-in, and you can get started with it by first reading the operating instructions. However, this is not often necessary.

If anything in the information above is not clear, please ask questions in the comments!

© Karpin Anton 2016

The vast majority of photographs are taken in automatic white balance mode. This is a simple choice that makes sense in most cases. But it is not 100% reliable.

In general, white balance systems tend to correct natural color deviations into the highlights, so that images appear too bland. For example, warm sunlight early morning or evening may become too cold.

When shooting outdoors, in many cases the best results are achieved using the Daylight or sunlight. They can produce even better results than the Auto setting in shady or cloudy conditions.

Most cameras also have white balance settings for shadows (Shady) or cloudy day (Cloudy), which will add a little warmth to your images.

EEI_Tony/Depositphotos.com

In some situations this color shift may be excessive. However, it's worth experimenting with your camera to understand how each white balance setting works in different conditions.

For maximum control, use custom settings (Customs Manual) white balance and set the value manually.

Your camera's manual will tell you exactly how to do this, but the basic method involves photographing a white or neutral gray target (a piece of cardboard works well) in the same lighting as your subject, and using that image to set the white balance. . When you photograph the white or gray cardstock again after manually setting the white balance, you should see it become neutral.

If you want, you can use your camera's white balance settings to warm up or cool down your photos. You can try experimenting with a non-neutral calibration target.

2. Sharpness

Most digital cameras allow you to adjust the level of sharpening that is applied to JPEG images as they are processed.

Some photographers suggest that maximum setting- the best option, as this will give the clearest images. Unfortunately, this doesn't always work. Highly contrasting edges, such as a clear horizon, can break off, becoming overly sharp and halo-like.

Application lowest value , on the contrary, can lead to the fact that small parts will look somewhat blurry. However, this usually looks better than overly pointed edges.

The best way to get good results is to apply sharpening carefully, gradually increasing it from image to image until you achieve the perfect result. Or at least use installation in the middle range for most shots.

3. Autofocus

Many photographers allow their cameras automatically set the focus point for faster and more convenient shooting. However, most cameras assume that the main target of the photograph is the closest subject and that it is close to the center of the frame.

Although this allows you to get good results in most cases, if you are shooting someone who is not in the center, and even with big amount objects around, the camera may place accents incorrectly.

delsolphotography.com

The solution is to take control of your AF point selection. So you can place the hotspot in the right place.

Your camera's manual will explain exactly which mode you need to select, but it's usually called either Single point AF, or Select AF.

Once the correct mode is set, use the camera's navigation controls to select the AF point that is on the target subject in the frame.

In some cases, you may find that there is no AF point in line with the desired subject. In such a situation, you should use the technique of focusing and recomposing the frame. To do this, simply select the center AF point (as this is usually the most sensitive) and move the camera so that it is on the subject. Then press the shutter button lightly to allow the camera to focus the lens. Now, keep your finger on the shutter release and compose your shot. When you're happy with the composition, press the shutter button all the way down to take the photo.

4. Flash synchronization

By default, cameras are set to fire the flash at the start of the exposure. This does not pose a problem at fast shutter speeds or when the subject and/or camera are stationary. But with long exposures or with moving subjects, this can lead to strange results.

The problem is that the ghostly, blurry image of the subject is transferred in front of the properly exposed, sharp version. This gives the impression that the object is moving in the opposite direction.

You can easily get out of this situation if you delve into the camera (or flash) menu and turn on the function Second curtain flash synchronization (Rear Sync). This will cause the flash to fire at the end of the exposure. Then the movement of any object will be recorded as a blur behind it, rather than in front of it, which will make the image much more natural and can really emphasize the speed of movement.

gabriel11/Depositphotos.com

5. Long exposure noise reduction

The Noise Reduction feature compares the main image to the black frame and subtracts its noise to produce the final photo. The black frame uses exactly the same exposure time as the main image, but the shutter does not open and the light does not reach the sensor. The idea is to record non-random noise caused by changes in pixel sensitivity and visible at long exposures.

As a result, when using the noise reduction function, it takes almost twice as long to record a photo, which is especially annoying during long exposures. Therefore, many photographers are tempted to disable this feature.

jurisam/Depositphotos.com

However, the noise reduction results are worth the wait.

Of course, you can independently extract the “black frame” using software for image editing, but it is still advisable to take at least a few “black frames” throughout the shooting, since the noise level tends to increase due to the heating of the sensor during intensive use.

The most reliable approach is to use the camera's built-in noise reduction system.

6. Long shutter speed

Many novice photographers overestimate their ability to hold the camera firmly, and therefore, to shoot well at relatively long shutter speeds.

welcomia/Depositphotos.com

General rule The key to getting sharp images when shooting handheld with a full frame camera is to use a shutter speed of at least one second divided by the focal length of the lens. This means that if you are shooting with a 100mm lens, your shutter speed should be at least 1/100s.

This rule can be adapted to work with DX cameras by taking into account the crop factor (factor of increasing the focal length). For example, a 100mm lens digital cameras SLR-type (in other words, DSLRs) with an APS-C sensor (for example, Canon EOS 700D) has a crop factor of 1.6. Therefore, a shutter speed of at least 1/160 sec will be required to take a sharp photo.

Let me remind you that the shutters of modern cameras use standard shutter speed scale in fractions of a second: for short shutter speeds the numerator is omitted and the shutter speed is described by the denominator: 1/100 → 100; 1/250 → 250 and so on.

Many photographic lenses and some cameras now have built-in image stabilization systems. This allows you to use faster shutter speeds when shooting handheld.

Plus some lenses provide exposure compensation up to 4eV, which allows you to further reduce the shutter speed - from 1/125 to 1/16.

Focusing can't be easy. Using any of the main shooting modes - auto, portrait or landscape - your camera does all the work for you. But it's too easy and not professional. It seemed simple, you just press the shutter button halfway, focus and take a picture. Then why do many pictures come out blurry and blurry? The answer is that the autofocus system does work, but not always the way we want it to.

Usually, in SLR camera, entry-level or mid-range, there are nine focus points that are spread out at a certain distance from each other.

There is always one AF point in the center, then two points above and below and three points each on the right and left sides, two of which are at the same level, and one is pressed to the edge of the frame. More advanced cameras have an additional six points, although these, unlike the first nine, cannot be selected manually.

How Autofocus works

To achieve autofocus when shooting in various camera modes, information from all nine AF points is used. The camera determines the distance from each part of the scene from the camera, selects the closest object that coincides with the autofocus point, and locks autofocus at that position.

This is fine and very useful if you want to focus on the closest objects in the frame, but it doesn't always happen that way, does it? Let's say you're shooting a beautiful landscape, but you want to focus on a flower in the foreground. What to do in this case? - In such cases, it is better to select manual focus mode.

Various focusing options

Automatic point selection

By default, your DSLR will use all AF points in each shooting mode, but you can often choose the focus points manually. Press the AF point selection button, specifically the button in the upper right corner of the back of the camera (location may vary depending on the camera brand) and an on-screen confirmation will appear that you are now using the Auto Select multi-point AF mode.

Single point focus mode

To switch between auto focus mode and manual focus, press the focus point button as in the previous step, but then press Set. The camera will now switch to using only one focus point. To return to multipoint mode, do the same.

Changing Focus Points

You are not limited to using only the center focus point in manual control mode. After switching to auto mode one point at a time, you can use the arrow keys to select any other available focus point. To return to the center point, click the Set button again.

Focus Modes

The focus point guide works in any focus mode, so you can use one or more points depending on whether you're shooting a still or moving subject. Choose the most suitable focus mode.

When to use a particular focus point

Automatic selection

If you want to focus on the closest subject and need to react quickly to what's happening around you, Auto Select mode is a great option for you. This saves time, since in this case you will not be busy choosing one point or another, in addition, this mode is good for shooting moving objects.

Center focus point

The center focus point is the most sensitive to light and the most accurate of all, so it is great for use in very low light levels, or vice versa in very bright light. While using other points may lead to worse results. Center point is also ideal for situations where the main subject is in the center of the frame.

Top focus point

When you are photographing a landscape and it is important for you to emphasize distant objects and areas of the scene rather than the foreground, then it is best to use the top focus point. In this case, foreground objects will be more blurry, and objects located at a greater distance will be clear and sharp.

Focus point diagonal

Portraits turn out especially well when the subject is not in the center of the frame, but slightly to the side. When shooting a portrait, either horizontally or vertically, select the appropriate focus points located diagonally and focus on one of the subject's eyes. If your face is turned in at three quarters, then focus on the eye that is closest to the camera.

Boundary focus points

Focus points located on the far left and right sides of the frame are very useful in cases where you want to make the foreground more blurred and certain objects located further away at the edges of the image appear sharper.

How to Choose the Best AF Point

While for most of us, nine possible focus points will be more than enough, high-end cameras like the Canon EOS-1D X have an incredible 61 focus points. You can even select multiple focus points in small groups.

With so many focus points, choosing the best point can be difficult. It often seems easiest to use the center focus point, focus, then lightly press the shutter button to achieve focus.
You can lock the focus settings by holding the shutter button, compose your shot, and then press the shutter button all the way to take the photo. This often works, but it may not always be the best option.

The main problem with using only the center focus point is that the lighting information and the exposure value are set at the same time. That is, for example, you focus first on an object that is in the shadows, and then quickly switch to an object that is in the sun, then in this case the image will be overexposed.

Fix a point

You can press AE Lock, then compose your shot, allowing the camera to take into account constantly changing lighting conditions. While doing this, you should keep the shutter button pressed to keep the focus locked.

But it is usually easier to select an AF point that is closer to the area you need to focus on, so any subsequent camera movement will be minimal

Selecting the most appropriate AF point not only provides more accurate light metering, it also reduces camera shake once the focus point has been locked. In addition, the focus points are placed on the display, respecting the rule of thirds, which helps create the right composition.

Camera focus modes and settings can easily confuse beginners. Meticulously studying the camera's instruction manual can be quite tedious. In addition, it may not always give the desired result the first time. Where to start mastering focusing modes? Let's break down the basics and make learning your camera's focusing modes easier.

The photo above illustrates the most important aspect when deciding on a focus mode - making an informed choice. I consciously focused on the model's eye closest to me. Not on her hand in the foreground or background. And certainly not in the background. I chose exactly what I wanted to be the sharpest in the photo. It wasn't the camera that made this decision, it was me. This is the secret to choosing a focus mode - being aware of your choice.

With this in mind, we'll take a look at the focusing modes available in your camera and see which one is the best choice in which situation.

First of all, we will need to consider three interrelated aspects:

A) Existing focus modes– such as Single or Continuous.

B) How do you activate autofocus (AF):

By pressing and holding the shutter button, or
At the touch of a button . The so-called back button focusing method.

In this case, your choice will determine whether you use Single or Continuous AF mode.

C) AF area selection– how the AF points you select will be grouped.

In photographs with shallow depth of field, you must clearly select the point to focus on. Your decision must be conscious at every stage of creating a photo.

Focus Modes

Regardless of which camera manufacturer you are using - Canon, Nikon, Sony, Fuji, Pentax or Olympus– Focus modes can be divided into three types:

Manual focus– You do all the work on focusing the camera yourself.
Single-frame focusing (Single / One-shot focusing mode / AF-S) – Best choice for shooting static subjects: the camera focuses and locks focus.
Continuous Focus (Servo / AI Servo / Continuous focusing mode / AF-C) – Best choice for shooting moving subjects – the camera continuously adjusts focus.

Choosing between Single and Continuous focus modes becomes more convenient when using the Back Button Focus method, which we'll return to later.

The AF area selection can vary from a single point to being combined into an area. Options for this grouping vary depending on the brands and models of cameras. The AF area selection affects how quickly autofocus can focus on the specific area of the image you select.

Manual focus

Compared to the various autofocus modes, manual focusing is extremely simple - you rotate the focusing ring until the subject is in focus. That's all.

Manual focusing is preferable in several cases:

When shooting video when you cannot use autofocus. Although there are now more and more models appearing on the market that support autofocus when recording video, autofocus in them does not always work correctly. So for video shooting, manual focusing is still relevant.
Photography of architecture, food and other static objects, where you will most likely be working with .

Cameras offer a variety of manual focus assist methods. For example, you can zoom in on the LCD monitor in Live View or use focus peaking to highlight the edges of a focused object. If you plan to use manual focus, check out what your camera has to offer in this area.

Single-shot focusing mode / AF-S

In Single Focus mode, the camera focuses and stops. Focus is locked as long as you hold down the shutter button. If you decide to refocus, you will need to reactivate by pressing the shutter button or AF-ON button again.

This AF mode is the exact opposite of Continuous AF, in which the camera constantly adjusts focus.

Intelligent Focus / AI Focus (Canon) - Auto / AF-A (Nikon)

In this mode, the camera uses single-frame focusing if there is no movement in the scene being shot. As soon as movement appears, the camera switches to continuous focusing.

How do you activate autofocus?

You can lock focus using the shutter button or

You can lock/activate focus using the AF-ON button.

Choosing between these two methods of triggering and locking autofocus will determine which focus mode is best suited to your shooting style.

Focusing with the shutter button

The most common way to trigger and lock autofocus is to press the shutter button halfway.

A side effect of this method is that your focusing method is now tied to the camera's shutter release. If you think about it, the time it takes to take a photo doesn't really have anything to do with focusing. These are separate processes.

Back button focusing (FZK) / AF-ON button

Using the AF-ON button, you can separate the focusing and shooting functions. Thus, freeing the shutter button from the start and autofocus lock functions.

Check your camera's manual to find out which custom settings allow you to reassign autofocus start and lock functions to the AF-ON button.

Selecting a back-button focusing method—usually the AF-ON button—will change the way autofocus is triggered and locked. Instead of pressing the shutter button halfway to start and lock autofocus, you press the AF-ON button and release it when the camera focuses, thereby locking autofocus.

Typically, FZK uses continuous focusing in combination with autofocus start/lock using the AF-ON button. This way you can constantly monitor the movement and open the shutter at the right moment. Or you can shoot portraits (or still subjects) with autofocus locked by simply releasing the AF-ON button. Simply put, to take a portrait, you activate autofocus by pressing the AF-ON button, and when the camera focuses, release the AF-ON button. The camera will not refocus until you activate autofocus again.

In some cases, this method has certain advantages.

For example, if you are photographing an awards ceremony and the recipients are standing in the same place each time, the FZK method works very well - you don't have to refocus each time because the camera and lens are focused on the same point as before. this. In addition, you won't have to keep your finger on the AF-Lock button all the time because with AF-ON, the focus is locked when you release the AF-ON button.

This is the elegant simplicity of using the FZK method. However, no matter how hard I tried, I couldn't get used to this method, so I still use the shutter button to lock and hold the autofocus.

Selecting AF area

All cameras allow you to group AF points into areas as an alternative to using a single AF point. How the autofocus areas will be located, and how many focus points they will include, depends on the specific camera model. Check the instructions for your camera to clarify this point.

The choice of point or area depends on whether your camera uses cross-type AF sensors or not.

Cross-type sensors are capable of focusing on both horizontal and vertical lines. Usually only a few sensors in the center are cross-type sensors.

This circumstance should be taken into account when choosing AF points.

This is why AF sensors that lie outside the central area are not that easy to use in many cases. Of course, in this case, locking autofocus and then recomposing the frame may seem like an excellent option. But this technique also has disadvantages.

Let's return to the idea of conscious choice:

If you're photographing a scene with moving subjects, especially one where the subjects are moving erratically, it's best to select an area rather than a single AF point. This choice can also be useful if you let the camera choose its own AF point.

For portraits, it is preferable to use single-point focusing and choose the point where you would like to focus yourself. This is usually the model's eyes, or the eye closest to you.

If, when taking the photo posted at the very beginning of the article, I had selected the AF area rather than a specific point, then most likely the hand closest to us would have been in focus. Not the best choice. So the decision about where to focus had to be up to me.

Locking focus and recomposing the frame

If your subject is off-center, you have two options to focus and lock focus:

Use appropriate, off-center AF points (but if they aren't cross-type, you may run into some problems), or
Focus on the center point, lock the focus and recompose the frame.

Another situation where you can use the focus lock and recompose technique is when the scene is heavily backlit and the camera is having trouble autofocusing. The photo below is a typical example of such a case:

I took this photo directly into the sun, and was almost blinded by the bright light and sweat pouring into my eyes - so I had to take a series of photos, moving a little to the side. All this was done to make sure that I would get at least a few clear photos.

I pre-focused on the couple, then locked the autofocus and recomposed the shot. The depth of field at f/7.1 for this photo was sufficient to eliminate any focus error caused by recomposing the frame.

This brings us to a potential problem with the focus lock and recompose technique - when you move the camera to change the composition of the frame, you run the risk of shifting the focus plane too much.

If your lens has a perfectly flat focusing plane, then as soon as you move the camera even a small distance to change the composition of the frame, the focusing distance, of course, will remain the same, but the focusing plane will move with the camera.

So if you change your composition so that your subject is no longer in the center of the frame, the plane of focus may end up slightly behind it. The result is a photo that looks a little blurry (this may look like the lens is back-focusing, but that's not the case at all).

Shifting the focus plane when using the focus lock and recompose method is not a serious problem, for example, when shooting a close-up portrait with a telephoto lens. In this case, moving the camera away from the subject's eyes to change the composition will be small and will barely affect the plane of focus, and the DOF will likely easily cover any minor focusing flaws.

But wide open when using a wide-angle lens, this becomes a potentially serious problem: when you rotate the body to change the composition, the focusing distance may not remain correct. This directly depends on how much you move the camera, what depth of field you have, and also on the curvature of the focal plane of your lens.

With this in mind, it's a good idea to not get too carried away with focus locking and reframing techniques.

If you are confident that your off-center AF points are accurate enough, use the appropriate AF point instead of recomposing the frame.

More useful information and news in our Telegram channel"Lessons and Secrets of Photography". Subscribe!

The most common complaints I hear from most photographers at any level are these types of complaints: “my images aren't sharp” and “I can't get focus.” Many people blame their equipment and, indeed, there are many cases in which the equipment is to blame. However, I have found that the vast majority of cases are simple user errors. They often come down to a lack of understanding of how the autofocus (AF) system works. This article will give you a better understanding of focus and sharpness, and hopefully help you get photos you're happy with!

1. Adjust your dioptres

You ask, my what? Your diopters - or your eyepieces. You'll never know if your camera is focusing well on a subject if you can't see what's in focus through the viewfinder eyepiece yourself. On the side of the eyepiece (as shown below) there is a small wheel for adjusting the focus of the eyepiece to suit your vision.

You can set the eyepiece to a fairly large correction, but if you need even greater correction, then for many DSLR/SLR cameras largest producers Interchangeable diopters are available in the range from -5 to +4. No, this will not help your autofocus work better, but it will help you understand when it misses and correct the situation using manual focusing.

2. Understand your viewfinder

What the hell do all those things inside mean? At this point, you might want to get the instructions (remember that little paper book that came with your camera?). Most regular DSLR cameras have 9-11 focus points. The best of the best, professional cameras can have from 45 to 51 points (although in fact you can only choose 11-19, the remaining points are additional).

There are two types of focus points: coplanar and intersection points. Same plane points only work on lines of contrast directly perpendicular (90°) to their orientation. So, if you look through your viewfinder like the one pictured above, you will see that most of the dots are rectangular, some are oriented horizontally, some are oriented vertically.

Points on the same plane will only work perpendicular to their orientation. So - let's say you were shooting a tree - a vertically oriented focus point would not be able to find the edge of the tree trunk, but a horizontal one could. You can use this to your advantage when choosing a focus point that will lock onto the line you want and ignore the ones you don't want to focus on.

Cross point focus points will work with lines of contrast placed in any way. Most cameras have one focal intersection point in the center, surrounded by points on the same plane. The newest cameras today contain intersection points at all focal points.

Each focus point also has a specific sensitivity. Most require a lens with limit value aperture of at least f5.6 to at least use autofocus. On most cameras, the surrounding AF points are this sensitive, and the center point provides increased sensitivity if you use a lens with an aperture limit of at least f2.8.

So if you are working in low light conditions, you can achieve better autofocus by using the center focusing point. Even if you don't use an f2.8 lens, or better yet, there are no light restrictions that favor the center point, it can still produce a more accurate result because it is the intersection point.

When we look at focus point rectangles, it's worth remembering that the actual sensor area is 2-3 times larger than what is displayed. Keep this in mind as you focus. If you are focusing on the bridge of someone's nose, remember that the person's eyes will also fall within the effective sensor area. Autofocus is more likely to lock onto the eye than the bridge of the nose because the eye has more contrast around the edges than flat lighting on the nose. Often this may not matter, but if you are working at a very shallow depth of field, you will feel the difference in which area of the image is sharpest.

3. Give your lens a helping hand

Most autofocus systems have a certain amount of error or deviation and can actually miss the optimal focus point due to the mechanics and inertia of the lens movement. You can minimize this effect by manually focusing the lens close to the desired focus and then letting the autofocus system finish focusing. Or, if this seems like too much of a hassle, at least give the autofocus two tries to get it right. Press the shutter button halfway to set the approximate focus, and then press again to fine-tune it.

The advantage of lenses is more high level is that they allow full manual control, even when autofocus is locked. Cheaper lenses do not allow you to adjust focus manually after locking, although this good way make sure the trick is as perfect as it can be.

4. Find a good line

Autofocus systems work on contrast lines, so they may have difficulty on low-contrast objects (for example, a cheek or forehead, a white dress or a black tuxedo, sand, plain walls, etc.). On areas like these, autofocus can be aimed all day and never lock. The approach is to find the "best line" - this could be the eyes, the lines between a contrasting shirt and suit, between heaven and earth, a doorway. Anything that has contrast will help autofocus work better and faster.

Low focus area

Best Area to Focus

5. Don't use all-point focus mode

Unless you're in a terribly fast-paced situation that requires incredibly fast aiming, it's best to avoid all-point focusing mode. This mode doesn't know what you want to focus on and usually locks onto whatever is closest to the camera. There are situations in which this is exactly what is needed, but they are few and far between.

6. Focus and change the composition - but do it correctly

I'm used to focusing and changing composition using the center focusing point all the time. I fix the focus and then recompose the shot. I once read some articles that said that you shouldn't do this - that you should use the point closest to the area you want to focus on. Theoretically, this is justified by the fact that when the camera is moved, due to the movement of the lenses and the change in the angle, the distance between the subject and the lens also changes.

If you use the focusing point immediately aimed at the object and do not recompose the frame, then there will be no change in the distance between the object and the lens, and therefore, erroneous focusing. So, I decided to take some pictures to show you that this is true - and that it is not.

There was absolutely no advantage to using the closest off-center point without changing the composition. In fact, focusing using the center point and recomposing was, indeed, more accurate in all cases except one - macro. I took shots at all focal lengths from 17mm to 200mm and tested all distances from macro to 10 meters - with the same results.

Each test using a central focusing point and recomposing the frame resulted in a sharper image. Greater sharpness comes from using the center point and recomposing, less sharpness from using the outer focus point directly on the subject. To clarify, the theory above is correct in that you lose sharpness by moving the frame away from the fixed center point. What is not true is that using an external point directly on the object will return sharpness - it will not.

I think there's a good chance that on my camera, the center focus point is three times more sensitive than any of the other eight points, and is the most accurate. But this is the case with many cameras, with the exception of high-tech new models like the Canon 1Ds Mark III or Nikon D3X. Other possible the reason is that most lenses are sharpest in the center and lose sharpness towards the edges.

Here are three of the most typical examples of what I shot on two different cameras. The inset is an inscription at 100% scale.

Central focus point, without changing composition. Lens 50mmf 1.8.

Lens 50mmf1.8. Central focal point. The camera is moved to the left after focusing.

Lens 50mm f 1.8. Left focusing point. Focus on the object.

What can I say - to switch the focus point or not, in my opinion, is a matter of time. But try it yourself, your results may vary.

A quick note on macro - such shots should always be shot with a tripod and manual focusing, due to the extremely shallow depth of field and the proximity of the lens to the subject.

7. Use the correct focus mode

Most DSLR cameras have at least two similar focus modes. The first is "One Shot" (Canon) or "Single Servo" (Nikon). In this mode, the object is assumed to be stationary. Focus locks, you get lighting confirmation on the internal display, and then release the shutter. You won't be able to release the shutter if the focus is not locked.

The second type is “AI Servo” (Canon) and “Continuous Servo” (Nikon). This mode is designed for shooting subjects in motion, including sports events, wildlife etc. The camera finds the subject using the focusing point, and the focus will change constantly to keep up with the subject, but it will never lock. The shutter button will work even if the focus is not perfect.

Some cameras also have other modes, such as Canon's “AI Focus”, which are good if the subject is static but may start to move, as is the case with small children. Autofocus will lock onto the subject, but if the subject moves, the camera will go into AI Servo mode to track it.

The third feature, pre-focus, is designed for objects that are moving towards or away from you. The camera will try to predict the movement and provide you with an acceptable focus.

8. Don't change depth of field for the sake of good focus.

While using a greater depth of field with a smaller aperture can improve the "apparent" sharpness of an image, remember one thing: no matter what the depth of field, there is only one point of focus. So always practice good focusing techniques, regardless of the depth of field used.

9. Use a tripod or find support

When we take a photograph, we all unconsciously sway back and forth - especially leaning towards a subject with a heavy camera and lens set. It `s naturally. Everyone experiences this to one degree or another. And if you're shooting with a very shallow depth of field, that little distance you move can have a big impact on the sharpness and focus clarity you want. If you are using a depth of field of 4 inches, a deviation of 2 can have a disastrous effect. So, use a tripod.

Now I have to add, since I use a tripod myself - I hate them. They influence the way I work and most of the time the way I shoot. So, if you'd rather avoid using a tripod, at least take the time to practice the position good photographer. One foot in front of the other, legs slightly bent, arms tucked to your sides, not flopping around (this is where remote controls can come in handy), and body weight distributed centrally over your legs.

10. If still unsuccessful, use manual focus

I hear a deep sigh every time I suggest this to photographers. They regularly claim: “I only shoot in manual mode, never in automatic mode.” But offer them a manual one again focusing, and they will look at you as if you just offered to sell them your children. Manual focusing will in most cases (assuming your diopters are set correctly) will achieve the best and most accurate results. Especially in this digital age, when it is so easy to view an image at 100% or even 200% magnification on our monitors.

In fact, if you look at the unofficial autofocus specs, you'll notice that they aren't very accurate. Here is the specification for "sharpness": An image is considered sharp if it appears sharp on the print 6x9 from 10 inches away. Yeah, that's it. No 100% zooms, no 20x30 prints. Just this.

Today, a number of new cameras are being produced with a built-in Live View mode. This can be a useful tool when focusing manually. Turn on your Live View, zoom in on your subject/focus point, and check the sharpness on the display. This doesn't work particularly well in my case, since I'm almost always in brightly lit environments: deserts, beaches, etc. - but for some it will work just fine.

One note about the image above. I usually use it to show the manual focus lever, but another switch is also of interest: "1.2m to infinity" and "3m to infinity". This switch relates to what I was talking about earlier: don't force your lens to hunt for focus through every possible space. If you know you won't be focusing on anything closer than three meters, move the lever to the appropriate position and the lens won't have to wander around trying to find focus. This can result in more accurate primary autofocus.

11. What should I focus on?

For portraits close-up A common opinion has generally been reached: the eyes. For other types of portraits, it's still the face, unless you deliberately want to focus on some other part of the body. Place precise focus where you want the viewer's eyes to go.

It's not always that simple in landscapes, but you should still stick to the rule mentioned above. Don't bet on "this is a wide-angle, infinity-focus landscape." If you have a subject in the foreground, focus on it and let your depth of field bring the image into the background. If an object in the foreground is not in sharp focus, it is confusing because we naturally tend to see close objects in sharper focus rather than far ones.

Now I can work with focusing at "Hyper Focal Distance", but that is beyond the scope of this tutorial. If you are interested in this topic, which is likely, do a quick Google search.

12. The subject is in focus, but is it sharp?

Focus and sharpness are two different things. Explaining the concept of sharpness could take another separate lesson, so I'll just make a few useful points.

If an image is out of focus, you cannot bring it back into focus by adding sharpness. You'll just end up with a very sharp, out-of-focus picture. Most RAW images need some kind of sharpening added. Whether you use Smart Sharpen, Un-sharp mask, or high-pass filtering techniques, most RAW images benefit from sharpness. However, while I gradually began to use cameras more and more High Quality, I began to see less and less need for sharpening, and now only use this tool in about 25% of my shots.

Remember also that sharpness depends on the final product. You won't sharpen an image that goes online the same way as you would a 16x20 print. And with that in mind, if you intend to sell your photography through a stock agency, you shouldn't add any sharpening at all. Most will tell you that you don't need to do this because you can't predict what the image will be used for or at what size.

On the left are images straight out of the camera, unedited (English: “Straight Out of the Camera”), on the right - with added sharpening.

13. Consider the shutter speed

Shutter speed is another parameter that can cause a lack of sharpness. Each person has a limit on the shutter speed at which he can shoot handheld on lenses with different focal lengths. Some people are more consistent than others, but if you shoot at a shutter speed that can't compensate for the movement (shake) of your hands, your image will come out blurry. When it comes to standard and wide-angle lenses, most people can shoot consistently handheld at about 1/30-1/60th of a second.

Larger telephoto lenses require much faster shutter speeds. The general rule that people start with is "1 to the focal length of the lens." So, if you have a 200 mm lens, shoot at 1/200th of a second, and build from this level to understand your further capabilities. Personally, I shake like California on its worst days, so I usually shoot at faster shutter speeds. It also depends on how far you are from your subject, as the further away you are, the more noticeable the movement.

If the subject is moving, holding the camera steady or on a tripod won't help - you'll still need to select a satisfactory shutter speed to freeze the action. Most people start with 1/250, but this depends on how fast the object is moving. Requirements also vary depending on whether you're shooting in a static position or following your subject. If the latter, you can choose a slower shutter speed and get some interesting effects too. This will allow you to show movement in the background, but will capture the subject itself.

Image stabilization systems on lenses allow you to shoot handheld at faster shutter speeds (up to 3 stops), but will not “stop” movement any better than a lens without an image stabilization system. You can only capture the action using shutter speed (or high-speed flash).

Image Not out of focus. The shutter speed is too long.

14. Choose the correct exposure

Correct exposure and good lighting (the essence of all photography) are the key to good focus and sharpness. While sharpness is determined by the line of contrast, if you underexposed the frame or shot in dim lighting, the image will not be sharp even if all the other parameters of good focus are met.

15. I did it all. I'm still out of focus!

There is a small chance that there is actually something wrong with your hardware. Lenses from third party companies are sometimes not very well designed, and therefore they will not always function perfectly with branded cameras. Some work great, others don't. But sometimes even branded lenses are not made perfectly.

Cameras like the Canon 50D and 1D/Ds Mark III have excellent front and back focus adjustments for over 20 different lenses, so if you know one lens is perfectly focused in front of your subject all the time, you can adjust the camera to fix this. If this option is not available, you will need to determine whether your lens, or both the lens and the camera, need repair.

Here's a test you can do at home to see if it's you or the camera. Find a ruler and place it on the table away from the camera. Place your camera on a tripod and open the aperture as wide as possible. Take a photo of the ruler at a 45-degree angle, focusing on a specific mark - in this example, the six.

If this is the mark that you will see as clearly as possible when you open the image, then everything is in order with your equipment - get back to working on your equipment! If the sharpest point is before or behind this mark, then you will know that it is a hardware problem and should be taken in for service.

16. Conclusion

I covered a ton of topics in this lesson - I'm glad you read to the end! It seems to me that good focus and sharpness are two of the most important technical parameters, which need to be saved in the image. This can make the difference between shots that look professional and those that look like amateur work (and we all want to look like professionals, whether we are or not).