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Depth of field
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==Object-field calculation methods== Traditional depth-of-field formulas can be hard to use in practice. As an alternative, the same effective calculation can be done without regard to the focal length and {{nowrap|f-number}}.{{Efn|Notwithstanding that the {{nowrap|f-number}} is derived from the focal length.}} [[Moritz von Rohr]] and later Merklinger observe that the effective absolute aperture diameter can be used for similar formula in certain circumstances.{{sfn|Merklinger|1992}} Moreover, traditional depth-of-field formulas assume equal acceptable circles of confusion for near and far objects. Merklinger{{Efn|Englander describes a similar approach in his paper [https://web.archive.org/web/20000823214205/http://www.englander-workshops.com/documents/depth.pdf Apparent Depth of Field: Practical Use in Landscape Photography]; Conrad discusses this approach, under Different Circles of Confusion for Near and Far Limits of Depth of Field, and The Object Field Method, in [http://www.largeformatphotography.info/articles/DoFinDepth.pdf Depth of Field in Depth].}} suggested that distant objects often need to be much sharper to be clearly recognizable, whereas closer objects, being larger on the film, do not need to be so sharp.{{sfn|Merklinger|1992}} The loss of detail in distant objects may be particularly noticeable with extreme enlargements. Achieving this additional sharpness in distant objects usually requires focusing beyond the [[hyperfocal distance]], sometimes almost at infinity. For example, if photographing a cityscape with a [[Bollard#Road bollard|traffic bollard]]{{Broken anchor|date=2025-05-30|bot=User:Cewbot/log/20201008/configuration|target_link=Bollard#Road bollard|reason= The anchor (Road bollard) [[Special:Diff/531155126|has been deleted]].|diff_id=531155126}} in the foreground, this approach, termed the ''object field method'' by Merklinger, would recommend focusing very close to infinity, and stopping down to make the bollard sharp enough. With this approach, foreground objects cannot always be made perfectly sharp, but the loss of sharpness in near objects may be acceptable if recognizability of distant objects is paramount. Other authors such as [[Ansel Adams]] have taken the opposite position, maintaining that slight unsharpness in foreground objects is usually more disturbing than slight unsharpness in distant parts of a scene.{{sfn|Adams|1980|p=51}}
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