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It’s all great when you’re talking about a photograph or a painting that the audience has time to study. In film, every second has 24 frames, and there’s no time to study anything deeply. Moreover, shots from various angles are presented in succession. Most people in the audience focus their attention on the actors and performances. Only a negligible few will look at what’s happening in the background, even if it were sharp.

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Yet, a few directors over the ages have mastered the art of deep focus. Orson Welles is a great example. I’ve made a few videos on his work, and I urge you to watch them, as well as the video on cinematographer Gregg Toland, who was a pioneer of deep focus cinematography.

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I used a Red Monstro because it was a better camera for low light. I used Arri Master Anamorphics lenses, and had to stop down to a T8 most of the time to get deep focus. This is why I was forced to raise the ISO to 6400 to get a barely usable exposure. Any higher and the image looked bad.

This is a big reason why filmmakers don’t opt for deep focus, but that’s not all. There are other roadblocks as well. The aperture selected by the cinematographer will dictate the depth of field. If you want more depth of field, you have to stop down the aperture. This means you have to add more light. Adding light means more light fixtures, greater power demands and more manpower. And more time to set up everything. Getting deep focus consistently throughout a feature film significantly increases the cost of production. You can imagine why deep focus is not popular among producers.

A few years ago I experimented with deep focus on my short film Man May Love, it’s on YouTube. I wanted to see if I could achieve deep focus with minimal light. We were on a tight schedule and budget.

Without added light it would have been hopeless. And to make it harder I used telephoto lenses, because that’s what I like. Using wider lenses would have made life a lot easier.

Smaller sensor cameras still don’t have the dynamic range or color reproduction similar to the best cinema cameras. Of course, one can always crop a Red 8K sensor.

Deep focus is a style just as a musician produces a complex melody, or a chef creates a complicated dish. Deep focus cinematography is a different sensory experience. As Kurosawa progressed in his career his use of deep focus became more pronounced. In Yojimbo he uses deep focus with great skill:

To achieve deep focus you have to stop down the aperture to increase your depth of field, so that everything, regardless of where they are physically, is equally sharp, or equally in focus. This is a lot harder than it looks.

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It would have also been easier to open up the aperture and blur out the background. Many people would have considered that more cinematic, but not me. You can study the results for yourself and see how hard it is to achieve deep focus.

Because Citizen Kane is so renowned for its DF, I have watched it 2-3 times just to watch what was in-frame other than the subject(s). Quite entertaining on its own in many scenes.

Deep focus cinematography demands the consistent use of a large depth of field, no matter what the focal length or action.

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You didn’t mention the benefit of choosing a small sensor camera. Cameras these days have a variety of sensor sizes and good enough quality, for a specific shot you want to have with a wider depth of field. Do you agree with this approach?

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Instead of rain, what if it was something more important, like the expression of another person? Later in the film you have a deep focus shot of three characters, two of whom are about to fight, and the woman is in the middle:

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The only plausible explanation is that’s how Akira Kurosawa saw the world. It is a kind of film language, a style, if you will, a way of expressing how you see things at that moment. You’re not supposed to look for logical explanations, but subjective ones. The subjective explanation in this case is that Kurosawa was a painter, and his visuals are influenced by traditional Japanese paintings.

The only two things you can practically do is raise the ISO or add more light. Adding light costs time and money, and raising the ISO increases noise and reduces the dynamic range of most cameras. The last big roadblock is something called diffraction. When you stop down a lens to f/8 and beyond, the image loses sharpness. You’ll find explanations for all of these terms on my site, if you’re serious about your cinematography.

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Deep focus takes a great understanding of film composition. Your film sets, costumes, blocking had all better be great. Any shortcomings will be painfully visible, as I found out.

In the above shot from Ran, directed by Akira Kurosawa, everything is in focus, as practically as can be. This deep focus shot is relatively easy because filming with a wide angle lens automatically gives you greater depth of field, that’s more things in the foreground and background falling in focus. Filming with a telephoto lens makes it a lot harder, because your depth of field is low. A cinematographer has to do something special to get everything in focus.

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Let’s start with Rashomon, one of his early films, low budget, with lots of restrictions on equipment and light. There are many scenes where he would have loved to achieve deep focus throughout, like for example this one where the three individuals are sitting at the Rashomon gate during the downpour:

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It allowed Kurosawa to create a world in a pictorial style only he could imagine, and he wanted to communicate that to us.

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Before you get the wrong idea, both deep focus and shallow focus can be tastefully done, and both can be done poorly. If everything behind the main character in the frame is blurred out, you might not even know where the person is sometimes, or how they’re moving.

In many respects deep focus is similar to sketching. When we sketch, everything’s sharp. You need some skill in blurring out details in a sketch. Our eyes also work the same way. Everything’s always equally sharp, even when our attention is not on it. However, our eyes are selective in isolating what it is looking at, among a sea of equally sharp things. We just change attention from one thing to the next, similar to how you scan a painting hung on a wall.

When he used a wide angle lens he achieved deep focus. When he used longer focal lengths for the mid shots and close ups he could no longer get enough light, and probably gave up on the idea. Yet he fought for deep focus whenever he could, it was not an accident.

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Akira Kurosawa was not always wedded to deep focus. He was comfortable with both deep and shallow focus. Also, he tended to pick longer focal lengths, making it that much harder. Did he have a good reason to make it hard on himself and his actors and producers?

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That’s why it’s perfectly acceptable for the background to be blurred, even completely unrecognizable. It’s just not important enough. This is called shallow depth of field, and is the accepted norm followed by most filmmakers. Many would even go as far as to say this is cinematic.

Both shots define deep focus cinematography when used in combination, but if you only see wide angle establishing shots we don’t always call it deep focus cinematography.

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It is only natural that he tried to replicate this in his films. In High and Low, you have this shot of everyone turning their back to see smoke from a factory:

It would have taken time to stage the actors and light it to achieve deep focus. Yet that’s how he saw the world, like a painting. That’s probably why almost every frame from most of his films is like a painting, where everything is sharp and recognizable most of the time.

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Companies like Zenni Optical offer these advanced coatings at very reasonable prices. For example, their super hydrophobic coating is priced at just $8.95, and the oleophobic coating at $14.95. These coatings provide the same quality as those sold for over $200 in physical stores.

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We can clearly see all their expressions at the same time. The big question is, why do we need to see all their expressions at the same time? Couldn’t the director have cut from one expression to the next? In fact, Kurosawa does exactly that at different points in the film. What was so special about this one shot?

Some of you might be thinking, why add more light? Why not just compensate with the shutter speed, as is done in photography? In cinematography the shutter speed is fixed most of the time. Check out my videos on exposure and shutter speeds to understand why.

One often cited reason for deep focus is so you can see two or more things at the same time. E.g. here the three actors are talking, and the rain in the background is equally sharp. The question is: Will anyone in the audience be looking at the rain? Would it have been so bad for the rain to be slightly out of focus? You can hear the rain over the audio track. You see the rain in the preceding and succeeding shots, so it’s not like you will forget it’s raining.

From a practical perspective shallow depth of field can hide poor or low budget set design or locations. It can isolate the subject better, and you also need less light. This is why shallow depth of field is easy, and deep focus is rare.