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There are benefits to having either a higher aperture or a lower aperture. It all depends on what kind of look you are going for — because high and low apertures create distinct looks that help you dial in that “sweet spot” for your style.

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To increase or decrease the aperture, simply adjust the camera’s circular jog wheel. If all else fails, check your camera’s manual!

The aperture on your camera is a hole in the lens that controls the amount of light that passes through the camera lens to fall on the sensor.

Something to keep in mind is that the aperture on your camera not only affects the brightness or exposure of your image, but it affects depth of field, too.

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Think of it like your eyes: When you squint, less light comes through to the pupil, and when the eye is opened fully, all of the light enters.

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Simply put, the f-stop number is tied to aperture. The higher the f-stop number, the smaller the aperture, which means less light enters the camera. The lower the f-stop number, the larger the aperture, and the more light enters the camera.

A small aperture has a higher f-stop, so less light will come through the lens to reach the sensor (larger number = smaller hole).

Let’s start at the very beginning: What is aperture? Great question! Aperture is often referenced in optics — a branch of physics focused on the study of light. In optics, aperture is the name for a hole through which light can travel.

When it comes to physically using aperture on your camera, adjusting your aperture should be simple! Every camera has an f-stop number digitally displayed on an LCD screen, or on the dialog box on the top of the camera.

About Zoom meetings and lighting. A standard AR coating works best. Certain lights like ring lights can cause visible reflections. You can reduce this either by repositioning the light source or switching to a fluorescent light.

Here’s what we mean by that: Each lens is different and has different characteristics. So, depending on whether you use a macro, zoom, prime, or telephoto, one setting is going to look different across each one of these lenses.

Now, if you’re shooting a closeup of something extremely cute and still, like a closeup of a sleeping dog, then you’ll want to crank that aperture all the way down. With a lower aperture, you’ll be able to have a dynamic depth of field in your shot.

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But, aperture doesn’t only matter in physics. It affects how your video looks and even how the tone of your video feels. So, how does this light-controlling hole affect your videos? Let’s dive in and learn more!

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Aperture is one of the three main adjustments for exposure/brightness on your camera, with the others being shutter speed and ISO. Setting the right aperture also depends on what the shutter speed and ISO are set at; they all work together to create one balanced-looking shot.

Traditionally, a lens that goes below an f/4 is classified as a “fast lens,” which refers to the maximum aperture diameter (or f-stop).

At the end of the day, when it comes to aperture, the main thing to remember is that it controls how much light comes into your shot — and you want to use that knowledge to choose the best aperture based on the context of what you’re shooting.

The aperture setting is typically identified by an f-number, often called an f-stop, which is a ratio comparing the focal length to the effective aperture diameter.

If you’re still fuzzy on what setting to pick, go ahead and try a couple of shots! Take a couple shots at one f-stop, and if you don’t like that look, adjust accordingly.

You might be wondering why f-stops are displayed using decimals (e.g., 1.4, 2.8, and more). Well, that’s because they’re a fraction that stands for the ratio of the focal length of a lens to the diameter of the entrance pupil.

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Steve Mower - Updated July 29, 2024 Please Note: Mojo BluFilter Standard AR is discontinued. Choose Mojo UV+HEV+IR AR instead. Anti-Reflective Coatings (AR) Better Optical Quality and Appearance All quality lenses whether in telescopes, binoculars, and your smart phone's camera, have an anti-reflective coating. There is no such thing as 100% non-glare lenses but anti-reflective coatings for eyeglasses reduce reflections and glare. They look nicer and you get clearer vision. Anti-Reflective (AR) Coatings, or "Non-Glare" coatings are designed to increase the optical quality of lenses by "pulling" more light through the lenses. Typically, standard, non-blublock AR coatings pull over 99.95% of light through the lens.  A lens without AR will typically reflect off about 20% of the light hitting it. For eyeglass lenses this can look unsightly as people can see a lot of reflections off the front surface of the lenses. AR coated lenses look almost totally clear with very little reflection. How do you know if a lens has an AR coating? If you look at the lens straight on it will look very clear. Held to a slight angle you will see a shimmer of color. The color can be a mix of blue, green, yellow, purple depending on the combinations of minerals used in the AR stack. An AR stack is is the multiple layers of coatings that "pull" the light through the lens. Different manufacturers have their own AR stacks.  High quality AR coatings also have other layers of coatings that make the lenses more scratch resistant, block more UV, and make the lenses less easy to smudge and easier to clean (hydrophobic coatings). About Zoom meetings and lighting. A standard AR coating works best. Certain lights like ring lights can cause visible reflections. You can reduce this either by repositioning the light source or switching to a fluorescent light. Our best lenses for Zoom meetings: Mojo Standard AR Mojo UV-HEV-IR AR - New! Crizal Rock BluFilter Standard AR Mojo 1.67 Ultrathin Standard AR   ANTI-REFLECTIVE LENS TYPES   Standard AR Coatings Pull over 99.95% of light through the lens to your eyes. Cosmetics: Lenses are very clear with no surface glare. Lenses: Mojo Standard AR   BluBlock AR Coatings Specially designed to reflect off a percentage of blue light before entering the lens.  Allows beneficial blue light through to your eyes. Reduces reflections and unwanted glare. Cosmetics: A blue flash off the front surface of the lenses can be seen. This is blue light being reflected off. Lenses: Mojo BluBlock AR, Apex BluBlock AR-T, Crizal Prevencia AR       Blue Filter Lenses with Standard AR Coatings Lenses have a blue filter monomer which filters a percentage of HEV Blue Light. Standard AR Coating does not reflect off blue light. Allows beneficial blue light through to your eyes. Reduces reflections and unwanted glare. Cosmetics: No blue flash off the front surface of the lenses can be seen.  Great for video meetings. Lenses: Crizal Rock, Crizal Rock 1.67, Mojo UV-HEV-IR AR       Blue Filter Lenses with BluBlock AR Coatings (Hybrid) Lenses have a blue filter monomer which filters a percentage of HEV Blue Light. BluBlock AR Coating reflects off blue light. Allows beneficial blue light through to your eyes. Reduces reflections and unwanted glare. Cosmetics: Blue flash off the front surface of the lenses can be seen.  Provides superior blue light protection. Lenses: Zenspex 1.6 BluBlock AR, Kodak Total Blue 1.6 AR  Go here to see a video showing the relative effectiveness of these blublock lens types. Blue light reflected of of BluBlock AR Coatings can be seen: Our Lenses with AR Coatings BLUBLOCK AR LENS NAME  ~TOTAL HEV    BLUE FLASH    OPTION $ Mojo BluBlock AR ~25% YES $15 Apex BluBlock AR-T ~33% YES $20 Zenspex BluBlock 1.6 AR ~80% YES $50 Kodak Total Blue 1.6 AR ~80% YES $80         STANDARD AR LENS NAME ~TOTAL HEV BLUE FLASH OPTION $ Crizal Rock BluFilter Standard AR >20% NO $100 Mojo Standard AR 0.0% NO $15 Mojo Ultrathin 1.67 Standard AR 0.0% NO $60 Mojo UV-HEV-IR AR ~70% NO $60   See our AR Lenses Specifications Read our BluBlock Guide for help in selecting the right blue block option option for you.    Steve Mower is a licensed dispensing Optician and creator of Mojo BluBlock Tints. Steve has over 30 years experience in the optical field. He has been a optical retail manager and has consulted on progressive lens development. Steve has been offering unique reading glasses solutions on-line since 2010. Steve is a member of Opticians Association of Virginia and Opticians Association of America.

Some zoom lenses have a fixed aperture throughout the range of the zoom. These lenses include a 24–70mm f/2.8, a 24–105mm f/4.0, and a 70–200mm f/2.8. Some newer lenses even have a lower aperture, like the 28–70mm f/2.0. These lenses tend to be more expensive than zoom lenses with a variable aperture. An example of a lens with a variable aperture is an 18–55mm f/3.5–5.6. This means that as you zoom in, the aperture gets smaller, and the number gets bigger.

The beauty of DSLRs is that you can play around with your aperture and instantly see the results to find just the right setting for what you’re trying to achieve.

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Most people will probably say lower apertures are the best. That’s because, in a lot of cases, more expensive lenses typically have lower f-stops (e.g., 1.2, 1.4, 3, etc) and a more expensive lens can sometimes equate to better quality. For example, prime lenses (i.e., those with a fixed focal length), like a 24mm, 35mm, or 50mm, can have apertures as low as 1.2 and can create some dynamic looking shots.

If your background is messy or busy, it can be distracting for the viewer and pull their attention away from the subject of your shot. Use a low aperture to blur your background! Stick to as low of an aperture as possible to focus on your subject and keep the background blurry.

A higher aperture (e.g., f/16) means less light is entering the camera. This setting is better for when you want everything in your shot to be in focus — like when you’re shooting a group shot or a landscape.

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If so, you may want to use a lower aperture (f/1.8). The lower the number, the more shallow the depth of field. Less things will be in focus, and the setting will create a dynamic-looking shot.

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Basically, f-stops are a quantitative measure of the lens speed and are often specific to what type of lens you’re using. For example, some lenses don’t go below an f/4 and others can go down to an f/1.2.

Steve Mower is a licensed dispensing Optician and creator of Mojo BluBlock Tints. Steve has over 30 years experience in the optical field. He has been a optical retail manager and has consulted on progressive lens development. Steve has been offering unique reading glasses solutions on-line since 2010. Steve is a member of Opticians Association of Virginia and Opticians Association of America.

You can use many different apertures for recording quality video. If you’re familiar with photography, aperture for video follows the same rules you’re already familiar with.

A lower aperture means more light is entering the camera, which is better for low-light scenarios. Plus, lower apertures create a shallow depth of field, making the background blurry. You want to use a low aperture when you want a more dynamic shot. For example, we use low apertures like (f/1.8) in our Wistia studio to create that cinematic look.

If you’re shooting landscape, you may want to use a higher aperture (f/16). With a higher aperture, more things in the shot will be in focus.

Here are some examples: If your subject is running or moving a lot, then you probably want a higher aperture where more of the scene is going to be in focus, so your subject doesn’t become blurry.

Finally, with autofocus tracking recently taking over the DSLR game, you don’t have to worry too much about your shot being in focus, but these rules above still apply when properly exposing for a shot.

All quality lenses whether in telescopes, binoculars, and your smart phone's camera, have an anti-reflective coating. There is no such thing as 100% non-glare lenses but anti-reflective coatings for eyeglasses reduce reflections and glare. They look nicer and you get clearer vision.