This is the first chapter in a series that will include nature (and color), people, other animals and still life.
The dictionary definition of Depth of Field (DOF) is the sharp area in front, behind, and on both sides of the photographed image. If the DOF is high, the sharp area around the image is large. If the DOF is low (a shallow DOF), only a small portion of the area around the image we focused on, will be sharp.
The depth of field depends on the distance from the photographed image, the focal length and the aperture used when taking the picture. The focal length and the distance from the photographed subject have the strongest effect.
Almost ever since I started my photographic life in 1969, when I got hold of my first SLR – the legendary Nikkormat (because of a shortage in capital, I only bought the 50/2 lens), I fell in love with the open aperture, because I saw its potential:

Model: Nikon SUPER COOLSCAN 5000 ED Color Space: 65535

Using an open aperture lets one choose the exact focus point and leads the eye of the photographer to where we want it to go. One can obtain similar results when shooting from a short distance or when using a lens with a long focal length as we will see in this series of articles.
What is it good for? When isn't it good?
When shooting wide scenery, we would like to pass on the size and the space. We will then shoot with a wide angle lens (which naturally has a large depth of field) and we will close the aperture so that the entire scene included in the frame will be sharp.
If we shoot a group of people or children – as in a family photo or an event, we would like all the people to come out sharp.
When shooting a technical or architectural item, we would like the whole thing to be sharp and properly exposed.
All these photographic types have one thing in common – they are of the informative – documentary type. We pass on visual information with simple messages to the observer. Such pictures can be taken by anyone who can hold a camera in his hand and has a minimal technical knowledge with the only purpose being to pass on an impartial state of affairs.
On the other hand, shooting with a shallow DOF, expresses the private view of the photographer. What he finds in the picture? What is hinted in the background, what kind of connections does he choose to emphasize the message?
These too are informative pictures, but they are totally subjective.
This is similar to crops made in the picture – where the photographer uses an extraordinary build of the frame to pass on the message, together with the connections and association of other elements in the picture.
This subject will be discussed separately.
The use of the depth of field is a powerful tool in my arsenal, and its use as the painter's favorite brush. I can sink into an imaginative world when I hold the camera, and pick the reality I see to paint and present with this brush.
The brush need not be an expensive lens with a large aperture. One can form such a brush with almost any lens. Even simple kit lenses can become the brush. Not a fine one, but if we shoot at a maximal projection state – from the minimal length, we can achieve sufficient separation from the surroundings.
The background and the way it is expressed, has an important role in this type of photography. Even if we throw the background out of focus, its shape and quality (its bokeh) are meaningful to the message we want to pass.
On the other hand, one can use a "bad" bokeh to create a different background.
The mirror lens is notorious in creating a bagel shaped bokeh from spot lights that are out of focus. But one can use this as a secondary brush which adds to the vague story.

In the following example I introduced, using this lens, the observer to a strange and bizarre world. The nature of this lens contributes, and in fact paints an interesting background to the picture:

Model: NIKON D2X Exposure Time: 1/80sec F Number: 11 Max Aperture Value: 0 Focal Length: 1000mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 100 Metering Mode: Pattern White Balance: Auto white balance Flash: Flash did not fire Focal Length In 35mm Film: 1500 Date Taken: 2005:07:16 12:27:25 Color Space: sRGB

We will now see the brush in an assortment of operations – and move on the scale from the easy to difficult.
The first example – choosing the focus point on the magnolia petal, the hint is in the background – the typical yellow flower:

Model: NIKON D200 Exposure Time: 1/200sec F Number: 5.6 Max Aperture Value: 5 Focal Length: 180mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Center Weighted Average White Balance: Manual white balance Flash: Flash did not fire Focal Length In 35mm Film: 270 Date Taken: 2006:05:20 11:23:53 Color Space: sRGB

The next example is the complete opposite. The main subject, the cyclamen and the drop of water, is sharp – the background gives a hint of more of the same flowers:

Model: NIKON D200 Exposure Time: 1/125sec F Number: 3.2 Max Aperture Value: 3.4 Focal Length: 105mm Exposure Program: Aperture priority Exposure Bias Value: 0.3333333 ISO Speed Ratings: 125 Metering Mode: Center Weighted Average White Balance: Auto white balance Flash: Flash did not fire Focal Length In 35mm Film: 157 Date Taken: 2007:02:16 10:34:00 Color Space: sRGB

The third example - the abundance of colors of the tiny fruit. The background here is not really important – I painted the reality that was revealed to me:

Model: NIKON D200 Exposure Time: 1/30sec F Number: 6.3 Max Aperture Value: 4.5 Focal Length: 200mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 160 Metering Mode: Center Weighted Average White Balance: Auto white balance Flash: Flash did not fire Focal Length In 35mm Film: 300 Date Taken: 2006:07:29 11:24:48 Color Space: sRGB

The fourth example is similar to the second – the subject in focus is repeated:

Model: NIKON D200 Exposure Time: 1/60sec F Number: 5 Max Aperture Value: 4.3 Focal Length: 200mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Center Weighted Average White Balance: Manual white balance Flash: Flash did not fire Focal Length In 35mm Film: 300 Date Taken: 2006:07:08 09:59:55 Color Space: sRGB

This example is constructed in contrast to the rules – the distant subject is sharp and the closer subject is in fact blurry. The picture is also constructed in opposition to the centralization rules. The idea is that if we look at the flower petals for a while, the blurry part of the flower in the front draws the observer inside:

Model: NIKON D200 Exposure Time: 1/20sec F Number: 8 Max Aperture Value: 4.4 Focal Length: 105mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Pattern White Balance: Auto white balance Flash: Flash did not fire Focal Length In 35mm Film: 157 Date Taken: 2006:07:22 12:41:58 Color Space: sRGB

In the sixth example, the background plays an important role and intensifies the flowing of the flower upwards:

Model: NIKON D200 Exposure Time: 1/160sec F Number: 5 Max Aperture Value: 4.7 Focal Length: 116mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Center Weighted Average White Balance: Manual white balance Flash: Flash did not fire Focal Length In 35mm Film: 174 Date Taken: 2006:05:20 11:19:25 Color Space: sRGB

The next example draws us near to the abstract brush. The dry and mysterious flower of the lotus with a hint of a flower in the background and the leaves that are smeared like cream, complete this fairy tale:

Model: NIKON D200 Exposure Time: 1/1600sec F Number: 4.2 Max Aperture Value: 4.2 Focal Length: 200mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Center Weighted Average White Balance: Manual white balance Flash: Flash did not fire Focal Length In 35mm Film: 300 Date Taken: 2006:07:08 10:11:51 Color Space: sRGB

The eighth example – the sun shining on the flower and a calculated separation focus, creates a flame of this simple flower:

Model: NIKON D200 Exposure Time: 1/1250sec F Number: 4 Max Aperture Value: 3.7 Focal Length: 105mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Center Weighted Average White Balance: Manual white balance Flash: Flash did not fire Focal Length In 35mm Film: 157 Date Taken: 2006:07:08 11:17:21 Color Space: sRGB

And another riddle comes forth. What lies beyond this flower?

Model: NIKON D200 Exposure Time: 1/125sec F Number: 4.5 Max Aperture Value: 4.3 Focal Length: 105mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Pattern White Balance: Auto white balance Flash: Flash did not fire Focal Length In 35mm Film: 157 Date Taken: 2006:07:22 12:38:48 Color Space: sRGB

In the tenth example – I play with the light in the background, while choosing a shooting angle which adds color to the picture from a different flower and shooting in close range with a lens that has a fascinating bokeh. All these together create this colorful symphony:

Model: NIKON D200 Exposure Time: 1/250sec F Number: 4 Max Aperture Value: 3.6 Focal Length: 105mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Spot White Balance: Manual white balance Flash: Flash did not fire Focal Length In 35mm Film: 157 Date Taken: 2007:05:26 11:34:10 Color Space: sRGB

And finally, full abstract: shooting from a tiny range with an inverted lens over the macro lens creates a yellow-red dream detached from anything we know and can see with our eyes.

Model: NIKON D200 Exposure Time: 1/60sec F Number: 3.5 Max Aperture Value: 3.2 Focal Length: 105mm Exposure Program: Aperture priority Exposure Bias Value: 0 ISO Speed Ratings: 125 Metering Mode: Center Weighted Average White Balance: Auto white balance Flash: Flash did not fire Focal Length In 35mm Film: 157 Date Taken: 2007:07:07 13:09:24 Color Space: sRGB

The use of macro lenses, close-range shooting, an open aperture, and a long focal length macro – are only part of my tools for painting nature with my brush. I do not create pictures for any flower or plant guidebook; I use nature's rich colors and the optical brushes I have to pass on what my eyes see.
In the next chapter we will see how to paint people with these tools.