3.1 Sharpness of Focus

◄ During our wedding session, I brought along the NATURA Black F1.9—a simple point-and-shoot camera—to capture candid moments during makeup and attire adjustments. In such portraits, I consistently focus on the eyes. When the gaze is alive, the subject’s presence becomes palpable; their inner character and temperament emerge with authenticity.NATURA Black F1.9 & Fujifilm Fujicolor Superia X-TRA 400

► At Auckland Zoo, I captured numerous images of animals. For wildlife photography, I typically employ a telephoto lens. This photograph was taken at 300mm. As with human subjects, I prioritize the eyes as my focal point—a choice rooted in how viewers naturally perceive and connect with form.
From Han Feizi’s *Xue Zhi Shuo Zuoshang* (The Left Volume of the External Storehouse): > “A guest once painted for King Qi. The king asked, ‘Which is hardest to paint?’ > The painter replied: ‘Dogs and horses.’ > ‘And which is easiest?’ > ‘Phantoms. For dogs and horses are known to all; they appear daily before the eye, so their likeness is difficult to capture. Phantoms have no form; they are unseen, thus easier to depict.’
This parable reveals a profound truth: the more familiar an object, the harder it is to render with authenticity—because viewers recognize its essence. The less familiar, the more freely one may interpret. In photography, abstract subjects allow creative freedom; yet for known forms, precision in focus and composition becomes essential. Thus, I select focal points that immediately draw the viewer’s attention—elements instantly recognizable and emotionally resonant.Nikon F75 & Nikkor 70-300mm f/4-5.6G & Fujifilm Fujicolor Superia X-TRA 400

◄ After our daughter Zoe’s birth, our social circle evolved into one centered on children. We began attending various playgroups. On a Sunday, we joined the Science Museum’s weekend Playgroup event—some twenty to thirty families gathered on a grassy field, children laughing and tumbling in joyful chaos. The scene was breathtaking. Unfamiliar elders even approached with long lenses, quietly capturing the fleeting charm of these young lives. Zoe is lively at home but shy in crowds—perhaps a trait inherited from me, who often claims to be introverted and awkward with people. Yet few believe it.
I have long found children a challenging subject—especially at Zoe’s age. My photographic principle is to avoid disrupting natural behavior; truthfully, I lack confidence in capturing spontaneous movement. But I cherish the quiet moments: a fleeting glance, an unguarded gesture, a subtle emotion. Many composition guides advise simplifying the background—especially when focusing on children’s interaction. I follow this rule whenever possible. Yet, when context is unavoidable, I shift toward storytelling.
In this photograph, the foreground and subject are Zoe’s interaction with Eason. The background features Eason’s parents, similarly engaged—holding cameras to photograph their own child. These quiet details are powerful narrative elements. By skillfully combining focus and depth of field, I create a scene rich with story—inviting viewers to interpret the moment through their own memories and emotions.Nikon D700 & AF-S NIKKOR 24-70mm f/2.8G ED

► During a pause on the Milford Sound Red Boat Cruise, I walked to the farthest edge of a nearby embankment to savor the tranquil fjord. The previous day had brought heavy rain, so every step across the short 100-meter path was through puddles. I stepped carefully over them, only to discover another traveler already seated in silence—absorbed in the moment. This journey to New Zealand offered better accommodations than my 2006 visit, but I noticed a shift: the fellow travelers were mostly retired expatriates, each enjoying a month-long vacation. My brief two-week stay felt fleeting in comparison.
When I found the best vantage point already occupied, I retreated to a less prominent position. Capturing the full fjord view through two people was nearly impossible—so I altered my composition to include them. Originally, I considered adjusting their proportion in frame, but the surrounding puddles limited my options. Still, placing human figures within a vast natural scene creates contrast: it enhances spatial perception and invites deeper reflection. I call this approach “using people to reveal the landscape.”Nikon D300 & AF-S VR Zoom-Nikkor 18-200mm f/3.5-5.6 G ED DX

◄ On the drive to Franz Josef Glacier, I paused briefly at Lake Hawea to admire its beauty. This is a classic example of human-landscape integration—what I call “using the landscape to enhance the figure.” It evokes a sense of travel, of having been here. While some portraits use wide apertures and shallow depth of field to isolate the subject, this method reverses that logic. When photographing people within a landscape, I begin by considering depth of field and focal point—prioritizing them over other compositional choices. To emphasize the mountain-lake backdrop, I set my aperture to f/16. Shooting at midday under direct overhead light, I used the camera’s built-in flash to fill in shadows and ensure proper exposure of the subject’s face. Though top-lighting is typically unflattering, here it complements the natural beauty of lake and mountain—creating a harmony between light and subject.Nikon D300 & AF-S VR Zoom-Nikkor 18-200mm f/3.5-5.6 G ED DX

► En route from Wanaka to Franz Josef Glacier, I paused at Haast Pass. At the Haast River viewpoint, I stepped out to examine glacial terrain shaped by ancient ice—also a brief pause from long driving. Though the river once flowed as an ice stream, today only its geological traces remain—turbulent waters carving dramatic rock formations. I watched others shoot portraits in the rushing current, marveling at their courage. A couple was moving upstream, searching for a safe spot to wade in.
From my vantage point, the man had already scouted ahead; the woman was preparing to step in. I captured this moment with a telephoto lens, emphasizing scale: the river’s grandeur becomes evident through human contrast. In the end, they found no safe place and abandoned their plan. I used a 135mm focal length (equivalent to 203mm on the D300), aperture f/5.6, shutter speed 1/1600s, and ISO 1600. The telephoto lens compresses perspective—yet through contrast between subject and environment, along with visual elements like upper and lower water flow, a sense of depth emerges.Nikon D300 & AF-S VR Zoom-Nikkor 18-200mm f/3.5-5.6 G ED DX

◄ The shallow depth of field created by a wide aperture not only isolates the subject but also transforms background elements into dreamy bokeh. During holiday seasons—Christmas or Lunar New Year—department stores and public spaces often feature festive decorations. These make ideal backdrops for portraits.
On a visit to see Christmas trees, we encountered a reindeer-drawn sleigh display. I seized the moment: using spot metering and an aperture of f/2, I kept focus on Zoe’s eyes. The shallow depth rendered the festive backdrop into a soft blur of colored light—creating an ethereal, seasonal atmosphere. In such settings, wide apertures evoke a dreamlike quality.Fujifilm FinePix X100

► Beyond aperture, proximity to the subject and longer focal lengths also reduce depth of field. This close-up of choy sum was shot at f/4—though not a wide aperture, the near distance still produced shallow depth. Despite accurate focus on the subject, background elements—such as the plate’s edge and spoon—appear blurred. When photographing close-ups, aperture must be carefully balanced: too shallow, and the subject blurs; too deep, and unwanted background details emerge. Thus, depth of field control directly shapes the image’s final impact.Fujifilm FinePix X100