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Gallery: a depth of feeling

June 7, 2026 / 49 Comments

What use having a great depth of field, if there is not an adequate depth of feeling?

W. Eugene Smith

This quote reminds us not to get so hung up on technique that we forget to concentrate on what really matters in our photography: creating an emotional connection with our subject. Yet technique is important, and good technique can help bring out that feeling.

For this week’s Lens Artists challenge Patti asks us to ‘Focus on the subject’. There are a number of techniques we can employ to ensure our subject stands out, such as following the ‘rule of thirds’ to place it in an eye-catching position within the frame, or using leading lines to direct the viewer’s gaze. But I’ve chosen to focus on just one technique: using a shallow depth of field to make your subject stand out from the background. It’s a favourite of mine and I’m glad of this opportunity to share some examples from my archives.

What is depth of field?

But first, a quick explanation of the technique for anyone who might not be familiar with it. The term ‘depth of field’ refers to the range of sharp focus within your shot. With a shallow depth of field only a small element, your main subject, is in focus, with a blurred background. But with a greater depth of field everything from the foreground to background is in focus. The latter works well for landscapes, for example, whereas a shallow depth of field is usually better for portraiture and wildlife. You can achieve the effect either by using a macro lens or by standing back from your subject and using a long zoom to throw the background out of focus. I also have a useful ‘portrait’ setting on my phone which I use far more for nature shots than I do for people!

I must apologise to Patti (and everyone else) as I’ve found it impossible to limit myself to just four shots! However I’ve concentrated on images from recent trips so as not to duplicate with past posts on similar themes such as a Friendly Friday challenge in August 2022 and a previous Lens Artists challenge in April of that year.

My feature photo is of a pair of Black-legged Kittiwakes in Svalbard, the background sufficiently blurred to ensure they stand out but still with enough detail to set the scene.

Pacific Swallow, Tam An hotel, Banaue, Philippines

We had awoken to rain and to a group of swallows flying around outside our window. This one settled on the balcony just long enough for me to take a photo. I used a shallow depth of filed and the dull weather helped blur the background further.

Female Garden Sunbird at Miniloc Island Resort, Philippines

I photographed this bird from the restaurant. Ideally I wouldn’t have chosen such a contrast between light and dark in the background as it’s a little distracting, but birds alight where they choose, not necessarily where I would like them to pose!

Macaque youngster, Miniloc Island Resort, Philippines

A troop of macaques visited the hotel grounds several times a day. By photographing this one on a roof I was able to set him against a background of blurred but colourful bougainvillea flowers.

Little Green Bee-eater on a lamp holder, Wilpattu Safari Camp, Sri Lanka

I love Bee-eaters and photographed a lot of them in Sri Lanka. This shot is a favourite because it was photo-bombed by a peacock with its tail outspread, providing a blurred but unmistakable backdrop. Is it an image of a Bee-eater, a peacock or both?!

The feet of a Crested Serpent Eagle, Wilpattu National Park, Sri Lanka

With most of the bird itself either blurred or cropped out of the shot completely, the strength and sharpness of his claws stand out and become the main subject of the image.

A small container known as the Pyxis of Al-Mughira, Andalusia, 10th C AD, in the Louvre, Abu Dhabi

Moving away from nature, we can use the same technique to single out an individual object in a museum.

In the Piazza di Santa Croce, Florence
Outside St John’s Co-Cathedral, Valetta, Malta

I like to sample, and photograph, local drinks when I travel. For both of these shots I used my phone on that ‘portrait’ setting. The blurred backgrounds hint at the location but don’t allow it to detract from the main subject, the drinks.

Kris, the Ocean Explorer’s onboard professional photographer, at Tinayrebreen in Svalbard

I spotted Kris taking photos of the landscape from the deck below the one I was on. Both he and the ship’s rail are in focus, so the immediate setting is clear, while the background is thrown out of focus and further blurred by the damp weather conditions that day.

Bertie, our zodiac driver in Monacobreen, Svalbard

The glacier behind Bertie is completely out of focus. But interestingly, you can catch a glimpse of the landscape, and some of the zodiac’s passengers, in the reflection in his glasses.

At Port Sunlight, Wirral Peninsula, north west England

On a day trip from Liverpool to visit this historic village (more about that soon) I spotted some classic cars parked outside the art gallery. The scene was busy with people studying the cars, but by focusing on this one detail I managed to eliminate some of them and use another darker car as a blurred backdrop.

At the Chocolate Hills viewpoint, Bohol, Philippines

We’ll finish with a return to nature and to the Philippines. I have hundreds of flower images taken with a shallow depth of field but I chose this one to share here as, like some of my other chosen shots, the background retains enough detail to provide context to the location. While a completely blurred and ‘anonymous’ background can be effective, I often prefer to show just a little of the setting. My aim is to emphasise location as well as subject, and thus to distinguish between similar images taken in different places.

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