Deep focus gives the eyes autonomy to roam over the picture space so that the viewer is at least given the opportunity to edit the scene himself, to select the aspects of it to which he will attend.
(Bazin (1948) quoted in Thompson & Bordwell, 2007).
Ansel Adams used a tilted lens to achieve a depth of field close to infinity, it also enables parallel lines to remain looking parallel (as opposed to converging as with a standard lens). The result was very sharp, detailed images.
Fay Godwin’s black and white images of the British countryside also displayed a deep depth of field. Her love of the environment/countryside is evident in her images where she shows the conflict between man and nature such as in Night Guard, Stonehenge, 1988.
Gianluca Cosi’s work is the opposite of the aforementioned photographers – his work has extremely shallow depth of field where the viewers eye is drawn to a small in focus detail in the street scene, with an out of focus fuzzy background.
Mona Kuhn’s Evidence series uses soft focus to provide a sense of intimacy to her subjects naked bodies.
Kim Kirkpatrick used a shallow depth of field in his early work to draw attention to the subject matter in the foreground, leaving the viewer to wonder what the context of the image as a whole was.
Guy Bourdin’s use of colour coupled with deep depth of field adds drama and intensity to his fashion shots.