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The focal point F and focal length f of a positive (convex) lens, a negative (concave) lens, a concave mirror, and a convex mirror.. The focal length of an optical system is a measure of how strongly the system converges or diverges light; it is the inverse of the system's optical power.
If the medium surrounding an optical system has a refractive index of 1 (e.g., air or vacuum), then the distance from each principal plane to the corresponding focal point is just the focal length of the system. In the more general case, the distance to the foci is the focal length multiplied by the index of refraction of the medium.
The crop factor is sometimes referred to as the focal length multiplier ("Film") since multiplying a lens focal length by the crop factor gives the focal length of a lens that would yield the same field of view if used on the reference format. For example, a lens with a 50 mm focal length on an imaging area with a crop factor of 1.6 with ...
The effective focal length is nearly equal to the stated focal length of the lens (F), except in macro photography where the lens-to-object distance is comparable to the focal length. In this case, the absolute transverse magnification factor ( m ) ( m = S 2 / S 1 {\displaystyle m=S_{2}/S_{1}} ) must be taken into account:
The depth of field, and thus hyperfocal distance, changes with the focal length as well as the f-stop. This lens is set to the hyperfocal distance for f /32 at a focal length of 100 mm. In optics and photography, hyperfocal distance is a distance from a lens beyond which all objects can be brought into an "acceptable" focus.
where t is the total depth of focus, N is the lens f-number, c is the circle of confusion, v is the image distance, and f is the lens focal length. In most cases, the image distance (not to be confused with subject distance) is not easily determined; the depth of focus can also be given in terms of magnification m:
The effect is especially noticeable the closer the camera is to the subject, as its amount increases the shorter the focal length is at the same field size. One notable director that frequently employs rectilinear ultra wide angle lenses in order to achieve a distinctive signature style defined by extreme perspective distortion is Terry Gilliam.
The depth of field, and thus hyperfocal distance, changes with the focal length as well as the f-stop. This lens is set to the hyperfocal distance for f /32 at a focal length of 100 mm. In optics and photography, hyperfocal distance is a distance from a lens beyond which all objects can be brought into an "acceptable" focus.