File depth to deep

The average depth of four-drawer vertical file cabinet drawers is The depth of four drawer lateral file cabinets is So this post has a tonne of information in it and rightly so, you see a lot of blogs will throw random answers out there without actually doing the work and giving you the industry average. Now a lot of you reading this will be in the process of buying a file cabinet and so if this is the case with you I would advise you to check out the following posts:.

The content on this site has been written by Fehed Nicass who has over a decade worth of experience in sales and has worked remotely for the past 2 years. Metal file cabinets - probably one of the most versatile pieces of furniture you can invest in for your home office. Recently however one of my neighbors has developed a bit of a mouse problem So a few months back, I decided to invest in a file cabinet as a way of storing all my paper and electronics for my home office. Recently however one of my neighbors has developed a bit Skip to content This website is supported by its readers.

If you want to save some of the painstaking time I did in designing my office, you can find my recommended products here How deep are file cabinets? These then were the results How deep are file cabinets: The average depth for a vertical file cabinet is mm or The average drawer depth for a file cabinet is What is a good depth range for file cabinets?

How deep are two drawer file cabinets? How deep are three-door file cabinets? To summarize how deep file cabinets are: The average depth of a vertical file cabinet is mm or On average lateral file cabinet drawers are This is the most well known tip for getting everything in your photo in sharp focus.

Look at the comparison of depth of field in the three photos of the bottle caps below. That's tip 3 and we'll get to that in a second. You can see, even stopped down all the way to f, the farthest and closest caps are not perfectly infocus. It's tougher when objects are close to the camera and that leads into the second tip. It's difficult to get a large depth of field when you're photographing close-up subjects. Because of the laws of optics, depth of field gets very narrow when you photograph up close subjects.

Landscape photography often involves composing your photo with objects both close and far from your camera, so a large DOF is usually desirable. In this photo of these walnuts, the lens was focused on the closest walnut. The resulting depth of field is quite shallow. It's actually a nice photography with the closest walnut in sharp focus and the farther away walnuts a bit on the blurry side. This tip for getting good depth is a little easier to understand.

Due to the optical properties of camera lenses, The wider the angle of lens you use the more depth of field you'll get. If you have a zoom lens, zoom out to the smallest focal length.

For instance if you have an mm lens, zoom out to 18mm. A very wide angle lens was used to take this dog's photo. You can see that even the dog's nose and the clouds in the far distance are both in focus. Wide angle lenses can also give you a very strong perspective and create very interesting photographs. I want to share with you an interesting fact about getting deep depth of field. Most people don't know this The smaller the sensor, the more depth of field you'll get. If you use a camera with a small sensor, the range of things in focus will be much larger.

What does this mean to you? Cell phone cameras naturally get much more depth of field than a compact camera, which gives you deeper DOG than a full-sized pro DSLR does. Yep, it's one of those optical principles again, but here's the advantage you have by shooting with a DSLR camera instead of using your smartphone. You get to control how much depth of field you want.

With a cell phone camera, because the sensor is so tiny, you will always have a lot of depth of field. As you'll see in the next section, there are times when you won't want to have a lot of depth of field.

There are times when you may not want the distant objects in your landscape photography to be in perfect focus. The main subject in this landscape is the close-up of the yellow flowers. The slightly more distant yellow flowers create a nice balance and then the blue water provide a great color contrast with the yellow.

Generally, you don't want to have deep depth of field when you are shooting a portrait. It's more desirable for the background behind you subject to be somewhat out of focus. A blurry background is less distracting and your subject separates from the background when it is softer. Portrait photographers like me use aperture priority when photographing people and set their lenses "wide open" to avoid too much depth of field. Here is another example of a landscape photograph where it's better to have everything in sharp focus.

You want the rocks in the foreground to be just as sharp as the trees and cascading water in the background. There is no one center of interest to focus on, but rather this photo is more about several areas of interest combined into one single composition. The moss-covered rocks in the nearby foreground, the winding stream and then the more distant cascading water create a pathway for our eye to travel.

Having a clear and sharply focused pathway for our eyes to travel within an image makes it more interesting to view for a longer period of time. You will want a decent tripod to prevent even the slightest movement of your camera.

You should you use your camera's self-timer or a shutter cord to prevent any camera giggle when you make your exposure. Compare the two examples below. If no image is present, the render will proceed as normal, creating a new image.

If image specifications do not match, the render will be aborted. Subpixel merge takes into account screen space resolution to further compress the file without losing too much accuracy, keeping more deep samples where they are needed. Note that adding large 'Tolerance Values' will override the default behavior of the 'Subpixel Merge'.

Subpixel merge's effect is obvious when we view a pixel at the edge of the sphere compared to a pixel that is in the center. The pixel at the edge of the sphere will get more deep samples to preserve the detail in the antialiased edge:. Three samples are visible on the edge of the red sphere. If you need to disable all sample merging, you can do so by setting all tolerances to 0 and turning off Subpixel Merge. Nuke only expects an alpha channel, so this might require further work in comp.

If two samples have a layer value difference bigger than this threshold, they will not be merged. You can also specify one tolerance per alpha, depth and AOV layer. Two samples will be merged only when the alpha, depth and every AOV difference values are under the tolerance values. If the opacity difference along the depth is smaller than this threshold, samples could be merged.

Any samples that fall out of this threshold difference value will be merged, and only the samples that have a larger value than the tolerance value will remain. If we reduce the tolerance values to zero we will get many samples when rendering the scene and viewing it in Nuke see below. However, if we raise the tolerance values see below , we are effectively creating a threshold by which the samples are merged.

If the depth difference for a given sample is bigger than this, do not merge those samples. If you reduce the 'Depth Tolerance' value to zero, you will get many samples when rendering the scene and viewing it in Nuke. However, if you raise the 'Depth Tolerance' value, you are effectively creating a threshold by which the samples are merged. If two samples have a layer value bigger than this threshold, they will not be merged.