The lure of bokeh in photography is strong. To the untrained eye, an out-of-focus background is correlated to a better photo, or at least the use of more expensive camera equipment, than a "flat" photo. That's why there's software to artificially add bokeh to photos by strategically blurring the background. And that's why many new photographers use wide-aperture lenses and shoot with the widest F-stop available to them. It's not something I recommend, but there's also technically nothing wrong with shooting wide open. You just have to know what you're getting into, and whether or now it's giving you the kind of photos you really want.
Case in point, ever since getting the Canon 24-70mm f/2.8 zoom lens, I've shot the vast majority of my photos at the maximum aperture. A glance at my Lightroom Analytics from WonderCon, for example, shows that all but four of my photos were taken at f/2.8. Part of this is because I know what kind of depth-of-field that aperture gives me with a full-frame sensor, and part of it is because I'm not attuned to subtle DOF changes while in the moment, when I'm thinking about shifting ISO and shutter speeds. Optical viewfinders don't do a very good job approximating the depth-of-field of a resulting photo. I stick with f/2.8 for now while I try to master the camera's other attributes, and take advantage of the amount of light it gives me.
But when shooting at a fixed and relatively wide aperture, there are smarter things you can do with your composition that dramatically affect how a photo turns out. That's something I've recently become much more aware of; that while shooting, my brain tries to visualize the plane of focus where the parts of my subjects are sharp. And that by adjusting the camera angle and composition, I can manipulate that plane of focus to put more of the subject in focus without having to change the aperture.
The plane of focus (not to be confused with a camera's focal plane) is an imaginary two-dimensional plane that "slices" through your scene. Everything lying on that plane is in focus, and objects in front or in back of it are out of focus, to various degrees depending on the camera and optics. The plane lies parallel to the camera sensor, so as you tilt your camera, the plane moves along with it. For some of the photos below, I've Photoshopped an approximation of the plane of focus as it intersects with the subjects.
Let's take a look at this photo above, taken when we visited Frank Ippolito for the painting of the Zoidberg Project. As Frank was working, I was maneuvering around him snapping up photos of the painting process. I wanted to capture the detail not only of the paint job, but of the fine wrinkles and creases in the mask sculpt. So using auto-focus, I pinpointed the focus on Zoidberg's tentacles--the equivalent of his nose. And while I got those tentacles in focus, the result was an unflattering photo, because the rest of the mask was lost in the bokeh. When taking portraits, one of the most important parts of a subject to get in focus is their eyes--it's what viewers draw their own eyes toward--and focusing on the nose usually means losing focus on the eyes. And yes, while this Zoidberg mask didn't even technically have eyes yet, I wanted to find a way to get both his eye sockets and tentacles in focus at the same time. The solution was simple.