sign in sign up
<<
Home , Macro photography

Macro

Beyond Flowers and Butterflies

An introduction to the fascinating world of close-up and macro photography

Reinier Munguía email: [email protected] www.wildstockphotos.com INTRODUCTION

This publication will help you get there’s only one way of doing out the door. Research plays a big started in the amazing world of things, but in reality you can ac- role in successful photography. macro photography, its challenges complish the same effect using Preparing yourself to what you and the techniques I use to over- different techniques. Problem might encounter will increase your come some of these challenges. solving in the field will depend on chances of capturing that unique Although not a complete guide, it many factors including the weather, image. provides you with the knowledge your equipment limitations and Obviously, equipment is a limit- required to take beautiful images. your subject. That’s the reason why ing factor in how close you can get You’ll learn useful techniques that I there isn’t a single and specific so- and the quality of the image you have learned over the years, sav- lution to most macro photography obtain. We’ll discuss some of the ing you time and frustration when questions. My best advice is to most commonly used equipment, shooting small creatures. familiarize yourself with your gear, their advantages and how to prop- Most people entering this fasci- learn as much as possible about erly use them to get the best they nating field of photography think your subject, even before you get can provide. Basic photographic techniques such as , focusing and will be discussed in terms of their applica- tions in macro photography. I have also covered few things that we can do to make our photography more affordable by building simple gad- gets that will improve our photog- raphy with a minimal investment. Finally, I’ll emphasize the im- portance of learning about your subject and the environment in which it lives. How to approach those skittish subjects and how to deal with nature’s obstacles will also be discussed. In order to be a successful nature photographer, you must first become a naturalist. Only through direct observation of the subject, one can learn about the natural world and that leads to better images. One final thought: practice makes perfect, and all good nature photographers are the result of many years of experience. Frustration is part of the equation, and without it, we can’t learn.

Eastern Tiger Swallowtail, Florida. Nikon D70, 105mm, 1/250 sec. at f8

2 Introduction DEFINING MACRO

First, lets define macro photogra- two ways of expressing them as magnifications of 100X and more. phy, as there are several interpreta- ratios and magnification power. For most nature photographers, the tions, but only one correct. This magnification ratios and the cal- was caused in part to the marketing For a subject that is 1 in. long. culations involved are irrelevant. hype of many manufacturers that Actual Size Magnification Ratio They’re happy with what they see on Film claim the macro capabilities of through the viewfinder and pay 1/8 in. 0.125X 1:8 their lenses, in which cases were no attention to the actual magni- 1/4 in. 0.25X 1:4 merely lenses that allowed for fication, but for a photographer 1/2 in. 0.50X 1:2 closer focusing, but not real magni- involved in research of insects or 3/4 in. 0.75X 1:1.3 fication. While the term macro and other small creatures knowing it 1 in. 1X 1:1 close-ups have been used inter- can be a plus. 2 in. 2X 2:1 changeably over the years, there’s a On this book, we’ll cover not difference that sets them apart. The For instance, an image captured only how to shoot real macro imag- main difference is on the magni- at 1:2 is called half life-size while es, but also how to get good close- fication rate. Macro photography one captured at 1:1 is called life- up shots. As I mentioned before, falls in a category of the so called size. Take, for example, the nickel most images considered macro close ups in which the subject is coin below. If we shoot the coin at aren’t real macro shots, but merely magnified or enlarge to about 1X, a 1X or 1:1 ratio, the image produced close-ups. Most nature photog- term also expressed as 1:1 that rep- on the 35mm frame will be the raphers are more interested on resents the size of the subject over same size of the actual coin. close-ups than true macro images, the size of the image on film. The due to several causes including the typical example is the macro photo difficulty of working at such close of a coin. On 35mm photography, range with subjects in the wild, the we reach 1X when the image pro- weather and the light conditions duced on film matches the actual that dictate your speed. size of the coin. Twenty years back, The closer you get to the subject, a lens with a maximum magnifica- the more light you’ll be blocking tion of .25X also expressed as 1: from it, plus you run the risk of the 4 was considered a macro lens. subject fleeing the scene. Extreme Nowadays, a true macro lens is one macro shots require additional that allows you to achieve at least equipment that can be cumbersome a 1:1. for field work or too heavy to carry To further explain the concept When looking for a macro lens, for prolonged walks. lets start by defining the term you’ll find that those that can reach Nevertheless, there are situations magnification as the ratio between a 1:1 magnification ratio without in which you would love to get re- the image on film and the actual any attachments are considered true ally close to tiny subjects, in which size of the subject. To give you an macros. case you can use alternative meth- example, an image of a ladybug- Once the image size on the film ods to achieve the extra magnifica- about 1/4 inch at 1X, will render exceeds the actual size of the tion. Some of these methods I will an image of the bug of about 1/4 subject, then we’re talking about discuss in more details later in this inch on the film. The following high magnification macro photog- book. table will help you understand how raphy. This should not be confused magnification ratios work and the with microphotography that covers

Defining Macro 3 EQUIPMENT

The basic and most recommend- system. The lens is probably the low light levels around the sub- ed equipment for macro photogra- most important factor to consider. ject and to avoid blur due to slow phy is the 35mm SLR (Single Lens Buying good glass means sharper shutter speeds. A unit is an Reflex) with TTL capabili- images, less distortion and better essential tool that should be care- ties. With an SLR system, you see rendition. For most of us fully selected to ensure total TTL through the viewfinder exactly it’s better to save the money on capabilities. Let’s discuss in detail what will be captured by your the camera and invest it in a better the basic gear to get you started. camera when you press the shutter lens. One other thing to consider release. TTL stands for (Through is the weight of your setup. If you Camera Body The Lens) metering, a system in do more than just closeups, you’ll which the amount of light delivered probably carry few lenses in your Any SLR or DSLR body will by a flash or ambient light can be backpack to cover all the focal work as long as macro lenses or metered as the light passes through lengths, then you know how heavy attachments are provided for the the lens. This system ensures bet- that can be. Since the quality of purpose of close focusing on the ter exposures without the guessing an image depends on the glass, I subject. Things to consider when work. Before TTL systems hit the prefer to have a lighter camera and buying a camera system and espe- market, photographers had to use save the weight for the quality lens. cially the body include: special exposure calculators to get Most of my close-up photogra- the right exposure for the subject phy was created while scouting a -Interchangeable lens capability. and to compensate for the magni- site for bird or wildlife photogra- -Manual exposure mode. fication being used. Digital SLR phy. Being prepared can save you -. (DSLR) offers the same advantages a lot of aggravation and frustration. -Depth of field preview. and, in some cases, larger magni- Many times I’ve walked through a -Flash synch of at least 1/250 sec. fication due to the cropping fac- nature preserve full of macro and -Ergonomic design. tor produced by the fact that their close-up opportunities to suddenly -Mirror-lockup. CCDs are smaller than the 35mm realize that I have left my heavy -Light weight. frame. Besides, they offer a hand- macro lens at home. But a knowl- -Full range of accessories. ful of tools for the digital photog- edgeable photographer can actually rapher, including instant previews, solve this problem without having Lenses histograms and highlight warn- to come back later. If you plan to ings. Most SLRs provide you with come back later, chances are your I recommend using lenses that the flexibility of interchangeable subject will not longer be there. without any attachment or exten- lenses, and an array of attachments Among the things you want to sion tubes can achieve at least a for macro photography. Even to- have on your camera is the abil- 1:2 magnification ratio. The day’s compact digital can ity of shooting manual mode or ultimate lens for macro work is produce impressive images, and at least, some way to override a the true macro lens that gives you the live previews through the LCD programmed mode such as aper- a 1:1 ratio without any attach- can help on the subject and ture or shutter priority. Being able ment. Three basic focal lengths overcome the parallax error found to control the settings are available in the market: 50mm, in non-slrs cameras. will help you control the depth of 90mm and 105mm. Each one Almost any SLR or DSLR field. Meanwhile, having control has a particular advantage over system will do just fine for close- of the ensures proper the others, even when they of- up work as long as you have the exposures and balanced exposures fer the same maximum aperture proper lenses and/or attachments. between your subject illuminated of f2.8. The main difference they The brand of the camera is irrel- by flash and the ambient light over all have is the minimum focusing evant, but its ruggedness, reliability the background. Most macro and distance at which they achieve the and available accessories are very close up work requires the use of 1:1 magnification. The 50mm has important points when selecting a artificial light to compensate for the the shortest focusing distance with

4 Equipment EQUIPMENT only 7.4 in., followed by the 90mm at 11.40 in. and as +1, +2 and +3. The magnification obtained will finally the 105mm at 12.3 in. This distance is impor- depend on the diopter power and the lens being used. tant especially when working with skittish subjects. Most of these supplementary lenses are made of a sin- Having to down to barely 7.4 inches from a gle element lens that works by shortening the effective jumpy grasshopper will prove to be an impossible task of the lens in which they are used, thus using the 50mm lens. The 105mm is the best choice allowing you to focus closer to your subject. They can to tackle this job as it offers you a better working dis- be used singly or combined, but let me warn you about tance. Most true macro lenses are heavy due to their the degraded quality when combined. These lenses are construction and numerous elements incorporated into inexpensive and easy to use, and can be a good way to the barrel. You can achieve magnification ratios of 1: get started. 1 even without owning one of these lenses by using extension tubes. Bellows

Extension Tubes A bellows is simply a variable length exten- sion tube. Magnifica- tion can be changed by how much the bellows is extended and the focal length of the Extension tubes are similar to a teleconverter with- used. They are placed between your cam- out the glass elements. They create magnification era body and the lens. Extremely powerful magnifica- by separating the prime lens from the focal plane. tion can be obtained from this setup, but unfortunately They’re usually sold as a set of three different lengths: they’re too bulky to carry into the field. Besides, 12mm, 20mm and 36mm. They can be used individu- they’re not TTL capable and the aperture needs to be ally or combined, and produce similar quality as that stopped down physically by moving the diaphragm or of a macro lens, as long as the prime lens is of good using a double cable release. Focusing can also be a quality glass. Nowadays, these extension tubes come challenge and requires to be mounted on a at all equipped with electronic contacts that allow you to times for effective use. correctly meter the exposure. In the past, this wasn’t possible, and the macro photographer relied on calcu- Macro lens lations to get the exposure right. Combined with the TTL capability for flash photography, extension tubes The macro lens is definitely the best way to do mac- can be an affordable way to get into quality macro ro in the field. These lenses are especially designed to photography, with prices ranging from $100.00 US to obtain maximum magnification with minimal distor- $200.00 US for a set of three. We’ll discuss them in tion. A true macro lens can yield a 1:1 magnification more details later in this book. without any attachment. Most of today’s macro lenses

Supplementary lenses

These are the so called close-up lenses or diopters that can be attached to the front of the lens in the same way filters do, and indeed many people call them close-up filters. They come in different strengths, Sigma Macro 105 mm f2.8 measured in diopters such

Equipment 5 EQUIPMENT

are and work perfectly achieve this is by using TTL flash outdoors. with modern TTL technology. extension cables. Many recent Unfortunately, using autofocus on cameras offer wireless capabili- Flash Meter these lenses can be very frustrating ties that remove the needs of these at high magnification, as they tend cables, but their performance at The flash meter can be a really to be slow and erratic. I personally close range is questionable. helpful tool when using non-TTL do most of my macro work focus- extension tubes or bellows. By ing manually anyway, so this does Tripod metering the available light or that not bother me that much. The most of a flash exposure, you can then common focal length of true macro The tripod is probably one of the calculate the amount of light loss lenses are 50mm, 90mm, 105mm most important pieces of equip- due to extension and get the right and 180mm. While they all give ment for any type of photography, exposure. Remember when you you the same magnification, it’s the extend the lens by any mean, there working distance that varies. In will be a loss of light. terms of pricing, they are expen- sive, but worth every single penny. Macro Focusing Rail

Flash This device makes focusing at short distances a lot easier by keep- Most, if not all macro work, ing the camera over a moving rail requires some flash to aid in stop- that can be adjusted to move back ping motion and softening shad- and forth. When working at close ows. A TTL unit will offer you to 1:1, focusing the lens might also the best results as long as it allows change the extension of the lens. you to dial in exposure compensa- but when it comes to macro pho- In other words, as you focus on a tion. Smaller units are preferred tography, you need a sturdy one subject, the front element of your because of their weight and size. that offers flexibility of motion. lens is displaced forward, chang- Their small size makes them less Meaning that you can move the ing the extension of the lens. This frightening to your subject. They axis in various directions and an- change in extension affects the don’t need to be powerful as your gles. A removable center column is magnification requiring you to subject to camera distance will be a must, and if it can be positioned recompose by moving the camera. short enough to use stopped down diagonally towards the ground, No better way to do this than by in excess of f16 without even better. A tripod to be used using a focusing rail. They can be using all the power stored in the for macro work should allow you expensive and too bulky to carry capacitors. The selection of the to extend the legs out, flat against on your backpack on long walks. flash should be based in compat- the ground so that you can work ibility and features, rather than size with the camera upright. The idea Macro Bracket or value. of inverting the center column is awkward and risky to say the least. This item will be your third hand Flash Extension Cables If you want to achieve maximum for holding a flash. While there sharpness, I’ll recommend using are several designs in the market, The top mounted flash is not a tripod whenever possible. Also, I have used one simple design that very useful in macro photography there’s no such thing as a light- can be easy to build and very flex- because the subject might be too weight tripod that is strong enough ible. With just one trip to Home close to the lens. For this reason, for . Heavier Depot or Lowe’s, and a quick stop it’s preferably to have it off-camera tripods are more stable and dura- by the local camera store, you’re and usually at a 45° to either side ble. Avoid those with many plastic set to build your own flash bracket. of the subject. The only way to parts; they won’t survive the rough More details on page 8.

6 Equipment DO IT YOURSELF

Household items useful for macro and close-up photography

Aluminum Foil

Diffused Light Bowl

Cardboard Small Mirrors

Masking Tape Clamps and Clips

Here’s a list of some household Small Mirrors tors or flash extension cables. items I used in my photography. They are cheap and very helpful. Small mirrors serve the same pur- Diffused Light Bowl pose of the reflectors with the only Aluminum Foil difference that they can deliver a Here’s a way to create more lot more light from even farther natural light from your flash expo- This highly reflective material distances. sures by softening the light. It’s can be used to bounce some light very useful when available light is into your subject. Its malleabil- Masking Tape too low, and your only solution to ity allows you to shape it in a self get the shot is to use a flash. Any standing form around branches or Masking tape and wire ties can semi-transparent plastic bowl will the ground. be used to tie obstructive vegeta- work, but should be large enough tion away from the subject. They to allow the lens to go through for Cardboard Reflectors can also be used to hold reflectors really tight close-ups. Cut the bot- or mirrors on branches. tom section of the bowl and glue a I usually make this by cutting piece of foil halfway through the pieces of cereal boxes and gluing a Clamps and Clips inside wall. You should end up piece of foil to one side. You can with half of the bowl covered with create different shapes to accom- These useful tools work as a third aluminum foil. modate any situation. hand for the photographer by keep- ing things together, such as reflec-

Do It Yourself 7 DO IT YOURSELF

When it comes to macro pho- wide aluminum strip. Your choice hard and non-durable, I opted for tography, the hobby can become for the mini-ball head will de- using duct-tape. It works great and expensive. Fortunately, you can pend on availability, but should be creates a good non-slip surface. At reduce the cost by building some of strong enough to hold the weight the end, I spent less than $50.00 your gear. I built this custom flash of your flash loaded with batter- dollars building this rig, and it bracket for a fraction of the cost ies. For the quick release, I used works flawlessly. Now, if we can of the ones commercially avail- the readily available Bogen 3049. build a good macro lens, then we able. By doing so, you’ll be able to I wrapped some duct-tape on the would have saved more than 50% customize it to your liking and to bottom metal piece to avoid the off all the cost of macro photogra- fit your camera and flash needs. camera from slipping during use. phy. Well, there’s a way to even This bracket idea came from A piece of thin cork or rubber can save on that, by simply reversing John Shaw, a well-known nature be used instead, but since gluing it a lens you end up with nice macro photographer, who designed this to the smooth metal surface can be lens for a fraction of the cost. rig to satisfy his macro lighting needs. Having spent many hours using commercial units, he was able to find all their flaws and came out with one of the most effective systems. Based on his idea, I de- cided to adjust mine to my needs, too. Most flash brackets mount the flash by the shoe. Over time, this can bring trouble to your flash unit due to increased vibrations and stress over this sensitive part. To reduce the stress on the , I simply wrap two rubber bands over the flash body onto the metal arm. This has an added conve- nience. In the field, while walking through thickets and bushes, it’s really easy to hit the flash, but the rubber bands act as a shock ab- sorber. The flash arm is mounted on a dual function mini-ball head that controls the motion of the flash in almost any direction. Finally, the bottom section that attaches the bracket to the camera is fitted with a Bogen quick- release plate, al- lowing for easy and fast mounting of the system on a tripod. I have drilled several holes on the flash arm for additional accessories, in- cluding extensions and diffusers. The construction of this bracket is very easy and reliable. The frame is made of a 1/8” in. thick by 1” in.

8 Do It Yourself Exposure

Close ups are exposed following be biologically correct, it’s hard to ognize problematic situations and the same rules you apply to any accept a monarch butterfly spread- implement a solution based on your other type of photography, with ing the wings over a black back- previous experiences. the only difference that compen- ground. I treat subjects based on sation needs to be applied when their biology. Some tree frogs, for using non-TTL equipment. Every example, will benefit from a dark time we add extension to any lens, background to imply their noctur- there’s a loss of light associated nal behavior. with the extension. In a TTL sys- First, I meter for the background tem, these extensions are taken in with the selected aperture I have consideration to adjust the expo- anticipated for the depth of field sure readings of the built-in meter I want. Since I use the flash at in your camera. When using non- almost all times, then I proceed to TTL coupled equipment, such as determine if I need any compen- a bellows or extension tubes, then sation for the subject in the fore- you need to calculate the right ex- ground. By adjusting the flash out- posure using an external light /flash put, I obtain a balanced exposure meter and compensating for the in which the foreground is lit by a amount of light loss due to exten- mix of ambient and flash while the sion. Most extension tubes come background is lit by available light. Mating Grasshoppers, Florida with a chart that specify how many If the subject is not middletone, Nikon D100 105mm f8 1/125 stops of light you lose when using then compensation needs to be add- them singly or combined. ed accordingly. The image of the Determining the exposure re- grasshoppers was a straight middle- quires the same procedure as a toned image in which no com- regular photo. Establishing the pensation was required. For the tonal value of your subject before White Peacock butterfly, I needed shooting can make the difference, to reduce the flash exposure to keep especially when working with ani- detail in the highlight areas. In this mated subjects that can disappear case, I dialed -1.7 EV on my cam- in the blink of an eye. By defin- era to avoid blowing the highlights. ing the subject’s tonality, you’ll Remember, your TTL flash is also White Peacock, Florida be able to make exposure correc- calibrated to read middletoned sub- Nikon D70 105mm f4 1/125 tions. Remember, your camera jects, and the darker background in with flash -1.7 EV . built-in meter is calibrated to see a this image would have fooled the middle toned subject, in which case flash to believe that more light was it’s easy to just go by the metered needed, thus overexposing the but- exposure. But if your subject is terfly. In the case of the frog, I had too dark or too light, you need to to increase the flash output since compensate to obtain the right ex- the lighter leaf would have fooled posure. When selecting the expo- the TTL system making the frog sure, you need to pay attention to way darker. By dialing a +1 EV on the background. Dark backgrounds the flash compensation, I was able will take away from the image to overcome this problem. Each and even more, if the subject is a image presents different problems, diurnal animal. Black backgrounds and there’s not a single solution. Black & Green Dart Frog, Costa Rica will definitely enhance the color of By carefully studying each case as Nikon D70 105mm f8 1/250 your subject, but when it comes to it happens, you’ll be able to rec- with flash +1.0 EV .

Exposure 9 DEPTH OF FIELD

Depth of field (DOF) comprises between the lens and the subject better to keep the area surrounding the area of sharpness right in front that matters. Shoot a subject with a the eyes as sharp as possible. and behind the focus plane. In 50mm lens at f8 and then shoot the To avoid the guessing work of other words, how much in front same subject with a 100mm lens how much to stop down the lens and behind the subject will look at the same aperture, but change for the desired depth, manufactur- totally sharp. In theory, you can the distance to create the same ers have incorporated depth of field focus your camera in a precise image coverage of the 50mm lens, previews in the cameras. Simply area on your subject and that will and you’ll end up with the same select the aperture and press the define the focus plane. However, depth of field, regardless of focal DOF preview to see how far the there are areas of relative sharpness length. Now if you maintain the area of sharpness extends. Note that extent 1/3 in front of the focus same distance while shooting with that when using the DOF preview, plane and 2/3 behind. This zone these two lenses, then the longer your viewfinder will get dark as of sharpness is what we refer to as focal length will render a shallower less light is passing through the depth of field. Depth of field varies depth of field. lens. In low light situations, this directly with the aperture selected: In the field, you need to pay at- method might not be as effective. the smaller the aperture, the greater tention to the depth of field. It’s In the photo below, I have taken depth; the wider the aperture, the important that you determine the two separate exposures, one us- shallower depth of field. At the areas that you want to maintain in ing f 11(left) and the other using same time, depth of field is shal- total sharpness. By doing so, you f4 (right). Notice how the back- lower as you focus closer to the can establish some degree of sepa- ground makes the left picture subject, regardless of the focal ration between the subject and the too cluttered. The picture on the length of the lens. For example, background. Having a background right makes the subject stand out, when focusing on a large subject that is too crowded and sharp can without sacrificing detail on its 10 feet away, the depth of field for compete with your subject to the body. By simply selecting the right a particular lens at f16 is almost in- point that the subject loses impact. aperture, I was able to keep enough finite behind the subject and close When selecting the right aperture detail on the subject and less on the to 10 feet in front of the subject. for the desired depth of field, make background. It’s that easy, practice The same lens focus on a subject sure that you include all of your is all it takes. 10 inches away produces a depth of subject whenever possible. Occa- field of less than 1/2 in. in front and sionally, depth of field is so mini- 2 inches behind the subject. mal that some parts of your subject Focal length does not change may render soft. As a rule of the depth of field, it’s the distance thumb when shooting insects, it’s

Dragonfly,Florida . Nikon D70, 105mm, 1/250 sec. at f11 Nikon D70, 105mm, 1/1600 sec. at f4

10 Depth of Field MAXIMUM SHARPNESS

Sharp images are the result of careful planning and a good con- trol of several factors. In order to obtain sharp images, we need to take in consideration the subject’s movements, wind, camera shake and shutter speed. Some of these factors can be controlled by the photographer, but others are left for the subject to decide. Obviously, it’s hard to control the fleeing instinct of a dragonfly as you get closer, or the leap for life of a tree frog, but there are things we can do to reduce the chances. The wind can, in many cases, be controlled by using your body to block the stream. A slight breeze can render your image blurred when working at such a close range. As a matter of fact, everything that affects the image quality on a normal picture will be intensified when working Green Lynx Spider, Florida. Nikon D70, 105mm, 1/250 sec. at f16 w/flash -1. close ups and macro photography. in low light situations that require combination. If you use diopters Take, for example, low light. Low extended exposure time. In such to increase the magnification of a light can be an issue for regular event, it’s recommended to use a normal lens, you can expect a loss photography, but with macro is cable release or remote to trigger of sharpness that gets progressively even worse, as you reduce the the shutter, reducing induced vibra- worst as it reaches the edges of amount of light hitting the subject tions. the frame. DSLRs with cropping when you get closer, and further Selecting the right focus plane is factor of 1.5X will benefit a bit by reduce the light if using exten- important as the depth of field is so using only the center area of the sions. Camera vibrations can be limited when working a few inches diopter, where distortion is less disastrous in macro photography; a from your subject. The best way to noticeable. As you can see, several slight move, and your subject will reach the perfect focus is by actu- factors influence how sharp your come out soft. That’s why most ally moving the camera until the photos may look. Take also in macro work improves with the image is sharp, rather than focus- consideration the aperture selected freezing action of a flash exposure. ing the lens, as this might change and the depth of field it produces. When composing a landscape the magnification, and you’ll find These will have a great impact on shot, moving three feet to either yourself moving the camera any- how much sharpness you get. The side barely affects the composition. way. That’s when a focusing rail above image was focused on the If you move 1/4 in. while shooting comes handy. eyes of the spider with the camera a macro, you left half of the subject Another factor to take in consid- mounted on a tripod and an aper- out of the frame. This is why it’s eration is the quality of your lens, ture of f16 to increase the apparent so hard to do handheld shots of in the case of a macro lens or the sharpness created by the increased tiny subjects. A tripod is your best prime lens used with extensions. depth of field. defense against blurred images, Macro lenses offer the best qual- but it needs to be stable and vibra- ity in terms of resolution and by tion free, especially when shooting far less distortion than any other

Maximum Sharpness 11 FLASH TECHNIQUE

As I mentioned before, flash is instrumental in close-up photogra- phy. As matter of fact, 95% of my macro work uses a flash one way or the other. Either as a fill or main light, using flash has many added advantages. The freezing effect of the flash is great for fast mov- ing creatures. When using flash as your only main light source, you can obtain sharp images even when hand holding the camera. Since the duration of most flashes are between 1/10,000 sec. and 1/25,000 sec., any last minute Cicada sp, Costa Rica. The shot on the left was exposed for 1/25 sec. at f8, creating movement will be frozen by the a flash based exposure that rendered the background too dark. In order to balance the light. Now, this is true only if the ambient light of the background, I used a slower speed of 1/2 sec. for the picture to the available light exposure is fast right that resulted in some ghosting of the subject due to camera or subject movement. enough to avoid ghosting. Ghost- long exposure. The flash exposure sure should be made by dialing ing is caused when the subject is controlled by the aperture only. compensation instead of opening moves during a long exposure to When you fire a flash during a long or closing the aperture that will balance the available light. A long exposure, the camera continues to also change your DOF. For sure, exposure with flash is considered capture light throughout the length the more natural looking images two separate exposures starting at of the exposure. If your subject are those where the foreground the same time. The light emitted moves during that time, the move- was illuminated by flash blends by the flash has a shorter duration ment will be recorded as a blurred perfectly with the ambient light of than the shutter speed used on the image that extends beyond that of the background. Many things need the one created by the flash. Also, to be taken in consideration when any camera movement during the making your selection of shutter ambient light exposure may cause speed and aperture for a particular a ghosting effect. Balancing the situation. Pay attention to your ambient light with your flash ex- shutter speed, as this is the culprit posure can be tricky and, in many in most throw-away macro im- cases, if not handled correctly, can ages, but don’t neglect the aperture, make your images look unnatural. since depth of field depends on it. Sometimes, macro images can look Every shot brings its own chal- over-flashed if the background is lenges. Practicing with unanimated too dark. The opposite occurs when subjects at home can improve your the background is too light and flash techniques. the subject is too dark. If ever in For most images, the flash should doubt about the right exposure for be positioned at 30° over the lens the ambient light, then bracket the and facing your subject. This way, shutter speed and leave the aper- shadows will fall behind the sub- ture untouched. Remember that ject. Using one single flash offers when using the flash, the exposure more natural light and less spec- Clear Wing Butterfly, Costa Rica. 50mm of the subject will be determined tacular highlights, and only one eye Macro 1/60 at f8. A main flash exposure shot. primarily by the aperture selected, catch light. so any changes to the flash expo- 12 Flash Technique MAGNIFICATION

meter, and then record the metered exposure with a fixed aperture of f8.0. Proceed to take the image. Then, add the extension, and take a series of exposures using apertures that range from two stops over and two under of f8, and keep record of each one in reference to frame number. In a DSLR, it’s easy to follow the serial number and time as they were taken. Review each one of those images and compare them with the original image with no extension. Say that the exten- sion shot at f5.6 is the closest match to the exposed at f8 without extension, then you can assume that the extension produced a 1 Garden Fly, Florida. This fly was photographed using a 135mm macro with a stacked stop of light loss. 50mm len. The magnification is about 3X for this subject of less than 1/4 in. long. Another way to achieve extreme The magnification required for Take for example a 100mm with magnification is by actually revers- macro photography can be obtained a 25mm extension an you get 1/4 X ing a lens in front of another lens, by utilizing different methods. In or 1:4. also called stacked lenses. Put a order to magnify, the front element 50mm lens in front of a 100mm Extension of the lens must be displaced for- Mag.= lens by means of a reversing ring Focal Length ward and away from the film plane and now you have 2X magnifica- of the camera. This is achieved 0.25X = 25mm/100mm tion. In this case you can use the by extending the lens. In essence, following formula to calculate that’s how all macro lenses work. Another way to express 0.25 is magnification. As you focus closer, the front ele- in the fraction equivalence of 1/4X ment is displaced forward. If you and in the ratio format of 1:4. Focal length of prime lens don’t have a macro lens, then ex- When adding extension, the light Mag.= Focal length of stacked lens tension tubes will produce the same that passes through the lens is effect. A 50mm lens is considered reduced. In TTL systems, this loss 4X = 200mm/50mm a normal lens as its field of view is is compensated by the metering fairly similar to that of the human system, but when you use a non- Stacked lenses offer great image eye. This lens can produce great TTL extension tube, then you need quality and, when used with a TTL macro shots when used with exten- to calculate the light loss. Most of system, the metering works fine as sions. Put a 25mm extension tube the time, adding the same number long as the prime lens is coupled on a regular non macro 50mm lens, of extension as that of the focal and TTL compatible. The stacked and you’re ready to capture images length results in light loss of at lens should be left wide open to at 1/2X or 1:2. If you add 50mm least 2 stops. Even though most avoid light loss. of extension to the same lens, the extension tubes manufacturers magnification goes to 1X or 1:1. include this information with their The following formula can be used products, it’s best to run a series of to determine the magnification fac- tests with your camera focused on a tor when using extensions tubes or neutral colored surface under even bellows with any lens. light. First put on the prime lens,

Magnification 13 MACROINTRODUCTION PHOTOGRAPHY TIPS

uninteresting background.

Softer Light

When shooting wildflowers and other unanimated subjects, you can soften the light by actually block- ing the light with your body. The shade created will soften the light, making it look like an overcast. Also, by using the light bowl tech- nique, you can enhance the shadow areas.

Working with amphibians

Amphibians are sensitive subjects Dragonfly, Florida. Nikon D70, 105mm 1/125 at f5.6. Paralleling the subject ensures the sharpness focus and enough depth of field, even with fairly large apertures. and should be handled with care. Handling these beautiful creatures Paralleling the subject fighting and losing a battle with requires a little knowledge about the wind. Cool early mornings are their physiology as well as their For increased depth of field my favorite time for most macro behaviors. Avoid using insect re- without having to stop down the shots, unless there’s an overcast or pellent, perfume or lotion if you’re lens too much, try paralleling the I’m working under the canopy of a planning on working with these subject as much as possible. By rainforest. animals. Always have distilled turning your camera until the sub- water handy to keep your subject ject is parallel with the film back Focusing moist at all times. Even the contact or ccd, you will obtain the sharp- with your bare hands can take away est focus possible, even with fairly When handholding a camera, it’s the moisture of their skin. open apertures. better to focus by moving the cam- era forward than using the focus- Forgot the lens? Early in the morning ing ring. If mounted on a tripod, a focusing rail will give you the best I normally carry a good assort- While almost any time is good results. ment of lenses in my backpack. for macro work, the best time to But over long distances, this can be shoot animated macro subjects is Better Backgrounds a burden and can leave you with a early in the morning, before they back pain. To avoid this problem, get too hyper. Most insects and The focal length you use will dic- I packed the lenses according to reptiles are slow during the early tate how your background looks. what I’m planning to shoot. Well, hours and depend on sunlight to Wide lenses will include more of this approach had left me without gain their normal body operat- the background than a tele. When my heavy macro lens in situa- ing temperatures. Being there using a 50mm lens with diopters, tions where I could have used it. early will improve your chances you’ll get a lot more of the back- One time, while shooting birds, I of finding these creatures when ground in the picture than when found a tiny and colorful cricket, they’re still in , and using the same diopter on a 200mm but without the macro lens, I was even sleeping. Another reason to lens. Also, by simply changing doomed. I then realized the po- be there early is to beat the wind. your position in respect to the sub- tential of reversing lenses. I took An hour too late, and you’ll be ject, you can avoid having a dark or my lightweight 35-80mm lens and

14 Macro Photography Tips MACRO PHOTOGRAPHY TIPS placed it in reverse in front of the of the camera. Voila! It worked. Then, I had to take a series of exposures to select the best, since all TTL capabilities are lost when the lens is not physi- cally attached to the electronic couplings. The focusing is done by moving the camera, and the mag- nification can be changed by using the zoom. The Nikon D lens series are equipped with an aperture ring that can be operated even when the lens is removed from the camera. I could select any aperture I want prior to pressing the shutter release to get the right depth of field. Cool stuff that can save you when far from home.

Approaching the subject

Some macro subjects are easier than other. For instance, a flower won’t move unless is blown by the wind, but a grasshopper will jump at the first sign of danger. Unfortu- nately, they don’t know our inten- tions and our massive size when Praying Mantis, Florida. Nikon D70, 105mm Macro 1/500 f8 w/ . compared to them, doesn’t help either. But there are ways we can working with in the field. Knowing Respect nature get close without scaring them off. about their behaviors can greatly Watch your shadow as you move enhance the quality of images you close to your subject. This can produce. While looking for insects, Photography is one of the best make them aware of your presence I found this praying mantis. Within ways to promote the importance way before you get in position. seconds, a butterfly stopped on the of all living things. Take pride on Avoid making noises and sudden same bush where the mantis was. your work and share it with others. moves when working with reptiles The mantis showed interest on the The knowledge that you gain by and amphibians. Many insects visitor and, within seconds, was at doing so is great and the benefits including butterflies are easier to striking distance. This time, the to others are priceless. Learning approach from a low level position, butterfly flew before the attack. I to respect and appreciate nature where your profile is less threaten- decided to wait for another try, and should be in any nature photogra- ing. as I always say, those who wait, get pher’s best interest. The welfare the chance. The next butterfly that of our subjects should be our main Study your subject came by the bush wasn’t that lucky concern. Only then, we can teach and I was able to capture the event, others about the beauty of nature There’s nothing better than to be on video and still. Opportunities and the importance of all the living prepared for the subject you’ll be for great shots are out there waiting things. for you. Take your time and enjoy. Macro Photography Tips 15