Photography: Using Fill Flash Thought Your Camera’S Flash Was for Use Only in Dark Conditions? Think Again

Total Page:16

File Type:pdf, Size:1020Kb

Photography: Using Fill Flash Thought Your Camera’S Flash Was for Use Only in Dark Conditions? Think Again MASTERCLASS: PHOTOGRAPHY MASTERCLASS: PHOTOGRAPHY Photography: using fill flash Thought your camera’s flash was for use only in dark conditions? Think again. Words and images: Simon Thomas our camera’s flash is only for Alaska, as we rode south from Dead- shooting in dark conditions, horse. I wanted a shot that showed my Yright? Wrong! bike and my bags and gear from a dif- So many people miss the opportunity ferent angle and totally covered in the to capture stunning images because mud, crap and grime of the Haul Road of difficult lighting situations, like (Dalton Highway). shooting in the direction of the sun or towards very strong backlighting. Both You’re Right, of these conditions can ruin a potential- ly powerful image. Your Camera’s Wrong But here’s the ‘heads-up’, most cam- The reason the photo works is really eras provide you the tools to combat only because I set up my flash (or speed- tough lighting conditions, it’s just many light as Nikon calls it) to trigger when I users don’t know how to use them. shot the image. On many cameras this is Using your camera’s detachable or called ‘force flash’, because your forcing built-in flash can greatly improve your the flash to fire even when your camera chances of snagging that once in a life- thinks it isn’t needed. time shot, in spite of that awful sun glare In my camera’s menu I selected a pro- or overpoweringly bright backlight. file that offered my low contrast settings and I bumped up the saturation. Again, SIMON By The Book it’ll take a you a few minutes, but hunt If you read any fancy photographic around in your camera’s settings and Thomas book or magazine you’ll come across you’ll probably find these options are ‘fill light’. “What’s fill light?” Well, I’m available to you. Worst case scenario, Simon and Lisa Thomas glad you asked. It’s just photo speak for go and find a tutorial on your camera’s have ridden their way into using your camera’s flash to brighten settings on YouTube. a life that most of us can a foreground element of your photo only imagine. This year is that would normally be dark or even Get Flashy their 13th year on the road silhouetted because of bright backlight The flash though is the key. It allowed and in those years the duo conditions. me to manually expose the shot in has amassed an insane If you’ve ever seen a photographer order to capture some of the details in 420,000 miles on their ride Here’s the info from my Top of The World Highway Image (Dalton Highway): through 78 countries and using his or her flash in the daytime the clouds and landscape in the very six continents. Along the (you’ll see this a lot at weddings) or in bright background but, crucially, also way they’ve traversed 27 a bright situation, well, now you know the detail and texture of my bike in the deserts, survived a broken CAMERA BODY: Nikon D3 SHUTTER SPEED: 1/8000 SHARPENING: 6 why. foreground. neck in the Amazon Jungle, LENS: VR 16-35mm f/4G EXPOSURE MODE: Manual CONTRAST: -1 Try this for yourself. This technique cheated death and become FOCAL LENGTH: 16mm EXPOSURE COMP.: -2.0EV BRIGHTNESS: 0 Flogging a DeadHorse works equally as well for shooting por- professional photographers, FOCUS MODE: Manual METERING: Matrix SATURATION: +2 The photo in this masterclass was shot traits or any other scene where you’re writers and public speakers. AF-AREA MODE: Single ISO SENSITIVITY: ISO 100 HUE: 0 directly into the sun, with my bike forced to shoot in the direction of bright www.2ridethworld.com. VR: OFF PICTURE CONTROL: [NL] NEUTRAL LOCATION: Dalton Highway, South of parked up on the Dalton Highway in light. WHO’S WRITING APERTURE: f/4 BASE: [NL] NEUTRAL Deadhorse, Alaska, USA 40 41 adventurebikerider.com adventurebikerider.com.
Recommended publications
  • Seeing Like Your Camera ○ My List of Specific Videos I Recommend for Homework I.E
    Accessing Lynda.com ● Free to Mason community ● Set your browser to lynda.gmu.edu ○ Log-in using your Mason ID and Password ● Playlists Seeing Like Your Camera ○ My list of specific videos I recommend for homework i.e. pre- and post-session viewing.. PART 2 - FALL 2016 ○ Clicking on the name of the video segment will bring you immediately to Lynda.com (or the login window) Stan Schretter ○ I recommend that you eventually watch the entire video class, since we will only use small segments of each video class [email protected] 1 2 Ways To Take This Course What Creates a Photograph ● Each class will cover on one or two topics in detail ● Light ○ Lynda.com videos cover a lot more material ○ I will email the video playlist and the my charts before each class ● Camera ● My Scale of Value ○ Maximum Benefit: Review Videos Before Class & Attend Lectures ● Composition & Practice after Each Class ○ Less Benefit: Do not look at the Videos; Attend Lectures and ● Camera Setup Practice after Each Class ○ Some Benefit: Look at Videos; Don’t attend Lectures ● Post Processing 3 4 This Course - “The Shot” This Course - “The Shot” ● Camera Setup ○ Exposure ● Light ■ “Proper” Light on the Sensor ■ Depth of Field ■ Stop or Show the Action ● Camera ○ Focus ○ Getting the Color Right ● Composition ■ White Balance ● Composition ● Camera Setup ○ Key Photographic Element(s) ○ Moving The Eye Through The Frame ■ Negative Space ● Post Processing ○ Perspective ○ Story 5 6 Outline of This Class Class Topics PART 1 - Summer 2016 PART 2 - Fall 2016 ● Topic 1 ○ Review of Part 1 ● Increasing Your Vision ● Brief Review of Part 1 ○ Shutter Speed, Aperture, ISO ○ Shutter Speed ● Seeing The Light ○ Composition ○ Aperture ○ Color, dynamic range, ● Topic 2 ○ ISO and White Balance histograms, backlighting, etc.
    [Show full text]
  • HASSELBLAD INTRODUCES the H6D-400C MS, a 400 MEGA PIXEL
    Press information – for immediate release Gothenburg, Sweden 16 Jan 2018 HASSELBLAD INTRODUCES THE H6D-400c MS, A 400 MEGA PIXEL MULTI-SHOT CAMERA Building on a vast experience of developing exceptional, high-quality single and multi-shot cameras, Hasselblad once again has raised the bar for image quality captured with medium format system. Multi-Shot capture has become an industry standard in the field of art reproduction and cultural heritage for the documentation of paintings, sculptures, and artwork. As the only professional medium format system to feature multi-shot technology, Hasselblad continues to be the leading choice for institutions, organizations, and museums worldwide to record historic treasures in the highest image quality possible. With over 10 years of digital imaging expertise, the latest Multi-Shot digital camera combines the H6D’s unrivalled ease of use with a completely new frontier of image quality and detail. This new camera encompasses all of the technological functions of Hasselblad’s H6D single shot camera, and adds to that the resolution and colour fidelity advancements that only Multi-Shot photography can bring to image capture. With an effective resolution of 400MP via 6 shot image capture, or 100MP resolution in either 4 shot Multi-Shot capture or single shot mode, the Multi-Shot capture requires the sensor and its mount to be moved at a high-precision of 1 or ½ a pixel at a time via a piezo unit. To capture Multi-Shot images the camera must be tethered to a PC or MAC. In 400MP Multi-Shot mode, 6 images are captured, the first 4 involve moving the sensor by one pixel at a time to achieve real colour data (GRGB- see 4 shot diagrams below), this cycle then returns the sensor to its starting point.
    [Show full text]
  • Digital Cameras
    DIGITAL CAMERAS Hasselblad has raised the bar yet again concerning the capture As if that was not enough, this camera still claims all the advan- of super high-quality images. It builds on the achievements and tages of the H5D line – True Focus, Ultra Focus, Digital Lens success of multi-shot capture technology with the H5D-50MS and Correction plus being able to shoot regardless of lighting condi- the liberating characteristics of the H5D-50c – the worlds first tions as a result of the very high ISO settings that are capable of CMOS medium format camera. The H5D-200c MS MS takes still- unforeseen high quality with remarkably little noise. life studio photography to mind blowing moiré free 200Mpix reso- These top of the range features make the H5D-200c MS such lution. Six shot ‘microstep technology’ takes maximum advantage an outstanding camera choice – a studio workhorse to produce of everything the HC lenses have to offer, which is a very great unsurpassable quality in a controlled environment to doubling deal in itself, and combines it with the latest CMOS capabilities up as a top flight, hand held single-shot camera for shots on to produce a quality that is hard to believe is possible. the move. Versatility was always a Hasselblad cornerstone and From fine cars to miniature artworks and from delicate fabrics to remains so. diamonds – or quite simply where only the best reproduction is acceptable – the 200Mpix multi-shot image offers true color and This is the camera that leaves all the others behind. moiré free capture, providing an astonishing level of detail.
    [Show full text]
  • Datenbank Kameras
    Hersteller Kameraname Objektiv Verschluß Verschlußzeit Format Blende Filmtyp Zustand Baujahr Gewicht Tasche Toptron Microcam fashon 3 3PAGEN Versand Supercolor NoName ca. 11/20mm Zentral ca. 1/30 sec. 13 x 17 mm ca. 11 110er Kassette A-B 2000 70 Gramm Nein Adox 300 Schneider Kreuznach Xenar 2,8/45 mm Compur Rapid B, 1 - 1/150 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1956 870 Gramm Ja Adox Golf 63 Adoxar 6,3/75 mm Vario B, 1/25 - 1/200 sec. 6 x 6 cm 6,3 - 22 120er Rollfilm C-D 1954 520 Gramm Ja Adox Fotowerke Frankfurt a. M. Adoxon 2,8 / 45 Adox Golf Ia mm Prontor 125 B, 1/30 - 1/125 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1964 330 Gramm Ja Adox Polo mat 1 Schneider Kreuznach Radionar L 2,8/45 mm Prontor 500 LK B, 1/15-1/500 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1959 - 60 440 Gramm Nein Adox (Wirgin) Adrette I Adox Wiesbaden Adoxar 4,5/5 cm Vario B, T, 1/25-1/100 sec. 24 x 36 mm 4,5 - 16 35er Kleinbildfilm C 1939 420 Gramm Ja Agfa Agfamatic easy Agfa Color Apotar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1981 200 Gramm nein Agfa Agfamatic Makro Pocket 5008 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 300 Gramm nein Agfa Agfamatic Optima 5000 Set Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 510 Gramm nein Agfa Agfamatic Optima 6000 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 320 Gramm nein Agfa Agfamatic Pocket 1000 S Agfa Color Agnar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 120 Gramm nein Agfa Agfamatic Pocket 2008 Agfa Color Agnar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 180 Gramm nein Agfa Agfamatic Pocket 3000 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1976 300 Gramm nein Agfa Agfamatic Pocket 4008 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 200 Gramm nein Agfa Billy (I) Jgestar 8,8 / ca.
    [Show full text]
  • Photography Techniques Intermediate Skills
    Photography Techniques Intermediate Skills PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 21 Aug 2013 16:20:56 UTC Contents Articles Bokeh 1 Macro photography 5 Fill flash 12 Light painting 12 Panning (camera) 15 Star trail 17 Time-lapse photography 19 Panoramic photography 27 Cross processing 33 Tilted plane focus 34 Harris shutter 37 References Article Sources and Contributors 38 Image Sources, Licenses and Contributors 39 Article Licenses License 41 Bokeh 1 Bokeh In photography, bokeh (Originally /ˈboʊkɛ/,[1] /ˈboʊkeɪ/ BOH-kay — [] also sometimes heard as /ˈboʊkə/ BOH-kə, Japanese: [boke]) is the blur,[2][3] or the aesthetic quality of the blur,[][4][5] in out-of-focus areas of an image. Bokeh has been defined as "the way the lens renders out-of-focus points of light".[6] However, differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively.[2] Bokeh occurs for parts of the scene that lie outside the Coarse bokeh on a photo shot with an 85 mm lens and 70 mm entrance pupil diameter, which depth of field. Photographers sometimes deliberately use a shallow corresponds to f/1.2 focus technique to create images with prominent out-of-focus regions. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it is often associated with such areas.[2] However, bokeh is not limited to highlights; blur occurs in all out-of-focus regions of the image.
    [Show full text]
  • Nikon D5100: from Snapshots to Great Shots
    Nikon D5100: From Snapshots to Great Shots Rob Sylvan Nikon D5100: From Snapshots to Great Shots Rob Sylvan Peachpit Press 1249 Eighth Street Berkeley, CA 94710 510/524-2178 510/524-2221 (fax) Find us on the Web at www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2012 by Peachpit Press Senior Acquisitions Editor: Nikki McDonald Associate Editor: Valerie Witte Production Editor: Lisa Brazieal Copyeditor: Scout Festa Proofreader: Patricia Pane Composition: WolfsonDesign Indexer: Valerie Haynes Perry Cover Image: Rob Sylvan Cover Design: Aren Straiger Back Cover Author Photo: Rob Sylvan Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact permissions@ peachpit.com. Notice of Liability The information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks All Nikon products are trademarks or registered trademarks of Nikon and/or Nikon Corporation. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks.
    [Show full text]
  • Winter 2004-5
    INDEX B+W filters . .4 Billingham . .77 Body adaptors . .10 Crumpler . .76–77 FILTERS / LENSES Canon filters . .10 Domke . .74, 78 Canon lenses . .11 Kata . .75, 105 Canon lenshoods . .14 Lowepro . .73-80 Cokin filters . .5–7 Peli . .74–75 Cosina lenses . .11 Bellows units . .42 Silvestri . .75 CAMERA ACCESSORIES Filter storage . .10 Close-up lenses . .41 Zing . .72 Hoya filters . .2-3 Copy tables & stand . .44–45 Kenko converters . .13 Extension tubes . .42 Lee filters . .8–9 Macro brackets . .43 Lenshoods . .14 Macro flash . .45 CAMERA SUPPORTS Minolta filters . .10 Novoflex macro . .41–44 Nikon filters . .10 Nikon lenshoods . .14 Nikon lenses . .12 Sigma lenses . .12 Canon flash . .50 Albums and mounts . .90-92 CLOSE-UP & MACRO Tamron lenses . .13 Flash accessories, general . .46 Braun projectors . .81 Voigtlander lenses . .13 Flash X-tender . .46 Guillotines . .89 Metz . .47–49 Leica projectors . .82 Minolta flash . .50 Light boxes, viewers . .84 Nikon flash . .51 Magnifiers . .83 Pentax flash . .51 Photo holders etc . .88 CAMERA FLASH Beattie screens . .15 PocketWizard . .58 Portfolios . .89 Bean bag . .22 Quantum batteries . .57 Print finishing . .88 Bronica accessories . .20 Vivitar . .47 Rollei projectors . .82 Cable and air releases . .22 Sigma . .48 Slide copier . .83 Canon accessories . .16–17 Sto-fen Omnibounce . .46 Slide and neg filing . .86–87 Cleaning and maintenance . .23 STUDIO LIGHTING Stroboframe . .52-53 Slide projection accessories . .82 Flarebuster . .22 Sunpak . .47 Slide magazines . .86 Lens and body caps . .15 Wein slaves . .58 Slide mounters and storage . .85 Lens cases . .15 Mamiya accessories . .20 Minolta accessories . .17 BAGS Nikon accessories . .18–19 Op/tech straps .
    [Show full text]
  • Naturalistmontana Fall 2006
    NaturalistMONTANA Fall 2006 Ancient Ecosystem Ice Age Natural History The Last Best River Backyard Phenology see Get Outside Guide, page 9 TO PROMOTE AND CULTIVATE THE APPRECIATION, UNDERSTANDING AND STEWARDSHIP OF NATURE THROUGH EDUCATION inside Fall 2006 NaturalistMONTANA Features 4 Bear Gulch Fossils Impressions of an ancient ecosystem 4 6 Floods, Flora and Fauna What do we know about the area’s ice age natural history? Departments 3 Tidings 6 9 Get Outside Guide Observing climate change, making an insect collection, Special calendar of events Pull-Out Section 13 Community Focus Lessons from the land 14 Far Afield Discoveries from Montana’s last best river 9 16 Imprints An inspiring exhibit, RiverFest 2006, new evening series, auction info and more 18 Magpie Market 19 Reflections 13 “Woodpecker,” by Sandra Alcosser Cover photo – Female green darner dragonfly, taken by Jamesen Colley, www.rawcapturephotography.com. Taken with a Pentax MZ-S 35mm film camera with a Tamron 90mm 1:1 macro lens, a Pentax ring flash and Fuji Provia 100F slide film. The exposure was f\16 with a shutter speed of 1\90 of a second and a fill flash provided by the ring flash. Correction – The photo on page 3 of the Spring/Summer 2006 issue, showing bighorn sheep amid cars on a roadway, was incorrectly credited. The photograph was taken by Marcel P. Huijser. 14 16 No material appearing in Montana Naturalist may be reproduced in part or in whole without the written consent of the publisher. All contents © 2006 The Montana Natural History Center. 2 MONTANA NATURALIST FALL 2006 tidings 120 Hickory Street Missoula, MT 59801 otice anything different about us? (406) 327-0405 We’ve undergone a gentle face lift [email protected] with a new streamlined logo, www.MontanaNaturalist.org Ndesigned by illustrator Nancy Seiler.
    [Show full text]
  • Autofocus Speedlight SB-27SB-27
    Autofocus Speedlight SB-27SB-27 Instruction Manual En Foreword Thank you for purchasing the Nikon Autofocus Speedlight SB-27, an easy-to-use flash unit offering you the most convenient system for automatic flash photography in combination with Nikon cameras. The SB-27’s extensive capabilities range from Non-TTL Auto Flash to 3D Multi-Sensor Balanced Fill-Flash, today’s most advanced flash technology. For optimum results, be sure to read this manual thoroughly before use. Please check which group your camera belongs to. 4 Group Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ* Ⅵ Ⅶ * F5 F4-Series F-601/ F60-Series/ F-501/ FM3A F3-Series*6 1 1 8 Camera F100 F65-Series/ N6006* N60* N2020* FA F55-Series/ F90X/N90 s 1 N65-Series 1 1 name * * F-601M/ F50-Series/ F-401s/ FE2 N55-Series* F90-Series/ F-801s/ N6000 1 N50 1 N4004s 1 1 1 * * * New FM2 N90* N8008s* FG F-401x/ F-401/ 5 FM10 F80-Series/ F-801/ 1 1 Nikonos V 1 3 1 N5005 N4004 * Flash N80-Series* ,* N8008* * * FE10 operation F70-Series/ Pronea600i/ F-301/ N70*1 6i*1,*3 N2000*8 3D Multi-Sensor Balanced Fill-Flash*2 Multi-Sensor Balanced Fill-Flash*2 Matrix Balanced T Fill-Flash T Center-Weighted L Fill-Flash/Spot Fill-Flash Programmed TTL AutoFlash Standard TTL Flash Non-TTL A Auto Flash*7 M Manual Flash : Available : Not available In this manual, we have divided Nikon SLR cameras into seven groups (from I to VII) unless otherwise noted. You will find all the information you need to learn about using the SB-27 with your camera in the section corresponding to your camera group.
    [Show full text]
  • Flash Photography Three Types of Flashes • on Camera Flash, Or Pop up Flash
    Flash Photography Three types of flashes • On camera flash, or pop up flash. • Not very useful because the light is small, not very powerful, and only points forward. Three types of flashes • Speedlight (also known as hot shoe flash or flash gun). Very cheap and a lot better than pop up. • More powerful and larger than the built in flash. Can point in different directions and be either attached or taken off the camera. • More settings than a pop up flash. Three types of flashes • Strobes, or studio flash. • Much more powerful and versatile than Speedlights, but very expensive, much larger, and more difficult to use. • Can be flashed or continuous. When to use flash • Inside or in darker light when you want to increase your shutter speed, but not your ISO. When to use flash • Outside with harsh light. Called “fill flash”, this can be used to fill in shadows caused by hard light (such as the sun at noon). Or can be used when someone is in the shade during the day. When to use flash • When a creative effect is wanted, such as hard shadows or a more dramatic photo. Problems with flash • Direct flash can look too harsh if set too powerful. When set properly though, the result can be pleasant. Problems with flash • Flash can reflect off of shiny or smooth objects Problems with flash • Direct flash can create strong shadows. Problems with flash • On-camera and direct flash can cause red-eye (sometimes unavoidable, but can be corrected in Lightroom or Photoshop). • Your camera may also have a red eye reduction setting, which fires a pre flash and prevents red eye.
    [Show full text]
  • Flash Photography  Studio Photography Where Consistent Results Are Important
    On & Off Camera The Two Types of Flashes TTL flash (Through The Lens Metering) Light and exposure is automatically controlled by sophisticated communications between the flash and camera Manual flash Flash output is manually controlled by power settings. TTL Flash (Through the Lens Metering) Pros Automatically adjusts lighting Responds in quickly changing and unpredictable shooting situations Output of flash can be modified through flash Exposure Compensation Correct exposure regardless of the aperture or flash-to-subject distance Best for: Wedding and Event Photography Outdoor Fill Flash Night Portraits Casual shooting TTL Flash (Through the Lens Metering) Cons Automatic flash evaluations can be fooled and give Incorrect exposures Flash compensation can be cumbersome to access TTL flashes are more expensive TTL flashes are dedicated to one brand Setting up multiple flashes can be complicated and time-consuming Manual flash Pros Inexpensive (radio communication for under $100) Operating devices is relatively simple and straightforward Working with multiple flashes is straightforward Manual Flashes are not camera brand specific Modifying adjustments are quick and straightforward Best for: Architectural photography Portrait photography Multiple off camera flash photography Studio photography where consistent results are Important. Calculating flash exposure (The dealbreaker) Back in the film days, calculating flash exposure either required the use of an expensive flash meter or estimating off of a flash scale. With the modern digital camera, it's easy to tell whether your exposure is correct just by reviewing your image and histogram. o YN560-IV Yongnuo YN560 IV Speedlite o Built in radio receivers and transmitter o Power and zoom adjusted can be controlled through groups remotely o power output comparable to top-of-the-line Canon and Nikon units o the flash sells for $70 so it's very affordable to purchase a number of flashes Since there is no US warranty, I recommend buying them from B&H with the Square Deal warranty.
    [Show full text]
  • Intro to Macro & Close-Up Photography Guidebook
    WELCOME TO THE WORLD OF DEFINING A FEW TERMS CLOSEUP PHOTOGRAPHY In this guidebook, we’ll use some industry-standard terminology, but it’s helpful to be sure we’re all on the same proverbial page. To begin with, however obvious One of the most popular ways for photographers to develop their vision it may be to some, let’s be clear on what’s meant by close-up photography. We’re and creativity is to enter the world of close-up photography of small talking about photography of small subjects and objects, where the subject is objects. Even the most commonplace, everyday subjects can be trans- a major part of the picture. We’re not talking about bringing distant subjects formed from ordinary to extraordinary, by simply moving in close and “close” to the camera — that’s telephoto photography. And, we’re not talking capturing detailed images of them. There are many reasons that pho- about being able to move close to a large subject, and get the entire subject tographers work with close-up subjects... to document a craft or hob- into the picture — that’s wide-angle photography. by, such as coin collecting; to illustrate a how-to project; to sell small items online; and simply for the creative beauty that close-up images Terms used in the industry aren’t always precisely quantified, but we’ll provide can provide. some general guidance here, to clarify information elsewhere in this guidebook. And, as we’ll explain in a moment, you don’t need to invest in specialized CLOSEUP PHOTOGRAPHY gear to get started, or even deeply involved, in close-up imagery.
    [Show full text]