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TitleFocus on Close Up and Macro Photography
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Total Pages200
Table of Contents
                            Focus On Close-Up and Macro Photography
Copyright
Contents
About the Author
Acknowledgements
Introduction
Chapter 1: What Is Macro Photography?
	The Difference between Close- Up and Macro Photography
	The Difficulty with Macro Photography
	Extension Accessories for Close-Up Photography
	Choosing the Right Camera and Lenses
	Cameras
	Lenses
	Tripods
	Flash and Reflectors
Chapter 2: Composition
	Before You Even Take a Shot, Consider the Following
	Your Eye Isn’t the Camera’s Eye
	Framing
	The Rule of Thirds
	Depth of Field
	Bracketing
	Shutter Speed
	ISO
	Digital Noise
	RAW, TIFF, and JPEG
	Histogram
	White Balance
Chapter 3: Flower Photography
	Fun or Serious?
	Photography Is All about Observing
	The Anatomy of a Flower
	Focus on What You Want to Shoot
	If I’m Shooting Close-Ups, Why Is the Background So Important?
	Eliminating Distractions
	Positive and Negative Space
	Using Negative Space
	Horizontal versus Vertical
	Lighting
	Color
	Photographing Multicolored Flowers
	Photographing Roses
	Photographing Red and Yellow Flowers
	Photographing Blue and Green Flowers
	Photographing White Flowers
	Photographing Flowers in Black and White
	Sepia
	Leaves
	Weather
	Lens Hood
	Filters
	Aesthetics
Chapter 4: Lighting
	Outdoor Lighting
	Front Lighting
	Back Lighting
	Silhouettes
	Side Lighting
	Diffused Lighting
	Studio Lighting
	Incandescent Lighting or Continuous Lighting
	Strobe Lighting
Chapter 5: Subjects to Photograph
	Automotive Photography
	Food Photography
	Photographing Fruit
	How to Photograph Falling Droplets
	How to Photograph Smoke Trails
	How to Photograph Lit Matches
	How to Photograph Water Refractions
	Photographing Water
	Photographing Glass
	Photographing Synthetic Textures
	Photographing Fabrics
	Photographing Insects
	Abstract Photography
Chapter 6: What to Do with Your Images
	Getting Published
	Documentation
	Magazines
	Book Publishing
	Self-Publishing
	Stock Photography
	Greeting Cards and Calendar Companies
	Advertising and Promotion
	Conclusion
	List of Acronyms
Index
                        
Document Text Contents
Page 1

CLIVE BRANSON

Close-Up and Macro
Photography

FOCUS ON
the fundamentals

CLIVE BRANSONFOCUS ON

Page 2

Focus On Close-Up
and Macro

Photography

Page 100

85Flower Photography

Page 101

86 Focus On Close–Up and Macro Photography

Horizontal versus
Vertical
The majority of photographs
taken with SLR cameras are in
landscape format. People look at
the world in a horizontal,
180-degree angle; therefore,
landscape format is simpler and
almost automatic. It is also time
consuming to adjust your camera
vertically, especially on a tripod.
Nevertheless, try looking at a
subject from both a horizontal
and a vertical perspective. To use
an example, the images of
peonies below illustrate two
completely different appearances
simply by using a horizontal and
vertical format. Choose the angle




that gives the image the most
impact, both aesthetically and
descriptively. Bring a small cutout
rectangular piece of cardboard
with you on your next photo

expedition and look through it
from both horizontal and vertical
viewpoints. It saves a lot of time
and energy deciding.

Page 199

184 Index

indoors , 160
outdoors , 158
storing insects , 162 – 164

ISO , 59

J
JPEG , 61

L
Leading lines , 88
Leaves, photographing , 100 – 102
LeBlanc, Dawn , 109
Lenses , 20 – 23

35mm to 65mm , 22
70mm to 105mm , 22
120mm to 200mm , 22
choosing , 8 – 10
macro , 22
telephoto , 20
zoom lenses , 22

Lens hood , 106
Life size , 1
Lighting , 111 – 129

for automotive photography , 138
back lighting , 116
for black-and-white photograph ,

95
diffused lighting , 125
documentation purposes , 169
for fl ower photography , 92
for food photography , 142
front lighting , 114
incandescent lighting , 128
outdoor lighting , 112
for photographing falling droplets ,

146
for photographing insects , 160
for photographing synthetic

textures , 156
side lighting , 122 – 124

silhouettes , 118 – 120
strobe lighting , 128 – 129
studio lighting , 127
for water refractions , 152

Light sources, color temperatures of ,
67t

Light tent , 169
Lines, shapes, and patterns, balance

in , 88
Lit matches, photographing , 151 ,

151f

M
Macro lenses , 24
Macro photography , 3 – 37

vs. close-up photography , 3
diffi culty with , 4 – 6
focusing in , 6

Magazines , 170 – 172
Manual focusing , 169
Manual mode , 7
Maplethorpe, Robert , 109
Menus , 179b
Micro lenses , 10
Micro stock libraries , 176
Model release , 175
Monolight strobe , 128
Monopods , 26
“Mood” shot , 136
Moon, Sarah , 109
Multicolored fl owers, photographing ,

92

N
Natural light, shooting with , 127
Natural lighting

for food photography , 142
Negative space , 82

sharpness , 84
tonal contrast , 84

Neutral density fi lter , 108

O
Olympus cameras , 9
Outdoor lighting , 112
Overexposure , 56

P
Patterson, Freeman , 109
Personality, capturing

in automotive photography , 138 ,
140

in fl ower photography , 72
Photographer’s Market guidebook ,

176
Photographic bookstores/websites ,

172
Plexiglas , 55
Polarizer , 138
Polarizing fi lter , 108
Positive space , 82
Posters , 179
Power pack strobes , 128
Professional stock libraries , 176
Publishing work , 167 , 168b

R
Rain, photographing , 104
RAW , 61
Red and yellow fl owers,

photographing , 95
Refl ectors , 33

black , 35
gold , 33
silver , 33
white , 33

Rights-managed images , 173 – 174
Ring fl ash refl ector , 35
Roses, photographing , 94 – 95
Royalty-free images , 173 – 174

Page 200

185Index

Royalty-free stock libraries , 177
Rule of third , 45

S
Self-publishing , 172
Sepia , 98
Sharp images, steps to get , 50 – 52
Sharpness, approaches to , 84
Shutter, speed of , 56
Shutter speed , 54 – 58
Silhouettes , 144
Silver refl ector , 35
Simplicity , 88b
Singer, Jonathan , 109
Small apertures , 90
Smoke trails, photographing , 148 ,

149f – 150f
Stock photography , 173 – 176

professional stock libraries , 176
royalty-free stock libraries , 176
specifi c stock libraries , 176
submission mistakes , 175
what not to shoot , 175 – 176

Strobe lighting , 128 – 129
advantages of , 128 – 129
disadvantages of , 129
monolight strobe , 128
power pack strobes , 128

Studio lighting , 128
Submission mistakes , 175
Synthetic textures, photographing ,

156

T
Teleconverters , 9
Telephoto lenses , 20
TIFF , 61
Tonal contrast , 84
Tripods , 23 – 26

fl ash , 31 – 34
fi ll-in , 32 – 34

refl ectors , 33
black , 33
gold , 33
silver , 33
white , 33

Tungsten lighting , 128
for photographing fruit , 144
for photographing smoke trails ,

148

W
Water, photographing , 154
Water refractions, photographing ,

152 , 153f
Weather and fl ower photography ,

102
White balance , 65 – 67
White fl owers, photographing , 95
White refl ector , 35
Wide-open aperture , 90 , 112
Wimberley Plamp , 55

Y
Yellow fl owers, photographing , 95

Z
Zoom lenses , 22

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