If you appreciate the subtle beauty of a freshly bloomed bud or want to preserve the memory of that bright and bold gift bouquet why not try putting your photography skills to good use and capture a delicate floral macro?
Begin by finding the perfect specimen and if possible place it in an area with great soft light, for example in front of a window that is shielded with a sheet or net curtain. If the plant is outside either move it to a shaded location or find a way of diffusing the sun’s rays with a piece of fine material if the light is particular harsh or the sun is at a high position in the sky. Shoot with your back to the light (without blocking it) or from the side, so that the light falls gently and delicately on the flower head’s crevices and petals, effortlessly eventuating texture, colour and the intrinsic detailing. An overcast but bright day will undoubtedly harvest optimum captures, but if you need to ‘add’ extra light utilise a reflector to lift details from the shadows.
Next set the camera onto a tripod or if you are lacking one try using something as a stable substitute to support it underneath. Using something like
will be extremely useful here, especially when shooting immoveable or smaller specimens as the accessory is relatively dainty and low to the ground as it doesn’t have a restrictive centre column like a tripod does.
In terms of glassware a macro lens or extension tube will reap stronger images, otherwise experiment with focal length you have at your disposal and use your distance to influence the composition, determine how close you can get to secure a lock. Some people prefer the simplicity of auto-focus, whereas others surmise that manual offers greater creative control, either way decide what you want in focus, lock on to it and then recompose.
If you are using a point-and-shoot device, opt for the camera’s macro mode and ensure that the flash is deactivated. DSLR or hybrid users should switch into Aperture priority and experiment with the lens’ aperture range to alter how much detail is captured. For a crisp centre and softly blurred petals or background opt for an aperture of between f1.8 and f4 depending on the strength and range of the effect you want to generate. If you’d rather keep the flower head’s details crisp use a narrower aperture such as f18 or even f22.Depending on the colour of the flower you may find you’ll need to employ exposure compensation to balance the scene.
Stand above the flower and shoot the subject from various angles, then lower the lens in stages to the same level as the flower and shoot again, finally fall beneath the flower head and shoot up at its delicate underbelly.
Review your captures onscreen to determine what appeals to you or what you would like to develop. If you want to tweak the captures in an editing suite it is advisable to shoot in RAW so all of those vivid details and colours are naturally replicated.
If you would like to repeat the photo session at a later date, try experimenting with various lighting techniques, lenses, gels and include elements such as water for that heightened level of interest. Shooting a flower macro just after it has rained, or before snow or frost melts, can really exaggerate the specimen’s beauty and lends itself to creating a more dramatic photograph.
Image by Hamed Saber
Begin by finding the perfect specimen and if possible place it in an area with great soft light, for example in front of a window that is shielded with a sheet or net curtain. If the plant is outside either move it to a shaded location or find a way of diffusing the sun’s rays with a piece of fine material if the light is particular harsh or the sun is at a high position in the sky. Shoot with your back to the light (without blocking it) or from the side, so that the light falls gently and delicately on the flower head’s crevices and petals, effortlessly eventuating texture, colour and the intrinsic detailing. An overcast but bright day will undoubtedly harvest optimum captures, but if you need to ‘add’ extra light utilise a reflector to lift details from the shadows.
Next set the camera onto a tripod or if you are lacking one try using something as a stable substitute to support it underneath. Using something like
will be extremely useful here, especially when shooting immoveable or smaller specimens as the accessory is relatively dainty and low to the ground as it doesn’t have a restrictive centre column like a tripod does.Image by Auntie P
In terms of glassware a macro lens or extension tube will reap stronger images, otherwise experiment with focal length you have at your disposal and use your distance to influence the composition, determine how close you can get to secure a lock. Some people prefer the simplicity of auto-focus, whereas others surmise that manual offers greater creative control, either way decide what you want in focus, lock on to it and then recompose.
If you are using a point-and-shoot device, opt for the camera’s macro mode and ensure that the flash is deactivated. DSLR or hybrid users should switch into Aperture priority and experiment with the lens’ aperture range to alter how much detail is captured. For a crisp centre and softly blurred petals or background opt for an aperture of between f1.8 and f4 depending on the strength and range of the effect you want to generate. If you’d rather keep the flower head’s details crisp use a narrower aperture such as f18 or even f22.Depending on the colour of the flower you may find you’ll need to employ exposure compensation to balance the scene.
Image by Evan Leeson
Stand above the flower and shoot the subject from various angles, then lower the lens in stages to the same level as the flower and shoot again, finally fall beneath the flower head and shoot up at its delicate underbelly.
Review your captures onscreen to determine what appeals to you or what you would like to develop. If you want to tweak the captures in an editing suite it is advisable to shoot in RAW so all of those vivid details and colours are naturally replicated.
If you would like to repeat the photo session at a later date, try experimenting with various lighting techniques, lenses, gels and include elements such as water for that heightened level of interest. Shooting a flower macro just after it has rained, or before snow or frost melts, can really exaggerate the specimen’s beauty and lends itself to creating a more dramatic photograph.
Natalie Johnson is the former editor of Digital Photographer magazine and after seven years in the business has chosen to pursue her dream of becoming a freelance photographer and writer.
Different tripods suit different situations.
* Flimsy tripods are a waste of money. It's not a bargain if
you never use it.
* Heavy tripods are fine in a studio, but not for hiking up a
mountain.
* Some tripods have a hook and the bottom of the center column
so you can hang a weight there for greater stability. This is great
for taking landscape photos in a gale, but you rarely get gales in
a studio.
* Some tripods open up considerably taller than others. Check
the height with and without the center column raised. (And check
the stability of the center column, too.)
* Some are easier to adjust than others.
* And of course prices vary widely. But bear in mind that a
tripod might well last you 25 years.
* Table tripods These are small (about 6" high) and therefore
extremely portable. They're not much use for landscapes unless you
can find something to stand them on, like a rock or wall. (I once
used the speakers at a rock concert. Don't. Speakers vibrate!)
* Clamps These are also small and portable, but you need to
find something to clamp them to. I have a combined table tripod and
clamp, and over the years it's proved very useful.
* The car window If you haven't got the right kit, or you
haven't got time, wind the car window down to the height you
require and rest the lens on that. It's not nearly as good as a
tripod or beanbag, but it's better than holding the camera by hand.
Just remember to turn the car engine off and ask any passengers to
sit still.
