Photography

Macro Photography Equipment

Macro photography is an exciting segment of photography and can be very rewarding if done properly. Below, I've listed a few things you will need to get started with notes about each one.

1. Macro Lens. Many cameras let you set your focus so that you are very close to your subject, a macro lens lets you focus much closer, and should let you get to a 1:1 ratio where your subject is exactly the same size as your image. Most lens manufacturers produce Macro lenses in a 100mm or 105mm length, and some also make 150mm or 200mm lenses. The advantage of the longer lens is that you don't need to be as close to your subject in order to get the 1:1 ration. This can be advantageous when shooting wildlife or subjects that move. Most underwater housings have ports for 100/105mm lenses.

2. Tripod. Because you are focused so close to your subject, your depth of field will be very small. To help counter this, you will need to shoot at f16 or higher which means your shutter speed will be very slow. This mandates a tripod. A tripod will also help when setting up your shot. Removing any center columns and mounting your head as close to the tripod collar will help you get as low to the ground as possible. Some tripods let you invert the center column and lower the camera all the way to the ground. This is helpful, but can be awkward because your camera is upside down. Some tripods are designed so that their legs will extend out flat, which is perfect for macro photography.

3. Flash. With a small depth of field and large aperture, you will need to add in as much light as possible to your image, and this is where your flash comes in. You can use a normal flash that sits on top of your camera, or a ring flash that attaches to your lens and gives you light from all angles. Alternatively, you can also find a bar that enables you to use two flashes (one on each side of your camera).

4. Remote Cord for Your Flash. Attach one end of the cord to your hot shoe on your camera, and the other to your flash, and voila! You can now move your flash where you like. Try using your flash at different angles and power settings to produce different effects.

5. Reflectors. Reflectors are flexible, coated discs that are usually colored and can be aimed to reflect light where you want it. I usually carry at least one small one in my bag specifically for macro. They fold up into almost nothing and lie flat for easy packing. I like one with a 'soft gold' coating and often place it under flowers to reflect light up underneath the flower. This usually brings light onto the stem and base of the flower adding depth. It is a subtle thing, and can bring your images to that next level.

6. Flash Diffuser. These soften the light from your flash, which can help give your images a more natural look. Most diffusers are white, but you can also put colored film over your flash to bring specific colors into your image.

7. Remote Cord for Your Camera. Some cameras use a cable release while others use a wireless remote. Either one will let you trigger the shutter without moving the camera. Given the very slow shutter speeds, these will help to reduce motion blur. Alternatively, Some cameras have a 2 sec timer, which can also be used to help eliminate camera movement.

8. Extension Rings or Tubes. These are rings of varying thickness that you attach between your lens and the camera. They don't have any glass in them, but should have electronic connectors. They let you focus even closer than your lens normally would.

9. Macro Focusing Rail. As you focus the lens, the magnification changes. In some cases it may be best to set the focus and move the camera until you have the desired subject in focus. Mount your camera on the focusing rail, then mount the rail onto your tripod. The rail enables you to move the camera in very small increments to bring your subject into focus.

This may sound like a lot, but once you have some of this equipment in your bag, you will find yourself reaching for it all of the time. It may take some practice to coordinate the tripod, flash and reflector, but once you have it down, you will see your macro images improve dramatically.

Colin McNulty - Rosmaru Expeditions  

Turn Your Walking Stick into a Monopod

Monopods provide good camera support and are easy to use and to transport.  Many excellent commercial models are available, but if you have that do-it-yourself spirit you can turn just about any wooden walking stick into a monopod.  

You will need a quarter inch drill bit, some epoxy, a 1/4 inch diameter bolt that is about one and half inches long and a hacksaw. Most hardware stores carry these things, and some will even cut the bolt for you, eliminating the need for a hacksaw.

Stainless steel bolts are best, but cost a little more.  You MUST get what is called "coarse" or "#20" thread (different terms for the same thing) since that is what fits almost all cameras.

If you are starting from scratch, cut a walking stick to the length you prefer.   Willow that often grows along riverbanks is particularly easy to work with.  My preference is to cut a stick that is longer than usual and grip it about 8 inches down from the top.  This gives you a little more height so you are not stooping to look through the viewfinder (or LCD screen).

1. Cut the top of the stick off square (parallel to the ground).
2. Drill a quarter inch hole about one and a quarter inches down the center of the top of the stick.
3. Cut the head off the bolt with a hacksaw, so you end up with a shaft, threaded at one end and about one and half inches long.  The threaded end will go into the camera.
4. Mix your epoxy, put some in the hole in the stick and some on the shaft of the bolt (but not on the threaded tip).  Insert the bolt so that approximately 3/16 of an inch sticks up out of the stick.  Let it dry.

If you want to get really fancy, glue a thin cork or rubber (from a bicycle inner tube) pad to the top of the stick around the base of the threaded bolt. This will provide some extra grip when you screw the camera onto the bolt.

If your camera/lens combination isn't too enormous, you can screw on a mini or medium sized ball head, which will give you more choices of camera position. Another option would be to find a rounded finial with a threaded socket (available at many hardware stores) to screw onto the top of your monopod when you are not using your camera.

To extend the life of your hiking stick/monopod, protect the bottom with a rubber cane tip- available at most drugstores and many hardware stores.   Be sure it's a rubber tip and not those plastic chair leg caps (too slippery).

- David Chesluk  "f8 and be there"   

Always Check Your Histogram

One of the great advantages of digital cameras is the ability to get instant feedback on every image you take. Histograms are a key component, ensuring a perfectly exposed image, every time. They allow you to correct exposure issues and perfect your shot in the camera which can dramatically reduce the time it takes to process and ship the image.

The small screens on the back of digital cameras can vary quite a bit in size and quality which means that they are not ideal for assessing the exposure of your image. The good news is that most digital cameras, from point and shoots to pro bodies, give you the option of displaying the histogram when viewing images. The histogram uses numbers to represent your image and thus does not rely on the screen, making it the ideal tool when assessing the exposure of your images.

The histogram is a graphical representation of all of the colors, and their quantities, in your image. The horizontal axis represents all of the colors in the image in numerical order. Zero (black) is on the left, and 255 (white) is on the right. The vertical axis displays the amount of each color. If the line goes all the way to the top, then there is a great deal of that one particular color in your image.

While all of this sounds technical, it's not necessary to look at every point on the graph. A quick look at the overall curve and the end points will tell you what you need to know.

Ignore the peaks and valleys; instead focus on the overall curve and end points of the graph. If the graph is bunched up on the left side, then your image will be dark. If this isn't what you want, adjust your exposure and shoot again. If the graph is bunched on the right, then your image will be too bright.

If either end point is cut off (above the bottom line), then there are colors that are not being represented in your image because it is either too dark or too light. Adjust your exposure or your exposure compensation so that the graph is more in the middle. Keep in mind that you may want your image to be light or dark, but if the histogram is cut off, then you are missing colors.  Ideally, the end points should be on the bottom line in the corners.

Every image is different, and will have unique histograms, but as a general rule, you will want to keep the bulk of your graph away from the far right (white) side. If the histogram is bunched up too far on the right, your image will be washed out, and it will be very difficult to recover any of the information when processing in photoshop. Spikes on the right side of the histogram, represent highlights in the image. If the spikes are on the extreme right, then you will have white spots in your image, which will be next to impossible to fix in later processing. In general, it's better to have a slightly underexposed (darker) image, than one that is overexposed, because it will be easier to adjust later in your computer.

Once you shoot an image, do a quick check of the image to see that it is composed the way you want it, and check the histogram to see if the exposure is correct. Do not rely on the image on the screen to give you proper exposure. Check the histogram to be sure. With Practice this will become second nature and you will notice your images becoming consistently exposed properly.

Colin McNulty - Rosmaru Expeditions 

Photo Tips - Get Some Support

It's difficult to focus on composition when shooting action shots.  But for stationary subjects there are extra steps you can take to aid in composition and get sharper shots too. The classic accessory is a tripod and that is absolutely the best thing to have if you can lug the weight and take the time to set it up.  But there are other ways to steady yourself and your camera.
1. Practice a good grip, easy breathing, feet apart and smooth shutter button pressure.
2. Lean against a tree, a pole, a building, a car or an obliging friend (making yourself into a tripod).
3. Use a bean bag filled with bird seed so you can empty it before returning home. These are quick to move, offer good support, but can be bulky.
4. Cranking up the ISO (sensor speed) will get you a faster shutter speed.  But that high ISO may decrease image quality due to "noise"-  those grainy, speckly dots of color in the wrong places (especially shadows).
5. Consider a monopod instead of a tripod.  There are many sturdy, lightweight, collapsible models.  Some may even serve double duty as walking sticks. Monopods offer some of the benefits you would get with a tripod but are easier to carry around and faster to set up. I've found they are less intimidating for street portrait shots. And some places that do not allow tripods (museums, formal gardens) are OK with monopods.

Check back to find out how to make your walking stick into a monopod with a little do-it-yourself project.

- David Chesluk  "f8 and be there"  

Photo Tip - Composition - Rule of Thirds

To help you decide where in the frame to put your subject there is a simple rule of composition that is called “The Rule of Thirds”. It is an easy one to use and all you do is to look into your camera and think of an imaginary tick-tack-toe board on your viewfinder. This divides your frame into three equally separated parts both horizontally and vertically. The lines also intersect at four points in the frame and these points are called power points and are generally considered the place in the frame with the most impact, visually speaking.

This is where you should try to place your subject, in one of the power points. If your subject is looking to the left put it in one of the right hand power points and if it is looking to the right put it in one of the left hand power points. This gives the viewer of the photo room for their eyes to roam and is more natural to the human eye.

You will notice that none of the lines dissect the frame directly in the center, this is important. In most cases you never want the line of a horizon to run directly in the center of the frame. A horizon is any separating line that dominates the photo. This could be where the land is separated from the sky or river running through a landscape and can be horizontal, vertical, or diagonal. Doing so tends to cut the frame in half and gives the impression that two images were place together. By placing your horizon nearer one of the imaginary lines either one-third from the bottom or one third from the top of the frame, makes your photo more pleasing to the eye. At first this may take time but at the expense of beating this to death, a little practice and it will become second nature.

Excerpt from Steve Morrello's most recent book, The Traveling Nature Photographer : A Photographic Guide to Exploring the World