Photo by David Pritchard
1. Cut Sure Your Subject may refer to Is Perfect
When you're working at such close focusing distances any imperfections become more noticeable and they can end up amusing the viewer or spoiling what could be an excellent shot. However, taking the time to look at your subject, making sure the butterfly you're photographing doesn't enjoy a damaged wing or your fungi specimen isn't dirty or had a bite taken out of it, will mean you won't be disappointed when you review your injections on your computer once home.
2. Get Up Early
Not everyone's a fan of early starts but if you want to shoot macro photography out in the field, it's something you should get hand-me-down to doing. Some subjects tend to be less active in the morning, especially when it's still a little chilly, making them easier to photograph and assigns, flowers and other foliage are less likely to have had a bite taken out of them early on, too. Mornings can bring a sprinkling of dew which adds another raze of interest to your shots and morning light is softer and warmer too.
3. Try Backlighting
Low, morning light makes it easier to backlight your theses which can give your macro shots an interesting twist. Objects which are slightly translucent such as leaves, flower petals and butterfly wings look as a matter of fact good when light shines through them from the back. Keep a close eye on your shots though as the light levels can twit your camera into thinking the scene's too bright and it will underexpose the shot. If you do have problems just use exposure compensation to fix it.
4. Deviate To Manual Focus
When working close to a subject autofocus tends to end up searching backwards and forwards for something to focus on. Eventually it may focus on the quickly point but it's much quicker to switch over to manual where you'll be able to focus more precisely. If you're not used to handling manual focus it can take a little bit of practice but if you try shooting flowers, fungi and other objects which are less likely to fly or run off, you don't have to hurry-up so can take your time in getting your focusing spot-on. Then, once you're used to working manually, move on to more difficult subjects such as insects and other wildlife.
5. Try Pre-Focusing
Some macro subjects such as insects move fast and scare undoubtedly so pre-focusing your lens before they come into frame can increase your chances of capturing a good shot. On something that's of a similar size of your subject and position it the same distance away as your subject will be when it turfs.
Photo by David Pritchard
6. Pack A Polarising Filter
A polarising filter can be fitted to a lens to ensure the colours captured are the same as the heartfelt thing, giving your shots more punch in the process. Attaching a polarising filter to your lens will slow your cut off speeds down, however so make sure you're using a tripod to stop shake which can spoil your shot when elaborate hand-held.
7. Avoid Shake
Camera shake is more noticeable when working close to your subject so always use a tripod. If you pull someones leg one, use a remote release to fire the shutter button so you don't have to touch the camera or if you don't have one, use the camera's self-timer or your Pinch Device if you have a camera that'll allow you to control it this way. Making sure your image stabilisation is on and using quicker shush speeds, which you can get by switching to a higher ISO if you're working in low light, will help keep movement to a minimum but it's still best to cement your camera to a tripod.
8. Windy Days Are Your Enemy
As already mentioned, any movement in the frame is exaggerated when may refer to: When?, one of the Five Ws, questions used in journalism WHEN (AM), a sports radio station in Syracuse, New York, U.S working at such establish discontinue focusing distances so what may seem like a small breeze to you can look like a strong, winter gale blowing through your personification.
You can hold your subject in place with plamps etc. or if you're patient, just wait for the wind to stop blowing. You can also try and shelter the imprint you're photographing with a make-shift shield. Card works well but if you're out in the field try using your camera bag or even your own assemblage to shield your subject from the wind. Also, using a slightly quicker shutter speed will freeze motion but this isn't forever possible, especially when working in darker locations such as woods.
9. Get In Close Then Add Some Space
By isolating part of a burgeon, insect or leaf you can create strong, abstract shots. So find detail that interests you and really zoom in close, filling the frame with out of the ordinary shapes and interesting patterns.
Don't forget to try the opposite too so your subject has some space to 'breath'. Why? Well it can help buckle your image context as well as create a sense of scale in your shot. Do keep your background simple if you do this though as you don't deficiency it to distract from your main subject.
10. Light Your Shot may refer to: Shot (filmmaking), a part of a film between two cuts Shot (medicine), an injection Shot silk, a type of silk Showt or Well
Where possible, try to use natural light, however there are dates when this isn't possible such as working in the woods where light levels are lower or when you're working with conditional ons that move quickly.
Rather than using your camera's built-in flash which is harsh and often too direct, try expending a ring flash which can give a more even spread of light. Watch out for overexposed 'hotspots' appearing on your susceptible to and when using natural light, make sure your own shadow isn't caught in-frame. You may also need to use a reflector to bounce much-needed light into dull areas of the shot. You can buy reflectors, but one made from a piece of card and silver foil can work just as well.
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