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A Close Up Look At How To Shoot Macro


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A Close Up Look At How To Shoot Macro

  1. 1. A “Close-Up” look at how to shoot Macro The Nuts & Bolts of it! • Equipment • Factors to Consider • Macro Subjects • Post Processing 1
  2. 2. Equipment • Macro Lenses • Extension Tubes • Close-Up Filters • Teleconverters • Bellows • Ring Flash Macro Lenses • Elements further away from the Sensor allowing closer Focus • Manual or Auto Focus • Usually have smaller F-Stop • 50 / 105 / 180mm 2
  3. 3. Extension Tubes • Adds extension between the lens and the Sensor – thus allowing closer focusing • Magnification = Total Extension / Focal Length • Extension tubes come in different lengths and can be stacked • Reduced light falling on Sensor Extension Tubes • Exposure Compensation for Extension Tubes The Hard Way EC = Exposure Compensation in stops E = Extension (mm) FL = Focal Length Log2 = 0.301030 The Easy Way Use TTL/Auto Metering!! 3
  4. 4. Extension Tubes As Shot EF 12mm Ext EF 25mm Ext 28-105 Zoom (Macro Setting) Close-Up Filters • They screw onto the front of your lens • They reduce the closest focus distance • They usually come in +1, +2, +3 Diopters • Longer focal length lenses produce higher magnification than shorter focal length lenses – However they do reduce your focus distance, a +3 diopter on a 100mm lens will only allow you to focus between 14” and 17” 4
  5. 5. And for those who really want to know………. M = FL(p) 1000/P where..... M = Magnification FL(p) = Focal Length of Lens P = Power of the Diopter Teleconverters • These multiply the focal length of the lenses without reducing the minimum focusing distance – thus multiplying the achievable magnification by the same factor 5
  6. 6. Bellows • Bellows allows you to vary this extension rather than one fixed length Ring Flash • Ring Flash gives a nice even light with soft or no shadows 6
  7. 7. Quiz Time? 28-105 28-105 + EF12mm Zoom Lens Extension Tube 28-105 + EF25mm 70-200 + 2x Extension Tube Converter Factors to Consider • Depth of Field • Plane of Focus • Working Distance • Light Loss / Camera Stability • Lighting 7
  8. 8. Depth of Field • Depth of Field is extremely shallow at Macro magnifications Aperture Focus Distance DOF f/8 15cm less than 1mm f/16 15cm 1mm f/22 15cm 2mm • Depth of Field is only a function of your Aperture – not the focal length of the lens – Shooting a subject @ 1:1 magnification with a 50mm lens at f16 or a 200mm lens at f16 will both give you the same DOF, but the working distance will be 4 times greater with the 200mm Plane of Focus • Since the Depth of Field is so shallow we need to consider the Plane of Focus. If we align the points of interest inline with the Sensor plane we will gain maximum sharpness 8
  9. 9. Plane of Focus Both Shot at f8 Plane of Focus How to Focus • Manual Focus – Autofocus can often struggle with Macro. • Switching to Manual Focus and moving the camera forward and backwards until focus is achieved • Focus and different points and decide yourself what you like 9
  10. 10. Working Distance • This is the distance from the front of your lens to your subject • As lens focal length increases so does your working distance • Working Distance at 1:1 (using lens extension to attain 1:1 magnification) Focal Length Working Distance 200mm 316mm 100mm 160mm 50mm 55mm Light Loss / Camera Stability • As Extension & Magnification increase, the amount of light reaching the sensor decreases • TTL Metering will give you correct exposures in spite of the f-stop varying with magnification • The image magnification increases the effect of camera shake is magnified 10
  11. 11. Lighting • On Camera/Built in Flash can cause a shadow of your lens on the subject • Use off Camera Flash so the shadows emulate natural light • The harshness of shadows cast by a light is a function of how big the light source appears when viewed from the subject – Light Source really close = soft shadows – Same light Source far away = harsh shadows • Another Light/Flash or Reflector can be used to fill in shadows Lighting • Manage the Background brightness – Flash light falls off quickly – Darken your background by putting your flash closer to your subject – Lighten your background by moving the flash away from your subject so the flash to subject distance is similar to subject to background distance 11
  12. 12. Flash Lighting • Types of Flash – Off Camera Flash • Allows you to create more natural shadows • Avoids Lens Shadow – Ring Flash • Gives a flat illumination with minimal shadows How to make a Cheap Ring Flash 12
  13. 13. How much of that you Remember Macro Tips • Get in Close – use Macro Lens/Extension Tube/Close-Up Lens to get in close • Manual Focus – switch to Manual Focus and move the camera back and forward to focus on your subject - “Nail those eyes” • Sharp – maximum Depth of Field by aligning subject with Plane of focus • Steady – with increased magnification use a tripod/beanbag • Background – Darken/Lighten by moving your light – look for uncluttered b/grounds • Flash – use flash to lighten your subject. Take off camera to create more pleasing and natural light – watch for flash fall off 13
  14. 14. Macro Subjects • Anything goes - so try it!! Increase Depth of Field when Post Processing! Set up on Tripod Take 4-5 Photos varying point of focus Open Bridge and select your images Bring into Photoshop Layers Auto-Align Layers Auto-Blend Layers 14
  15. 15. Open Adobe Bridge + Select your Photographs Go to Tools / Photoshop / Load Files into Photoshop Layers Photoshop will start and each image will be loaded into a separate layer Select All layers and go to Edit / Auto-Align Layers 15
  16. 16. The Auto-Align Layers Pallet will open – make sure Auto is selected You may not see much happen – but study the thumbnails to see layer alignment Then Select Auto-Blend Layers The Auto-Blend Pallet will open – select Stack Images 16
  17. 17. So from 5 separate images all shot with a different point of focus we can create a single shot with much increased Depth of Field 17
  18. 18. Who wants a go? • Autumn Still Life • Stick Insects • Caterpillars • …and who wants a 18