Think differently in the world of macro photography

Think differently in the world of macro photography

Have You Ever Tried To Look At The World From A Different Angle And Tell Stories Worth Recording? The Macro Photography Has This Goal In Mind.

Macro photographers have learned through years of experience that this style of photography can break the rules applicable to other techniques, such as portrait and landscape photography, and break new ground. Macro photography is a different world that needs to be discovered, and adopting a different approach to combining science and art is a valuable asset.

Macro photography

A photographer who works in the field of landscape knows very well that it is not so easy to level the horizon line (for example) two degrees lower. But in landscapes with a smaller scale and no horizontal lines can be seen, they consider it a creative act to arbitrarily rotate the camera so that the landscape’s colors, bars, and shapes can be combined in the best possible way.

A flowering branch or a bunch of grass can be depicted diagonally to increase the visual appeal of a photo. Depicting insects in the corner of the landscape or vice versa is a believable method for everyone; They look in the picture as if the force of gravity does not play an influential role in their lives.

Macro photography

A photographer should never forget that he has to deal with strange angles and act as if this is never natural for him and will never become a habit. However, focusing by physically moving the camera can be mastered with practice.

Autofocus happens randomly when you’re shooting macro subjects—especially when you need to use maximum zoom. The focus should never be used if a strand of hair that is very close to the camera is to be the subject of photography.

Manual focus can also be practical, but moving the camera back and forth is easier to get the subject through the focal length. This may seem daunting at first, or at least a foreign concept. But using this method, focusing on happy bees will be much easier!

Macro photography

Focus rails are adjusted just like a microscope: the optics don’t have to change, but the distance between the lenses and the subject does. This technique is a manual and practical solution; In this way, the camera is placed on a tripod, it has a focus rail, and maybe it is better to take pictures with the camera on hand.

This gives more freedom for creativity. Moving the photographer back and forth while also rotating around the subject to find the best composition in the image provides the photographer with more creative options than when the photographer holds the camera still on a tripod.

In this method, the photographer can focus his lens based on the size of the subjects (in effect, he is using his lens as a zoom ring) and, as a result, moves the focal plane through the issue in a physical movement. Consider the example of the honey bee that follows.

Macro photography

If the above method is used, the photographer usually starts recording images at high speed and in an increased number to achieve the proper focus and with the hope that later, he will choose the best photo with the same emphasis he wants from among all these photos. It skips in the correct direction and continues shooting. This method is very suitable for photographing insects and other moving subjects.

If the photographer takes a series of out-of-focus shots until he finally finds the right focus for his unsteady and erratic subject, he will most likely get what he wants. Adding a battery pack to the camera’s flash ensures constant illumination of the scene. You can use Bolt CBP, an excellent and inexpensive option.

Recording hundreds of photos in a row to reach the desired photo in which all the variables are set correctly is a joint work for photographers, and no photographer considers it an aimless task; Rather, according to them, this work is an attempt to overcome the crowds and disturbances.

Macro photography

Why can’t photographers use other tools to overcome the shallow depth of field? If a camera’s aperture can shrink infinitely, why shouldn’t a photographer be able to shoot at just f/96 to achieve greater depth? The answer is that light does not register well in these conditions because of the refraction it experiences. What is the refraction of light?

When light passes through an aperture (for example, a camera aperture), it changes direction, Just like the behavior of water waves in wave pan experiments. The smaller the gap, the more the light is refracted to eventually fall on the adjacent photosites (tiny light-detecting sensors for each pixel) on the sensor. This out-of-line coloring can be easily seen at the end of each light ray.

Macro photography

A great example is Canon’s MP-E 65mm f/2.8 1x-5x lens, set at 5x zoom and f/16 aperture. A diagram on page 8 of this lens manual shows how to convert the “adjusted” gap to an “effective” one. Because lens magnification also affects these settings.

According to the above variables, it is possible to imagine a situation where the photographer takes photos with an aperture of f/96. Still, the refraction of light causes the image to become a chaotic and opaque effect.

There are online refraction calculators that work to check if the photographer is limiting the resolution of their images. But this point should also be remembered: the closer the photographer gets to his subject, the more troublesome it will be to increase the depth of field. Because as the magnification increases, the camera’s aperture becomes significantly smaller and loses effectiveness.

Macro photography

If it is impossible to overcome the physics of light, at least it can be circumvented: the stacking technique should be used. A composite image with greater depth can be created post-processing by combining narrow slices of focus that overlap slightly.

Do you remember the hundreds of photos you took before to find the perfect focus? If two or more of them are closer together than others, you have a unique opportunity to combine them to achieve a much better depth.

Some subjects, such as water drops, require 2 to 15 photos; If the photographer deals with more minor issues, such as snowflakes, 40 consecutive shots should be taken to achieve the desired result. Remember that you don’t need to take all the photos in focus, but you should have a tool at your disposal to get the most out of your efforts in the post-processing stages.

You don’t need special software to do this: Photoshop is the best possible tool, and the ON1 Photo RAW company recently added a focus stacking feature to their RAW processing steps. They have done this just by introducing a simple and easy user interface.

Macro photography

Again, new technology has provided more possibilities to overcome certain limitations. An interesting example that can be given in this context is the use of the “high definition” mode with the option of changing sensors, which can be seen in some mirrorless cameras.

If a 20-megapixel image can satisfy your needs, but the Lumix S1R can record 187-megapixel photos, it is possible to distance yourself from the subject.

This inherently adds depth of field, and you can crop it and still get a brilliant result. Only five images were needed for the image you see below. In the case of another method, about 15 photos should have been taken:

Macro photography

Increasing technical information and confusing details will complicate the discussion, so it is better to consider the artistic side of macro photography. Story telling; The belief that photos containing some narrative do not have much to say has many supporters, and the point here is that there is no end to the ways of creating fantasy stories in the realm of macro photography.

Macro photography

You can stare at the corners of the gardens and explore their stories; For example, the level of insects that interact with their surroundings, or the passing of seasons and reaching from blossoms to dried flowers, or that you can only look at the ground under your feet from above to discover the world from the perspective of a flower.

Ask yourself, “What if it wasn’t like that?” And before you pick up the camera and look at the world through its lens, try to look at the world from a new angle to find a story worth capturing through the lens of the camera.