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Ebook Pdf Macro Photography From Snapshots To Great Shots contains important information and a detailed explanation about Ebook Pdf Macro Photography. Close-up and macro photography is one of the most popular types of photography among digital photographers today. After the big-range zoom, a macro lens is. Ebook Macro Photography From Snapshots To Great Shots currently available at for review only, if you need complete ebook Macro Photography.

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Macro Photography: From Snapshots to Great Shots. Rob Sheppard. Peachpit Press To report errors, please send a note to. some read an uplifting story, and others may watch an inspiring I have quotes placed Motivational Quote. Macro Photography From Snapshots to Great Shots by Rob Sheppard - Ebook download as PDF File .pdf), Text File .txt) or read book online.

Macro Photography: Susan Rimerman Senior Production Editor: Elaine Merrill Proofreader: Bethany Stough Composition: WolfsonDesign Indexer: James Minkin Cover Image:

This book will show you a whole range of techniques to truly take you beyond the snapshot and get you great shots.

In fact. Do you know what the best gear is? The gear you have and can use right now. I want to help you try your skills with all sorts of subjects. But with close-ups. Above all. You will find a variety of subjects scattered throughout the book in the photos I have chosen because I want to encourage you to engage with different subjects with your own photography.

I want you to feel encouraged as you explore some amazing worlds of the close-up. Without even leaving the parking lot. While it is true that experience can help you with the craft of photography and with better realizing your vision as a photographer. I hope you have fun. But I will warn you—this type of shooting can be addicting! Since you can do it almost anywhere. Sometimes photographers feel inadequate next to more advanced photographers.

This truly is a different world for most people and most photographers. In this book. When you and your camera get in close to things. I am going to offer you my best ideas on how you can get better pictures up. I am going to help you find those striking new images by helping you really spend some time up close. This was in February. I want to offer the awesomeness of the close-up and macro experience to you because I want you to also enjoy getting close to nature and finding better pictures there.

My first published nature photographs. I did not have my tripod so I needed to use a fast shutter speed. I have been photographing close-ups since I was a kid. Poring Over the Picture I love spending time in botanic gardens because of the richness of close-up possibilities always there. World of the Small Kids are often more attuned to the small details of the world around us than we are as adults.

But there are new worlds ready for us to explore all around us. That alone can be a good reason for working up close with your camera and lens. Most of us are never going to explore some exotic mountain range in Asia. These little things. We get so caught up in the rush and bustle of everyday life that we forget to stop and smell the roses…let alone photograph them! Yet this world of the small can be exciting.

Close-up and macro photography definitely encourages us to get down and get dirty with the small things in the world around us. That makes life all the more fun.

By going small. How is that possible? By getting in close to the small things. The world becomes a bigger place!

There is no question that close-up and macro photography have helped me experience and appreciate a greater range of beauty in nature and in life. But I think I would get bored if all I did was landscape photography. On the other hand. Our country has a well-deserved reputation for preserving some stunning locations in national and state parks. Landscapes are great. I love landscape photography. This goes back to that paradox: By looking for the small things in a national park—for example.

I never cease to be amazed by what I find when I start looking for close subjects. Amazing Nature Even though I have been photographing for most of my life. My book. Landscape Photography: From Snapshots to Great Shots. I also love the bigger parts of nature. I have felt privileged to witness spiders building webs.

Macro Photography: From Snapshots to Great Shots

I enjoy visiting and photographing landscapes all across the country. You might have to drive quite a distance to find much of a change so you end up stuck with the situation.

And I will guarantee you will present a picture of the location from your images that simply cannot be achieved any other way. That may or may not give you the best shots. Photograph Anytime In fact. Plus you will gain a whole new set of photographs.

With close-ups. Up close. Or maybe the day is cloudy and gray with little to help define the landscape. You can move around your subject. You might like the big landscape. You can shoot regardless if you have sun. You can change your angle to the sun and quickly run through everything from front light to sidelight to backlight which is exactly what I did for Figure 1.

The photographer goes through many choices. That said. And obviously. This relates to something I love to talk about: When you say no to a shot. I found so many things going on in the garden. I figured out the focal length of the magnifying glass. As a teen. It was a rangefinder camera. I started to explore the many things that lived in our garden.

It was a nice location. That was great. I had appropriated an old camera from my dad to use with my growing interest in photography. That turned out to be okay because I later had a need for something for show and tell at school. My friends and I used to ride our bikes out into these areas and explore. But I wanted so much to get in close and capture images of the little things that I was discovering.

Then I read something about underwater photographers using a frame to help position the camera for close-ups.

Macro Photography: From Snapshots to Great Shots by Rob Sheppard - PDF Drive

When I was in grade school. We found all sorts of things. How cool! I made a mount out of cardboard that fit around the lens then attached a magnifying glass to that mount. To Dew or Not to Dew While I love the look of dew on things like spider webs and flowers in early morning light.

I had no other options. I found that it worked Figure 1. After doing a little experimenting. When we later moved to St. Maybe that would work with a camera? I did some research at the library this was way before the Internet and found out that I could use a magnifying glass in front of a camera lens to allow close focusing. I thought a bit about it and considered how a magnifying glass would help a person see things up close. That is pretty darn close and goes beyond what most people are interested in for close-up work.

Close-Up and Macro Defined Whether you know the technical difference between close-up and macro or not is probably not going to affect your photography much. So technically. A magnifying glass is not designed for such work. All macro shots are close-up images. But because there is a technical difference and it might come up. Having only a macro lens can be very limiting.

But it sure was a lot better than only being able to photograph from afar. What 1: I got started doing close-up work without a macro lens! I think this is one reason I learned how important focal lengths can be to close-up work that goes beyond use of a macro lens.

The important thing is not that you are absolutely technically correct on the terms. That is not necessarily a big deal for nature photography. With a wide-angle lens. Most lenses have a slight curve to their plane of focus. It is also supposed to signify that the lens is corrected for flat field sharpness up close. With a telephoto lens. It does refer to how close you can focus without accessories.

The term macro on a lens goes a little deeper. With moderate focal lengths. For most photographers. You may be old enough to remember the unsuccessful disc film camera that Kodak came out with in In the past. This means that any close-up work that you do. Not all photographers are comfortable with being super close to things like little critters. In addition photographers rarely photographed closer than at 2 feet. This is one area where even the beginner can get some striking and unusual pictures that might not be as easily accomplished with bigger scenes.

Close-Ups Have Impact However you describe this type of photography. But they did find out one very interesting thing. They discovered that most people photograph at around 5 to 7 feet or infinity. Most cameras today. Camera owners got used to that. Kodak did a lot of research about how photographers took pictures before introducing this camera. Kodak introduced it with a lot of fanfare. You then get a chance to show off your photography and get people to pay attention!

The disc cameras had limited focusing ability because of that. But most people use it to simply record things they want to remember or share on Facebook. What about things that might bite. Small Cautions Close-up photography. Most of the time you will not have problems with danger when you are doing close-up photography in places like the foggy meadow next to a pond in Figure 1. While most of nature is pretty benign. I have never been stung while photographing any insect.

I do want you to be safe and get out and photograph without fear. They have to start somewhere with new cones and new needles. I have been photographing up close since I was a kid. As I have said. This is a place for exciting close-up work. That means that at any sign of danger. More than once I have knelt down to get close to an interesting flower. I have never been bitten by a spider.

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Big ant colonies are generally pretty obvious and you can avoid them easily. Definitely be careful around a wasp nest. While I have never been stung by them while in the field photographing. Very few stinging insects will bother you when they are busy gathering pollen and sipping nectar from flowers. A spider bite will always have two small holes right next to each other because of their two. There is little here that can be dangerous to you. But just so you know. Spiders are small.

Ants are relatives of wasps and can both sting and bite. To my knowledge. I have inadvertently walked across a nest of yellow jackets and experienced their wrath. Black Widow Spiders Black widow spiders scare a lot of people. Black widow spider bites tend to happen more when people are rooting around in debris in the garden and grab one inadvertently. Black widow spiders come out at night on their webs—which are built low. They would build nests under the seat opening to catch flies that were attracted to the outhouse.

I am very sensitive to these plants and am hyper aware of where they are. The brown recluse spider is found in the Southwest and has some very strong venom. As far as plants go. There are a couple of spiders in the United States that can cause more serious bites.

It can cause physical problems to the whole body that necessitate going to the hospital. The black widow spider is fairly common from California to the Southeast and its bite can be very painful. A problem with these plants is that if you are sensitive like I am and your tripod or shoe gets into their leaves. Know how to identify these plants and take along some wipes to clean off shoes. Over the years I have gotten both from times I was out photographing.

But usually if you just are aware of your surroundings. A big problem happens to be the cholla cactus. As you. I have knelt down on prickly branches and regretted that. You will quickly discover a whole new world with your camera that you might not have known was possible. Cholla cactus spines are very. Go out into your yard with your camera. Set your camera on its closest focusing distance and move in for the shot.

There are a lot of plants that have spines. Discover what poison ivy looks like. Pull up a lawn chair and just sit down and look. Leaflets come in groups of three never more. Try a big scene with close-up If you like photographing big landscapes. Enrich your photography and experience at the location by photographing up close.

Poison ivy and poison oak are common through large parts of the United States. Join the group here: I know. This is just the mindset to help you broaden your approach to photographing at any location. What is it that you wish you could photograph? Is there gear that is keeping you from getting the close-up views that you really would like?

The next chapter and other chapters will help you refine your approach to close-up photography. Our sensitivities to these plants can change over time. Learn where they grow and what they look like. This will allow you to get more from wherever you are and enjoy your photography even more!

Where do you feel limited? This is a thought exercise. One thing that can really help you as a photographer of closeups is to start thinking about where you feel limited when you are out photographing. They can cause a serious reaction of welts. But when you get out to a location with a landscape.

I really liked the black-and-white version of this photo because it gave such a graphic design of tonalities that contrasted nicely with the dark grasshopper nymphs. A macro lens is important to my work. The light is low from a sun approaching the horizon. They are black and red when immature as small nymphs.

I find them fascinating. If you had a camera that did not have interchangeable lenses. This meant that no matter what you did.

Close-Up Gear Years ago. And even if you owned an SLR camera. Using the Gear You Have With modern digital cameras and lenses. You may be able to do close-up work with your existing gear Figure 2. Photographers who never shot back in the days of film photography often have no idea that tools for close focusing were rarely part of the gear. They have never tried to photograph in any other way for close work.

It is not unusual. Or maybe that macro lens is the right choice for you. I had to explore other gear. This can be quite. This chapter will help you make these choices. I could not afford a macro lens.

I can remember shooting with a Nikon telephoto lens that could only focus to 10 feet away! I gave an exercise that encourages you to get an idea of what your lenses can really do with close-up capabilities. I specifically look for lenses that have close focusing abilities. Before you start thinking about buying any new gear.

One thing that you may discover is that your gear does its best close focusing at widerangle focal lengths. Simply put your lens on manual focus. I have picked up point-and-shoot cameras that focused down to a couple of inches. You may discover that you can get a lot of interesting close-up work done with that lens. In the last chapter. If you have a lens that does have telephoto capabilities. Micro Four Thirds: Since smaller formats use a shorter focal length for any given angle of view.

The larger the sensor size. It is sometimes called a crop format. A Note About Formats I find there is a lot of misinformation about digital formats in cameras. There are three main formats commonly used today: APS-C is the next size smaller. It is important to understand a little about them because they affect the cameras used. Technically this really should be called 35mm-full-frame because full-frame without any qualifier is meaningless. Because larger formats need a longer focal length for any given angle of view.

It is the smallest of this group of sensors and has a magnification factor of 2. Sometimes having less depth of field is better than having more depth of field. These are all simply different formats. This is the largest of the formats and focal lengths act on it the same as they did with 35mm film.

There are some differences that these formats create. These are not arbitrarily either good or bad. The size in this case means that the digital sensor is the full size of 35mm film.

That means larger and heavier lenses. This format uses less of the area of a 35mm-full-format sensor so that it has a magnification factor of 1. The one on the right has a filter ring adapter to allow it to be used on different camera lenses. Standard close-up lenses are single-element. They also do some great things with telephoto focal lengths to.

One thing that I really like about achromatic close-up lenses is how well they work with wide-angle zooms Figure 2. Depending on the size that you need. Since different lenses can have different filter ring sizes. You do have to be careful that your achromatic close-up lens is sized so that it does not cut off the corners of your shot with your widest focal length.

Figure 2. Their only value is that you can get them cheap and that they do make getting close up simple because you just screw the lenses on to the front of your existing lens. Achromatic Close-Up Lenses You can get close with inexpensive close-up lenses.

The difference. This is an easy-to-use option. It can be difficult to get really wide-angle focal lengths to focus up closer.

There is an alternative: You buy such a lens to fit the filter ring of the camera lens.

An achromatic lens is a two-element lens that uses the extra glass element to give you a much better image Figure 2. Since the lenses screw onto a lens. These close-up lenses are very. The quality of your camera lens will influence the quality you get when shooting close-ups with an achromatic close-up lens. This is one with a large diameter to allow for use on a wide-angle zoom. I have found that these lenses work extremely well with almost all modern camera lenses.

As the lens moves away from the camera body.

These tubes fit between your camera body and lens. There are no lenses or optics involved. This creates a space between your lens and sensor that pushes your lens away from the camera. As you can see in Figure 2. Extension Tubes Extension tubes are exactly that.

How close you can get with a particular extension tube depends on the relationship of the size of that tube to the focal length of your lens. These can be used singly.

Macro Photography From Snapshots to Great Shots by Rob Sheppard

Telephoto lenses have longer focal lengths so you have to use more spacing. All lenses change in their ability to focus up close as they move away from the sensor. Extension tubes often come in sets of two or three..

Wide-angle lenses have shorter focal lengths so shorter extension tubes will get them extremely close to your subject. The second challenge is that zoom lenses no longer act like the zoom lenses you expect them to be from your experience with them at standard distances.

You have to refocus your zoom lens as you change your focal length because you are changing the relationship of the extension tube to that focal length. Such an extension tube will make that 50mm focal length focus extremely close. This again is related to the relationship of the size of the extension tube to the focal length. There is no way to predict how a given lens is going to do up close with extension tubes.

They are such a useful accessory to have that I think it is worth getting them and then just trying them on your different lenses.

You may discover some lenses work better than others up close. These are extension tubes that connect the. For example. This does create two interesting challenges that can be a little confusing for the photographer first using extension tubes.

The result is that as you zoom. Buy what are called automatic extension tubes. The lens gets pushed so far away from the sensor that the focus point can even move inside the lens.

The size of the tube may simply put too much distance between camera and lens compared to the actual short focal length of the lens.

Image quality will often be quite excellent with your lenses. They have no electronic connection between camera and lens. This connection also allows a lens to autofocus. They are designed for old-style manual focus lenses that have their f-stop settings on the lens. The f-stops of many lenses cannot be set on the lens and have to be set on the camera body. Other Options As you explore close-up and macro work.

While they will allow you to focus close. Without this connection.

While automatic extension tubes do allow the lens to communicate with the camera. All of these work. One way I can often tell is that a lens is focusing a heckuva lot closer than normal Figure 2. You may find very inexpensive extension tubes that are essentially only tubes. Like with achromatic close-up lenses. That means that if you have a mm lens. A tele-converter does not make your lens focus any closer. Sometimes it is negligible and not worth worrying about.

Tele-Converters Tele-converters also called tele-extenders are an excellent way to increase the magnification of your lenses with a small accessory lens that fits in between your camera body and lens Figure 2. How much image quality it loses is totally dependent on a particular lens and converter combination.

There is also somewhat of a loss in image quality because you are magnifying not only what the lens is seeing but also any defects it might have. They are different from extension tubes because they have optics built into them that typically come in 1. Even though you might be only able to get as close as 5 feet to your subject. This also changes how the f-stops work. If you are interested in exploring this further. Not a point-and-shoot as some people called it.

Some photographers have mounted an old manual macro lens on them for extreme close-up work. I was working as editor of Outdoor Photographer magazine. Bellows are great if you need extreme close-up and magnification work. I have not done much with this type of close-up method because it is a bit unwieldy to work with.

You screw something called a reverse adapter into the filter ring of the lens on your camera and then screw on another lens with its filter ring to the other side of that reverse adapter. My gear is made by a combination of manufacturers because both Panasonic and Olympus make Micro Four Thirds cameras and lenses. I got the chance to try out all sorts of gear from every manufacturer.

This means that most bellows act like manual extension tubes or require very specialized gear to make them work automatically. Their structure requires them to have a significant distance between camera and lens just to start. This will allow extreme close-up focusing in the macro and magnification range. I loved two things. Tilting Live View The G2 was an excellent little camera. Bellows are a bit awkward to use and not very convenient for fieldwork.

This distance can be changed a lot because the bellows open and close on a track. This makes the front lens act like a highly corrected close-up lens. But the story of my gear goes back a few years as far as close-up photography is concerned. Google reverse adapters and macro photography. Reverse Adapters A unique way of getting close-ups is to attach a regular lens backward on the front of the lens that is attached to your camera. When digital first started.

Bellows act like extension tubes in that they increase the distance between camera and lens. This particular camera had an adapter that allowed you to add a filter.

This worked great! Since you could not use the optical viewfinder for close work. I wanted to have the capabilities of shooting with the telephoto focal lengths as well. I loved it. I could afford that. This made getting down and dirty with close-ups a lot easier than I had ever experienced before Figure 2.

I did not have to put my head so close to these spines. With HD video. I loved everything about it. I bought it and quit using the 7D even though the build. I went back to Canon. It acted like a film camera. By using the Live View on my new Olympus. I never liked shooting nature because the image quality was never that great. This had an even better. This camera had the same sensor and internal processing as the 7D. In the days of standard video. I totally abandoned my Canon gear and invested in this new Olympus digital camera system.

This was perfect for me. It was a great little camera. Then Canon came out with the 60D. Change to Video I had shot video professionally in the s and s.

Although they ran the Live View off of a second sensor. The cameras had tilting LCDs. I also felt limited by the range of lenses and accessories available for the system. I was not completely happy with the way the Sonys handled. While I felt the image quality was okay.

At the time. This is a bluejeans poison arrow frog. Because these cameras have no mirror in them. I just got tired of dealing with it. I was able to get a camera with a sensor very similar to my Canon gear plus lenses. I had the opportunity to try out a Panasonic Lumix GH3 with a couple of its latest and most modern lenses. I fell in love with this camera. It felt good in my hands. This really shows the value of the swivel LCD. The controls were accessible and easy to use.

On to My Present Gear Because of my experience as an editor of a major photographic publication. You can even get adapters to put almost any camera lens on the body. I no longer struggled with a heavy pack on my back when I was out shooting.

I could put the camera right down on the ground and even tilt up and put low flowers against the sun. Higher than my head. Waist level. I fell in love with them immediately. Another thing that came in handy was to be able to stretch my arm out toward a subject.

They were a pain to use. And since this was a mirrorless MFT. They enabled me to put my camera into places where it was difficult to do otherwise. A lot of people comment about how hard it can be to see your LCD in bright light. I could not afford cameras that had interchangeable viewing systems that included a waist level finder. So when tilting LCDs became available. This has become so much a part of my workflow in shooting in the field that I really cannot work without a tilting or swivel LCD.

I had considered the Olympus OM-D cameras—excellent. I also always wear a hat and use my hat at times to shield the LCD when the light is giving me a problem. This gave me a wonderful range of lenses to choose from. The cool thing about cameras in the MFT system is that you can use lenses and accessories from both Panasonic which includes some Leica-designed lenses and Olympus.

The newest cameras have very bright LCDs that are usable even in bright light. While that is true. I could set up my tripod at any height beyond simply at eye level and not be uncomfortable looking through the viewfinder. I tried some right-angle viewfinders and never liked them.

I would lie prone on the ground with my head smashed against the dirt in order to get a particularly low angle of flowers with a wide-angle lens used up close. Back in the days of film. The GH3 had a high-resolution. That sometimes is important with close-up work. I could get in closer to a lot of subjects where I might not be able to put my whole head into the space.

I kept my hand in the picture to give you an idea of its size. The key is to understand how contrast works within black-and-white. Something that looks good in color does not necessarily look good in black-and-white. A challenge that many photographers face with black-and-white photography comes from thinking that this type of photography is just about the removal of color. How you interpret those shades of gray is critical. Sometimes as photographers. I guarantee it will change the way you see the world and your photography even if you never shoot black-and-white again.

Set your camera to capture in monochrome or black-and-white all modern DSLRs. A great way of learning black-and-white is to shoot in black-and-white. There is a lot of potential for really cool black-and-white images when you get up close. This is something I recommend to all photographers to try at some time or another. Good black-and-white photography is its own medium and needs to be treated as unique Figure 2.

Before importing your black-and-white shoot. That is often a very useful tool for black-andwhite close-ups. If you want to learn more about black-and-white photography. You will find that you get very different views of the close-up world in front of you. Look for contrasts in brightness between your subject and background.

Try black-and-white up close I gave you some ideas about shooting in black-and-white in the last section of this chapter. Try shooting with your lens wide open for really shallow depth of field that can separate a sharp subject against a soft background. Get out of the zoom habit Avoid just setting up a tripod and zooming in and out for your close-up shots. Chapter 2 Assignments Push your gear Without worrying that you have the right or wrong gear. An optical viewfinder shows you what your eye sees of the world.

Everything that you see on your LCD will be in black-and-white. That forces you to look for contrast that actually shows up in black-and-white. Start thinking about light Light is obviously one of the critical elements of photography. One very cool thing about Live View is that it shows you what the sensor is actually capable of seeing.

When you get back to the computer. By default. You may be surprised at what you get. Try different subjects and see what happens.

Now go out and start taking pictures. That can help a lot. If you have not used yours. But one of the cool things. Then do the same thing at the telephoto focal length. If you are using Lightroom for your images.

If you are using a zoom lens. It might be a little disconcerting at first. So get out and look for a subject that is in some sunlight and then try photographing it from different angles so that you get different light on both the subject and the background.

Just by moving around! Sharp photos up close require special attention Sharpness can be a significant challenge when you are shooting up close. I constantly get questions and comments about this from photographers exploring close-up and macro work. They quickly notice that sharpness can be a distinct problem, and many think then that a macro lens will solve everything. But when that macro is added to the camera bag, these same photographers quickly discover that the sharpness challenges keep coming.

Up close, there are three main sharpness challenges: In this chapter, I want to. If you want consistently sharper photos, the principles laid out in these two chapters will help you achieve exactly that. Poring Over the Picture Hummingbird moths are cool little moths that come out during the day and feed on the nectar of flowers.

I used a telephoto zoom lens with extension tubes to allow close focusing and stayed a good distance away from the wild bergamot flowers where this and other insects were working. This was in a great patch of prairie in central Minnesota. The Camera Movement Challenge Camera movement during exposure is one of the biggest problems for getting sharp images at any distance, but up close it is magnified tremendously.

It is a true killer of getting great shots up close. Camera movement during exposure even gets worse as you move closer toward the true macro image. This is not just a problem for the beginner or the amateur. Everyone who shoots close-up. A difference between the pro and an amateur here is that the pro recognizes the possibility of camera movement during exposure and will both look for it and try to minimize it.

Figure 3. I shot this in good light. Many times I have been frustrated by images that were not as sharp as they should be because of such camera movement during exposure.

Notice that Figure 3. When the camera movement is distinct enough. What happens is that fine little details in the picture blur and change the contrast of the image. You can see this quite well in the photos in Figure 3. This problem with sharpness shows up in two ways. Think of it this way. When compared.

These photos were taken right after each other with exactly the same settings. Then it is pretty obvious that the camera moved during exposure Figure 3. It loses something called image brilliance. It might not be enough to make everything look seriously blurry. Imagine you are taking a photograph of a big beautiful landscape spreading out in front of you. Now think about photographing a subject up close that is covered in an area only inches by inches. Viewers will not notice the same problems with sharpness as much or even at all.

The bigger the image is and the closer your viewer is to it. Both were shot exactly the same. When they start becoming short little lines. These little highlights should be circles or very close to circles.

You can always confirm that camera movement during exposure is causing you problems if you select a close-up image Figure 3. Because of this. The Craft of Sharper Photos Getting sharper photos is less about the camera and lens you have than it is about the craft of photography.

Your craft influences the impact of camera movement on your images. There are several actions within your control that might affect sharpness during exposure.

The camera bracket seen on my camera is an L-bracket used for quick-release tripod heads. There is truthfully only one way to hold your camera to gain the maximum stability and the least amount of camera movement.

Many photographers have gotten in the habit of putting their elbows out like they are flapping their wings and then holding the lens gingerly from the side. This is all about stability. Turn your left hand palm up Figure 3. Bring your elbows into the sides of your chest if possible Figure 3. Grab the camera with your right hand around the right side of the camera. You need to try to keep your camera as stable as possible as you are taking the picture.

How You Handle Your Camera How you hold your camera and how you press the shutter have a big influence on camera movement during exposure. All too often photographers will punch that shutter button. Camera shutter releases are designed to turn on a number of things in the camera as the camera gets ready to shoot.

If you squeeze the shutter down. Because your left hand is under the camera now. As shown in Figure 3. View Larger Image. Register your product to gain access to bonus material or receive a coupon.

This eBook includes the following formats, accessible from your Account page after purchase:. EPUB The open industry format known for its reflowable content and usability on supported mobile devices. This eBook requires no passwords or activation to read.

We customize your eBook by discreetly watermarking it with your name, making it uniquely yours. Close-up and macro photography is one of the most popular types of photography among digital photographers today.

Yet hobbyist photographers struggle. Even more advanced photographers find challenges working with depth of field, dealing with light, and using different focal lengths up close. You need a book that goes beyond the camera manuals to teach you how to select and use various lenses to take great macro shots. This guide by pro photographer Rob Sheppard will help you conquer the fundamentals and capture stunning pictures. Sheppard starts with the basics.

He discusses factors such as depth of field, perspective, and compression and which types of lenses are right for your style of shooting. You will have a better understanding of your equipment and understand your choices for investing in lenses.

Beautifully illustrated with large, compelling photos, this book teaches you how to take control of your photography to get the image you want every time you pick up the camera.

Optimal Focusing in Macro Photography. Download Chapter 4: Optimal Focusing. Introduction 1. Exploring New Worlds 2. The Impact of the Small 3. How to Get Close 4.

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