NZPhotographer Issue 21, July 2019
As of December 2022, NZPhotographer magazine is only available when you purchase an annual or monthly subscription via the NZP website. Find out more: www.nzphotographer.nz
As of December 2022, NZPhotographer magazine is only available when you purchase an annual or monthly subscription via the NZP website. Find out more: www.nzphotographer.nz
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APERTURE IS CRUCIAL<br />
The closer you are to an object, the more<br />
dramatic the effect of aperture will be. In<br />
macro photography, depth of field is crucial.<br />
A shallow depth of field can be used to isolate<br />
your subject from the surrounding clutter.<br />
Equally, you may want everything crisp and<br />
sharp to give a full sense of the detail.<br />
SACRIFICE F11 FOR BETTER DEPTH OF FIELD<br />
The closer you are to an object, the more your<br />
aperture will become crucially important. A general<br />
rule of thumb for landscape photography is most<br />
lenses are sharpest at f11. If you are using a macro<br />
lens, however, it may be more important to use a<br />
smaller aperture, even as small as f32 or f45, to get<br />
everything in focus.<br />
EXPERIMENT WITH APERTURE<br />
It’s often difficult to tell exactly what is, and isn’t in<br />
focus using the screen on your camera back, so it’s<br />
best to experiment with a range of apertures, and<br />
determine which works best back on your home<br />
computer.<br />
ALIGNING PLANES<br />
Another important aspect of close-up photography is<br />
the plane between the subject and your camera lens.<br />
If you are photographing a relatively flat subject, such<br />
as the bark of a tree, it’s worth spending some time<br />
aligning your camera lens perfectly parallel with the<br />
subject. That maximizes your ability to get everything in<br />
focus, and might mean you can drop your aperture to<br />
f11.<br />
WIND IS YOUR ENEMY<br />
Air movement will move ferns or any delicate object<br />
very easily, and the smaller the object and the closer<br />
you are to it, the worse the problem. You can use<br />
your pack, or an umbrella to help shield your subject<br />
from the wind, or wait for any small lull and then press<br />
your cable release. If the wind proves too much of<br />
a problem, consider a higher ISO to enable a faster<br />
shutter speed. It’s worth sacrificing extra noise for a<br />
sharp shot.<br />
KNOW YOUR SUBJECT<br />
As with any photographic subject, the more<br />
you know, the better the chance of making a<br />
meaningful image. Buy a guidebook, read the<br />
information panels at the start of the track, search<br />
online. It all helps, and greater knowledge usually<br />
leads to greater appreciation too.<br />
HONE YOUR OBSERVATION SKILLS<br />
Take your time. Have patience. Look underfoot,<br />
overhead, sideways, behind you. Sometimes the<br />
best subject is the one you just passed, but looking<br />
back on it from a different angle.<br />
These shots of the same koru, at McLean Falls<br />
in the Catlins, show the effect<br />
of experimenting with aperture on depth of<br />
field.<br />
FINALLY…<br />
Experiment. Take risks. Be prepared to fail. Try again.<br />
That’s photography!<br />
<strong>July</strong> <strong>2019</strong><br />
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