In order to take close-ups of small subjects such as butterflies, insects, coins, or jewelry, you often need to position the camera lens extremely close to your subject. This can result in problems, since the camera and lens are so close that it may be difficult to get sufficient light where it is needed. A 100mm macro lens makes lighting easier since it allows you to work farther away from your subject.
Enhancing the subject It is important to use the right lighting to enhance your subject’s form, color, or other characteristics.
The differences in these pictures are startling, with sidelighting used for the first image (far left), and diffused toplighting for the second image (left).
Directional light Strong, directional light from the right-hand side of this small red butterfly emphasizes the texture and
Soft lighting
This time the small red butterfly has been lit with soft light from above. Its color and shape are now
color contrasts. Sidelighting also highlights the deeply grooved surface of the wood on which the insect has been placed.
PHOTO SET-UP: Diffused toplighting Toplighting is provided by a flash unit fitted with a softbox diffuser.
Although this amount of light may seem overpowering for a small subject, much of the light is lost due to the proximity of the camera, lens, and tripod.
PHOTO SET-UP: Directional lighting A single flash lighting unit is used in this set-up.The
light is positioned low down to give a strongly directional effect.The snoot attachment ensures that a concentrated beam of light falls onto the subject.
Adjustable lighting stand Power pack
Adjustable lighting stand
Cable release Flash lighting
unit with a snoot attachment
35mm camera with a 100mm macro lens
Flash lighting unit with a softbox diffuser
Cable release
Synchronization lead 35mm camera
with a 100mm macro lens
more obviously the subject of the photograph, the wood background is less intrusive, and the effect of the toplighting is warmer.
Power pack Synchronization lead
L I G H T I N G F O R I N D O O R M AC RO 2 1 3
Blue butterfly, left With some subjects, the direction of the lighting will have a profound effect on the way their color is recorded. For this image, diffused toplighting was used so the brilliant blue and black-edged coloration of the butterfly’s wings is highlighted.
Gray butterfly, above Although the subject is the same blue butterfly (left), strong sidelighting produces a very different picture. Here the insect is illuminated by light reflected up through its translucent wings from the surface of the stone, rather than from above.
PROFESSIONAL TIPS
•If you do not have a snoot, cut a hole in the center of a piece of card to create a narrow beam of light.
•Lighting is easier using a long lens and bellows since you are able to work farther away from the subject.
•Extremely shallow depth of field associated with close-ups means working with a small aperture.
•A ring flash is useful for lighting a small subject.
Light and texture,far left In this shot, intense sunlight falls at an angle that accentuates the rich color of the fungus and the texture of the supporting bark.
35mm camera, 90mm lens, Fujichrome 100, f16, 1/125 sec.
Abstract effect,left
At first glance, this picture seems to be an abstract pattern of shapes in the long grass. In fact, the subject is a field of fallen apples.
35mm camera, 50mm lens, Ektachrome 100, f11, 1/60 sec.
Wide aperture
A large flower can be photographed without specialized equipment.To keep the background from being too prominent, use a wide aperture.
6 x 6cm camera, 150mm lens, Ektachrome 200, f4, 1/60 sec.
N AT U R E G A L L E RY 2 1 5
New life
A few days before being photographed, this fern barely showed above the soil. Part of the fascination of nature photography is the awareness it gives you of the natural cycle of growth and decay.
35mm camera, 80mm lens, Fujichrome 100, f8, 1/30 sec.
Color rendition
The color of the toadstools varies subtly, from near white to blue, according to where the sunlight and shadows fall.
35mm camera, 135mm lens (plus extension tube),
Kodachrome 64, f16, 1/15 sec.
Supplementary lighting With a tightly framed subject, it is possible to supplement lighting with a flashgun.The angles of the flash and natural light must correspond to prevent a double set of shadows.
35mm camera, 100mm macro lens, Ektachrome 100, f22, 1/60 sec.
Early morning
Crisp, clear, winter sunshine has a particular steely clarity not found at other times of the year.To record the frost still clinging to evergreen leaves, however, you need to photograph your subject early in the morning before the sun has warmed the surrounding air.
35mm camera, 135mm lens, Ektachrome 200, f5.6, 1/30 sec.
PHOTOGRAPHING GARDENS
When taking a picture of a garden setting, the details of the location are less important than the way in which they interact with each other to create a unified whole. A standard and a wide-angle lens are generally more useful than longer focal lengths, though this depends on the size of the garden and the vantage points its design and layout allow.