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Foundations of Photography: Macro and Close-Up

Working with depth of field and macro


From:

Foundations of Photography: Macro and Close-Up

with Ben Long

Video: Working with depth of field and macro

Depth of field is a concern for all types of photographers. Landscape shooters worry about getting really deep depth of field, while portrait shooters often aim for shallow, background-smearing depth of field. If you've done even a little macro shooting, then you should already have discovered that, for macro shooters, depth of field issues are significantly more profound. Throughout this course, I've been talking about how you needed to worry about depth of the field, but I don't think most people really take that seriously until they get behind the camera, and see just how shallow it is.
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  1. 3m 54s
    1. Welcome
      2m 17s
    2. What you need to know for this course
      1m 37s
  2. 20m 33s
    1. What is close up?
      2m 21s
    2. Understanding minimum focus distance
      3m 55s
    3. Comparing wide lens and telephoto
      1m 55s
    4. Understanding depth of field and focus
      2m 11s
    5. Working with extension tubes
      4m 30s
    6. Working with close-up lenses
      5m 41s
  3. 28m 7s
    1. What is a macro photo?
      4m 15s
    2. Understanding how to shoot macro with a reversed lens
      5m 37s
    3. Using a point-and-shoot camera for macro
      1m 55s
    4. Working with backdrops for macro
      3m 45s
    5. Practicing macro by shooting in the kitchen
      12m 35s
  4. 58m 38s
    1. Choosing a macro lens
      2m 4s
    2. Exploring macro lens features: Focal length
      3m 16s
    3. Understanding macro lens shutter speed
      7m 6s
    4. Shooting basics with a macro lens
      8m 24s
    5. Getting closer with macro lenses and extension tubes
      11m 13s
    6. Working with depth of field and macro
      5m 1s
    7. Understanding depth and composition in macro
      6m 43s
    8. Working with subject holders and support
      6m 36s
    9. Shooting with the Canon 65 mm
      8m 15s
  5. 13m 12s
    1. Working with macro stabilizing options
      5m 45s
    2. Working with sliders for macro
      2m 44s
    3. Working with a bellows
      1m 55s
    4. Working with viewfinders in macro
      2m 48s
  6. 52m 59s
    1. Working with direct light
      6m 13s
    2. Macro and the angle of light
      2m 24s
    3. Augmenting direct light with reflectors
      6m 42s
    4. Continuous lighting to add fill to a macro shot
      5m 55s
    5. Lighting your macro scene with continuous light
      4m 50s
    6. Lighting the macro scene with strobes
      4m 59s
    7. Setting up a macro-specific flash unit
      3m 21s
    8. Shooting with the Canon Macro Twin Lite
      7m 56s
    9. Shooting macro in a light tent
      3m 31s
    10. Shooting macro on a light table
      7m 8s
  7. 19m 44s
    1. Field shooting for macro, starting at home
      7m 5s
    2. Managing backgrounds in the field
      7m 39s
    3. Shooting macro water droplets
      5m 0s
  8. 56m 19s
    1. Creating a simple manual focus stack
      4m 40s
    2. Creating a focus stacked image with manual merge
      6m 17s
    3. Creating a focus stacked image using Helicon Remote
      11m 6s
    4. Working with a StackShot rail for focus stacking
      11m 46s
    5. Merging a focus stack with Photoshop
      11m 12s
    6. Merging photo stacks with Helicon
      6m 53s
    7. Understanding the aesthetics of depth of field
      4m 25s
  9. 1m 5s
    1. Next steps
      1m 5s

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Foundations of Photography: Macro and Close-Up
4h 14m Intermediate Mar 29, 2013

Viewers: in countries Watching now:

It's a small world, and capturing it with a photograph can be challenging. In this course, photographer, author, and teacher Ben Long takes you on a fantastic voyage into the realm of the tiny, detailing the gear and shooting techniques necessary to capture extreme close-ups of everything from products to posies.

After touring the possibilities of macro photography, the course details essential gear at several price levels, including lenses, flashes, and other accessories. Next, Ben explores the special challenges of macro photography: dealing with moving subjects, working with extremely shallow depth of field, focusing, lighting, and more.

The course also explores advanced close-up tools and post-processing techniques, such as using Adobe Photoshop to "stack" multiple shots to yield wider depth of field than a single shot can convey.

Topics include:
  • What is a macro photograph?
  • What is a macro lens?
  • Finding good subject matter
  • Evaluating macro gear like extension tubes and tilt-shift lenses
  • Composing and framing shots
  • Exploring depth of field
  • Lighting macro shots
  • Working with light tables
  • Editing macro shots
Subjects:
Photography Cameras + Gear Photography Foundations Lighting
Software:
Photoshop
Author:
Ben Long

Working with depth of field and macro

Depth of field is a concern for all types of photographers. Landscape shooters worry about getting really deep depth of field, while portrait shooters often aim for shallow, background-smearing depth of field. If you've done even a little macro shooting, then you should already have discovered that, for macro shooters, depth of field issues are significantly more profound. Throughout this course, I've been talking about how you needed to worry about depth of the field, but I don't think most people really take that seriously until they get behind the camera, and see just how shallow it is.

So, take a look at this. I still have the same flower setup from our last movie. I am going to focus right now on where the white petals join the back of the yellow. And, here is that shot. And, if you look at it closely, you can see that that area that I described is in focus. But now look at the front of the flower; it's soft. This is how shallow our depth of field is, and I'm at f/16. As I look at the flower right now, that's maybe a distance of two or three millimeters.

This is how significant depth of field issues are when we're working in macro. Let me now do the opposite. I am going to focus in closer, and take a shot, waiting for my camera to stabilize again. And, now the back where the white petals join the flower is soft. There are few things to remember while you're working with depth of field, before we get into some of the aesthetic things that I need to think about now. First, your viewfinder. Remember, on an SLR, when you're looking through the viewfinder, the aperture on your lens is always wide open. You are always looking at the least depth of field that you can capture.

I'm not actually seeing through my viewfinder, or on live view, the true depth of field that I am going to have at f/16. Now, I can get a preview of that by using my depth of field preview button. The difficulty with depth of field preview is that it works by actually just closing the aperture down. When I do that, my image goes so dark that it's very difficult to see focus. If you really keep your . . . cup your hand over your eye piece, give your eye time to adjust, maybe you'll start to see some detail. But again, we're already working with light loss, because we're at macro distances, and because we have extension tubes. So, depth of field preview gets very difficult to work with.

A lot of times, what you have to do is just take a shot, and review it on the back of the screen. However, the back of the screen isn't necessarily the best way to judge focus either. If you are going to look at the back of the screen, you really have to zoom in. Don't just look at the image that pops up there, and go, "Oh yeah that looks sharp." It's always going to look sharper than your actual final images. You need to zoom in, and pan around, and really try to assess focus. You might actually just need to do a lot of focus bracketing, meaning take a shot, change your focus a little bit, take another.

It's a very difficult to be sure of focus when you're working with such shallow depth of field. This is the kind of thing where practice is going to help you a lot. You're going to learn to be able to better understand the relationship between what you're seeing on your screen and what you are getting back at home. So, that means I have a decision to make here. Where do I want to focus? Do I want the yellow part in focus? Do I want the flowers . . . the white petals in focus? If I focus on the yellow part -- what you saw on that last shot, -- there are parts of the white petals that are in focus; they recede into the distance into a nice, soft background.

The other way around, I'm really focusing on those nice lines of the petals, but the yellow stuff is a little bit softer. I don't think I like this as much. The yellow stuff is right up there in the front. It looks like it's where I'm trying to guide the viewer's eye. It looks like the focal point of my composition, and I've left that focal point soft. So, in this case, I think I am better off going for this shot where the yellow stuff up front is nicely in focus; the white stuff is fading into the background.

Now, another way to go is, if I am having a problem with shallow depth of field, I could just embrace shallow depth of field. Let's see what happens if I go really shallow. I am going to go all the way down here to 2.8, and focus on the front of the flower. Now, at this point, the image that I'm going to capture is actually what I am seeing in the viewfinder, because 2.8 is this lens open all the way, and so here is what I get. Now, this is actually kind of interesting. It becomes a little more dreamy, because it's so soft. What I need to be sure of is that kind of my viewer's eye is still going in the right direction.

Think I might like to go just a tiny bit deeper than that, but keep that same focal point. I am going to bump out here to 5-6, and take another shot. Depth of field as a compositional tool becomes much more important when you're working in macro. You really need to think about how the viewer's eye is being guided around by your depth of field choices. This becomes more profound as your subject gets deeper, and we'll see about that in the next movie.

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