Close-Up Photography Basics Close-up photography provides unique opportunities to produce creative and dramatic photographs. This type of photography, also referred to as macro or micro photography, directs you to new types of subject matter and situations requiring special techniques and perspective. To obtain a clear understanding of what constitutes close-up photography, one must understand how it is defined. Contrary to its name, the distance from the camera to the subject does not accurately define the level of close-up photography. Instead, the subject to film magnification rate, often expressed as a ratio, provides the best definition. This ratio compares the subject’s actual size to the size of the subject captured on film. The term ‘film’ refers to either the negative or slide in the camera when the photograph is taken. This ratio does not refer to the size of the subject on a developed print or a projected slide, which is irrelevant. When the size of a subject’s image captured on film is equivalent to the subject’s actual size, the magnification rate is 1:1, or life size. For example, if a small coin were photographed at a 1:1 magnification rate, the actual coin would be the same size as the image of the coin on the negative or slide. When the size captured on film is one-half the actual size, the rate is 1:2. In this example the actual coin would be twice as large as the image of the coin on the film. One-fourth actual size is 1:4, and so on. While there is no official cutoff for close-up photography, remember that the subject to film magnification rate provides the most accurate definition. The lens determines the level of magnification that is obtained. Every lens has a maximum magnification rate. Every lens also has a minimum focusing distance. This is the closest distance the lens may be to the subject while maintaining clear focus. The maximum magnification rate is obtained at the minimum focusing distance. A true macro or micro lens (different manufacturers use different terms; I will use the term macro lens) is specially designed to offer a short minimum focusing distance. These lenses usually offer a maximum magnification rate of approximately 1:1 or 1:2, compared to a maximum magnification rate of 1:4 or even worse for many non-macro lenses.
True macro lenses have traditionally been fixed focal length lenses, although some macro zoom lenses do exist. This is due to unique optical requirements that are difficult to economically incorporate in a zoom lens. The most popular macro lenses have focal lengths in one the following ranges: 50-60mm, 90-105mm, or 180-200mm. 90mm and 105mm macro lenses are widely used as these provide for a greater working distance from the subject than wider angle macro lenses do and they are not as expensive and heavy as a longer focal length macro lens. While macro lenses are specially designed for close-up photography, they are not limited to it. They may also be used for distant subjects. Therefore, owning a 105mm macro lens and a 105mm non-macro lens would be redundant for most photographers. You can certainly practice close-up photography without a macro lens, but the maximum magnification rate will not be as great. For marketing purposes, many popular zoom lenses state that one of the focal length settings on the lens doubles as a macro setting. For example, a 35-80 lens may have the letter ‘M’ (for Macro) above the 80mm mark on the lens. There is nothing special about this setting. The lens continues to operate as it does throughout its focal length range. This setting just happens to offer the maximum magnification rate for that lens. Besides an appropriate lens, the only other equipment really needed is a solid tripod and a cable release. When photographing at magnification rates near 1:1, the slightest camera or lens movement will significantly degrade the sharpness of the image. Most decent tripods are sufficient. If you plan on doing extensive close-up photography of ground level subjects you may need a special tripod that allows you to position your camera extremely close to the ground. Positioning a camera close to the subject results in a small depth-of-field. Depth-of-field refers to the distance range in front of and behind the subject deemed to be in acceptable focus. With short camera to subject distances, such as between one and two feet, the depth-of-field is extremely small. For example, with an aperture setting of f/16, the depth-of-field for a 105mm lens when focused at one foot is approximately 1/16”, and approximately 1” when focused at two feet. This shallow depth-of-field presents one of the most difficult challenges of close-up photography. To increase the depth-of-field use a small aperture setting such as f/16, f/22, or f/32. It also helps to position the camera so the subject plane is parallel with the film plane. Remember, the use of small aperture settings requires longer shutter speeds, often from 1/8 second up to 1 second or even longer. This increases the importance of a tripod. Film speed also becomes more important as you strive to balance the aperture and shutter speed settings. Small depth-of-field offers advantages as well, however. The ability to deliberately throw a portion of either the subject or the background out of focus allows for unique creative opportunities. With small depth-of-field, accurate focusing becomes critical. Therefore, set the focus distance manually rather than relying on automatic focusing. Unless the subject is completely flat the camera may not know on which portion of the subject it should focus. When focusing manually, you can obtain the precise focus setting required. Magnification rates near 1:1, as mentioned earlier, significantly increase the effect of camera or lens movement on the sharpness of the image. Equally detrimental to image sharpness is subject movement. Subject movement caused by wind can be a major problem. I’ve repeatedly been in situations where it appears to be completely calm, but a wildflower I’m photographing is gently swaying back and forth. To avoid this, it often helps to photograph early or late in the day when conditions are normally calmer. Having plenty of patience also helps. Some resourceful people use homemade windbreaks, such as a large piece of clear plastic, to shelter the subject from the wind. Lighting conditions are critical, as they are with all types of photography. There is no right or wrong type of light, of course, but recognize the lighting conditions and incorporate them into your approach. Soft, evenly distributed light works great for many close-up situations. This provides low-contrast lighting that results in deep, rich colors. For example, photograph wildflowers on a cloudy day, or ones that are entirely covered in shadows. The use of a gray card to obtain a proper exposure reading works very well with soft, evenly lit close-up subjects. If lighting conditions are not perfect, a piece of cardboard or light colored fabric works well to shield unwanted sunlight from small subjects. In dark conditions, electronic flash is sometimes used to supplement the existing light. This can provide good results if done correctly. Be aware that excessive flash used in a natural setting may cause the background to appear very dark. This may make the subject appear as if it were photographed in a studio. Like other areas of photography, it is possible to endlessly expand your options and expertise with close-up photography. These advanced techniques are beyond the scope of this article, but one example would be achieving a magnification rate beyond 1:1, so the size of the image on film is greater than the actual size of the subject. This requires specialized macro equipment. This equipment is more difficult to use and, therefore, sometimes best suited for use in a controlled studio environment. Just be aware there is always more to learn and more options to explore as you develop your basic skills. Close-up photography directs you to new types of subject matter. The subject possibilities are endless and usually easy to discover wherever you are. You don’t need mountains, waterfalls, desert landscapes, or city skylines. For example, common subjects include flowers, bugs, leaves, and textured or patterned surfaces. With close-up photography, small and intricate features that are indistinguishable from a distance are displayed with vivid detail. The shallow depth-of-field allows for interesting compositions. Because of factors like these, an ordinary outing, when combined with your awareness, creativity, and photographic skills, can result in dramatic close-up photographs. Close-up photography provides a great opportunity for photographers to utilize their photography skills and knowledge to produce beautiful and interesting images of subjects that are often very near their own home. Take some time to explore this realm of photography. <return to General Photography Topics> Explore Photography Home Page | Equipment Essentials | Photography Tips | Photography Tools | General Photography Topics | About Explore Photography |
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