Get more from confined shooting environments and
produce clean images despite minimal object separation
structure close-up compositions
Close-up and macro imagery is another genre
that is frequently treated uncreatively, with
many photographers wrongly approaching
subjects with a standardised composition
formula. This can strip away motivation to
try something original, and so begins a cycle
that yields little more than record shots of
otherwise stunning subject matter.
Part of the difficulty of macro as a field
of imaging is the environments in which the
subjects are found. Cluttered backgrounds,
invasive peripheral details like leaves from
neighbouring plants, and little room for the
photographer to manoeuvre equipment are all
conditions commonly found on location.
While depth of field is limited when working
close up, the minimal distance from a flower
to another specimen directly behind orbeside it, for example, makes it challenging
to control where the viewer looks when using
the conventional framing methods. Placing
the flower on a third, surrounded by a field of
blur, makes for a great standout subject, but if
generating sufficient diffusion is not possible,
the additional space opened up on one side
of the frame can quickly introduce unwanted
and divertive elements. Contrary to this, the
shallow depth of field natively produced by
macro lenses can seem to limit opportunities
to experiment with framing.
One solution that may help support a ‘use-
what-you’ve-got’ approach is to concentrate
on emphasising the best properties of the
subject. This is one area that benefits from
taking the time to pick the best subject and
showing patience in selecting the best angle.“Some photographers think that by taking
more photos the probability of achieving a
good image is higher,” says Bogdan Maris. “I
was always frustrated with the results [of
this strategy] – they were just random shots.
The lack of patience and the pursuit of an
immediate result are the biggest mistakes, in
my opinion.”
Compose your images so that areas of
contrasting colours are in close proximity,
making better use of the surroundings.
Alternatively, exclude these by filling the
frame with the subject and concentrating on
one isolated area. Experimenting with the
extremes of focussing distance is a good way
to control how much of the environment is
visible and the extent to which an individual
specimen dominates the frame.Techniques
Getmorefromconfinedshootingenvironmentsand
producecleanimagesdespiteminimalobjectseparation
structure close-up compositions
Close-up and macro imagery is another genre
that is frequently treated uncreatively, with
many photographers wrongly approaching
subjects with a standardised composition
formula. This can strip away motivation to
try something original, and so begins a cycle
that yields little more than record shots of
otherwise stunning subject matter.
Part of the difficulty of macro as a field
of imaging is the environments in which the
subjects are found. Cluttered backgrounds,
invasive peripheral details like leaves from
neighbouring plants, and little room for the
photographer to manoeuvre equipment are all
conditions commonly found on location.
While depth of field is limited when working
close up, the minimal distance from a flower
to another specimen directly behind orbeside it, for example, makes it challenging
to control where the viewer looks when using
the conventional framing methods. Placing
the flower on a third, surrounded by a field of
blur, makes for a great standout subject, but if
generating sufficient diffusion is not possible,
the additional space opened up on one side
of the frame can quickly introduce unwanted
and divertive elements. Contrary to this, the
shallow depth of field natively produced by
macro lenses can seem to limit opportunities
to experiment with framing.
One solution that may help support a ‘use-
what-you’ve-got’ approach is to concentrate
on emphasising the best properties of the
subject. This is one area that benefits from
taking the time to pick the best subject and
showing patience in selecting the best angle.“Some photographers think that by taking
more photos the probability of achieving a
good image is higher,” says Bogdan Maris. “I
was always frustrated with the results [of
this strategy] – they were just random shots.
The lack of patience and the pursuit of an
immediate result are the biggest mistakes, in
my opinion.”
Compose your images so that areas of
contrasting colours are in close proximity,
making better use of the surroundings.
Alternatively, exclude these by filling the
frame with the subject and concentrating on
one isolated area. Experimenting with the
extremes of focussing distance is a good way
to control how much of the environment is
visible and the extent to which an individual
specimen dominates the frame.Techniques