Depth of field in Macro

When shooting Macro pics, you often fight to get enough depth of field. Even f/16 might only get you this:

So why not forget that and play? Selective DOF can be very effective, as in here:

That was f/2.8 with the 100mm macro lens. Doesn’t that make Her Majesty’s eyes stand out nicely?

As in all these things, it is a matter of choosing the technique to suit the message.

Macro tip

Macro photography is the only type you can do 365 days a year in your kitchen – and you’ll never run out of subjects.

Macro photo of a household plug

Macro photo of a comb (Photo: Michael Willems)

Macro photo of a comb

Combs have names? Really? Yup.

Of course you use reflected light (open daylight, or bounced flash), and a tripod. And you use exposure compensation (or flash compensation) when shooting subjects like the ones above.

One more tip though.

You need to clean up dark subjects. Either before you shoot, with a brushm or afterward in photoshop. So you go from this:

To this (and that is only partially cleaned up):

And that was your tip for the day: Always clean up Macro objects or they will look dirty.

Safe shots

Those of you who ever shoot events (indoors or outdoors, from weddings to parties, from sports to graduations) will be glad that I have developed a special course in “Event Photography”. You will see this marketed in various places soon (check out Henrys: link soon).

One quick tip from that course here: Develop your own “safe shots” and always include those.

Here is one of mine.

Cheers! (Safe party shot, photo Michael Willems)

Cheers! (Safe party shot, photo Michael Willems)

Cheers! (Safe party shot, photo Michael Willems)

Cheers! (Safe party shot, photo Michael Willems)

Cheers! (Safe party shot, photo Michael Willems)

Cheers! (Safe party shot, photo Michael Willems)

Why is that a cool shot?

  • It shows depth.
  • It blurs faces  -ladies especially love this.
  • It is fun and everyone lives that fun.

Develop your own, and always get that. There, you’re on your way to developing a style!

Engineers

I have always been a good teacher because I am, at heart, very simple. I think intelligence means “making complex things simple” – not the other way around. Ask any consultant. The consultant who uses obfuscatory language (complicated words) is the wrong consultant. The one who explains complex things in simple words is the one you use.

And as an engineer, I think sometimes other engineers make things seem too complex.

So, an example. Somewhere deep in its menu, my Canon 1D MkIV camera has (among many other settings) four possible settings for how it achieves focus when you are shooting a burst of shots. Here’s how Canon explains it is an explanatory document (and remember this is meant to clarify!):

The Engineers’ Version…:

C.Fn III-3: (AI Servo 1st/2nd image priority) has had the optional [3: Release/Tracking priority] setting added. Shutter-release priority (rather than focus priority) is given to the first shot. During continuous shooting (from the second shot onward), stable focus-tracking of the subject is given priority. This new setting, which was the only option for AI Servo AF release/tracking priority with the original EOS-1D, EOS-1D Mark II and EOS-1D Mark II N, was conspicuously absent on the EOS-1D Mark III. Now, EOS-1D Mark IV users will have the best of both worlds together with the new improvements to AF hardware and software.

Now the detail:

(Michael’s note: Four options in the C.Fn III focus customization setup menu are explained here. Each one defines “First frame during continuous shooting/All subsequent frames in burst”.)

  • 0 AF priority/Tracking priority: Shutter is released once subject is in focus. There may be a delay when image is blurred./Focus is prioritized. Continuous shooting speed may slow down depending on amount of blur , contrast and brightness.
  • 1  AF priority/Drive speed priority: Shutter is released once subject is in focus. There may be a delay when image is blurred/Continuous shooting speed is prioritized. Continuous shooting may slow down. (depending on amount of blur , contrast and brightness) but is faster than for tracking priority.
  • 2 Release/Drive speed priority: Shutter is released even if subject is out of focus/Continuous shooting speed is prioritized. Subject tracking may not be active depending on amount of blur , contrast and brightness.
  • 3 Release/ Tracking priority: Shutter is released even if subject is out of focus/Focus is prioritized. Release timing may be delayed depending on amount of blur, contrast and brightness.

All clear? I did not think so: I have spent time deciphering this. So now let’s look at…

Michael’s Version:

The camera focus system has the following options for “burst shooting”:

  • It can either start shooting only when good focus is achieved, or it can start shooting as soon as possible, even if focus may not be perfect yet.
  • And that decision can be different for the first shot versus for all subsequent shots.

There are therefore four different setup possibilities:

  1. First shot: shoot only when focused. Subsequent shots: shoot only when focused.
  2. First shot: shoot only when focused. Subsequent shots: shoot as quickly as possible, even if focus may not yet be perfect.
  3. First shot: shoot as quickly as possible, even if focus may not yet be perfect. Subsequent shots: shoot as quickly as possible, even if focus may not yet be perfect.
  4. First shot: shoot as quickly as possible, even if focus may not yet be perfect. Subsequent shots: shoot only when focused.

Another, simpler way to explain this would be:

  1. First shot: shoot accurately. Subsequent shots: shoot accurately.
  2. First shot: shoot accurately. Subsequent shots: shoot quickly.
  3. First shot: shoot quickly. Subsequent shots: shoot quickly.
  4. First shot: shoot quickly. Subsequent shots: shoot accurately.

When do you use these modes? If “getting the shot” is more important, in developing news events, for instance, then you should probably shoot quickly. If quality is more important, and if events repeat, as in some sports, then you should shoot accurately.

The default is to always shoot accurately. We recommend that you leave it like that, unless you are shooting events where you simply must get the shot, even if it may not be quite as well focused.

——–

And you realize, that is just one of the many options and settings on the 1D MkIV camera. I would love to produce a plain English “how to”-guide, including a “recipe book” of all the recommended starting settings for various situations and sports (Canon, if you are interested, do let me know).

Gridlock

Why do you use a grid on a flash?

A grid softens the light somewhat, an effect I really like. But the main use for a grid is to avoid the light going everywhere.

Look at this image: lit from the side with a bare speedlight (a Canon 430EX, which is equivalent to a Nikon SB600) with a red gel.

As you see, light hits the wall.

Now look what happens when I put a 1/4″ Honl Photo grid on the flash, with a gel on top of the grid.

Ah. No more light spill onto the wall.

That’s all. As simple as that.

And here’s what a Honl grid looks like:

Portrait note

To see that you can keep portraits simple, just look at this shot of Gaurav Sharda, an up-and-coming photographer from Brampton:

Gaurav Sharda

Gaurav Sharda

This photo was taken with a 430EX flash in an umbrella to our right, fired from a Canon 1D MkIV camera with a 580EX II to drive the slave flash.

Shutter speed was 1/200th second and aperture f/5.6, at a sensitivity of 100 ISO. The lens was a 70-200 f/2.8 set to a focal length of 90mm.

Wat is simple here?

  • Available white wall, no backdrop.
  • I used TTL, no complicated metering. Of course the white wall necessitated a Flash Exposure Compensation setting of +1 stop (check your histogram to be sure).
  • One white shoot-through umbrella, nothing else (the umbrella throws enough light elsewhere into the room to also give you some fill). The umbrella also gives us a nice circular catchlight.
  • Standard “studio” settings for aperture and shutter.
  • I converted to black and white in Lightroom.
  • Nothing else needed to be done!

So for portraits, sometimes simple is enough. Do not start with lots of lights if you do not need them.