The soft, diffused light of a lightly cloudy day will actually help put the emphasis on shapes and patterns and textures rather than bright, vivid colors. Sunny days are certainly interesting, but for a lot of macro subjects this time of year, lightly overcast skies may actually work better in order to prevent the photographer’s shadow from interfering with the tiny subject matter.If there’s snow and ice on the ground, you’ve got a built-in reflector as well. Many of these things, in fact, are actually tiny little subjects that are perfect for macro photography. Photographers like Terry Richardson and Brandon Stanton are proof. The winter months are pretty unspectacular for macro photographers, because all the macro photography subjects like insects, bugs and flowers are missing during winter.
These places are also typically full of bright, natural light, which makes them even more like shooting outdoors, but with the added benefit of frequently directional light thanks to structures that limit the directions from which light is entering. Positioning them is extremely easy and intuitive: just pull, twist and turn the lights to put them wherever you’d like. You will also find yourself working in tight spaces. It just isn’t winter without snow – is it? This collection of ideas, techniques and concepts will help you bring back photos from your travels that are more than snapshots The dark leaf against the white snow makes for some stunning contrast. And I love the way the snow often looks like a powder, just dusting the main subject. Enter your username or email address to receive a link to set your password.Your account will be downgraded to a Free Account at the end of your Premium Membership trial.Add a credit card now and it will be charged for an Annual Premium Membership ($499) at the end of your trial.A photographer and writer based in Miami, he can often be found at dog parks, and airports in London and Toronto. This hot-shoe-mounted LED light might call itself a flash, but it’s really more suited as a constant light source—and that’s just fine with me.
It certainly caused me to pause and reflect on whether I need all the gear I seem to This isn’t the case. The fall macro photography season is drawing to a close and a great many of you may soon be putting your DSLRs, micro-Nikkors, and extension tubes into hibernation for another winter. I’ve got a limited selection of butterfly and moth specimens, the perfect kind of thing to photograph in the comfort of an indoor studio in these cold months.I’ve also got quite a growing collection of printed paper items, like old playing cards, foreign stamps and currency that also make for interesting close-up macro subjects. Water droplets are a classic macro photography idea, and for good reason. Here are some suggestions for ways to work with a macro lens this winter, braving the cold outdoors or staying nice and warm inside as you see fit.It’s true—flowers aren’t exactly blooming in bright colors in most of the U.S. this time of year, but that doesn’t mean there’s any shortage of interesting natural elements to be photographed with a macro lens. The silver bullet of lighting solves some difficult photographic problems. All Rights Reserved. Knowing this allowed Kelly to sort her photos into 3 stages of frozen.Though the methodology seems simple and clear enough, I feel it prudent to mention that there is more to this than a good plan. I also tried the Polaroid setup outdoors, and it can certainly work, in particular, as a fill light or to warm an otherwise shaded scene. Don’t get stuck looking at the ground. You can … From the patterns in dried leaves to frost, snow and ice crystals or beautiful wood bark, the remnants of seeds, leaves and other finely detailed natural elements—all tolled, there’s plenty to be photographed outdoors for a macro photographer willing to brave the elements. That might be from either side of the lens facing forward, or to the sides of the subject facing in from left and right, positioning both lights on the same side of the lens—a technique I particularly like for giving shape and direction to my lighting—or even stretching the lights out to get them behind my close-up subjects to provide a hint of backlighting, perfect for translucent subjects like my little moth sample.
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