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November 20, 2009 |
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Created and Maintained by: The Photoimaging Information Council |
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Russ Brurden |
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The world of getting in super close to a tiny subject it a true eye opener. Not only does it reward you with images that are different, it’s educational. The closer you focus on a small subject, you more you begin to see things you never knew existed. For instance, it was only after I attached a Nikon 6T dual element close up filter onto the end of my 70-210mm lens racked out to 200mm that I realized the preying mantis staring back at me had little barbs that ran across his “forearms.” It’s obvious they’re there for hunting purposes, but I never knew they existed until I got in close. From that point in time, just like the mantis does to his prey - I was hooked. 
The world of close up photography is diverse and provides two main options: document the subject as it appears to the eye or get creative and use selective focus. To depict the subject in its realistic state, you’ll need to stop the lens down to one of its smallest apertures to cover the very limited amount of depth of field. This requires a lot of light and often a tripod to prevent the photo from being blurry due to camera shake from long exposures. A flash is often a good solution to the problem. If the subject is moving due to the wind or motion, a flash is mandatory if you want to stop the action. Conversely, the selective focus technique provides you the benefit of being able to hand hold the camera in most situations in that the lens will be set to its widest aperture allowing the maximum amount of light to strike the sensor. Corresponding shutter speeds that go hand in hand with wide open apertures are often fast enough to safely hand hold the camera and get a sharp image. 
Selective focus provides very shallow depth of field. In a three dimensional subject, this means that the only point of true sharpness will be the exact plane on which the lens is focused. For instance, in the accompanying close up shot of the single rhododendron blossom, just the tips of some of the stamens are sharp. While separated by only millimeters, those in front and behind the plane of focus fell out of the depth of field range. Note that the back of the blossom is totally out of focus. Had I wanted to record more depth of field to show all parts of the flower in focus, I would have needed to stop the lens down to f22. The corresponding shutter speed would have necessitated I use a tripod and the wind be absolutely still.  © Russ Burden If the subject lacks depth, as in the case of a postage stamp or other single planed subject, as long as the lens remains completely perpendicular to it, depth of field isn’t as critical. While this is a plus in some cases, it prevents the photographer from creating a selective focus image.
Means by which a photographer can get up close and personal with their subjects are through the use of extension tubes, tele-converters, close up diopters, or true macro lenses. All have their pluses and minuses regarding ease of use, cost, final outcome, size, and diversity while in the field. A bit of research regarding each of these methods will net you the most bang for your buck.  © Russ Burden To learn more about this topic, join me on one of my Photographic Nature Tours. Visit russburdenphotography.com and click on the NATURE TOURS button for more information. Also, pick up a copy of my book, Amphoto’s Complete Book of Photography. You can purchase a signed copy directly from me or visit your local book store or Amazon. Contact me at rburden@ecentral.com to order your signed copy.
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