![]() The fundamental concept of image magnification is also briefly discussed here, as it will be vital to an understanding of the majority of this guide. However, over the years I feel that I’ve gathered enough knowledge through studying optics, and good old trial-and-error, to make this guide useful to anyone looking to learn or refine an approach to super macro underwater photography.īefore discussing the various aspects of super macro photography, it’s important to distinguish it from other genres of photography. Now, you should be warned…I don’t (and will not) claim to be the foremost expert on any of the topics that I’ll be discussing. The information is relevant for all brands. During the majority of the 15 years that I’ve been shooting underwater photography, I have used Nikon camera bodies (preceded only by Nikonos III and Nikonos V), so I ask that you bear with my skew and omission of references to specific Canon, Olympus, and other brands and their associated gear. While this article pertains mainly to SLR/DSLR photography, most of the concepts and techniques are relevant and accurate for other recording media (video, point-and-shoot, medium format, etc.). Along the way, I’ll do my best to explain some optical phenomena that are often misunderstood. Feeling like a broken record over the past few years, I’ve decided to compile a brief guide to the ins and outs of super macro photography. This means working distance is increased.Being a part of designing and manufacturing underwater super macro optics for ReefNet, I’m frequently barraged with questions about super macro tools, and optics in general. Another option is to use a telephoto macro lens (which is more expensive). There are also special flashes, called ring flashes. Getting enough light: The more magnified an image is, the more difficult it is to get enough light. ![]() This means that objects that are even a millimetre closer of farther away can be out of focus - blurry. The Depth of field can be extremely shallow.There are two main problems with macro photography: This will change the focal length of the lens, and give a bigger image. Using a close-up lens, in front of the lens.An extension tube where the distance can be changed continuously is called bellows. It may also be impossible to get a sharp view of the object photographed, if it is farther away. The main problem with that is that they cost light, usually cutting brightness by a factor between two and four. They move the lens farther away from the camera, increasing reproduction ratio, decreasing depth of field. These are small inserts between the lens and the camera. Using what are called extension tubes.They usually offer reproduction ratios around 1:4. Sometimes ordinary lenses have a macro position.Very often they offer reproduction ratios of 1:2, or 1:1. These exist in different focal length, from what should be a normal lens (40-60mm for 35mm flim), to medium to long telephotos (around 100mm, and 180-200mm). Macro photography often reveals details of the subject not visible with the naked eye. Typical subjects are still life, such as fruit, flowers, jewelry and small household objects. With digital cameras the actual image size is rarely stated, so that the magnification ratio is largely irrelevant cameras instead advertise their closest focusing distance. With 35mm film this requires a magnification ratio of only approximately 1:4, which demands less of lens quality than 1:1. In recent years, the term macro has been used in marketing material to mean being able to focus on a subject close enough so that when a regular 6×4 inch (15×10 cm) print is made, the image is life-size or larger. Another important difference is that lenses designed for macro are usually at their sharpest at macro focus distances and are not quite as sharp at other focus distances. Many 35mm macro lenses are 1:1, meaning the image on the 135 film is the same size as the object being photographed. Most 35mm format macro lenses achieve at least 1:2, that is to say, the image on the film is half the size of the object being photographed. Such lenses are good at focussing sharply on a small area approaching the size of the film frame. The most common one is to use a specialised macro lens. There are different ways to achieve this. Using the classic definition, in macro photography the image shown on the film plane (or sensor) is nearly as big as the object photographed. Macro photography is about photographing objects that are very close to the lens, the film or the sensor. Macro photography is a kind of photography.
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