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CHAPTER 5: Capturing Close-ups
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camera-to-subject distance was about two inches. Of course, both focal length and subject distance by themselves affect how large your subject appears in your image. As you ponder all this information, keep the following additional tidbits in mind:
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With most close-up lenses, focus is slightly sharper at the center of the lens than
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around the perimeter. If you need sharp-as-a-tack focus throughout your image, leave a good margin of background around your subject. You can then crop that excess margin away in your photo editor. (Don t forget that using a shorter focal length and smaller aperture extend depth of field, which also keeps more of the picture in sharp focus.)
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You do not necessarily need to set your camera to the macro focusing mode to use
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a close-up lens. However, doing so usually enables you to move the camera closer to the subject and still achieve sharp focus.
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Look in the guide that comes with your close-up lenses to find out the manufacturer s
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recommended lens-to-subject distance for sharpest focus. If you are working at your camera s macro setting, you will probably be able to get closer than the guide numbers suggest, however.
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On cameras that don t offer a TTL (through-the-lens) viewfinder, you won t be
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able to see the effect of the close-up lens through the viewfinder. So use the camera s LCD monitor to compose the image.
If you stack close-up lenses, put the lens with the highest diopter power closest to
the camera lens.
If you don t do a lot of close-up photography, try shooting through an ordinary household magnifying glass before you invest in a close-up lens. A photographer s loupe a small magnifying eyepiece used to inspect slides and negatives can also work as a makeshift diopter, assuming that the camera lens is smaller than the eyepiece on the loupe. Travel back to Figure 5.11 for a look at these alternatives. Hold the magnifying glass or loupe absolutely still to avoid blurring your image.
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Getting the Tough Shot: Low-Light and Action Photography
In almost every regard, today s digital cameras either match or outdo the capabilities of comparably priced film cameras. But most digital models still fall slightly short of the ideal in two photographic situations: shooting in dim light and capturing moving subjects. A typical digital camera has a light sensitivity equal to that of ISO 100 film (or, in everyday lingo, 100-speed film). In case you re new to the subject, that ISO number indicates that the camera needs plenty of light to produce a good image. Many digital cameras also offer a limited range of shutter speeds and apertures, which can hamper your ability to adjust exposure to match the light or motion in the scene. Add to these factors the lag time that a digital camera needs to transfer image data to your memory card after each press of the shutter button, and you can see why you may have been frustrated when trying to capture a nighttime skyline or roller-blading teen. All this is not to say that you should go back to your film camera when you want to work in less-than-ideal lighting or to photograph a moving subject, however. You just need to adapt your technique to your digital camera s personality, which this chapter shows you how to do. With a few changes to your photographic approach, you can produce excellent photos regardless of the lighting conditions or the speed of your subject.
Shoot Like a Pro!
Helping Your Camera Cut Through Darkness
Whether you re shooting with a film or digital camera, taking pictures in dim lighting poses special challenges. After all, a camera works by recording the amount of light in a scene. If the camera s eye doesn t sense much light well, you see the problem. Of course, one option is to use a flash or another auxiliary light source. But on many occasions, adding artificial light isn t a viable solution. Most museums don t allow flash photography, for example, and dragging along studio lights to your child s first nighttime piano recital would probably get you booted by auditorium security. Even if you re under no such restrictions, a flash or other artificial light source may be too underpowered to illuminate a subject fully. When adding light either isn t possible or doesn t solve your exposure problem, you can help your digital camera cut through the darkness in the following ways:
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