Introduction

Welcome to Macro Boot Camp!

This is where you'll learn to capture high quality macros in simple single shots with a compact point & shoot camera.  If you'd like to take beautiful closeups of flowers, insects, jewelry and other subject matter, then you're in the right place.

Read through the various sections, put them into practice, and interact with us on Facebook where you can get answers to your questions and friendly, helpful critique on your macro images from fellow macro amateurs.  Since it's a social and learning group, you'll likely make many new friends along the way.

Here's the Facebook link:
Macro Photography 101

Table of Contents

Chapter 1 - About Compact Camera Macro Lenses

Chapter 2 - Cameras Compatible with LBS

Chapter 3 - Understanding Depth of Field (DOF)

Chapter 4 - Macro Focusing Techniques

Chapter 5 - Getting Familiar with Macro Photography

Chapter 6 - Let There Be Light

Chapter 7 - Creating Black Backgrounds

Chapter 8 - The Power of Gray

Chapter 9 - The Habit of Cognizance 

Chapter 10- This Thing Called Photo Composition

Parting Comments

It really doesn't matter which camera you have.  All that matters is learning how to use it to create image beauty by cultivating the union between photographer and camera.

Photography is a personal artistic hobby.  Make time to enjoy your hobby on a daily basis.  If you have a busy life, turn off the TV for an hour and do some shooting.  Is the weather wet or cold?  I have a saying . . . it goes like this . . . "I never allow the weather to prevent me from enjoying the weather".  If it's cold, I shoot frost, ice and snowflake macros.  If it's wet, I shoot raindrop macros.  It's my favorite personal hobby and I let other less important things slide in order make time to enjoy it.

I hope you've found this information helpful, and feel free to join our Facebook group where you can socialize with your fellow macronados!

Link to the Facebook Group
Macro Photography 101

Chapter 1

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About Compact Camera Macro Lenses 

It is widely assumed that macro lenses for compact cameras don't exist.  Nothing could be further from the truth.  There are many such lenses available.  In our Facebook Group, we use the Little BigShot (LBS) macro lens.  You don't need an LBS lens in order to participate in the group, but it is recommended.  They are inexpensive and will provide you with dramatic macro capabilities.

If you are interested in the LBS lens, here's a link to the web site:

LBS Homepage

For macro photography, compact cameras have three basic limitations: insufficient magnification, insufficient working distance, and unattractive bokeh.  The LBS lens gives you higher magnification, a greater working distance and prettier bokeh.  

With the LBS lens, your little compact can produce macro images with magnification and bokeh comparable to a DSLR or MFT.

Higher Magnification

The image below shows the maximum magnification possible with and without a macro lens using a standard compact camera.

And with a macro lens, you're not locked into extremely high magnification. You control how much magnification you desire by simply using the zoom.

Greater Working Distance

In macro mode, as you bring the camera within 1-2" (25-50mm) of your subject, the camera casts a shadow over your subject.  But when you attach the macro lens, the working distance is now 3" and not only will you eliminate the shadow, but you will do so even at a much higher magnification! 

Another benefit of the greater working distance is that you are less likely to scare insects such as butterflies and dragonflies. This is a Dot-Tailed Whiteface Dragonfly shot from 3" at 6x zoom for a true macro. Without a macro lens, the camera would need to be about 1/4" (6mm) from the dragonfly to obtain the same level of magnification. That's impossible. The dragon would be long gone at about 2" (50mm).

Better Bokeh

Lastly, a macro lens will improve your bokeh. What is bokeh? The term bokeh refers to the out of focus regions of an image. Wikipedia does a fair job explaining what bokeh is and how it enhances a photograph. Here's the link:  Bokeh Effect

Without a macro lens, the bokeh is harsh and distracting. With a macro lens, the bokeh becomes instantly creamier and less competitive with your subject.

But the macro lens doesn't simply cream your bokeh. It also allows you to alter the appearance of the bokeh simply by making changes to your zoom level. The more zoom you use, the less recognizable and more creamy the bokeh becomes. With enough zoom, you can obliterate the details of the background completely for a uniform color bokeh.

If you are lucky enough to have light reflecting from your background, then you're able to convert those points of light into gorgeous bokeh jewels. You simply increase the zoom level until the jewels appear.

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Chapter 2

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Cameras Compatible with LBS

This section helps you understand if your camera is compatible with the LBS lens.  

There are 4 basic styles of point & shoot camera: compact, super zoom, pro and bridge.  So let's look at these camera types and how they relate to LBS.

Compact Cameras

Compacts - True pocket cameras, small and thin, usually with 8x zoom and lower.  Nearly 100% of these cameras are suited to the Little BigShot lens.  Does your camera look like one of these below?  If so, you can use the LBS lens.

Super Zoom Cameras

Super zooms - slightly larger and heavier than compacts.  They usually have 10x - 20x zoom and most of them have manual controls.  If they have a flat surface at the front of their lenses, they are suited to the Little BigShot lens.

Pro Compacts

Pro Compacts - Cameras which professional photographers use when they want a compact.  These generally have larger sensors, full manual controls, a wider range of apertures, and a hot shoe.  They aren't loaded with zoom (normally 8x maximum), but they are loaded with everything else the professionals like.  If they have a flat surface at the front of their lenses, then they can take the Little BigShot lens.

Bridge Cameras

These cameras are larger than other compact cameras.  They generally have 20x - 50x zoom, manual controls, and circular lens rims.  Canon bridge cameras take the 50mm LBS lens attached to a UV filter.  If you do not have an adaptor ring and UV filter for your Canon bridge, you can not use the 50mm LBS lens.  The LBS lens will not work with any other make of bridge camera.

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Chapter 3

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Understanding Depth of Field

Macro photography is subject to a shallow depth of field (DOF), meaning that the camera's ability to focus from foreground to background is limited. And when using the macro lens, you can zoom at close range. The more you zoom, the more shallow the DOF, so let's understand what DOF is, and how to use it to our photographic advantage

In this photo, the ruler is parallel to the camera so there is no foreground and background. The ruler is flat and the camera can obtain a good focus across the entire ruler.

In this photo, the ruler is at a 45 degree angle to the camera. It now has depth from front to back and since macro photography is subject to a shallow DOF, the middle ground is in focus but both the foreground and background drift out of focus.

So, knowing that macro photography is subject to a shallow depth of field, if you wish to have your entire subject in focus, then have the camera parallel to your subject.

But if you wish to highlight one part of your subject with sharp focus and permit other parts to drift into blurry bokeh, then have your subject at an angle to the camera.

How Camera Parallelism Effects Macro Focus

In this photo, you can see that the moth's head (A) is much closer to the camera than his wings (B), so if you have your camera parallel to the overall scene, you can not get the entire insect in focus. If you set focus to his head, then his wings will be out of focus. If you set focus to his wings, then his head will be out of focus.

 To correct, draw an imaginary line in your mind, connecting A and B in a straight line.

Position the camera parallel with the imaginary line and take the shot for good focus.

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Chapter 4

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Macro Focusing Techniques

Macro focus is not easy.  This section presents techniques to help you achieve good focus.  The first section involves using the FHRS technique to set your focus point and fine tune your focus right before taking the shot.  If you still have trouble with focus, relax . . . one of our members developed a unique and effective Gorilla Pod technique which is presented after the FHRS section.  Either and/or both will set you on the path to good macro focus.

Hand Held Shooting with FHRS

The highest degree of photographic flexibility and freedom is achieved through hand held shooting, but what you will learn is that subject movement, blowing wind and photographer movement will cause motion blur easily and noticeably in macro photography. And, the more you zoom, the more pronounced the motion blur becomes. FYI: in photography circles, this is known as "camera shake".

So you may think that using a tripod or other camera stabilizer is the solution to camera shake and you would be correct. However, using a tripod is awkward, restrictive, and rigid. Hand held shooting gives you total freedom to change camera angles, zoom level, angles to the light source . . . it is a delicious liberty so we shall now look at ways to help improve your hand held focus.

1 - Set your camera to Program Mode (P Mode). For bright light, select ISO 200. For lower light, select ISO 400. These higher ISO settings will force a faster shutter without significant loss of image quality. The faster shutter will reduce blur.

2 - Use the FHRS focusing technique. This stands for Focus, Hold, Recompose, Shoot. It's a little camera trick which allows you to tweak and refine your focus right before taking the shot. Below is a video which demonstrates how to use FHRS for hand held macro work.

3 - The more you zoom, the more you magnify camera shake, so when you're starting out with hand held macros, limit your zoom to 3x and increase it as your skills improve.

In conclusion, since hand held shooting gives you the highest level of freedom and creativity in your macros, use higher ISO, FHRS and lower zoom to help you achieve hand held macro excellence. Once you improve, crank the zoom and lower the ISO.

They say that practice makes perfect and that saying holds very true in macro photography so spend lots of time practicing . . . even in the house with small objects lying on your kitchen table . . . this kind of practice is just as valuable as practice in the field.

A Novel and Effective Focusing Method

When Elise Cotter began using her LBS lens, her focus was far from perfect.  Due to surgery, she experienced a great deal of shake in her hands.  One day, she began posting high zoom macros of small hoverflies with absolutely magnificent focus, and I asked her how she achieved such improvement.  She explained that she developed a unique method of using a Gorilla Pod (a small tabletop tripod with flexible legs) which provided her with the camera stability she needed for nicely focused shots while at the same time preserving the flexibility and maneuverability of hand held shooting.

She simply wraps two of the flexible legs around her wrists and that extra support worked wonders for her focus. The 3rd leg is left free, but can also be used as a support against a stationary object if one is present at the venue.

Her results were so impressive, I asked her if she'd be kind enough to contribute an explanation of her method for me to share in this blog.  So we now let Elise explain her technique to us, but before we do, have a peek at her hoverfly macro.  Quite impressive, wouldn't you agree?

Stabilising The Camera With An Adapted Gorilla Pod Technique.

by Elise Cotter

Following hand surgery, I was left with a pronounced ‘shake’ in my left hand. This made focusing for macro images nearly impossible. I needed to find a way to stabilise the camera, reduce shake, improve focus, but also required the device to be easy to use and extremely portable.

Traditional camera tripods were not easy to use, as they are rigid, with little flexibility, and, whilst being excellent for many photographic situations, did not lend themselves well for macro photography.

I really just stumbled upon the Joby[TM] Gorillapod, and immediately realised this was what I needed. This is a tripod, but extremely flexible at each joint of the 3 legs and base. It screws into the base of the camera like all tripod attachments, and has a locking mechanism. It can twist, swivel and adapt to many positions and uneven surfaces, through its ‘jointed’ legs. It comes in various sizes and colours.

By wrapping 2 of the legs around my wrist, this stabilised the camera, dramatically reducing shake, yet giving me a great amount of flexibility and range. The 3rd leg I rest against my wrist/inner arm as a further support, but can use this as a ‘stabilising leg’ if I want to further steady the camera for very close up/macro shots. By extending the 3rd leg against a hard surface, the ground, a tree or any other surface, I can further increase camera stability. Once you get used to the Joby [TM] GorillaPod ‘hugging’ your wrist, you soon learn to swivel and move the camera into any position to optimise your shots.

I am certain everyone would have different positions for this, which is more comfortable for them. However, the above technique works very well for me, and has significantly improved my overall image quality, focus and camera stability.

Below is a photo of how I attach the Joby [TM] Gorillapod to my wrist. The 3rd leg is stabilising the entire camera/hand against the rim of the pot in this shot. Where no hard surface is available, I use the 3rd leg against my inner arm/wrist as the support structure.

 Thank you, Elise, for taking time to explain your innovative and remarkably effective technique!

Using FHRS to Set Focus Where You Want It 

Here's a tutorial I wrote for jewelry artisans, but the lessons can likewise be applied to nature photography. You can use FHRS to shift the focus anywhere you would like it to be (which in many instances is different than where the camera thinks it should be). 

Even when using a tripod, people are mystified when the camera reports that the scene is in focus but in the actual photo, the focus is in the wrong place. This happens because the camera's auto focus system is not necessarily on the same page with you. FHRS gives you the ability to make corrections and set the focus where you want it.

In this first photo, I placed the bracelet in the center of the scene and let the camera do its thing. As you can see, the texture of the cloth underneath the center of the bracelet has a very nice focus, but the beads in the front of the bracelet are blurry.

 

To get the focus where I want it to be, I again placed the bracelet in the center of the scene, but this time, I pushed the shutter button only half way down to the focus detente and then I held it there. 

While holding at the focus detente, I backed the camera up until I saw the lead beads come into perfect focus in the monitor and then I pushed the shutter the rest of the way down to shoot. Problem solved.

 

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Chapter 5

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Getting Familiar with Macro Photography

Here's an easy and effective exercise to help you get accustomed to your new and expanded macro capabilities.  Select a small object like this ceramic salt shaker, place it on a table and also place your camera on the table to keep it stabilized.  Select various zoom levels, move the camera closer and further to tweak the focus and take the shot when your focus is good.  Such an exercise will help you understand what the macro lens does for you in terms of higher magnification, it helps you grasp the concept that the more you zoom the more shallow the dof, and lastly, it shows you how nicely your camera can perform for macros when the camera is stabilized, giving you a quality benchmark for your hand shots.

Moving Right Along

Now that you're familiar with DOF and FHRS, the best way to learn everything else is to simply dive in and learn as you go, so let's start with flowers (because they can't fly away) and then we'll move into insects (which can fly away).

You're doing well with a stabilized camera and your macro lens. Now it's time to move into hand held macros in the wilds. So find a medium sized wildflower about 1/2" (12mm). Using ISO 200 for a sunny day or ISO 400 for an overcast day, use FHRS and practice taking hand held shots at various zoom levels. 

Start with no zoom. Take 3-5 shots. Check the shots in your preview. When you are consistently getting good focus, increase the zoom to 2x and take 3-5 shots at the higher zoom level, check for good focus in the preview. When you consistently obtain good focus at 2x zoom, increase to 3x zoom and so on and so forth. This importance of this kind of exercise can't be overstated. You can also do this at home with small object on the kitchen table.

If you have a slight wind . . . good! It makes for excellent practice. Since wind is a common aspect of nature, you'll need to learn to deal with it. If the wind is excessive, you can try clasping the stem of the flower with the fingers of your left hand, balance the camera on your left wrist, and stabilize/operate the camera with your right hand.

As you do this exercise, notice also how your zoom level effects your bokeh.

With flowers done, time to move on to insects.  If you approach them slowly and let them get gradually acquainted with the presence of your camera, you can usually get at least a few shots before they're gone. And again, use the same technique for ISO and gradually increasing zoom levels you used for the flower exercise.

While you're at it, try taking some high-magnification detail shots of their various body parts. Exercises such as these are both useful learning tools and just plain fun.

 

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Chapter 6

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 Let There Be Light!

I define photography as the play of light upon and through the colors, contours and textures of objects.  Light adds dimension and dynamism to your images and creates enchanting shadows.  Light is to be embraced, not avoided.  So our next step involves learning how to use light in your macro images, to enhance them and bring them to life.

For example, in the collage below, you can see that the wildflower indeed is pretty when shot in shade, but much prettier and more dynamic when the various forms of lighting are applied.

There are 3 basic forms of lighting in macro photography:

1 - Surface Lighting : Light strikes the surface of your subject directly or at angles.

2 - Back Lighting : Light permeates your translucent subject from behind.

3 - Edge Lighting : Back lighting which illuminates the edges of opaque subjects.

In macro photography, you'll find that light is magic, and working with it is enchanting.  As you twist, turn and pivot your camera at different angles, you'll discover that Light Play on your subjects produces endless effects.

You'll also discover that low angle sunlight in early morning and late afternoon produces one type of effect, whereby midday sunlight produces a totally different effect.  

I am always telling people to "work your subject", and this means to try all different camera angles, zoom levels, lighting effects and so on.  Work your Light Play from all different angles and watch the endless effects you can produce with a single subject.

Below are some sample images I shot with my Canon Powershot SX130 and the Little BigShot macro lens which help demonstrate how Light Play enhances the beauty of floral beings.

The Usefulness of Flash

In most cases, camera flash at full power will severely overexpose macro images.  However, if you moderate flash intensity it can be a very useful tool.  Most newer cameras have an option to adjust flash intensity.  For older cameras without this option, you can stack layers of paper and tape them over the flash to reduce the intensity manually.

One instance when flash is useful is when your subject is partially or fully in shade.  For example, Sandra Anohina found these adorable caterpillars in twin poses on the underside of a leaf.  In her first photo, she used no flash and while the image is a great shot, the same image with low flash is even better!  Notice how the black spots on the caterpillars look flat in the no-flash image and how they have depth with flash.

Image Without Flash

Image Using Flash

Here's an example from Sheila Martin, and again, her image without flash is fine, but her image with low flash is finer yet.  You can see clearly that the markings and patterns on the insect come to life when a soft flash is applied.

Image Without Flash

Image Using Flash

Another time low flash is useful is when shade is causing a slow shutter or wind is causing motion blur.  The flash will increase the luminance and force a faster shutter.  In the example below, Sheila Martin (who is an experienced hand held macro shooter) was having difficulty with focus in the first image, but the flash-induced faster shutter solved that problem as seen in the second photo.  Also notice the depth and details in the photo using the flash.

Image Without Flash

Image Using Flash

In conclusion, if you lack sunlight, or artificial light, if your subject is partially or fully in shade, or when you are having difficulty with good focus, then experiment with low level flash.  With some patience and trial and error, you will soon understand when to apply flash and how much to apply.

I would like to thank Sheila Martin and Sandra Anohina for contributing such good examples of flash macros to this chapter of the blog.

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Chapter 7

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Creating Black Backgrounds Instantly

If you like to create black backgrounds for sunlit subjects, there are several ways to do that but the easiest method is what I call the FHRS/Sky Exposure technique.

FHRS stands for Focus, Hold, Recompose, Shoot.  It is normally used as a tool to help with hand held macro focus, but can also be used to create black backgrounds for your macro and wide angle portraits.

RULES:
1 - Your subject must have sunlight striking it.
2 - The background colors and tones must be at least slightly darker than your subject.
3 - When taking the shot, your camera must be angled slightly downward at your subject.

METHOD
1 - Aim the camera toward the sky at a 45 degree angle from the sun.
2 - Push the shutter half way to the focus detente and hold it there.
3 - While continuing to hold, aim the camera at your subject on a slightly downward angle.
4 - You should now see a black background behind your sunlit subject so continue holding, adjust your focus, then take the shot.

NOTES 
1 - If your subject is too dark, try again but aim the camera 90 degrees from the sun. 
2 - If your background is too light, try again but aim the camera 30 degrees from the sun.
3 - Be creative and conduct experiments. Try setting exposure to a sunlit part of a tree or to a cloud. 

Below are two images of the same Deptford Pink wildflower. The left image used "subject exposure" which is the normal method of aiming the camera toward the subject and taking the shot. The right image used the FHRS/Sky Exposure technique. It took me perhaps 5 seconds to create that black background and with a little practice, you can do likewise. :)

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Chapter 8

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The Power of Gray

Cameras are calibrated for exposure at the factory using what is known as a Gray 18 card, which is a shade of gray between light and medium gray. So, using a grey or neutral colored background helps your camera balance all the tones and expose the scene perfectly. This is especially true when the scene has a mixture of dark and light tones.

In the example below, the Smartweed plant, with its combination of red and white blossoms shot against a dark green meadow background, causes the camera to have difficulty balancing all the various tones and the white blossoms tend to overexpose. 

If you adjust the camera's exposure value (EV) to properly expose the white blossoms, then the reds and greens become too dark. but when we shoot the same plant against a neutral background (in this instance a dirt road behind the flower), then you can see that the camera has no trouble rendering both the white and red blossoms very nicely.

So while you might think of gray as a bland, nondescript color, when used as a background for your subjects, it becomes a powerful tool to give you a perfectly balanced exposure. I use dirt roads and pavement as my neutral backgrounds. You can also use a Gray 18 card or grey cardboard. 

Below are some of my favorite photos captured this way. Again, I used a Canon Powershot SX130 and the Little BigShot macro lens for all of these shots.

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Chapter 9

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The Habit of Cognizance

While much of what is presented in this section may seem to be common sense, in the excitement of the photographic moment, we oftentimes forget or neglect to exercise common sense.

Photographic cognizance simply means that after taking a shot, you look at it in the preview to check on the following:

1 - Do you have good focus?
2 - Is there any over or under exposure?
3 - Is your subject in an appealing position within the frame?
4 - Are there any distractions which can be avoided or removed from the scene?
5 - Are there other shooting angles, zoom levels, or camera settings which might improve the shot?

If you develop the habit of analyzing your shots in the preview, then you'll do it automatically each time and be able to make corrections and adjustments at the venue.  With this habit, you'll never again get back home only to discover regrets . . . I should have done this, or, I could have done that.

So preview all of your shots, even if you don't think you need to, because if you do, it will become a habit and you'll never have post-shoot regrets.

Most cameras allow you to set the amount of time a preview will display after the shot is taken.  So you can set that to 5 seconds, which gives you plenty of time to do a quick analysis, and if you need more time, simply switch to preview mode for in-depth analysis.

For example, in the photo below, I was shooting the Passion Flower inside a greenhouse and that white blob you see in the upper right of the frame is a window.  If I had inspected this shot in the preview, I would have noticed the blown out area and I could then have shifted my shooting angle to avoid it.

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