Flowers
Getting the right shot takes skill - and a
little knowledge of depth-of-field, lighting, viewpoint and blur goes a long
way
WILD OR CULTIVATED, plants and flowers grow
in many different guises. But while they can vary greatly in size, shape,
colour and appearance, most plants can be approached in a very similar way
photographically - for all kinds of plant life, the technique and way in which
you light them is actually very similar. Therefore, whether you visita local
park, public gardens, stately home, wild meadow, moorland, coastline or ancient
woodland, our advice will ensure you return with incredible images time after
time.
Depth-of-field
The aperture you select will have a large
influence on how your nature images look. The size of the aperture greatly
dictates the amount of depth-of-field - the zone of acceptable sharpness in
front of, and behind, your point of focus. A large aperture (small f/number)
like f/4 produces a shallow depth-of-field, ideal if you wish to render
background detail pleasantly out of focus.
A small aperture (large f/number) like f/16
generates a wide depth-of-field, which is best suited to images where you want
the subject to be sharp throughout. It is important that you don't let your
camera automatically control aperture selection. Instead, manually select
apertures by using either your camera's aperture-priority or manual exposure
mode.
Depth-of-field is also affected by the
focal length of the lens and camera-to-subject distance, with the zone of
sharpness appearing progressively shallower at longer focal lengths and at
higher magnifications. Nature photographers will often have to contend with a limited
depth-of-field, so focusing must be pinpoint accurate. A tripod will aid
focusing, helping photographers to fine-tune and position their point of focus.
When photographing plants - particularly in close-up - it is often better to
switch to manual focusing to give you greater control. Admittedly, working with
such a limited zone of sharpness can prove challenging, but you can also use it
to your advantage. A shallow depth-of-field can be a useful creative and visual
tool. Using a large aperture, like f/2.8 or f/4, you can isolate your subject
against a diffused backdrop - perfect for picking out a single flower from all
the others growing around it. Arty or even abstract-looking results are
possible by intentionally using wafer-thin depth-of-field to highlight small,
interesting details - like a petal or stamen. There is no secret formula as to
how much or how little depth-of-field is best for nature images. The trick is
to experiment. Try different focal length and aperture combinations until you
achieve the level of depth-of-field that suits your particular subject. Review
results regularly on the LCD monitor and zoom into your images to scrutinise
sharpness and depth-of-field. If your camera has a depth-of-field preview
button, use it.
Depth-of-field:
Making flowers stand out against their setting is half the battle. Employ a
large aperture to create a shallow depth-of-field
Lighting
The light's quality and direction is a key
ingredient for any nature image. Strong sunlight is often best avoided as it
can be too harsh to capture the finest detail. While shadowless light might be
considered dull and lifeless for some subjects, a bright but overcast day is
perfect for flower or woodland photography. On days like this, the cloud cover
simulates one huge softbox, producing beautiful, evenly lit results. In fact,
in strong light, it can be worthwhile casting your subject in shade - using
your shadow or an umbrella - to lower contrast and allow you to capture
authentic colour and detail.
Generally speaking, overhead light is best
avoided as it casts ugly shadows. However, you can relieve shadows by placing a
reflector nearby or by using a small burst of fill-in flash. Traditionally, the
best light is during early morning and evening, when it is naturally softer and
warmer. The sun's low position casts longer shadows that accentuates shape and
form - so it is well worth setting your alarm early and staying out late. Also,
at either end of the day, the sun's low position makes it easier to shoot
subjects in beautiful backlight.
Backlighting - when the principal light
source is positioned behind the subject - is particularly well suited to plants
and flowers. It highlights the intricacy of translucent subjects like leaves
and petals, and places emphasis on shape, form and fine detail - like tiny
hairs or prickles on flower stems. The drawback of shooting towards the light
is the risk of flare. Attach a lens hood or shield the front of the lens to
help prevent flare and a reduction in contrast. Backlit subjects also tend to
trouble metering systems, fooling the camera into underexposing results. Check
histograms regularly and, if this is the case, increase the exposure by
applying positive (+) exposure compensation.
Lastly, don't overlook flash. If you don't
have a reflector to hand, flash can fill in areas of distracting shadow. Shoot
at a reduced output to ensure you retain a natural feel. Flash can create ugly
hotspots on reflective foliage or petals, though, so it is worth diffusing
flash bursts. Flash can also be useful for simplifying a subject's background,
as the fall-off in light can create a pure black backdrop if surrounding
vegetation is outside the range of the burst. While the effect can look
slightly unnatural, it can still be a more desirable option than capturing your
subject against an ugly, distracting background.
Lighting:
You might think a sunny day provides the perfect conditions for nature
photography, but the reverse is true. An overcast day, or shooting in the
morning or evening gives your flower shots better colour and contrast.
