Digital Camera World » macro lens

9 things you need to know about using macro lenses

jmeyer — Wed, 08 Aug 2012 10:00:15 +0000

Macro badges are often slapped on lenses that offer a magnification factor of 0.5x or less. However, true macro lenses deliver 1.0x, or 1:1, magnification. This means that if you photograph a small object at the lens’ closest focus distance setting, it will be the same size as the image projected onto the camera’s sensor.

A 1.0x magnification factor might not sound impressive, but bear in mind that this is on the sensor itself.

When the digital image is viewed on a computer screen or turned into a photo print, there’s the potential for enormous enlargement – levels of detail are revealed that are practically invisible to the naked eye.

To get full 1.0x magnification, you’ll need a macro prime lens rather than a ‘macro’ zoom lens. Even then, some prime lenses bearing the macro designation don’t give full 1.0x magnification.

This is perhaps the most important thing to know about using macro lenses. Below we’ve compiled a list of 9 other things you need to know when using a macro lens.

For more tips on using your macro lens, why not download our free macro photography cheat sheet.

1 Stopping power
The maximum available aperture of macro lenses decreases as you approach the shortest focus setting. In most cases, it’s by one or two stops.

2 Stand clear
A focal length of about 85-105mm is ideal for most types of outdoor macro, enabling you to stay at a reasonable working distance from your subject.

3 In the way
When using 40mm or 60mm lenses at their minimum focus distance, you’ll often find the front of the lens comes so close to the subject that it blocks the light source.

4 Under the hood
Lens hoods are good for general outdoor shooting but often cast a shadow over subjects in macro photography, especially if you’re using a flashgun.

5 Circle of light
A specialist ring flash, which fits around the front of the lens, provides highly effective illumination for macro shots.

6 Shaky situations
While image stabilisation is useful for more general shooting, especially when you’re using smaller apertures, it’s of practically no benefit for extreme close-ups.

7 Staying put
Macro lenses that feature internal focusing are easier to use in close-up work as you don’t need to worry about the front element extending towards your subject.

8 Further afield
When you’re using the closest focus setting to get full 1.0x macro magnification, the minimal depth of field means it’s often better to shoot subjects from further away and then crop the results as necessary.

10 The sharp end
Manual focus is often the only effective way to get the most crucial part of an object really sharp. Using Live View with maximum magnification is a great way of setting focus with the utmost precision.

Buying guide: close-up photography equipment

dcworld — Mon, 11 Jan 2010 15:41:31 +0000

Take a look at close-up gear for every budget: reversing rings, extension tubes, close-up filters and macro lenses

Reversing rings are a low-cost, yet effective way to get into macro photography – they really do give impressive results. A reversing ring is simply a metal hoop with a bayonet fitting, to match your lens’s filter thread, on one end and a screw fitting on the other. As the name suggests, they work by mounting the lens directly onto the camera body, introducing a short extension, which makes the lens focus close and gives a high but fixed magnification. Your working distance also becomes fixed.You’ll get life-sized images that are razor sharp in the middle, but softer at the edges than you’d get with a macro lens. Only a select few offer electronic coupling too – be prepared to go Manual!

If you’re itching to photograph the world up-close you’ll need some specialised gear – here we explain the four main routes into fantastic macro photography…

Reversing Rings

You’ll get life-sized images that are razor sharp in the middle, but softer at the edges than you’d get with a macro lens. Only a select few offer electronic coupling too – be prepared to go Manual!

Pros:

Inexpensive, very small, life-sized results can be used with tubes or bellows to get closer than 1:1.

Cons:

Fixed magnification, fixed focus point, usually only work in Manual or Aperture Priority modes.

Price range:

From around £25 for a known brand or as little as £3 on eBay.

Extension Tubes

Extension tubes are basically metal tubes with bayonet fittings on both ends, so they fit between the camera and lens and extend the distance from lens to camera sensor. The tubes are available in a variety of lengths and can be bought singularly or in a set of three (Kenko’s range is popular). If you opt for good quality tubes, they’ll connect your camera’s electronics with those of your lens, enabling you to retain control of both the aperture and autofocus. Plus, lens quality will remain unaffected. One thing to consider when using tubes is that the longer the combined length of the tubes, the longer the exposure – your DSLR’s auto modes will compensate for this.

Pros:

Good quality results, varying degrees of magnification, lightweight.

Cons:

More fiddly than other methods, the longer the lens you’re using, the more extension tubes you’ll need.

Price range:

For branded tubes around £50 each or £115 for three, about £4 on eBay.

Close-up Filters

Close-up filters, also known as close-up lenses or macro filters, attach to the front of your lens or lens adapter. They have diopter ratings stretching from +1 to +10 and can be bought individually or as sets. You can stack the filters for increased magnification, but when you do so you have to put the strongest filter closest to the lens and work down.
Close-up filters decrease your depth of field, so you have to work with small apertures. Quality isn’t as good as with a reversing lens or extension tubes, but they’re a good first step into the world of macro, especially for occasional use.

Pros:

Small, light, cheap and easy to use.

Cons:

Quality isn’t as good as other methods, depth of field is lost.

Price range:

Hoya sets cost around £60, unbranded sets cost from £9 on eBay.

Macro lenses

If you’re serious about close-up photography, and want professional-looking results, a dedicated macro lens is the obvious choice. The quality you’ll get from a macro lens is second to none, because they’re manufactured solely for this purpose. Where as normal lenses are optimised so that sharpness and contrast get better towards infinity focusing, macro lenses are the opposite – providing brilliant sharpness, contrast and high general image quality up close. Macro lenses are generally bitingly sharp bits of glass, which is why many pro photographers use them as portrait lenses (although sometimes they can be too sharp for this!). As well as the ability to capture truly stunning close-ups, they’re capable of shooting anything else you come across.

Pros:

Superb optical quality, lenses double as a general purpose lens.

Cons:

Most expensive option for close-ups.

Price range:

From around £240.

If you’re considering buying a maco lens be sure to read our buying guide.

Macro lenses: buying guide

dcworld — Wed, 30 Nov -0001 00:00:00 +0000

Equip yourself with all the knowledge you need to buy the right macro lens for you

Macro lenses come in various focal lengths, but the most common lenses tend to be 50mm, 60mm, 100mm, 105mm and 180mm. What difference does this make? Lots. Firstly, the shorter the focal length, the lower the cost – that rule of thumb applies across all brands, although a fast aperture will push the price up. As well as being cheaper, however, the lower the focal length, the smaller and lighter the lens will be.
For example the SEX DG macro lens has an SRP of £499.99 and weighs 460g. So, is a lower focal length better? For your wallet and back yes, but not always for your photography. The most important factor to consider, in terms of photography itself, is that the lower the focal length, the closer you need to get to your subject. If you know you’ll only be shooting static subjects, then it’s not such a big deal but anyone who’s eager to shoot insects and other small creatures should consider spending a
little more and going for a 100mm or 105mm lens. It’s seriously frustrating when you’re continuously scaring potential subjects away because you have to get so close
igma 50mm f/2.8 EX DG macro lens has an SRP of £319.99 and weighs 320g, while their 105mm f/2.8

If you’re serious about capturing the world up close sooner or later you’ll feel restricted by your normal lenses and start to think about investing in a dedicated macro lens. This investment will see you discover a whole new miniture world and you’ll be glad you took the plunge. Here we provide you will the key features to look for in a macro lens.

About macro lenses

Normal lenses are optimised so that sharpness and contrast get better towards infinity focusing, macro lenses are the opposite – providing brilliant sharpness, contrast and high general image quality up close. Macro lenses are generally bitingly sharp bits of glass, which is why many pro photographers use them as portrait lenses (although sometimes they can be too sharp for this!). As well as the ability to capture truly stunning close-ups, they’re capable of shooting anything else you come across.

Magnification ratio

The magnification ratio, or reproduction ratio as it’s also known, is a crucial feature. True macro lenses offer a magnification ratio of 1:1, meaning your subject will be the same size as the image sensor it was taken on. 1:2 means the subject will be double the height and width and so on. If magnification is less then 1:1, it’s unlikely to be a true macro lens.

Focusing mechanisms

All modern macro lenses have an autofocus facility, but if you’re buying second hand you could consider a manual focus only lens – not a problem for macro, but inconvenient if you want to use it more generally too. Autofocus lenses will either have ‘silent’ motors or older screw-driven ones – you’ll pay more for a silent lens, but it maybe worth it if you’re concerned about noise scaring subjects.

It’s also worth noting whether the lens focuses internally – if it does it won’t extend in length as you change focus, but a variable-focus lens will. This isargely down to personal preference and if you have a sturdy tripod any change in centre of gravity caused by lens movement should be combated anyway.

Vibration Reduction

Is Vibration Reduction important on a macro lens? If you’re planning to use a tripod at all times then no. If you may do some spur of the moment handheld work or are planning to use it generally then you’ll probably want a VR lens.

Focal length

For example the Sigma 50mm f/2.8 EX DG macro lens has an SRP of £319.99 and weighs 320g, while their 105mm f/2.8 EX DG macro lens has an SRP of £499.99 and weighs 460g. So, is a lower focal length better? For your wallet and back yes, but not always for your photography. The most important factor to consider, in terms of photography itself, is that the lower the focal length, the closer you need to get to your subject. If you know you’ll only be shooting static subjects, then it’s not such a big deal but anyone who’s eager to shoot insects and other small creatures should consider spending a little more and going for a 100mm or 105mm lens. It’s seriously frustrating when you’re continuously scaring potential subjects away because you have to get so close…

Your guide to photographing small pets

dcworld — Fri, 10 Jul 2009 14:27:08 +0000

Images of small pets almost touches on macro photography – learn all the basics of capturing them here

Taking shots of smaller pets enters a whole new world of exciting photography that almost touches on the theme of macro. These small animals need the close-up treatment to gain any real impact when stuck in a frame on the mantelpiece.

These small animals need the close-up treatment to gain any real impact when stuck in a frame on the mantelpiece.

The golden rules are the same as any other style of pet photography; clean natural backgrounds, focusing on the eyes, dynamic poses and above all, capturing their personality.

You can go for the ‘grande fromage’ style, such as capturing a guinea pig peeking out from a plant pot, but small pets work better (and are happier) in their own environment.

Togo the lizard loved his favourite spot under his heat lamp. Unfortunately, the strong tungsten light causes hotspots, but using a foil reflector helps to pick out plenty of other detail.

A macro lens is the weapon of choice for nailing great small pet pictures, but any long lens above 00mm will enable you to get in close enough for frame-filling impact. You‘ll need to maximise depth of field using small apertures around f/8 and above, so if they live in a cage indoors get it near a window for maximum light levels.

Shooting directly under a light without a reflector to bounce some light back results in a very underexposed image with a hot spot on the top.

Using silver foil as a reflector helps to light the underneath of reptiles when they‘re under strong lamps.

Shooting macro with a compact

Having a compact around is very useful when it comes to macro subjects as they tend to focus close and therefore produce powerful close-up shots. Another benefit is that the live preview in the LCD enables you to compose to perfection, and you can also be sure the focus is locked as you will hear it beep.

For the best results switch your camera to Macro mode, indicated by a flower icon and zoom in until the zoom bar changes colour. This indicates the focal length is at the optimum for the closest macro shots.

Don‘t discount compact cameras for shoots when they c

an produce shots like this.

Switch your compact camera to Macro, select Auto mode and off you go.

Get in as close as you can focus and use the LCD to compose.

Backgrounds

An ugly, unnatural or distracting background will ruin any picture and small pets are no different. In fact, they require a little more thought as cages, tanks and cases are usually full of unsightly distractions, such as reflective glass, bars or bright man-made toys.

Posing Togo on the end of a rock and shooting with an earthy log in the background, rather than the case feels much more natural.

A quick tidy-up first to rid the area of clutter will save time in the digital darkroom later and free-up many more composition options while shooting.

Okay, so five minutes of the Clone Tool could rid this distracting thermometer, but it would only take ten seconds to take it out before shooting.

The easiest option to avoid any permanent fixtures, such as the strip light near the nose is to change your composition.

Using flash

Taking pictures of small pets with direct flash can cause unsightly shadow halos on the background. Using flash as fill-in rather than the main illumination will help alleviate the problem, however the best solution, especially for pets in enclosed cases, is to use TTL off-camera flash.

Using a TTL off-camera cord enables flashwork in even the smallest of spaces

Using a wireless system or off-camera cord, place the flashgun in the case and point it upwards. This will fire the flash towards the roof of the case and ‘bounce’ it back down, smoothly spreading it around the enclosure.

You‘ll get more even lighting on the subject, will be able to use larger apertures for greater depth of field and faster shutter speeds for shake-free pictures.

How to shoot micro landscapes

dcworld — Fri, 10 Jul 2009 14:27:06 +0000

Two pros show you how to zoom in on detail in the wider scene to capture close-up images of natural design.

By taking the time to explore the scene in closer detail, you’ll be amazed at how a myriad interesting shapes, textures and natural designs start working as miniature landscapes in their own right.

It would be all too easy to arrange and contrive the image below of a rabbit skull and lichens, but the pleasure was in finding this arrangement deigned by nature. For me, this has always preserved the integrity of this image.

The bright yet overcast conditions were absolutely perfect for capturing the all-important detail. Dull, overcast conditions are not favourable for good close-up work and learning the distinction between the two is important.

Canon EOS 1D MkIIN with 100mm f/2.8 macro lens; ISO 50; 1/8 sec at f/16.

The picture below illustrates how a simple subject such as this algae growing on a maple tree trunk can be turned into an interesting, abstract shot.

Look carefully: you can see an acorn wedged in the trunk by a squirrel. Pattern metering gives you a good exposure for even-toned subjects.

Canon EOS 1 with 100mm macro lens; ISO 50; 2 secs at f/16.

Mermaid‘s Purses are the egg-cases of our most abundant species of sharks, the lesser and greater dogfish.

Variable in colour, these twisted works of art are frequently encountered by beachcombers. The shot could probably have benefited from the use of a polarising filter to reduce the bright reflective surfaces.

Canon EOS 1D MkIIN with 100mm f/2.8 macro lens; ISO 100; 1/30 sec at f/16.

The beautiful blue-grey shades of this metamorphic rock was a perfect complementary background for composing this diagonal arrangement of limpets exposed at low tide.

Taken during bright conditions, I managed to get a passer-by to hold my white diffuser sheet between the sun and the rock to reduce the harsh, midday light.

Canon EOS 1D MkIIN with 100mm f/2.8 macro lens; ISO 100; 1/125 sec at f/16.

Fill the frame

When shooting patterns and textures, it‘s good practice to fill the four corners of the frame, Any gaps or patches of different colour, texture or tone creeping into the picture will be a distraction. If you‘re using a zoom lens, zoom out slightly to check that you haven‘t missed any bits.

For this shot, I had to work in order to find a composition that I was happy with. I spent some time arranging the seaweed how I wanted it so there were gentle swirls running through the image

Canon EOS 20D with 17-40mm f/4 lens at 36mm; ISO 400; 25 sec at f/16.

The cliffs that tower over Sandymouth Bay near Bude in Cornwall contain patterns and lines that are photogenic when framed tightly.

I composed with the main band of lines running diagonally from corner to corner to make a dynamic, abstract image.

Canon EOS 20D with 17-40mm f/4 lens; ISO 100 at 36mm; 2.5 sec at f/16.

To make this image of moss and grass covered rocks next to a small waterfall more dynamic I composed with the lines in the cliff at an angle. The moisture helps to saturate the greens.

Canon EOS 20D with 17-40mm f/4 lens at 17mm; ISO 100; 4 sec at f/18.

Compositonal tricks: Focus attention

To ensure that every part of this image was in focus I photographed it with the camera sensor parallel to the rock face and used a small aperture of f/16. I checked the histogram to make sure the image was exposed correctly.

Having taken several shots of just the lines in the rock face, I decided to place a small rock in the frame to see if it improved the composition at all. It did. Having the rock in the frame gives the viewer somewhere to rest their eyes when looking at the image.

I thought the subtle shades of colour and textures on this rock in the Peak District would make a great photograph. Around the base of the rock were small snail shells so I cleaned one up on the nearby grass and then placed it on the rock according to the Rule of Thirds.

Canon EOS 20D with 70-200mm f/2.8 lens at 95mm; ISO100; 1/15 sec at f/11.

I photographed this imprint of an Ammonite fossil at Saltwick Bay on the North Yorkshire Heritage Coast. Rather than composing with the imprint in the centre of the frame I placed it in the lower half so I could include the cracks in the rock above, which helped to make a more interesting image.

Canon EOS 20D with 17-40mm f/4 lens at 25mm; ISO 100; 0.5 sec at f/18.

Rule of Thirds: Using it for creative effect

Newcomers to photography might not be familiar with the Rule of Thirds, but it‘s an incredibly easy way of making your compositions seem balanced.

Draw an imaginary noughts and crosses grid on the frame, place the focal point of the picture at one of the points where the lines cross and bingo, the picture starts to look more interesting.

This knotted timber can be found on the site of an old tile yard. It was taken during the middle of the day and the overhead sun enhanced the patterns in the timber. The knot was placed according to the Rule of Thirds.

The round shape of the lichen contrasts with the straight lines running through the wood. I think the vibrant oranges and yellows of the lichen go well with the more subtle shades of grey.

This is the foreshore at Knockvologan Bay on the Isle of Mull. I liked the contrast between the gentle, round shapes of the pebbles and the harder, straight lines of the rocks. I composed with the large pebble in the bottom right of the frame and with the lines in the rocks running diagonally.

Canon EOS 20D with 17-40mm f/4 lens at 29mm; ISO 100; 1/10 sec at f/16.

I found this circular collection of pebbles in a small hollow formed in the rocks alongside the River Etive in Glen Coe. I composed with the hollow on the intersection of thirds and the lines in the rocks running diagonally. A polariser helped to remove reflections and glare from the river.

Canon EOS 20D with 17-40mm f/4 lens at 32mm; ISO 100; 1/5 sec at f/16.

Choose the best focal length for a shot

dcworld — Fri, 10 Jul 2009 14:27:05 +0000

Changing your focal length can create drastically different takes on the same close-up shot. Follow this guide to find out more.

One of the greatest attributes of photography is the ability to show the world around us in ways that we donít normally see it. Wide-angle lenses create a sense of place by taking in more than the human eye can normally see.

One of the greatest attributes of photography is the ability to show the world around us in ways that we don’t normally see it.

Wide-angle lenses create a sense of place by taking in more than the human eye can normally see. Telephoto lenses also have an ability to reach out and extract a small slice of a distant subject due to their narrower field of view and, in turn, they‘re good at eliminating clutter. Dedicated macro lenses can get you closer and reveal detail that would otherwise go unseen.

While macro lenses might be the first choice for committed close-up photography, both wide angles and telephotos can produce dramatic results. The optical characteristics of a wide-angle lens ( 7mm-40mm), whether you intend shooting close-ups or open vistas, include an incredible field of view, perspective and distortion effects. They‘re useful for showing a subject in close-up while placing it in context with its surroundings.

A telephoto lens gives you both a narrower field of view and allows for extra space to set up additional equipment. They can produce soft, diffused foregrounds and backgrounds, which are perfect for plant portraits. Wide-angle and medium telephoto (70mm-300mm) zooms let you compose innumerable images from a static position.

24mm

When used for close-up work, ultra-wide angle lenses can distort the view unnaturally which isn’t appealing, unless you want to include the background.

35mm

The nearest lens to what the human eye sees. With the advent of wide-angle zooms, this focal length isn’t as popular as it used to be.

70mm

An underrated focal length that’s within the range of most modern telephoto zoom lenses. Most models offer superb quality rendition.

Why working distance is so important

The longer the focal length of the lens you use, the more camera-to-subject working distance you‘ll have for the same magnification. Wary subjects such as insects and small reptiles won‘t usually allow a close approach so using a longer lens is essential.

Support

A longer lens used in conjunction with a solid tripod will enable you to arrange your camera equipment without disturbing your subject.

Lighting

Modifying light via fill-in flash or by positioning a reflector or diffuser sheet allows is made easier by a comfortable distance between you and the subject.

Longer focal lengths

If the background is far enough away from the subject and a wide aperture‘s used, the backdrop will be rendered as a soft block of colour.

120mm

An advantage of the 70-200mm telephoto zoom lens is the ability to select and compose images from a static position using a single lens.

200mm

This gives you extra working distance. The improved background control can make a real difference in the shots you’ll end up capturing.

300mm

A surprising choice for close-ups, but it’s the work-horse of many pros. Great for creating a false perspective by compressing objects on different planes.