Posted by Nathan Buck on June 15, 2006 at 11:40 AM
Hi all. I get a macro lens and the flood of questions just begins!
After taking some shots lately, I have noticed that many of them would benefit from some flash. I do have an SB-800 for my Nikon, and I have an off camera cord for it. Now, here are my questions...
1. Do you use flash for your macro subjects?
2. Do you have a flash bracket to get the flash out in front of the lens? If so, what brand/type? Is it homemade?
3. What settings does one typically use for fill flash (to avoid the look of overflashing a subject)? Typically I use -1 2/3 or something like that. Is that about right?
4. Any other suggestions that you can make?
Typically I try to use a tripod, and this works for patient insects, but this will not always be the case, some times I will be going handheld.
Thanks in advance!
Nathan
Posted by Richard Wong on June 15, 2006 at 12:11 PM
I used a gold omnibounce diffuser over my flash for this shot.
Posted by Mike Maples on June 15, 2006 at 12:33 PM
I use a Sigma Macro Ring Flash (although I seldom flash my macro subjects) and usually at -1 2/3 to -3 depending on the ambient light. It also makes a dandy portrait flash!
For macro work, I am about 50-50 on using a flash or not. The decision is usually made on reflectivity of the subject, shadows present and "How l lazy do I feel?" Yeah, not a very scientific reason...
For the flash, I would recommend a diffuser. It really does wonders for the light quality. Fill flash for me generally means - 1 1/3 ot -1 2/3, depending on the subject (lighter gets the - 1 1/3). The only time I generally don't use the diffuser is for really, really tiny subjects, when I can hold the flash close to the subject, the unit is several multiples in size larger and the background won't go black. Think ladybug and spider portraits.
I don't use a flash bracket because I don't own one and don't have the mechanical skills and tools to build one, as in John Shaw's design in his book. It is suppose to be fairly easy to build it, but my one attempt to do so a few years ago ended in a messy failure
For insects, I've used a flash bracket that gets the flash out and over the lens, relatively close to the subject. This creates more of a diffused light rather than a harsh light. With the flash that close, you have a large light source, with it back, you get more of a point source of light.
I've found that you need to shoot at a small aperture opening so the flash, being so close, won't over expose the subject. Since you're shooting digital, it shouldn't be to hard to come up with settings that work for you.
I've done all this kind of work on film, so I don't really know how it works yet with digital, since the iTTLof the digital cameras treat flash differently than the TTL of film cameras.
John Shaw has a good discussion about using flash in his "Close Ups in Nature" (dated, but still useful.)
Oh....flash brackets. I use to use an old Kirk L shaped bracket with a small ball head and an arm to hold the flash where I needed it. Now I'm using the Wimberely Shape Shifter.
Shooting with a flash is almost a requirement so that you can stop down enough to get a large enough depth of field to include most or all of your subject, and keep a decent shutter speed for the wiggly things. If you want to get a whole penny in focus with a 100mm macro, f/16 or f/22 is not uncommon. A flash that is off camera also accentuates the light and shadow areas of the subject, giving it more texture than would a straight ahead flash. For some things I will use MT-24 Twinlites and for others I'll use one or two 580EX lights on Wimberly macro brackets. I'll typically start at -1 EV on the lights and go down from there.
Keep a notebook with you if you're shooting film and record settings for each shot, or read your exif data from your digital images. Sun is overhead, Ladybug on green background, shooting Av at f/8, 580EX on blah-blah bracket, -2EV flash, hand-held for 1/250s. If you have time, bracket the exposure up and down. Eventually, if you study these notes and images together, you will begin to read scenes and know instinctively where to start.
Old macro trick number one: Get your focus close with manual focus. Move the camera into and away from the scene until you achieve sharp focus, then take the shot.
Old macro trick number two: Use a 70-200 f/2.8 L IS (or Nikon equivalent) with a 2X converter for butterflies. You can fill the frame from several feet away and not disturb your subjects as much as when you approach with a macro lens. With the f/5.6 you can catch them in most any natural light and get a good exposure. (this idea shamelessly stolen from Milton Heiburg).
There are no absolutes. But a big part of this decision depends if you handhold or work from a tripod Nathan. I disagree with Kelly flash is not almost a requirement. When do you shoot macros? In the early morning or late in the day when the bugs are approachable, a tripod and mirror lockup can't be beat. In that case a reflector is a great tool to use. The light is softer, warmer and doesn't alter the smoothness of some body parts.
Personally I use flash and softbox 25% of the time. Since I work primarily from a tripod. I handhold my flash without a bracket - it allows greater flexability for directing light. With the new D200 coupled with the SB-600 (and I think the SB-800 as well) is completely wireless. I do have a wimberley module 1 & 4. But I have used it less than 10 times in three years. If you're interested in trying it out email me.
I think -1 2/3 is a great starting point. You can bracket from that point, or if you handhold you can tweak the angle and move your flash closer to or further away from the subject.
Flash adds punch to butterflies and moths. But I'll never use it on most beetles and true bugs (wait that's an absolute!). Everything else in between is all about experimentation and developing preferences.
Lots of good points Nathan. I do some things a little differently, but in general terms I agree.
One point not mentioned is the tonality of your subject. You will want a whole lot less fill on a white flower than on a dark one.
I use an off-camera cable most of the time, but even on a tripod it's easy to run out of hands. You'll be happiest if you use a cable release too, while on the tripod.
Choosing between flash and reflectors is very much situation- and subject-dependent. Especially with flowers, the shadows you create can be a sincere challenge.
For utlimate control of light it helps very much to think in terms of mini-studio or tabletop photography. You're in control of all the light, so how should you balance, modify, direct or restrict it? Success in the long term will depend on lots of thinking, reading and note taking in the short term. After almost 20 years in a studio doing everything from product to scientific photography, I still take notes. The same principles apply in the field.
Short term, the best solution may be to buy your wife some flowers. Hey, whether or not you really think you should, I'm willing to bet that she can think of sins that should be atoned with flowers. After she's had a day or so to enjoy them, move the display into a window of your house and go to work with your strobe and reflectors, using them individually and together to create lighting scenarios that appeal to you. If your wife asks what you are doing, tell her that the flowers are starting to pass their prime, but you wanted her to have a photo to remember them with.
Posted by Nathan Buck on June 16, 2006 at 12:48 PM
LOL. Thank you all for the great responses.
Thanks Richard, Mike, Dan, Rod, and Kelly.
Will: Yes, I AM embracing the bug (although they wiggle a lot when you do that). It is amazing to me how differently addictive each type of photography is.
Hank: She knows me too well for that! I actually do not buy her flowers often because she hates to see them die. She DOES suggest to me that I buy flowers to shoot every once in a while. That is a good idea though, I DO need to get more familiar with my setup that way.
Discussion
8 repliesAfter taking some shots lately, I have noticed that many of them would benefit from some flash. I do have an SB-800 for my Nikon, and I have an off camera cord for it. Now, here are my questions...
1. Do you use flash for your macro subjects?
2. Do you have a flash bracket to get the flash out in front of the lens? If so, what brand/type? Is it homemade?
3. What settings does one typically use for fill flash (to avoid the look of overflashing a subject)? Typically I use -1 2/3 or something like that. Is that about right?
4. Any other suggestions that you can make?
Typically I try to use a tripod, and this works for patient insects, but this will not always be the case, some times I will be going handheld.
Thanks in advance!
Nathan
I used a gold omnibounce diffuser over my flash for this shot.
For the flash, I would recommend a diffuser. It really does wonders for the light quality. Fill flash for me generally means - 1 1/3 ot -1 2/3, depending on the subject (lighter gets the - 1 1/3). The only time I generally don't use the diffuser is for really, really tiny subjects, when I can hold the flash close to the subject, the unit is several multiples in size larger and the background won't go black. Think ladybug and spider portraits.
I don't use a flash bracket because I don't own one and don't have the mechanical skills and tools to build one, as in John Shaw's design in his book. It is suppose to be fairly easy to build it, but my one attempt to do so a few years ago ended in a messy failure
I've found that you need to shoot at a small aperture opening so the flash, being so close, won't over expose the subject. Since you're shooting digital, it shouldn't be to hard to come up with settings that work for you.
I've done all this kind of work on film, so I don't really know how it works yet with digital, since the iTTLof the digital cameras treat flash differently than the TTL of film cameras.
John Shaw has a good discussion about using flash in his "Close Ups in Nature" (dated, but still useful.)
Oh....flash brackets. I use to use an old Kirk L shaped bracket with a small ball head and an arm to hold the flash where I needed it. Now I'm using the Wimberely Shape Shifter.
Keep a notebook with you if you're shooting film and record settings for each shot, or read your exif data from your digital images. Sun is overhead, Ladybug on green background, shooting Av at f/8, 580EX on blah-blah bracket, -2EV flash, hand-held for 1/250s. If you have time, bracket the exposure up and down. Eventually, if you study these notes and images together, you will begin to read scenes and know instinctively where to start.
Old macro trick number one: Get your focus close with manual focus. Move the camera into and away from the scene until you achieve sharp focus, then take the shot.
Old macro trick number two: Use a 70-200 f/2.8 L IS (or Nikon equivalent) with a 2X converter for butterflies. You can fill the frame from several feet away and not disturb your subjects as much as when you approach with a macro lens. With the f/5.6 you can catch them in most any natural light and get a good exposure. (this idea shamelessly stolen from Milton Heiburg).
Personally I use flash and softbox 25% of the time. Since I work primarily from a tripod. I handhold my flash without a bracket - it allows greater flexability for directing light. With the new D200 coupled with the SB-600 (and I think the SB-800 as well) is completely wireless. I do have a wimberley module 1 & 4. But I have used it less than 10 times in three years. If you're interested in trying it out email me.
I think -1 2/3 is a great starting point. You can bracket from that point, or if you handhold you can tweak the angle and move your flash closer to or further away from the subject.
Flash adds punch to butterflies and moths. But I'll never use it on most beetles and true bugs (wait that's an absolute!). Everything else in between is all about experimentation and developing preferences.
It's nice to see you embracing the bug Nathan...
One point not mentioned is the tonality of your subject. You will want a whole lot less fill on a white flower than on a dark one.
I use an off-camera cable most of the time, but even on a tripod it's easy to run out of hands. You'll be happiest if you use a cable release too, while on the tripod.
Choosing between flash and reflectors is very much situation- and subject-dependent. Especially with flowers, the shadows you create can be a sincere challenge.
For utlimate control of light it helps very much to think in terms of mini-studio or tabletop photography. You're in control of all the light, so how should you balance, modify, direct or restrict it? Success in the long term will depend on lots of thinking, reading and note taking in the short term. After almost 20 years in a studio doing everything from product to scientific photography, I still take notes. The same principles apply in the field.
Short term, the best solution may be to buy your wife some flowers. Hey, whether or not you really think you should, I'm willing to bet that she can think of sins that should be atoned with flowers.
Thanks Richard, Mike, Dan, Rod, and Kelly.
Will: Yes, I AM embracing the bug (although they wiggle a lot when you do that).
Hank: She knows me too well for that!
Nathan