Macro photography is endlessly fascinating. It opens your eyes to a world that most people never notice. Taking photographs of small, intriguing subjects, especially in nature, can be a life-long pursuit. It’s endlessly captivating as you can see in (#1), the foot of a poison dart frog, and (#2), a close encounter with a caterpillar. Macro photography is very technical, though, and it must be approached correctly or you won’t be happy with the results.
I’m sure you have been intrigued by the rainbow colors you can see in CDs and DVDs. As a visual person, it’s hard not to be attracted to these intense, supersaturated colors. I’ve tried to photograph them but was never happy with the results until I experimented with placing drops of water on the surface of the disc. That changed everything. The colors of the CD combined with the defined shapes of the drops in amazing ways, and this was even more captivating than just seeing color in the disc.
Many photographers use the term white light without knowing its precise definition in photography. After all, there are many types of lighting that we could be talking about, such as the sun, the lamps in our living room, fluorescent fixtures, open shade on an overcast day, late afternoon sunlight, a mercury vapor street lamp, or flash. Which one of these should set the standard by which we judge all other light?
One of my favorite color combinations is white on white and I want to introduce this approach to using color because the results can be so beautiful.
There is something ethereal and captivating about images that are devoid of the colors that we associate with the spectrum. Images that are primarily white seem pristine, intriguing, and they will complement virtually any type of home or office décor if you are looking to frame some of your photography.
A word that is often associated with wide angle lenses is “distortion.” It is true that wide angles distort what we see, but that’s not necessarily bad. In fact, it can work to our advantage. Photographers who like to capture what they see—or as close to it as possible—shy away from wide angle lens particularly those that are extreme—say wider than 20mm. This is especially true for portraiture, where exaggerated and distorted faces and bodies may not go over very well with the subject. However, as an artist you should have all the tools and techniques at your disposal to create dynamic images, and I would like to suggest that if you have not explored the creative potential for shooting people with wide angle lenses, it’s time you try it.
If your primary goal on a trip is to photograph animals, say on a safari or “eco-tour,” this changes your approach to photography quite a bit. You have to think about many things that don’t apply to other types of travel work.
When I refer to window light, I am talking about the soft lighting that comes in through a window when it faces north or when the sky is overcast. This is one of the most attractive types of light photographers use, and it has been a source of inspiration for traditional artists over the centuries when they painted portraits of people, still life images, and the interiors of magnificent works of architecture.