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To See a Gallery of 'Small World' Photos, Click Here

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Innermost 2 © Scott Mahrer

We want to thank all of the photographers who have shared their macro—or “small world”—images with us. We received some fantastic entries. Congratulations to the winners, whose photos appear in this story or in the accompanying gallery.

An entirely new world awaits those who are patient enough (and have the right equipment) to explore miniscule subjects photographically. We often overlook these objects, but are amazed when we’re shown the intricate details of an insect or the colorful patterns of a flower in a macro image. Extreme close-ups are among the most fascinating photos, whether they reveal an intimate view of nature, or enlarge a portion of a common household object so that it becomes an abstract.

The term “close-up” covers the range of magnifications from 1/10 life-size (1/10x magnification or 1:10) to life-size (1x magnification or 1:1). “Macro,” on the other hand, covers the range of magnifications from life-size (1:1) to 40 times life-size (40x magnification or 40:1).

Most digital cameras have a “close-up” mode on the shooting dial, and you’ll need to check your manual to find out the minimum focusing distance of your lens. You’ll know when you’re trying to shoot a picture that’s beyond the

Mini Rainbows © Vickie Szumigala

camera’s close-focusing capability because the focusing indicator light will blink and the shutter button won’t fire. For the best results, you’ll need special close-up equipment to get really close to your subject. When you’re working at close range, your depth of field is generally very shallow. But selective focusing can work to your advantage also, by throwing one area of your image in focus and allowing the rest of it to become a soft blur. Another problem that can occur when you magnify an object is that any camera movement is also magnified. For this reason, it’s always a good idea to use a tripod and cable release.

Close-up Lenses
The simplest, and least-expensive way to shoot close-ups is to get a close-up attachment that fits on the filter thread of your lens. They’re available in varying sizes to fit any lens, and come in strengths ranging from 0 to 10. The higher numbers indicate greater magnifications. The strength of these lenses is measured in diopters, and is designated as +1, +2, +3 and so on. You can combine these lenses for even greater magnifications, but you may get some reduction in image quality. It’s a good idea to have a set of supplementary close-up lenses in your camera arsenal, even if you only shoot close-ups occasionally. They’re very easy to use, require no exposure compensation and you can utilize your camera’s auto metering and focusing capabilities.

Leaf Lace © Harri Kyynarpuu

Tele-converters and Extension Tubes
Both of these devices fit between the camera body and lens to multiply the focal length of the lens without having to move in closer to the subject. The disadvantage of tele-converters is that you lose a stop or two of light, and they’re very expensive. Extension tubes are inexpensive cylinders in several lengths that can be stacked together to give you close-focusing capability.

Macro Lenses
For those who are serious about doing close-up photography, you’ll want to invest in a good macro lens. These lenses are specifically designed to work at close range and most provide 1:1 magnification. There is a wide selection of macro lenses and macro zooms on the market to choose from, and most provide continuous focusing from infinity to 1:1 magnifications while utilizing your camera’s auto features. They’re expensive, but very worthwhile when you want to get the best quality in close-up photography.

Lighting
In most cases, soft, ambient light will work best when taking close-up pictures. However, there may be other occasions when you’ll want to use fill flash moved off-camera with an extension cord or a reflector to add a little light to your subject. Some photographers like to use ringlight flash units when they shoot close-ups. This flash mounts on an adapter ring that’s positioned to the front of the lens and provides you with even illumination on your close-up subjects. There are also times when there may be too much light on a subject. For example, if you come across a flower that you want to photograph but it’s bathed in the harsh light of midday sun, you can diffuse the light with a diffusion screen or semi-sheer sailcloth.

On The Edge © Beng Jayanta

Abstractions
Try finding new, abstract designs by shooting only a portion of a subject. Great abstract subjects can be found in interesting confluences of color, shape, texture and form that are components of larger scenes. Whatever the source of the design, the secret to finding and capturing powerful abstracts to isolating them; extracting the components of your images from their surroundings enough so that the design and not the original object becomes your subject.  

Up Close & Personal
Another advantage to shooting close-up and macro images is that you find yourself eliminating extraneous clutter. There’s an old adage in photography that states, “If you want to improve your photos 100%, move closer.” When you fill your frame with a subject, you’ll avoid adding too much information to your images. This idea is challenging, especially for those who are accustomed to shooting broader views of the world. Many people just think that they’re filling the frame when in fact; they’re not even close. Check your viewfinder for wasted space in your close-up images before clicking the shutter. And when you think you’re close enough, try to move in a little closer yet.

Whatever way you choose to explore close-up and macro photography, have fun and experiment. Don’t be afraid to try new techniques or to work with different subjects.

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To See a Gallery of 'Small World' Photos, Click Here

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Take our next Double Exposure Challenge! Find details on entering our "Depth of Field" competition in this issue of Double Exposure.

Let us know if you found this article useful, and tell us what kinds of articles you'd like to see in upcoming issues. Send your comments and ideas to Lynne Eodice.