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كتاب التصوير الفوتوغرافي المغلق
Macro lenses
A focusing macro lens has an extension built into the lens itself which enables the lens to be used at any magnification between infinity and half life - size without any other accessory . The most widely used macro lenses - those which have a focal length of 50mm or 55mm are covered on pp . 25-26 . Other modern macro lenses have focal lengths of 105mm or 200mm : they both have a greater subject to camera working distance than the 55mm macro lens . You can also get some zoom lenses with a macro mode . This makes them invaluable for taking close - ups of wary subjects ( butterflies or dragonflies ) or more distant subjects ( statues or leaves ) or even human or animal portraits .
All the special - purpose , automatic , close focusing lenses are easy to use and enable precise framing of every subject . The magnifica tion is simply read off the lens barrel . They are , however , a more expensive way of getting in close than by using a lens of the same focal length with a set of extension tubes . However , no photographer specializing in close - ups could contemplate working without at least one macro lens . I use three of the micro - Nikkor range ( 55mm , 105mm and 200mm ) which , despite the confusing use of the prefix micro , are in fact macro lenses . Any macro lens can be used in conjunction with extension tubes ( see p . 22 ) or bellows ( see p . 28 ) . Whenever I work with a macro lens , I always use a tripod to ensure the sharpest possible image , especially if I am using a slow shutter speed which is so often the case when working with slow speed color film in overcast lighting conditions .
Detail of statue
I took this picture , showing part of one of the famous lion statues in London's Trafalgar Square , from ground level . using a long macro lens to crop in on the face . I had to use a tripod for a 1 sec exposure on a very overcast day . This adds a somber feeling to the huge metallic statue . Lens Vivitar 90-180mm macro - zoom Mag . on film x0.026 Mag . on page × 0.1
◄ A leafy mosaic The only way I could get a reasonable close - up picture of the leaves of this tree in the Seychelles was to use a 200mm macro lens . I deliberately exposed the film so that the leaves appeared as complete silhouettes and the tiny holes which had been eaten out by small beetles were clearly visible . Lens 200mm micro - Nikkor Mag . on film × 0.1 Mag . on page × 0.3
Flickering flames
While I waited in the entrance hall of a hotel I noticed the flames of a gas fire . It generated so much heat that it was impossible to take a close - up picture with a 55mm macro lens , so I decided to use a macro lens with a longer focal length . The camera was mounted close to the floor on a Benbo tripod and I used a 1 sec exposure to produce this blurred effect of the flames leaping towards the chimney against the black recessed fireplace . Lens 105mm micro - Nikkor Mag . on film x0.12 Mag . on page × 0.8
التشريح عن قرب ..
كتاب التصوير الفوتوغرافي المغلق
Macro lenses
A focusing macro lens has an extension built into the lens itself which enables the lens to be used at any magnification between infinity and half life - size without any other accessory . The most widely used macro lenses - those which have a focal length of 50mm or 55mm are covered on pp . 25-26 . Other modern macro lenses have focal lengths of 105mm or 200mm : they both have a greater subject to camera working distance than the 55mm macro lens . You can also get some zoom lenses with a macro mode . This makes them invaluable for taking close - ups of wary subjects ( butterflies or dragonflies ) or more distant subjects ( statues or leaves ) or even human or animal portraits .
All the special - purpose , automatic , close focusing lenses are easy to use and enable precise framing of every subject . The magnifica tion is simply read off the lens barrel . They are , however , a more expensive way of getting in close than by using a lens of the same focal length with a set of extension tubes . However , no photographer specializing in close - ups could contemplate working without at least one macro lens . I use three of the micro - Nikkor range ( 55mm , 105mm and 200mm ) which , despite the confusing use of the prefix micro , are in fact macro lenses . Any macro lens can be used in conjunction with extension tubes ( see p . 22 ) or bellows ( see p . 28 ) . Whenever I work with a macro lens , I always use a tripod to ensure the sharpest possible image , especially if I am using a slow shutter speed which is so often the case when working with slow speed color film in overcast lighting conditions .
Detail of statue
I took this picture , showing part of one of the famous lion statues in London's Trafalgar Square , from ground level . using a long macro lens to crop in on the face . I had to use a tripod for a 1 sec exposure on a very overcast day . This adds a somber feeling to the huge metallic statue . Lens Vivitar 90-180mm macro - zoom Mag . on film x0.026 Mag . on page × 0.1
◄ A leafy mosaic The only way I could get a reasonable close - up picture of the leaves of this tree in the Seychelles was to use a 200mm macro lens . I deliberately exposed the film so that the leaves appeared as complete silhouettes and the tiny holes which had been eaten out by small beetles were clearly visible . Lens 200mm micro - Nikkor Mag . on film × 0.1 Mag . on page × 0.3
Flickering flames
While I waited in the entrance hall of a hotel I noticed the flames of a gas fire . It generated so much heat that it was impossible to take a close - up picture with a 55mm macro lens , so I decided to use a macro lens with a longer focal length . The camera was mounted close to the floor on a Benbo tripod and I used a 1 sec exposure to produce this blurred effect of the flames leaping towards the chimney against the black recessed fireplace . Lens 105mm micro - Nikkor Mag . on film x0.12 Mag . on page × 0.8
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