تويت
إلتقاط الحشرات ..
العالم الطبيعي ..
كتاب التصوير الفوتوغرافي المغلق
Taking insects
Close - ups of moving insects present a greater challenge than static subjects . In the field , butterflies and dragonflies can be stalked using a medium long - focus lens and extension tubes or , ideally , with a 105mm or a 200mm macro lens ( see p . 24 ) . For available light work there will rarely be time before the insect moves off to set up the camera on a tripod , so a monopod ( see p . 150 ) is a useful alternative support . Even this may be too cumbersome ; it may be easier to mount the camera as a single unit onto a bracket with a pair of small flash guns , such as the macro flash ( see P. 158 ) .
It is worth spending time observing insects in the field . You will see , for instance , how butter flies are more active on warm sunny days . They often have favorite food plants so you can lure them into your garden by growing plants such as buddleia . Butterflies also need to drink ; during a drought , they can be attracted to damp ground or a pool of water on which the camera has been prefocused .
If insects are collected or bred for studio photography , they should always be released outside afterwards . Active insects may have to be confined with their food plant within a glass box or a cuboid frame covered with clear acetate . Once they have come to rest , they can be photographed either directly through the glass ( taking the same precautions as for aquarium photography on p . 125 ) , or after gently removing the acetate cover . Studio lighting can be fiber optics or available light through a window for static subjects ; or elec tronic flash . Photofloods are not suitable , since they generate too much heat . Recording the complete life cycle of a butterfly or a moth , including the egg , caterpillar , chrysalis and adult , makes a useful photo sequence , ranging from a magnification of many times life - size for the eggs , to maybe a half life - size portrait for the adult . Impact close - ups of insect parts can be taken in the studio the head , the eyes , or even the scales on a butterfly's wing .
Using flash to arrest movement ▷ One night I found this large ant crawling over a sandy patch in the Peruvian rain forest . I used two small flash heads mounted onto a boomerang - shaped support which was screwed on to the base of the camera ( see p . 158 ) . I checked the focus first with a head lamp . Lens 55mm micro - Nikkor Mag . on film × 1 Mag . on page × 3
Head - on for impact
I came in so close to this butterfly that the large compound eyes became the focus of attention . I used a pair of electronic flashes to light the picture . Lens Hasselblad 80mm + bellows Mag . on film x3.5 Mag . on page × 12
Working with natural light ▷
I particularly like the way in which natural light , filtering through a light cloud cover , produced a muted green background for this resting birch sawfly . The green complements the brown and black coloration well and there are no harsh shadows . I carefully set up the camera on a tripod - making sure that I did not accidentally knock the leaf - so I could use an - exposure of sec . Lens 55mm micro - Nikkor Mag . on film × 0.5 Mag . on page × 4
العالم الطبيعي ..
كتاب التصوير الفوتوغرافي المغلق
Taking insects
Close - ups of moving insects present a greater challenge than static subjects . In the field , butterflies and dragonflies can be stalked using a medium long - focus lens and extension tubes or , ideally , with a 105mm or a 200mm macro lens ( see p . 24 ) . For available light work there will rarely be time before the insect moves off to set up the camera on a tripod , so a monopod ( see p . 150 ) is a useful alternative support . Even this may be too cumbersome ; it may be easier to mount the camera as a single unit onto a bracket with a pair of small flash guns , such as the macro flash ( see P. 158 ) .
It is worth spending time observing insects in the field . You will see , for instance , how butter flies are more active on warm sunny days . They often have favorite food plants so you can lure them into your garden by growing plants such as buddleia . Butterflies also need to drink ; during a drought , they can be attracted to damp ground or a pool of water on which the camera has been prefocused .
If insects are collected or bred for studio photography , they should always be released outside afterwards . Active insects may have to be confined with their food plant within a glass box or a cuboid frame covered with clear acetate . Once they have come to rest , they can be photographed either directly through the glass ( taking the same precautions as for aquarium photography on p . 125 ) , or after gently removing the acetate cover . Studio lighting can be fiber optics or available light through a window for static subjects ; or elec tronic flash . Photofloods are not suitable , since they generate too much heat . Recording the complete life cycle of a butterfly or a moth , including the egg , caterpillar , chrysalis and adult , makes a useful photo sequence , ranging from a magnification of many times life - size for the eggs , to maybe a half life - size portrait for the adult . Impact close - ups of insect parts can be taken in the studio the head , the eyes , or even the scales on a butterfly's wing .
Using flash to arrest movement ▷ One night I found this large ant crawling over a sandy patch in the Peruvian rain forest . I used two small flash heads mounted onto a boomerang - shaped support which was screwed on to the base of the camera ( see p . 158 ) . I checked the focus first with a head lamp . Lens 55mm micro - Nikkor Mag . on film × 1 Mag . on page × 3
Head - on for impact
I came in so close to this butterfly that the large compound eyes became the focus of attention . I used a pair of electronic flashes to light the picture . Lens Hasselblad 80mm + bellows Mag . on film x3.5 Mag . on page × 12
Working with natural light ▷
I particularly like the way in which natural light , filtering through a light cloud cover , produced a muted green background for this resting birch sawfly . The green complements the brown and black coloration well and there are no harsh shadows . I carefully set up the camera on a tripod - making sure that I did not accidentally knock the leaf - so I could use an - exposure of sec . Lens 55mm micro - Nikkor Mag . on film × 0.5 Mag . on page × 4
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