By Harold Davis

ISBN-10: 0240820738

ISBN-13: 9780240820736

Catch lovely macro floral pictures with this pretty consultant via acclaimed photographer Harold Davis. You\ll know about kinds of vegetation, macro gear fundamentals, and the intricacies of capturing various floral types within the box and within the studio. Harold additionally exhibits you ideas within the Photoshop darkroom that may be utilized to flower images that can assist you get the main from your photos. appealing and authoritative, this consultant to photographing flora is a must-read for each photographer attracted to flower images. Photographing flora also will win a spot within the hearts of these who easily love remarkable floral imagery.

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Additional resources for Photographing Flowers. Exploring Macro Worlds with Harold Davis

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A common flower, it isn’t unusual to see hillsides bright with poppies without human intervention being required. Once started, these fields can be self-sowing and go on blooming each spring forever. The flowers are fragile, do not survive long once they’ve been picked, and in many cases are heliotropic—meaning they open when the sun is shining, and close up again at dusk or when there are clouds. The physical geometry of the poppy presents difficulties not present in some other flowers because the flowers sit on a thin stalk and are very susceptible to wind.

In movie lighting jargon, gobo is short for “go between,” and this rose was glamorous enough to be lit like a starlet. Photo: 200mm macro lens, 24mm extension tube, 1 second at f/36 and ISO 100, tripod mounted Pages 40–41: I photographed this pink rose in the early morning, using sunlight streaming through an east-facing window. A white board and a silver reflective card were positioned to help light the inner swirls of this flower. 5 seconds at f/36 and ISO 100, tripod mounted The Worlds of Flower Photography 39 Poppies seippoP Poppies are in some ways a simple flower—and the one I love photographing most.

The magnification ratio is used to classify the relationship between an object in the real world and its size in a capture. Macro photography is often thought to begin when the subject appears in a magnification ratio of 1:2, or half as large as life size, and continues to a ratio of 1:1 and beyond—so that in extreme macros the subject is captured on the sensor as much as five or six times larger than in life (5:1 or 6:1). Whether a lens focuses into the close-up domain of macro photography is a separate issue from the focal length of the lens.

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Photographing Flowers. Exploring Macro Worlds with Harold Davis by Harold Davis

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