The Old-Fashioned Way - close-up photography - Brief Article

PSA Journal, Jan, 1999 by Joseph J. Zaia

In this new digital age all of us are inspired by the magic of creating with computers, which have revolutionized our lives in a way that we probably never imagined. However, within the confines of a traditional camera, we have the capability of being creative simply and economically. The suggested setup is as "user-friendly" as the term implies. Anyone can do it with a few ordinary props found in the home and in the camera bag.

This close-up exercise employs the use of unblemished clear-glass dishes with patterns and a few colored gels. While a true 1:1 macro lens will achieve the best results, other means of macro photography can also be used.

EQUIPMENT REQUIRED:

* SLR 35 mm camera with TTL meter.

* A true macro lens or bellows, with the capability of photographing 1:1 (full size) or larger. Diopter filters may be added for greater magnification.

* A sturdy tripod or copy stand.

* A remote or cable release, essential for close-up work and slow shutter speeds.

* A light source, whether it is a lightbox or equivalent setup that provides backlight. A setup can easily be created with a small shaded table lamp or glass-top coffee table. Whatever the source, it also serves as a base for the gels and dish to be placed on top.

* A sheet of white frosted material (such as glass, plastic, or white airmail paper over a sheet of clear glass) to be placed over the light source. The frosted material is used to eliminate harsh glare.

* Three to five different color gels. One or two of each color cut approximately 1" to 2" in any shape. The gels are butted next to each other and placed on top of the frosted material. For ease in handling, these can be taped together. Gels may be purchased at art or hobby shops and theatrical supply houses.

* A small cylinder about 5" high and 4" in diameter (an empty coffee can, open at both ends, is ideal), placed over the gels. The cylinder provides a separation between the gels and the candy dish. Caution should be taken to be sure that the dish sits firmly on the cylinder. If the dish is smaller or larger than the cylinder's diameter, a sheet of clear glass placed over the cylinder will provide a secure base.

* A variety of crystal clear (and colorless) candy dishes, platters, or ashtrays to be placed over the cylinder.

* Any color film. A low ISO speed is preferred for greater sharpness. Do not be concerned about long exposures and reciprocity effects. In some cases, reciprocity effects may enhance your pictures.

* A regular household bulb of 60 or 75 watts will provide good results. A window or any other light source can be used, though here you will need to find ways to secure the dish and other materials.

* A bit of imagination and the willingness to experiment.

Study the drawing on page 24 for the placement of each item. Once all is in place, choose and focus on a small section of the dish. (A 1:1 magnification is the actual size of a 35mm slide or negative.) The intent is not to photograph the dish, but only a small area, which at close focus, becomes an unrecognizable colorful abstract. Work to select a pleasing pattern, preferably one that applies the "rule of thirds." Because sharpness is important, it is best to work with the parts of the dish that are flat and to use an aperture of f-8 or smaller for greater depth-of-field. Your design can be altered into another creation simply by shifting the dish and/or the gels from one side to the other. Feel free to explore and experiment with any area of the dish that will produce interesting and colorful abstracts.

Exposure is not critical. The TTL averaging meter will give a correct reading at close range. After the first attempt, you can determine if the setup requires more or less exposure. Bracketing is a matter of preference. One stop underexposure generally gives acceptable results. Overexposure of up to three stops also gives acceptable results, depending on your tastes.

SOME TIPS AND IDEAS:

* Set the camera on a tripod or a copy stand as level and parallel as possible to the dish.

* Choose the portion of the subject's pattern that is most desirable.

* Practice all close-up photography techniques.

* Find a composition that avoids large dark areas.

* Shift the dish for varied compositions. Shift the gels or use new color combinations to alter the color tones.

* Create a new design by using a multiple-image filter.

* Photograph out-of-focus and overexposed patterns for montaging.

* Be sure that the glass has no blemishes nor fingerprints, before snapping the shutter.

The challenges that this technique offers are boundless and we are limited only by our imagination. It can be done at any time of the day or season (the room need not be darkened) and it is a good way of using the last exposures on a roll of film. The results will delight not only the maker, but any viewer as well.