Macro photographyFrom Wikipedia, the free encyclopedia

Macro photography (or photomacrography[1] or macrography,[2]and sometimes macrophotography[3]), is extreme close-upphotography, usually of very small subjects and living organisms likeinsects, in which the size of the subject in the photograph is greaterthan life size (though macrophotography technically refers to the artof making very large photographs).[2][4] By some definitions, amacro photograph is one in which the size of the subject on thenegative or image sensor is life size or greater.[5] However, in otheruses it refers to a finished photograph of a subject at greater than lifesize.[6]

The ratio of the subject size on the film plane (or sensor plane) to theactual subject size is known as the reproduction ratio. Likewise, amacro lens is classically a lens capable of reproduction ratios of atleast 1:1, although it often refers to any lens with a largereproduction ratio, despite rarely exceeding 1:1.[6][7][8][9]

Apart from technical photography and film-based processes, wherethe size of the image on the negative or image sensor is the subject ofdiscussion, the finished print or on-screen image more commonly lends aphotograph its macro status. For example, when producing a 6×4 inch(15×10 cm) print using 35 format (36×24 mm) film or sensor, a life-sizeresult is possible with a lens having only a 1:4 reproduction ratio.[10][11]

Reproduction ratios much greater than 1:1 are considered to bephotomicrography, often achieved with digital microscope(photomicrography should not be confused with microphotography, the artof making very small photographs, such as for microforms).

Due to advances in sensor technology, today’s small-sensor digital camerascan rival the macro capabilities of a DSLR with a “true” macro lens,despite having a lower reproduction ratio, making macro photography morewidely accessible at a lower cost.[8][12] In the digital age, a "true" macrophotograph can be more practically defined as a photograph with a vertical subject height of 24 mm or less.[13]

Contents

1 History2 Equipment and techniques

2.1 Macro photography techniques2.2 Macro photography lenses

3 35 mm equivalent magnification4 Technical considerations

4.1 Depth of field4.2 Lighting

5 See also

Photomacrograph of a common yellow dungfly (Scathophaga stercoraria) made using alens at its maximum 1:1 reproduction ratio, andan 18×24mm image sensor, the on-screendisplay of the photograph results in a greaterthan life-size image.

Headshot of a dragonfly taken with a100mm macro lens coupled with a50mm lens in reverse at the end.

6 References7 External links

History

The term photo-macrograph was proposed in 1899 by W. H. Walmsley for close-up images with less than 10diameters magnification, to distinguish from true photo-micrographs.[14]

One of the earliest pioneers of macro photography was Percy Smith, born in 1880. He was a British naturedocumentary filmmaker, and was known for his close-up photographs.[15]

Equipment and techniques

"Macro" lenses specifically designed for close-up work, with a long barrelfor close focusing and optimized for high reproduction ratios, are one of themost common tools for macro photography. (Unlike most other lensmakers, Nikon designates its macro lenses as "Micro" because of theiroriginal use in making microform.) Most modern macro lenses can focuscontinuously to infinity as well and can provide excellent optical qualityfor normal photography. True macro lenses, such as the Canon MP-E65 mm f/2.8 or Minolta AF 3x-1x 1.7-2.8 Macro, can achieve highermagnification than life size, enabling photography of the structure of smallinsect eyes, snowflakes, and other minuscule objects. Others, such as theInfinity Photo-Optical's TS-160 can achieve magnifications from 0-18x onsensor, focusing from infinity down to 18 mm from the object.

Macro lenses of different focal lengths find different uses:

Continuously-variable focal length – suitable for virtually all macrosubjects45–65 mm – product photography, small objects that can beapproached closely without causing undesirable influence, andscenes requiring natural background perspective90–105 mm – insects, flowers, and small objects from a comfortabledistance150–200 mm – insects and other small animals where additionalworking distance is required

Extending the distance between the lens and the film or sensor, by insertingeither extension tubes or a continuously adjustable bellows, is anotherequipment option for macro photography. The further the lens is from thefilm or sensor, the closer the focusing distance, the greater the magnification, and the darker the image given thesame aperture. Tubes of various lengths can be stacked, decreasing lens-to-subject distance and increasingmagnification. Bellows or tubes eliminate infinity focus.

Placing an auxiliary close-up lens (or close-up "filter") in front of the camera's lens is another option. Inexpensivescrew-in or slip-on attachments provide close focusing. The possible quality is less than that of a dedicated macrolens or extension tubes, with some two-element versions being very good while many inexpensive single elementlenses exhibit chromatic aberration and reduced sharpness of the resulting image. This method works with camerasthat have fixed lenses, and is commonly used with bridge cameras. These lenses add diopters to the optical power

Canon MP-E 65 mm macro lens. Smallfront lens elements are typical of macrolenses.

Extension tubes for extreme macro usewith SLRs. Note the pen placed throughthe tube to illustrate that it does notcontain any lens elements.

of the lens, decreasing the minimum focusing distance, and allowing thecamera to get closer to the subject. They are typically designated by theirdiopter, and can be stacked (with an additional loss of quality) to achievethe desired magnification.

Photographers may employ view camera movements and the Scheimpflugprinciple to place an object close to the lens in focus, while maintainingselective background focus. This technique requires the use of a viewcamera or perspective control lens with the ability to tilt the lens withrespect to the film or sensor plane. Lenses such as the Nikon PC-E andCanon TS-E series, the Hartblei Super-Rotator, the Schneider SuperAngulon, several Lensbaby models, the Zoerk Multi Focus System, andvarious tilt-shift adapters for medium format, allow the use of tilt incameras with fixed lens mounts. Traditional view cameras permit suchadjustment as part of their design.

Ordinary lenses can be used for macro photography by using a "reversingring." This ring attaches to the filter thread on the front of a lens and makesit possible to attach the lens in reverse. Excellent quality results up to 4xlife-size magnification are possible. For cameras with all-electroniccommunications between the lens and the camera body specialty reversingrings are available which preserve these communications. When used withextension tubes or bellows, a highly versatile, true macro (greater than lifesize) system can be assembled. Since non-macro lenses are optimized forsmall reproduction ratios, reversing the lens allows it to be used forreciprocally high ratios.

Macro photography may also be accomplished by mounting a lens inreverse, in front of a normally mounted lens of greater focal length, using amacro coupler which screws into the front filter threads of both lenses.This method allows most cameras to maintain the full function ofelectronic and mechanical communication with the normally mounted lens,for features such as open-aperture metering. The magnification ratio iscalculated by dividing the focal length of the normally mounted lens by thefocal length of the reversed lens (e.g., when an 18 mm lens is reversemounted on a 300 mm lens the reproduction ratio is 16:1). The use ofautomatic focus is not advisable if the first lens is not of the internal-focusing type, as the extra weight of the reverse-mounted lens coulddamage the autofocus mechanism. Working distance is significantly less than the first lens.

Increasingly, macro photography is accomplished using compact digital cameras and small-sensor bridge cameras,combined with a high powered zoom lens and (optionally) a close-up diopter lens added to the front of the cameralens. The deep depth of field of these cameras is an advantage for macro work.[12][16] The high pixel density andresolving power of these cameras' sensors enable them to capture very high levels of detail at a lower reproductionratio than is needed for film or larger DSLR sensors (often at the cost of greater image noise). Despite the fact thatmany of these cameras come with a "macro mode" which does not qualify as true macro, some photographers areusing the advantages of small sensor cameras to create macro images that rival or even surpass those fromDSLRs.[12]

Macro photography techniques

Bellows fitted between an SLR andreversed lens

Typical close-up lens

Wide-angle lens used as a reversed lensin front of a macro lens

Optical scheme of close-up macrophotography

Reversed-lens macro photographyoptical scheme

Optical scheme of macrophotography using reversed lens andtelephoto lens

Optical scheme of macrophotography using extension tube

Macro photography lenses

Nikon AF-S DX Micro 40 mmf/2.8G

Lens focallength

ReproductionRatio

ClosestFocus

(inches)

Canon EF-M 28mm f/3.5 Macro ISSTM 28mm 1:1 (life size),

1:1.2

97 mm(3.8 in),93 mm(3.7 in)

Canon EF-S f/2.8 Macro IS STM 35mm 1:1 (life size) 130 mm(5.1 in)

Canon EF Compact f/2.5 50mm 1:2 (half lifesize) 6 in (0.15 m)

Canon TS-E 50 mm f/2.8L MACRO 50mm 1:2 (half lifesize)

0.273 m(10.7 in)

Canon EF-S f/2.8 USM 60mm 1:1 (life size) 8 in (0.20 m)

Canon MP-E f/2.8 1-5x 65mm 5:1 (life size) 7 in (0.18 m)

Canon TS-E 90mm f/2.8L MACRO 90mm 1:2 (half lifesize)

0.39 m(15 in)

Canon EF f/2.8 USM 100mm 1:1 (life size) 12 in(0.30 m)

Canon EF f/2.8L IS USM 100mm 1:1 (life size) 12 in(0.30 m)

Canon TS-E 135 mm f/4L MACRO 90mm 1:2 (half lifesize)

0.39 m(15 in)

Canon EF f/3.5L USM 180mm 1:1 (life size) 19 in(0.48 m)

Fujifilm XF60mmF2.4 R Macro[17] 60mm 1:2 (half lifesize)

10.5 in(0.27 m)

Nikon AF-S DX f/2.8G 40mm 1:1 (life size) 6.4 in(0.16 m)

Nikon AF Micro-Nikkor f/2.8 55mm 1:1 (life size) 7 in (0.18 m)

Nikon Micro-Nikkor f/2.8 55mm 1:2 (half lifesize)

10.8 in(0.27 m)

Nikon AF Nikkor f/2.8D 60mm 1:1 (life size) 8.75 in(0.222 m)

Nikon AF-S Nikkor f/2.8G ED 60mm 1:1 (life size) 6 in (0.15 m)

Nikon AF-S DX Nikkor f/3.5G EDVR 85mm 1:1 (life size) 9 in (0.23 m)

Nikon Micro-Nikkor f/2.8 105mm 1:2 (half lifesize)

16.08 in(0.408 m)

Nikon AF-S VR Nikkor f/2.8G IF-ED 105mm 1:1 (life size) 12 in

(0.30 m)

Nikon AF Nikkor f/4D IF-ED 200mm 1:1 (life size) 20 in(0.51 m)

Nikon PC-E Nikkor f/2.8D ED 45mm 1:2 (half lifesize)

9.9 in(0.25 m)

Olympus M.Zuiko Digital ED 60mmf/2.8 Macro Lens

Lens focallength

ReproductionRatio

ClosestFocus

(inches)

Nikon PC-E Nikkor f/2.8D 85mm 1:2 (half lifesize)

15 in(0.38 m)

Olympus Zuiko Macro f/2 90mm 1:2 (half lifesize)

15.7 in(0.40 m)

Olympus Zuiko Macro f/2 50mm 1:2 (half lifesize)

9.6 in(0.24 m)

Olympus Zuiko Macro f/3.5 50mm 1:2 (half lifesize)

9.1 in(0.23 m)

Olympus ED-Zuiko Macro f/2 50mm 1:1 (35mm eqv.2x life size)

9.5 in(0.24 m)

Olympus m.Zuiko Macro f/2.8 60mm 2:1 (35mm eqv.life size)

7.5 in(0.19 m)

Panasonic Leica DG Macro-Elmaritf/F2.8 ASPH Mega OIS 45mm 1:1 (35mm eqv.

2x life size) 6 in (0.15 m)

Pentax DA 35mm f/2.8 MacroLimited 35mm 1:1 (life size) 5.4 in

(0.14 m)

Pentax D-FA 50mm f/2.8 Macro 50mm 1:1 (life size) 7.67 in(0.195 m)

Pentax D-FA 100mm f/2.8 MacroWR 100mm 1:1 (life size) 9.9 in

(0.25 m)

Schneider Kreuznach PC-TSMAKRO-SYMMAR 4.5/90 HM[18] 90mm 1:4 (quarter life

size)22.8 in(0.58 m)

Sigma 50mm F2.8 EX DG Macro[19] 50mm 1:1 (life size) 5.3 in(0.13 m)

Sigma 70mm F2.8 EX DG Macro[20] 70mm 1:1 (life size) 10.1 in(0.26 m)

Sigma 105mm F2.8 EX DG OSHSM Macro[21]

105mm 1:1 (life size) 12.3 in(0.31 m)

Sigma 150mm F2.8 EX DG OSHSM APO Macro[22]

150mm 1:1 (life size) 15 in(0.38 m)

Sigma APO Macro 180mm F2.8 EXDG OS HSM[23] 180mm 1:1 (life size) 18.6 in

(0.47 m)

Sony DT 30mm f/2.8 Macro Lens 30mm 1:1 (life size) 4.8 in(0.12 m)

Sony 50mm f/2.8 Macro Lens 50mm 1:1 (life size) 7.8 in(0.20 m)

Sony 100mm f/2.8 Macro Lens 100mm 1:1 (life size) 14.4 in(0.37 m)

Tamron SP 60mm f/2.0 Di II 1:1Macro[24]

60mm 1:1 (life size) 9.1 in(0.23 m)

Tamron SP 90mm f/2.8 Di 1:1Macro[25]

90mm 1:1 (life size) 11.4 in(0.29 m)

Lens focallength

ReproductionRatio

ClosestFocus

(inches)

Tamron SP 90mm f/2.8 Di VC USD1:1 Macro[26]

90mm 1:1 (life size) 11.8 in(0.30 m)

Tamron SP 180mm f/3.5 Di 1:1Macro[27]

180mm 1:1 (life size) 18.5 in(0.47 m)

Zeiss Makro-Planar T* 2/50[28] 50mm 1:2 (half lifesize)

9.6 in(0.24 m)

Zeiss Makro-Planar T* 2/100[29] 100mm 1:2 (half lifesize)

17.6 in(0.45 m)

[30] [31] [32] [33]

35 mm equivalent magnification

35 mm equivalent magnification, or 35 mm equivalent reproduction ratio,is a measure that indicates the apparent magnification achieved with asmall sensor format, or "crop sensor" digital camera compared to a 35 mm-based image enlarged to the same print size.[34][35] The term is usefulbecause many photographers are familiar with the 35 mm filmformat.[13][36][37][38][39][40]

While a "true" macro lens is defined as a lens having a reproduction ratioof 1:1 on the film or sensor plane, with small sensor format digital camerasan actual reproduction ratio of 1:1 is rarely achieved or needed to takemacro photographs. What macro photographers often care about more issimply knowing the size of the smallest object that can fill the frame.[8] Forexample, the 12 megapixel Micro Four Thirds Panasonic Lumix DMC-GH1 camera with a 2x crop sensor only requires a 1:2 reproduction ratio totake a picture with the same subject size, resolution, and apparentmagnification as a 12 megapixel "full-frame" Nikon D700 camera, whenthe images are viewed on screen or printed at the same size. Thus a FourThirds system macro lens like the Olympus Zuiko Digital 35 mm F3.5Macro lens with a true maximum image magnification of 1.0x is rated ashaving a "2.0x 35 mm equivalent magnification".[41]

To calculate 35 mm equivalent reproduction ratio, simply multiply theactual maximum magnification of the lens by the 35 mm conversion factor,or "crop factor" of the camera. If the actual magnification and/or cropfactor are unknown (such as is the case with many compact or point-and-shoot digital cameras), simply take a photograph of a mm ruler placedvertically in the frame focused at the maximum magnification distance ofthe lens and measure the height of the frame. Since the object height of a1.0x magnified 35 mm film image is 24 mm, calculate 35 mm equivalentreproduction ratio and true reproduction ratio by using the following:[42]

(35 mm equivalent reproduction ratio) = 24 / (measured height inmm)

35 mm equivalent magnification: Thephotograph on top was taken with afull-frame (35 mm) sensor digital SLRcamera and a 100 mm macro lens at 1:1magnification. The photograph on thebottom was taken with a Micro FourThirds (2x crop) sensor camera and a50 mm macro lens at 1:2 magnification.The subject height in both images is24 mm. Photographs taken with thesetwo set-ups will be practicallyindistinguishable at the same print size,lending the photograph on the bottomits 1:1 35 mm equivalent reproductionratio status.

(True reproduction ratio) = (35mm equivalent reproduction ratio) / Crop factor.

Since digital compact camera sensor sizes come in a wide diversity of sizes and camera manufacturers rarelypublish the macro reproduction ratios for these cameras, a good rule of thumb is that whenever a 24 mm verticalobject just fits, or is too tall to fit in the camera viewfinder, you are taking a macro photograph.[13]

35 mm equivalent reproduction ratio: the photograph on the left was taken with aMicro Four Thirds (2x crop) sensor camera and a 50 mm macro lens at 1:2magnification. The photograph on the right was taken with a full-frame (35 mm)sensor digital SLR camera and a 100 mm macro lens at 1:1 magnification. Thephotographs are practically indistinguishable and therefore equivalent. As theimages were taken at slightly different angles, the two images can be viewed as across-eyed stereogram.

Technical considerations

Depth of field

Limited depth of field is an important consideration in macro photography.Depth of field is extremely small when focusing on close objects. A smallaperture (high f-number) is often required to produce acceptable sharpnessacross a three-dimensional subject. This requires either a slow shutterspeed, brilliant lighting, or a high ISO. Auxiliary lighting (such as from aflash unit), preferably a ring flash is often used (see Lighting section).

Like conventional lenses, macro lenses need light, and ideally wouldprovide similar f/# to conventional lenses to provide similar exposuretimes. Macro lenses also have similar focal lengths, so the entrance pupildiameter is comparable to that of conventional lenses (e.g., a 100 mm f/2.8lens has a 100 mm/2.8 = 35.7 mm entrance-pupil diameter). Because theyfocus at close subjects, the cone of light from a subject point to the entrance pupil is relatively obtuse (a relativelyhigh subject numerical aperture to use microscopy terms), making the depth of field extraordinarily small. Thismakes it essential to focus critically on the most important part of the subject, as elements that are even amillimetre closer or farther from the focal plane might be noticeably blurred. Due to this, the use of a microscopestage is highly recommended for precise focus with large magnification such as photographing skin cells.Alternatively, more shots of the same subject can be made with slightly different focusing lengths and joinedafterwards with specialized focus stacking software which picks out the sharpest parts of every image, artificiallyincreasing depth of field.

Lighting

Shallow depth of field

The problem of sufficiently and evenly lighting the subject can be difficult to overcome. Some cameras can focuson subjects so close that they touch the front of the lens. It is difficult to place a light between the camera and asubject that close, making extreme close-up photography impractical. A normal-focal-length macro lens (50 mmon a 35 mm camera) can focus so close that lighting remains difficult. To avoid this problem, many photographersuse telephoto macro lenses, typically with focal lengths from about 100 to 200 mm. These are popular as theypermit sufficient distance for lighting between the camera and the subject.

Ring flashes, with flash tubes arranged in a circle around the front of the lens, can be helpful in lighting at closedistances.[43] Ring lights have emerged, using white LEDs to provide a continuous light source for macrophotography, however they are not as bright as a ring flash and the white balance is very cool.[44]

Good results can also be obtained by using a flash diffuser. Homemade flash diffusers made out of whiteStyrofoam or plastic attached to a camera's built-in flash can also yield surprisingly good results by diffusing andsoftening the light, eliminating specular reflections and providing more even lighting.

See also

Forensic photographyPhotomicroscopy

References

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External links

Macro Photography Tutorial (http://www.pixalo.com/community/tutorials-guides/macro-photography-tutorial-24240.html)Inexpensive Macro Photography (http://sites.google.com/site/inexpensivemacrophotography/) DSLR withManual Focus LensUse of Microscope Stage for Microphotography (http://www.microscopy-uk.org.uk/mag/indexmag.html?http://www.microscopy-uk.org.uk/mag/artsep01/vrcoolpix2.html)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Macro_photography&oldid=798126839"

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37. Outdoor Photographer Staff. "Choosing Your Macro" (http://www.outdoorphotographer.com/how-to/shooting/choosing-your-macro.html). Outdoor Photographer. Retrieved 11 June 2012.

38. Pitts, Wes. "Intro To Macro" (http://www.dpmag.com/gear/lenses/intro-to-macro.html?start=1). Digital PhotoMagazine. Retrieved 11 June 2012.

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