Understanding Macro Photography Basics

Before we dive into the lens options, let’s quickly cover the basics of macro photography. Macro photography involves capturing subjects in extreme close-up, often revealing details that are invisible to the naked eye. The key characteristic of macro photography is achieving a high magnification ratio, which allows you to fill the frame with your subject, be it a tiny insect or a delicate flower petal.

It’s important to understand that true macro lenses are purpose-built for macro photography. However, there are alternative options, such as extension tubes or close-up filters, which can be more budget-friendly solutions for beginners or those looking to experiment with macro photography.

Photography terms used in this guide

1. APS-C: Advanced Photo System type-C sensor, a smaller-sized image sensor used in some digital cameras.
2. Autofocus: Automatic focusing mechanism that allows the camera lens to adjust and achieve sharp focus automatically.
3. Coating: Refers to the special optical coatings applied to lens elements to minimize reflections, flare, and ghosting.
4. DSLR: Digital Single-Lens Reflex, a type of digital camera that uses a mirror and prism system to direct light through the lens to the viewfinder.
5. DX-format: Refers to the APS-C sensor size used in Nikon DSLR cameras.
6. Full-frame: Refers to a digital camera sensor that is the same size as traditional 35mm film, providing a larger field of view and potentially better image quality.
7. Image Stabilization: Optical or sensor-based technology that compensates for camera shake, reducing blurriness in handheld shots.
8. Macro Photography: A close-up photography technique used to capture small subjects at a magnification ratio of 1:1 or higher.
9. Max Aperture: The widest opening of a lens, expressed as an f-number, which determines the amount of light the lens can gather.
10. Moisture-resistant: Designates a lens construction that is resistant to moisture, protecting it from light rain, splashes, and other environmental factors.
11. OSS: Optical SteadyShot, Sony’s proprietary image stabilization technology.
12. OS: Optical Stabilization, a technology used in Sigma lenses to reduce camera shake and improve image stability.
13. SWM: Silent Wave Motor, Nikon’s autofocus motor technology that provides fast and silent autofocus operation.
14. Super Integrated Coating: Nikon’s multi-layer coating applied to lens elements to minimize flare and ghosting and improve image contrast.
15. UD Elements: Ultra-low dispersion elements, specialized lens elements that reduce chromatic aberration and enhance image quality.
16. USM: Ultrasonic Motor, Canon’s fast and precise autofocus motor technology.
17. VC: Vibration Compensation, Tamron’s image stabilization system.

These terms and abbreviations are commonly used in the world of photography and understanding them will help you navigate through the technical aspects discussed in the blog post and the comparison tables.

Criteria for Choosing Budget-Friendly Macro Lenses

When selecting a budget-friendly macro lens, there are a few important factors to consider. First and foremost, image quality is crucial. Look for lenses that deliver sharpness, contrast, and accurate color reproduction to ensure your macro images truly shine. Focal length is another consideration, as it determines the working distance between your lens and subject. Shorter focal lengths (around 50mm) are great for general-purpose macro photography, while longer focal lengths (around 90mm to 105mm) provide more working distance and are ideal for subjects like insects.

The maximum aperture of the lens plays a role in both depth-of-field control and low-light performance. While wider apertures like f/2.8 offer a shallower depth of field and better low-light capabilities, they tend to be pricier. Lastly, make sure the lens you choose is compatible with your camera system to avoid compatibility issues.

Top 5 Budget-Friendly Macro Lens Options

Here are five budget-friendly macro lenses that offer excellent value for money:

Note: The lenses mentioned above are compatible with the camera systems specified. Please ensure compatibility with your specific camera model before making a purchase.

Note: Prices mentioned are approximate and may vary.

Tamron SP 90mm f/2.8 Di VC USD Macro

Overview:

The Tamron SP 90mm f/2.8 Di VC USD Macro lens is known for its exceptional image quality and versatility. It is compatible with both full-frame and APS-C sensor cameras, making it a great choice for various photography needs.

Key Specifications:

90mm focal length, f/2.8 maximum aperture, vibration compensation (VC), ultra-low dispersion (UD) elements.

Price:

$550 (approx.)

Noteworthy Features:

• Built-in image stabilization allows you to capture sharp and blur-free images even in low-light conditions.
• The lens’s moisture-resistant construction ensures durability and reliability, making it suitable for outdoor photography.
• The autofocus system is silent and fast, ensuring quick and accurate focusing.

Sigma 105mm f/2.8 EX DG OS HSM Macro

Overview:

The Sigma 105mm f/2.8 EX DG OS HSM Macro lens offers excellent optical performance and advanced features at an affordable price point. It is compatible with various camera systems, including Canon, Nikon, Sony, and more.

Key Specifications:

105mm focal length, f/2.8 maximum aperture, optical stabilization (OS), Super Multi-Layer Coating.

Price:

$670 (approx.)

Noteworthy Features:

• The lens’s optical stabilization compensates for camera shake, allowing you to capture sharp images at slower shutter speeds.
• The Super Multi-Layer Coating minimizes flare and ghosting, resulting in high contrast and vivid colors.
• The autofocus system is quiet, fast, and accurate, while the close focusing distance enables detailed macro shots.

Canon EF-S 60mm f/2.8 Macro USM

Overview:

The Canon EF-S 60mm f/2.8 Macro USM lens is specifically designed for Canon APS-C DSLRs, providing a versatile macro option for photographers. Its compact design and lightweight construction make it easy to carry and handle.

Key Specifications:

60mm focal length, f/2.8 maximum aperture, Ultrasonic Motor (USM), full-time manual focus.

Price:

$600 (approx.)

Noteworthy Features:

• The lens’s Ultrasonic Motor ensures fast and silent autofocus performance.
• The full-time manual focus feature allows you to fine-tune focus manually without switching to manual mode.
• The lens delivers excellent image quality with sharp details and beautiful background blur.

Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G

Overview:

The Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G lens is a compact and affordable option for Nikon DX-format cameras, providing excellent macro capabilities for close-up photography.

Key Specifications:

40mm focal length, f/2.8 maximum aperture, Silent Wave Motor (SWM), Super Integrated Coating.

Price:

$270 (approx.)

Noteworthy Features:

• The Silent Wave Motor ensures quiet and precise autofocus performance.
• The lens has a close focusing distance, allowing you to capture small subjects in detail.
• The Super Integrated Coating reduces flare and ghosting, resulting in high-contrast and sharp images.

Sony FE 50mm f/2.8 Macro

Overview:

The Sony FE 50mm f/2.8 Macro lens offers high-quality macro capabilities for Sony full-frame and APS-C mirrorless cameras. It combines versatility with affordability, making it an excellent choice for macro enthusiasts.

Key Specifications:

50mm focal length, f/2.8 maximum aperture, Optical SteadyShot image stabilization, aspherical elements.

Price:

$550 (approx.)

Noteworthy Features:

• The lens provides smooth and precise focus control, allowing you to capture fine details with ease.
• Its dust and moisture-resistant design ensures durability and reliability in various shooting conditions.
• The lens’s versatility extends beyond macro photography, making it suitable for general photography as well.

Take a closer look at these budget-friendly macro lenses, comparing their features, compatibility with your camera system, and pricing. By considering your specific needs and budget, you’ll be able to find the perfect macro lens that helps you capture stunning close-up shots without breaking the bank.

These lenses provide outstanding performance and image quality while being affordable options for macro photography enthusiasts. Compare their prices and features to determine which lens best suits your budget and photography needs.

Tips for Getting the Most out of Your Budget-Friendly Macro Lens

To make the most of your budget-friendly macro lens, here are a few tips:

• Learn proper focusing techniques to capture razor-sharp close-up shots.
• Experiment with composition to create visually compelling macro photographs.
• Take advantage of natural lighting for beautiful, soft illumination, and consider using additional lighting tools like a ring flash or an off-camera flash for more control.

Macro photography offers a captivating way to explore and capture the intricate details of the world around us. You can embark on this exciting journey with budget-friendly macro lens options without straining your wallet. By considering factors such as image quality, focal length, aperture, and compatibility, you can find a lens that fits both your budget and your macro photography aspirations.

@alexstrohl Alex Strohl is a photographer and adventurer who captures stunning landscapes from around the world.

@chrisburkard Chris Burkard is a landscape photographer and filmmaker who captures the beauty of the natural world in a unique way. He has worked with brands like Apple, Patagonia, and Sony, and his work has been featured in National Geographic, The New York Times, and many other publications.

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@renan_ozturk Renan Ozturk is a photographer and adventurer who captures the beauty of the natural world and people from around the world. He has worked with brands like The North Face and National Geographic, and his adventures have been featured in Outside Magazine.

@paulnicklen Paul Nicklen is a wildlife and landscape photographer who captures stunning images of the natural world. He is known for his work in the Arctic and Antarctic regions, and his images often showcase the beauty and fragility of these environments. He has worked with brands like National Geographic and Sony and his work has been featured in numerous publications.

@michaelmatti Michael Matti is a landscape photographer who captures stunning images of the natural world. His images are often vibrant and colorful, and he has a talent for capturing the beauty of sunsets and sunrises. He works with outdoors and adventure brands like L.L. Bean and travels the U.S. with his wife and their dog, Atlas.

@danielkordan Daniel Kordan is a landscape photographer who captures stunning images of the natural world. He is known for his work in remote locations like Iceland, Greenland, and Patagonia and has worked with brands like Nikon.

@jimmy_chin Jimmy Chin is a photographer and filmmaker who captures stunning images of the natural world. He is known for his work in extreme environments like the Himalayas and Antarctica, and his images often showcase the beauty and grandeur of these locations. He has worked with brands like National Geographic, The North Face, and Apple, and his work has been featured in numerous publications and films.

@eljackson Samuel Taipale, also known as El Jackson, is a landscape photographer who captures stunning images of the natural world. His images often have a dreamlike quality to them, and he has a talent for capturing the beauty of forests and mountains. His work has been featured in publications like National Geographic and Forbes.

@maxrivephotography Max Rive is a landscape photographer who captures stunning images of the natural world. His editing style is dramatic and unique, giving his photos a flare that is uniquely his own.

If you’re looking for some photography inspiration, be sure to check out the Instagram pages for each of these photographers. They all have their own style and perspective. Some focus more on pure landscapes and nature while others venture into wildlife photography or even portraits of people from around the world. Read the captions and learn what you can from their technique and how they go about choosing their subjects and editing. Or just enjoy the view!

There are a lot of really cool and functional camera bags out there in the world of photography gear. Many are made of various kinds of waterproof or water-resistant fabrics. Lots of zippers, mesh pockets, velcro, etc. Great choices, great features, no hate to any of those. However… if you’re looking for camera bags that have a little more of that vintage, explorer out on an adventure vibe, this is the list for you.

This is a list of vintage-style camera bags that are both functional and beautiful. They have modern features like padded pockets for your DSLR lenses, with vintage aesthetics like buckles, worn leather, and earthy canvas materials.

Prices of each bag may change over time, so to see current pricing please click the “check price” buttons.

Small, Lightweight Vintage Camera Bags

Since camera bags come in all shapes and sizes, this list will separate them by size/function. Starting with small, lightweight camera bags. These types of bags usually allow you to pack one camera body and a lens and are a great choice if you want to pack light for running around town or taking photos while you’re traveling.

Rofozzi Crossbody Leather DSLR Camera Bag

This vintage-style camera bag is made of actual leather, not faux-leather. The makers mention that it will come with varying color markings and will become softer, shinier, and darker over time and use.

Bag details:

• A thin padded insert
• 5 pockets, incuding the large main pocket
• Metal buckles and zippers
• Holds one DSLR + 1 Lens in main pocket

Vitnage Faux-Leather DSLR Shoulder Camera Bag

This bag is made of PUA (faux) leather and is lined on the interior with a padded insert for your camera. It’s a small bag made to carry a single DSLR camera and lens.

Bag details:

• Small bag for single camera and lens
• Open pockets around the exterior of the bag
• Waterproof exterior faux-leather (water could still potentially get into the main compartment, but will not soak the exterior material)
• Padded “shockproof” insert
• Dark buckle with snap-button closure on the front of the bag

Vintage-Style Backpack Camera Bags

If you prefer to pack several options as far as lenses and gear go, you probably want to check out camera backpacks. They allow you to bring a ton of gear along so you’re prepared for any photography opportunity that comes your way, and unlike the standard bigger camera bags, they come with shoulder straps for easy carrying.

Canvas DSLR Camera Anti-Theft Backpack

The stylish design of this camera bag is reminiscent of an old canvas rucksack, but with more modern compartments and a water-resistant exterior. The canvas material repels water and the zippers help keep the elements away from your precious camera equipment.

Bag details:

• Anti-theft design with back opening so your gear can’t be accessed while you’re wearing the pack
• Customizable padded inserts can be moved to suit your specific needs
• Bag opens fully so you have complete access to your gear when you need it
• Several exterior pockets for accessories
• Interior zipper compartment for accessories

Endurax Canvas Camera Backpack

This camera backpack has 2 large compartments, one on the bottom with inserts to organize photography equipment, and one on top for accessories of your choosing. The top section features a drawstring-style closing, along with a flap that covers the top of the bag and can be held in place by adjustable clasps.

Bag details:

• 2 large compartments
• Bottom compartment for camera gear
• Top compartment for accessories, food, clothes, whatever works best for you
• Removable padding and inserts to customize your camera pack
• Side opening for quick access to camera
• Sturdy canvas material with rain cover included

Which vintage camera bag would you choose for your next adventure?

There is a problem that newbie photographers will find when they start taking an interest in macro photography – the dreaded price tag. Macro lenses can be very expensive, and they’re so specialized that you really have to want to focus on macro photography to justify spending the money on them.

For instance, this Canon macro lens runs up over $300, and is on the lower end as far as brand-name macro lenses go.

You can, however, find some off-brand macro lenses for less, if you’re ok with sacrificing some quality in your images. If you’re just looking to learn macro photography and experiment a little with it, there is absolutely nothing wrong with getting cheaper lenses.

The photos in this post are unedited, straight from the camera unless otherwise stated.

Ok, but what are macro extension tubes?

Yes, good, let’s get to it. I’ve been talking a little about macro lenses and price, but there is another option: extension tubes.

If you’ve never heard of extension tubes, but you want to get started with macro photography, this is your lucky day. Extension tubes let you dip your toes into macro photography fun without dipping your bank account into the red.

Macro extension tubes are different than macro lenses.

1. They are hallow – they do not have any glass “lens” in them.
2. They are stackable – you can mix and max different extension tubes to change magnification.
3. They’re a super-affordible [see: CHEAP] alternative for macro photography.

I have a very cheap set of extension tubes from a brand called “SHOOT”. Like $20 cheap. I knew nothing about them when I got them, but I wanted to mess around with macro photography and was searching for options that I could afford. Photography is not a cheap hobby, unfortunately.

How to use macro extension tubes

Extension tubes often come with 2 or more tubes per set. This is because they can be stacked.

For example, this is the set I have and it comes with:

1. 13mm
2. 21mm
3. 31mm

You can combine these tubes for greater magnification. More extension tubes = more zoom.

Come closer…

You’ll notice that when you’re using your normal lenses, there comes a point where you can’t get any closer to the object you’re shooting because your lens will fail to focus no matter what you do. Placing macro extension tubes on your camera before your regular lens allows you to move your standard lens closer to an object while still being able to keep focus.

At the same token, with the macro extension tubes on your camera, you’ll find you need to be closer than normal for your standard lens to be able to focus at all. If you’re too far away from your object, the extension tubes won’t allow the lens to focus.

Sometimes this might mean your lens has to be almost touching the subject you’re shooting.

These are some examples of the distance my lens had to be away from the subject in order to get focus, using different focal lengths on my standard lens.

55mm-250mm lens with 3 extension tubes and lens set to 55mm.

Magnifiy

Along with letting you get closer to a subject, your extension tubes also increase magnification, so you’ll see more details of whatever you’re shooting. Look back at the previous photos to remember just how small the pin is compared to the photos below…

Autofocus

If your standard lens has autofocus, you’ll want to look for an extension tube set that includes autofocus. This just means that your lens and camera will still be able to talk to each other with the extension tubes on, so you can autofocus if you want to.

In many cases, you’ll probably want to use manual focus anyways, but it’s nice to have the option.

Light

If you’re doing macro photography do yourself a favor and make sure there’s enough light.

The combination of macro and the potential need for a fast shutter speed (if there are moving subjects) means that you’ll have less light going into the camera. If you don’t have moving subjects, you could look at using a slower shutter speed (with a tripod, for the love of photography! Here are some tips on how to choose a good tripod) to let in more light, but if you have moving subjects (like bugs) you’ll want a faster shutter speed and need as much light as possible to stop the photo from being overly dark.

Some photo examples with a macro extension tube set:

A video of the process experimenting with the extension tubes

Just a reminder:

Macro photography normally refers to super up-close style photos, but if you wanna get technical about it, it means that you can achieve a 1:1 ratio for the item you’re shooting. Basically, if your subject is 1 inch in size, you should be able to capture it as 1 inch long in your picture at 100%. This means you can get unusually close to an object to get that 1:1 ratio within your picture.

That’s a rough explanation, from my understanding. If you feel you can clarify please do so in the comments. I still have a hard time articulating the technical side of macro photography. I prefer to just go with – stuff looks cool this close!

Actual lenses capable of macro shots can be pretty pricey, but you can use things like extension tubes to give you similar shots for a price that’s much easier on the wallet. I grabbed a set for just $20 to try them out and filmed the process of experimenting with them.

It’s a simple, quick video, just to give you an idea of how using extension tubes works and the results you can achieve. It’s also the first video on the CameraTheory Youtube channel! So be sure to subscribe for more over there.

In my experience, figuring out what features you want in a tripod can be kind of daunting and when you first start researching your brain might do that thing where it turns into the snowy screen of a tv with that high pitched tone drowning everything else out.

That’s what happens when I have to do math too, but that’s beside the point…

To help you avoid some of the confusion of finding the right tripod for your photography adventures, I’m going to be listing out features that you should keep in mind while you’re shopping around. My hope is that by the end of this post you’ll be able to better narrow down exactly what you want in a new tripod and why, making the whole process a lot simpler.

1. Flip Locks vs Twist Locks

So this is about the legs of the tripod.

Many DSLR tripods offer the ability to expand the legs, making the tripod as a whole taller. There are a ton of reasons this is useful, not the least of which is portability.

But not all tripod legs are equal: Some have twist locks (see example here) while others have flip locks (see example here) and the difference does… make a difference.

While twist locks on the legs are perfectly manageable and do not need to be a deal breaker by any means, flip locks are generally quicker to adjust and you’re less likely to accidentally leave one loose, causing the tripod to tilt when weight is placed on a leg.

So between the two, flip locks are the better choice in my opinion.

2. Height

For tripods that are expandable, maximum and folded height are important factors to consider.

Max tripod height

Max tripod height is important to consider for a couple reasons:

1. Your height – the max height of your tripod is going to matter most in relation to how tall you are. The taller you are, the taller you want your tripod to be, so you don’t have to be super hunched over while taking photos.
2. Stability – Although you do not have to take your tripod to its absolute max height if you don’t want to, it’s good to keep in mind that if you’re tripod has a center column that expands upwards (as many do) taking that center pole all the way up will likely impact the stability of your setup.

What these two things basically mean is you want to check what the height of the tripod will be with ONLY the legs fully extended, vs what the total height is – meaning with the center pole extended as well.

Folded tripod height

The folded height of the tripod is what it will measure when it’s collapsed and ready to be packed up.

This feature is important for portability sake. The smaller the tripod, the easier it is to pack around.

Many tripods will breakdown to around 17 or so inches, but sometimes you can find ones that will go even smaller. In my opinion, the smaller the better.

3. Weight

Of course it makes sense that the smaller the tripod, the less it will weigh. But we don’t only want a lightweight tripod, we also want a tripod that can handle the weight we’ll be putting on it.

Tripod Weight

Most of the tripods I’ve come across weigh somewhere between 3-4lbs. That’s really not bad, even if you’re packing it around for a while, but you can find some that are even lighter.

When looking at the weight of the tripod make sure to keep in mind that it can affect the stability. Super lightweight tripods are great for traveling, but you might run into some frustrations if you’re planning to use particularly heavy equipment on them, like a telephoto lens for example.

Max Load

Max load refers to what weight the tripod can handle. Most DSLR tripods can handle all the standard cameras and lenses, but it’s still something you should understand when choosing a new tripod.

If the tripod can’t handle the weight you put on it, it could break, or simply get top heavy and fall over, with all your expensive camera equipment on it.

Generally speaking, if your tripod can handle upwards of 10lbs you don’t have much to worry about. Still, be mindful just in case.

The Canon 70D camera body weighs less than 2 lbs, for reference.

4. Hook

Since we’re on the topic of weight and stability, we should talk about the little hook that can be included on the center pole of many tripods.

This little, seemingly unimportant piece can actually be very helpful, especially if you have a lightweight tripod that needs a little extra stabilization.

It’s just a small hook that hangs out on the bottom of the center pole, which you can use to hang a bag or something else with more weight on. The extra weight helps keep your tripod steady.

When I was hiking around on cliffs and whatnot in Bryce Canyon National Park, I would use a lightweight tripod – because everything gets heavy after a while hiking – then hang my camera backpack on the stabilization hook so my setup didn’t get blown over with the wind coming up from the canyons.

5. Ball Head

You can find a few types of tripod heads on the market, but by far my favorite is the ball head.

Generally, for photography (not necessarily for cinematography though, so keep that in mind if you do both) I think ball head mounts are the more versatile and useful. They allow you to fully rotate your camera for horizontal or vertical shots, as opposed other common heads like the pan/tilt that stop you from being able to go fully vertical.

6. Monopod

I like having options when it comes to tripods.

For camera equipment in general, I think the fewer tools you need to carry with you, the better. So if you can get ahold of a tripod that converts easily to a monopod, grand!

Fortunately, this isn’t hard to find. Lots and lots of tripods include some sort of monopod feature, you just have to look for the details like:

1. What part converts to a monopod
2. What’s the max height of the monopod

Pretty simple, yeah?

7. Invertible

For the times you want to get super creative with your shots, a tripod that allows you to invert the center pole, so that the camera is hanging down rather than sitting on top of the tripod, can be very useful.

Having this option can allow you to get overhead shots, or even up close macro shots of whatever’s going on in the life of your local bugs.

8. Horizontal Option

Some tripods have another really cool feature: The center pole tilts fully horizontal, allowing you even more options for shooting angles.

This is particularly useful for overhead shots since being able to tilt to the tripod arm off to the side and away from the rest of the tripod legs gives you more room to work without bumping into your tripod.

You can also find attachments that can add this feature to your current tripod, just be sure to get the right attachment for the model of tripod you own or it may not work.

9. Quick Release Plate

This refers to the small, usually square, little piece that screws into the bottom of your camera, and allows it to attach to your tripod.

To me, a quick release plate is essential. It saves so much time when attaching or removing the camera.

Basically, once you’ve screwed this little plate onto the bottom of your camera, it should then easily slide into the dock of your tripod and you can lock it down however your tripod requires.

Not all quick release plates will work across all tripods, even the ones built for quick release. So when you get your tripod you might want to see about getting a couple of these pieces just in case you lose one, or to make switching cameras easier.

10. D-Ring

I also think this is essential, and I don’t know why every manufacturer doesn’t include it.

The d-ring is related to the quick release plate. On the bottom of the screw that allows you to screw the quick release plate onto the camera, there’s either a little divot, sort of like a large flat-head screw, or a d-ring.

They look like this.

Without the d-ring you either need to have a coin or a little tool handy to screw or unscrew the plate, and I know literally no one that remembers to bring something with on photography trips for that.

I don’t know why. It’s just a flaw in our DNA or something. No one does it. Which means inevitably scrambling to find something to use… yada yada. It’s a pain.

The d-ring eliminates that problem. It’s just always attached to the screw and lies flat inside of the plate when you’re not using it.

11. Level

This isn’t like an absolute necessity, but I think it’s really handy to have. There are many tripods that have a level built in, so you can really be extra sure that your camera is level, even if you’re on rough terrain and have to adjust your tripod legs to different heights to make up for it.

You can get levels for your camera as extra attachments, but like I said earlier, it’s nice if you can condense as much as possible. Streamline what you need into one super functional unit as much as possible.

12. Rubber Feet

Try to get a tripod with rubber coverings on the feet if you can. This isn’t a huge deal, but it serves a couple of purposes:

1. Rubber will grip better than plastic or metal
2. You won’t scratch up whatever surface you’re working on

This post assumes you’re working with some sort of DSLR camera. My hope is that understanding how to use aperture correctly will help you take some awesome photos that you wanna brag about. Aperture does that to all of us. Enjoy!

THE 3 PILLARS OF PHOTOGRAPHY

Photography stands on three big pillars: ISO, shutter speed, and aperture.

Each has its own role to determine artistic effects, color clarity, and basically overall image quality. All three pillars revolve around light.

ISO & SHUTTER SPEED

• ISO controls the exposure of your photo by determining how fast the camera takes in light and shutter speed helps determine the length of time that your camera absorbs light.
• Low ISO will take in less light but also creates less noise, higher ISO will take in more light faster, but give you more noise.
• Slow shutter speeds give your camera more time to take in light for a brighter photo.

APERTURE

Aperture is a little bit different from the other two. It’s still relevant to light, but it is more about focus than brightness level.

Once you understand aperture you can create photos that look more professional, even if they’re just family snapshots.

UNDERSTANDING F-STOP

In many respects, aperture acts the same way as the pupil of your eye. A wider aperture means more light, and a smaller aperture limits the amount of light. In photography terms, aperture is measured in something called the f-stop scale. A low f-stop would be f/4, while a high f-stop would be f/22.

It’s important to remember that a smaller number means wider aperture. I always have to think twice about that because it seems counterintuitive to me.

When you change the aperture, you are actually trying to manipulate the camera’s depth of field. It’s generally accepted that a good camera (or lens) is one that offers wider aperture (lower f-stop numbers). You’ll notice that there are some very expensive lenses out there, and for many, the extra price is directly related to the f-stop ability.

SOME USES FOR APERTURE IN EVERYDAY PRACTICAL PHOTOGRAPHY ARE AS FOLLOWS:

f/1.4 – very wide aperture to allow more light in a short amount of time; best used in low lighting condition if you don’t have a tri-pod. At this level, the camera can focus on a VERY specific small area in the frame to create a blurred background or soft focus effect.

f/2.8 – an f/2.8 is widely used in blurred-background portrait photography without compromising details of facial features.

f/4 – under decent (but not great) lighting, f/4 is the recommended aperture for portrait photography. At this level, the camera can focus on a wider area of the frame to bring up the details of overall posture.

f/8 – when taking photographs of a large group of people, bigger f-stop numbers helps you focus on everything in the frame.

f/16 – when under a bright light or for landscapes. In most cases, a blurred background is impossible to achieve at this level.

CHECK OUT THESE EXAMPLE PHOTOS USING DIFFERENT F-STOPS

The easiest way to learn about using aperture is to set your camera in Aperture Priority mode (Av or A on your dial). This mode puts you in charge of the aperture, and the camera does most of the other work, like shutter speed, automatically.

I mean, I prepared. I had a plan. I was gonna photo like a pro and it was gonna be epic!

You’ll notice this is all in the past tense because, as you might have guessed, things did not go according to plan…

MY FIREWORKS PHOTOS SUUUUUUCKED.

THERE WERE A FEW ISSUES THAT CONTRIBUTED TO THE SUCKAGE:

1. There was a telephone wire literally right in front of where I had to set up my camera.
2. The fireworks started before I got setup – that was my bad.
3. I was trying to make sure I wasn’t blocking anyone’s view and almost caught my hair on fire (which would’ve been the 2nd time that’s happened to me on the 4th of July…)
4. The fireworks show itself was lame. The fireworks stayed relatively low, making it hard to get a good aerial photo, and it was over super-quick. No one was actually sure if we’d seen the finale.

Oh well, c’est la vie.

THE REAL IRONY IS THAT AFTER THE FIREWORKS, I ACTUALLY GOT SOME PHOTOS THAT I LIKE.

Maybe I’ll call them “little fireworks” so it doesn’t seem like I failed quite so epically.

I’m sure there’s a lesson in there somewhere.

“Your favorite memories might come from failed plans

-someone wise

Something like that. 

HERE’S WHAT I DID LEARN ABOUT PHOTOGRAPHING FIREWORKS FOR FUTURE ATTEMPTS:

1. For the love of all that is sparkly get your tripod and camera settings set like 20 minutes before.
2. Your f-stop (aperture) should be around 11.
3. Your ISO can be at 100 and everything should be fine – AS LONG AS YOU HAVE A TRIPOD. Otherwise, you’ll need to up it so your fireworks photos don’t get blurry.
4. Long exposures can look cool, but shorter exposures on the big round fireworks are pretty sweet too.
5. Make sure you’re going to have a clear view of the fireworks. Like, maybe, no telephone wires.

If all else fails, just take photos of sparklers.

HOW TO TAKE PHOTOS OF SPARKLERS:

1. Up your ISO to 500 for the sake of speed unless you have an awesomly low f-stop lens.
2. F-stop can be as low as you want
3. Keep an eye on your camera speed to prevent shake – I handheld the camera for my “little fireworks” photos

(Just fyi these are affiliate links, so if you click ’em and buy I get a little sumthin’ sumthin’, at no extra cost to you!)

A zomei tripod

My old tripod that died an honorable death during my recent Bryce Canyon trip. So this Zomei tripod is my new one and so far I’m lovin’ it.
It’s taken a little getting used to since the adjustment levers are a little different than my old tripod, but after that night on the roof, having to adjust everything in the dark, I pretty much got it down.

One of the biggest differences is how you adjust the camera angle. On the Zomei the camera mount rotates on a ball, so you can move it around to pretty much whatever angle you want much more smoothly.

A wired remote

I got a wireless Canon remote with my first ever DSLR camera, and I’ve always liked it, but there are a couple reasons I am now switching between it and the wired remote:

1. When you’re near other people’s camera’s, you could accidentally set off their shutter. It seems unlikely, but I’ve been standing right next to people who were also using remote shooting, so ya never know.
2. I sorta like the feel of the wired remote compared to the wireless one. It just feels a little more solid and I can tell by touch whether it’s keeping the shutter open or not.
3. It’s attached to the camera, so you’re less likely to misplace it. I’ve had to go searching for my other remote a few times just because I put it down somewhere while I’m waiting during a long exposure.
   

Wireless remote

Like I said, I still like my wireless remote. I think it’s a matter of personal preference, but also the situation you’re shooting in. For instance, if it’s really windy, I want as few things hanging off my camera as possible to minimize camera shake.

So for that, I’d use the wireless one.

For those that are interested this is the one I use:

Alright I think that covers The Great 4th of July Photography Fiasco.

I’ll def be trying this again next time fireworks pop up.

Could be awesome. Could be a disaster. We’ll see, and I’m planning to post the results (unless they’re horribly embarrassing) so stay tuned for that gem.

I just happened to try out lightning photography over the weekend because of a chance opportunity. It was pretty rad, so I’m hoping photographing fireworks will be too.

I’ve been putting a little research into the photo gear and settings I’m gonna use and I thought I’d share them before the celebrations get started in case anyone else wanted to try it out too.

THE GEAR:

A tripod – I’m planning to take fairly long exposures so a tripod is a MUST. Otherwise the fireworks are gonna be super shaky.

Spare batteries – I cannot tell you how much it sucks to run out of batteries when you’re having an awesome time taking photos. Extras batteries are essential, and make sure they’re charged!

Spare memory cards – Same deal as the batteries! I always pack a few memory cards with me in case I run out of room on my first one.

A remote – I have both a wireless remote and a wired one. I think I’m going to try using the wireless one since the wired one might shake the camera. But either will probably be fine.

Wide-angle lens – My widest lens is the standard 18-50mm. So I’m going to use that unless I can possibly borrow an even wider lens from someone else.

CAMERA SETTINGS FOR SHOOTING FIREWORKS:

Shooting mode

Bulb. If you’re not sure why you want to use bulb for fireworks photography? The answer is really simple: bulb mode lets you keep the shutter open as long as you want. AKA you can take suuuuper long exposures. Some people keep it open for hours to get those awesome star trail shots.

I’ll probably just be keeping it open for a few seconds, but since I’ll be using a remote, I’ll probably use Bulb.

Aperture

I’m planning to start with an aperture (f-stop) of 8 and see how that looks. I might go up to 14, but I don’t think any higher than that.

Higher aperture does mean darker photos though, so if the photos are too bright, I might have to use a high aperture to dim it.

Shutter speed

Like I mentioned, I’m planning to do a long exposure. I think I’ll be starting off with 5 seconds, and just experiment to see what longer exposures – maybe up to 1 minute – look like.

The issue with doing longer exposures is that it will make the photos brighter, and might actually overexpose them with the lights from town around the fireworks.

The cool thing about long exposures is that it’ll make the fireworks look all smooth and pretty.

ISO

I want to keep the ISO at 100 if I can, and I sorta think that will work great. Since I’m more worried about overexposure than underexposure, the low ISO should be perfect – plus it’s going to produce the highest quality photos!

High ISO = More noise

Low ISO = Less noise/cleaner photos

White balance

I talked a little about using white balance to change the color of photos in this post but I’m not sure if I’m going to be messing with that too much for firework photos since the fireworks have their own distinct colors. I don’t really want to change the original colors of the fireworks, so I might try auto white balance and see how that works.

What’s a fisheye lens?

Fisheye lenses are famous for creating an interesting “bubble” perspective. They’re ultra-wide-angle lenses, good for when you’re trying to get as much of a scene in one photo as possible. The more zoomed-out your fisheye lens is, the more warp you’ll get. But I, like a lot of people, don’t mind that. It’s gives photos a very unique look.

TIP: A 0.5x fisheye would be considered a wide angle lens while a 0.18x fisheye lens would be considered a super fisheye. The Altura fisheye and macro combo lens is 0.35x – so it’s in the middle.

WHAT’S A MACRO LENS?

Macro lenses let you get close – like, really close. You wanna see the eyelashes on a bee? This is the kind of lens you want. How you go about getting close enough to see eyelashes on a bee is a whole different thing.

Where your average camera lens will get confused once you get too close to a subject – it won’t be able to focus anymore – the macro lens is made to be right up on your subject.

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THE PROBLEM WITH BOTH FISHEYE AND MACRO LENSES

There’s one reason I haven’t tried either of these lenses yet – PRICE. These specialty lenses can be pricey, so if you don’t have hundreds or thousands to drop on a cool specialty lens for fun, then it can seem like you’re out of luck.

Not true, my shutterbug friend.

In fact, as it turns out, you can find both a macro lens AND a fisheye lens – in one, for a price virtually all of us can afford.

I was able to find this one for LESS THAN $30.

Technically it’s an attachment, because it screws on to the end of your standard lens. NOTE: When buying it, check to make sure you’re getting the right diameter lens. To check, what size filters fit on your current lens? You’ll need to get this lens in the same size. Mine is 58mm for a standard lens on the Canon 70D camera.

You might laugh at me, but I actually didn’t realize the macro portion was part of it until I got it and reviewed it in this video:

All around, I was pretty excited.

ALTURA 0.35X FISHEYE/MACRO LENS SPECS

• 58mm or 52mm
• Wide-angle fisheye and super-macro
• Lightweight but sturdy with metal components
• Detachable fisheye section for macro use

THE GOOD AND THE BAD

Let’s get the bad out of the way. Some things I didn’t like:

When you detach the fisheye lens to use the macro, there’s no cap to put on the bottom of the fisheye to make sure it stays clean. You have to improvise. You can’t use the fisheye without the macro part attached, so it’s a non-issue for that.

The macro depth of field is shallow AF. This is both good and bad.

On one hand, can you say “BOKEH OMG.” On the other, it means you NEED a tripod for the most part. You’ll also notice some edges blurring when you blow the photos up, even with the areas that are in focus.

But, that’s because this is 2 LENSES UNDER $30. You just can’t expect the same level of crispness as an expensive lens.

That being said, I’m very glad I tried this lens.

I really like the lens as someone who wants to just mess around with fisheye and macro, having never used it before. For one, you don’t have to worry about carrying around 2 extra lenses, because this one is 2-in-1. I think that’s fantastic.

It takes good photos. The quality won’t match a lens that’s hundreds or thousands of dollars, but the lens quality is perfectly good for taking pictures for fun and learning.

I took both photos and video and it impressed me with both.