GENERAL TIPS ON PLANT PHOTOGRAPHY

Credit for the following helpful information should be given to the sources noted.

Plant Photography

From http://www.herbs.mb.ca/photoart.html

"For those of you who are beginners, the speed dial is on the camera body and usually ranges from B (bulb) to 1000 or 2000. Aperture is referred to as the f-stop. The aperture ring is on the lens and usually ranges from f-stops 1.8 to 22. More expensive lenses will have a wider aperture range such as f1.2 to f32. Remember that the smaller the aperture number (or f-stop), the wider the diaphragm opens; and the higher the number, the less the diaphragm opens. Thus, f22 or f32 will be the smallest diaphragm opening. The combination of shutter speed and aperture is called exposure. Your camera's light meter will help you determine the correct exposure.

"When you take a photograph there are many different aperture and shutter speed combinations that you can use. You can shoot at a faster shutter speed but open up the aperture or you can close up the aperture and shoot at a slower speed. You must consider your options here and decide what combination will produce the result that you are striving for keeping in mind that aperture controls the depth of field.

"Depth of field refers to the focal range at a particular f-stop. Shallow depth of field is achieved by using a larger aperture setting, with the shallowest depth of field resulting from an aperture setting of f1.8 on most 50mm lenses. Thus, whatever you are focusing on in the frame will be in focus as well as whatever is at the same focal distance as your subject but everything behind or in front will be out of focus. For example, in a close-up of a flower with a long pistil, such as a lily, if you were to focus at the tip of the pistil at f1.8, the base of the pistil would be blurry. If you were to use a smaller aperture, the result would be quite different and at f22 the whole flower would be in focus. Some cameras have a depth of field preview button that will aid you in deciding what depth of field will produce the results that you want.

"It is perhaps most important to decide what depth of field is appropriate to your subject matter and then decide what aperture setting you should use to achieve this depth of field. Then your light meter will determine the corresponding shutter speed. Of course at times there may be limitations that interfere with your choices and you may not be able to use the aperture/speed combination that you want. For instance, you may want maximum depth of field but find that the corresponding speed is not suitable because of windy conditions. You may want to compromise depth of field and use a faster shutter speed to eliminate blur. Getting the correct exposure is a combination of technical and aesthetic considerations. It is important to know, however, that your light meter has certain limitations.

"A camera's light meter is limited in that it can only give an accurate reading on subjects that have the same reflective value of 18% grey. Taking a reading off of a white subject will produce an under-exposed photograph and a black subject will produce a reading that will result in over-exposure. A rule of thumb is to open up the aperture two stops when photographing something white and to close up the aperture two stops when photographing something black. However, the best method of obtaining an accurate light meter reading is to use a grey card, which can be purchased at any photography store. Also, it is always a good idea to bracket exposure.

"Bracketing means that you take a photograph at the exposure setting that your light meter suggests, and then take two pictures at two consecutive half-stops larger and then two pictures at two consecutive half-stops smaller. One of the resulting photographs is likely to be at the perfect exposure. Using an accurate combination of shutter speed and aperture to get the best exposure is one of the biggest challenges of photography. Lighting is another big challenge.

"A sunny sky will produce different results than a cloudy or overcast sky; morning, afternoon and evening light all produce different results; and shade is very different than bright light. The more you experiment with different lighting conditions, the more comfortable you will become with using light to get the results you want. There are some basic guidelines that are useful.

"A sunny sky can throw unflattering shadows on your subject. Also, some of the detail in your subject may be obliterated by the glare from the sun. Cloud cover may produce the most flattering results due to softer, more diffuse lighting.

"At times of the day when the sun is lower in the sky, your photographs will have a warmer color cast to them. When the sun is high in the sky, the colors in your photograph will be the most natural. It is best to experiment with the same subject in different lighting conditions to get a good idea of how lighting produces varied results. Although an overcast sky results in more natural colors, learning to be creative with lighting can produce interesting and artistic photographs.

"Try taking photographs after it rains, or in the evening just before dusk. Try taking back lit photographs to give your subject a halo effect, but remember to bracket for back lighting because it is very difficult to determine accurate exposure.

"There are different light controlling tools that you can purchase, such as diffusers, reflectors and filters. Some photographers like to add many tools to their photography kit and others like to keep it simple.

"All efforts in using light and exposure to your best advantage will only be successful in conjunction with good composition. Placement and angle of the subject in the frame and what you do with the background are important considerations in composition.

"Once you have chosen a subject to photograph, it is important to study it through the viewfinder and try framing it in different ways. Before you take the picture, spend time looking at it from different angles. See how it looks from the side, from above, and any other possible perspectives. Then look at what else is in the frame. If there are several subjects in the frame pay attention to balance. As a rule, three subjects are better than two in terms of balance.

"If you are photographing a single subject try not to put it right in the center of the frame. Off-center composition may be more interesting. Remember to experiment with several different compositions of the same subject.

"While you are composing your photograph it is crucial to pay attention to the background. It is easy to ignore the background and then get the photographs processed only to find that there are too many distractions. Using a shallow depth of field or shooting from a different angle might eliminate these distractions. Depth of field plays an important role in many aspects of composition.

"If you have several subjects in one frame, decide whether or not one of them should be the main subject. If you have three flowers in the frame do you want them all to be in focus or do you want one of them to be sharp and the rest softer and more in the background? What f-stop will give you the desired effect?

"Flowers and plants have very beautiful shapes and lines. Your photographs, especially close-ups of flowers, should depict these qualities. Study the lines of flowers and leaves. Sometimes you will want to show a particular line that curves in just the right way. In this instance, use shallow depth of field to highlight that curve and soften the rest of the flower.

"When photographing an expanse of plants or flowers, carefully consider depth of field. You may want the flowers in the foreground and the background to be in focus as much as possible and thus will want to maximize depth of field. Or you may want to highlight one type of flower or plant by softening the plants in the foreground and background. In this instance, f4 or f5.6 might produce favorable results.

"A final consideration in terms of composition is color. Make sure the colors work together to create a pleasing effect. You'll find that there are instances where it is useful to use many colors in a photograph and other times when fewer colors have more of an impact."

Depth of Field in Plant Photography

From http://www.ebcnps.org/PlantPhotography.htm, by John Game

"This is the first article in an occasional series on plant photography. I have been taking photos for many years, but am not a professional and this is written with the amateur enthusiast in mind.

"This month I will focus on depth of field. A good photograph requires, among other things, both the right amount of light (exposure), and the right amount of sharpness. Sharpness can present a real challenge when pictures are taken at close range. This magnifies the effects of breezes or camera movement. In addition, careful focusing is required at close distances and the issue of depth of field becomes crucial. Depth of field refers to how much of a subject from the front of the scene to the back is in focus at the same time. For example, if you focus on a flower a yard away, distant mountains will usually be blurry, and vice versa. Here, depth of field is inadequate to keep the whole image sharp at any one focus setting, and you must choose which feature you want in focus. Sometimes this is a good thing - for example when you wish to blur the background to make it less distracting behind a sharply focused plant. At other times, for example with a three dimensional subject at close range, you may want the maximum possible depth of field.

"If you have a camera system where you can set your own aperture (f-stop), you can substantially control the depth of field. To increase depth of field, reduce the aperture by setting a numerically higher f-stop. (Note, the higher the numerical f-stop the smaller the aperture, i.e., the opening in the lens diaphragm, because an f-stop, such as f16, actually refers to the focal length of the lens f divided by the number 16). The smaller the aperture, the greater the depth of field. You can remember this if you think of a tradeoff. The more depth of field you want, the less light you have coming through the lens. This means you must get the needed light by using a longer exposure time or flash to make the subject brighter.

"I usually set my camera to manual mode when photographing plants. I check depth of field at various f-stops and choose the most appropriate. Note that most modern lenses are automatic, that is, even when the camera is set to manual, the lens remains at its most open (to give the most light for focusing) and closes to the set f-stop only when the shutter is fired. But you can override this if your camera has a depth- of-field preview feature: you can then close the diaphragm to its set f-stop while you are looking through the lens. Although most lenses have marks for estimating depth of field, it is better to look though the lens and see for yourself how sharp the image is. I consider depth of field preview an essential feature in a camera for plant photography.

"The other variable that determines depth of field is magnification. The larger the image size on the film compared to the size of the subject, the less the depth of field. Larger image sizes can be obtained either by moving closer to the subject or by using lenses with longer focal lengths (telephoto lenses). Either method reduces depth of field by the same amount. Although telephoto lenses appear to have less depth of field than wider angle lenses, this simply reflects their greater magnification. If you move closer to the subject with the wider angle lens, until it appears the same size in the viewfinder as it did with the telephoto from further away, you will find the same depth of field in both cases. The only way to increase it at a given magnification is to stop the lens down more.

"Finally, remember that depth of field is determined by the laws of optics and has nothing to do with the quality of a lens. Money can buy better lenses, but it can't buy you better depth of field."

Photographing Herbs

By Becky Wajda, from http://www.willowpondherbs.com/library/photo/page4.html

Page 4: Scale and Perspective

"There are a number of related issues in this broad category.

"The most obvious one pertains to the distance the photographer is from the subject, either physically or with a telephoto or macro lens. Again, from experience, I have learned that taking a picture where I try to place the entire plant into the picture frame usually results in an uninteresting photograph.

"This problem is particularly acute with larger plants. For instance, when I first photographed the 6-foot tall elecampagne in full bloom, I stood far enough back to include the whole plant in the frame--and everything else in the bed on either side of it! Since I did not include anything to provide a reference to the size of the plant, the resulting image became one of the bed since the specific focal plant was lost in amongst those around it. I missed both ideas I was trying to capture: that it is a large plant and that it has wonderful flowers.

"When size is important, position something common next to the target to provide a frame of reference. This solution is also true for small plants. I have many good close-up pictures of our various thymes that illustrate colors and textures, but the average viewer would have no idea that the plants do not grow more than 5-6 inches tall. In this case, a broader perspective, perhaps of thyme growing around stepping stones, provides a perfect complement to the close-up images. For most of our herbs and everlastings, I take several pictures--a close-up photograph of the foliage and/or blossoms; a medium-range photograph of the overall plant to provide a sense of size, width, and other factors important in successful planting; and a wide-range or distance photograph that illustrates the plants in context with others in the beds.

"My 135mm telephoto lens gives me considerable freedom in taking close-up pictures. I have only had a few instances where the bloom or leaves I wanted to photograph did not fill the frame to my satisfaction. When I am taking pictures, I usually care my second lens with me and change them frequently to achieve the right image for the right plant. If you just have a standard 50mm lens, you can take the lens off and reverse it, holding it tightly to the front of the camera (or purchase an adapter ring) (Richardson 1998b). The results are not exactly like those achieved using a telephoto or macro lens, but similar and inexpensive!

"Depth of field and shutter speed are two areas I constantly struggle to master. In both cases, I understand the concepts, but frequently have difficulty with the application. Depth of field controls how much is in focus in front of and behind the subject. The most common means of controlling the depth of field is via the "f-stop" or aperature settings on the camera. We know these settings usually by the little moveable ring around the lens with numbers on it like 2.8, 4.0, 5.0 and so on, usually up to 22.0. The specific numbers refer to the size of the lens opening when the picture is actually taken. The smaller the number, the larger the opening; the larger the opening, the less that is in focus around the subject.

"I really only change these settings when I want to target one plant or group of blossoms in the middle of many; changing the depth of focus allowed me to essentially shut out surrounding plants, stems, blossoms, etc., almost creating a "halo" around the target. I am much more familiar with shutter speeds, having taken many dark or blurry pictures at low shutter speeds. For most cameras, a "slow" shutter speed is anything less than 1/60th of a second (e.g., 1/30th, 1/8th, etc.). Most of us can hold a standard camera still for 1/60th of a second, allowing us to get a clear picture. Add on a telephoto lens of any length and expect to decrease that time to 1/125th or 1/250th of a second.

"When photographing herbs, slower shutter speeds can allow you to capture great images with fantastic color saturation in low light. Since I am generally not worried about my targets moving while I am taking the picture, I find it most convenient to use a shutter speed of 1/125th or 1/250th of a second. My slides are crisp, clear and of good color. I do experiment occasionally, but for the majority of our applications, I use pretty standard settings. As a reminder, if you plan to take pictures at less than 1/60th of a second, use a tripod or rest the camera body on something solid. Generally, blurry photographs end up the product of the photographer moving, not the subject!"

Photographing Herbs

By Becky Wajda, from http://www.willowpondherbs.com/library/photo/page3.html

Page 3: Lighting

"Lighting and color are closely related.

"My initial inclination when photographing herbs on our farm was to take my pictures in the middle of the day during bright sunlight. I found, however, that the color in many of my pictures was faded or dull, and that the composition was not as bright and vibrant as I remembered it. I did find, however, that I could achieve great color balance and reproduction on cloudy or overcast days, in periods of diffused light.

"I have even found myself taking pictures during mild rain showers that not only resulted in great colors of the plants, but the raindrops and mist also provided interesting texture and effect to the photograph. Of course, protect the camera in situations like this; a wet camera is usually a ruined camera. As mentioned earlier, the use of a UV filter also helps in achieving good color when taking pictures on sunny days. If you cannot wait for a cloudy day, try a diffuser (filter) at the end of the lens to accomplish many of the same effects.

"Shadows provide interesting facets to an artistic photograph, but do not always provide the desired results of showing the full beauty of a plant. When photographing your herbs, be aware of the time of day; even during the summer, pictures taken before 9 a.m. or after 4 p.m. are likely to have many dark spaces in shadow. Again, some interesting artistic designs can be achieved by capturing early morning dew on leaves and blossoms, but consider whether the image will capture the essence of the plant. I have been fooled into thinking that the full illuminations of our herb beds by the late afternoon sun provided the light I needed for my pictures. While the face of the plants was well lit, the sharp angle of light created deep shadows beyond the border, changing my intended color composition and ultimate output to something quite different than I actually thought I had seen. Using a flash, even in broad daylight, can minimize some shadow problems, particular in short-to-medium range photographs. Pre-dawn or dusk pictures can provide the same results as daytime periods of diffused light, but as soon as actual sunlight penetrates the focal area, consider the composition and shadows. In all photographs, be keenly aware of your location, or anyone else, relative to the light source and plants. Shadows cast by the photographer over some or the entire intended subject can ruin a great picture."

Photographing Herbs

By Becky Wajda, from http://www.willowpondherbs.com/library/photo/page5.html

Page 5: Background and Natural Elements

Background

"I have occasionally found myself dissatisfied with the composition of my picture because of "clutter" in the background. Perhaps it is the corner of the greenhouse, the edge of the bench, or another plant, but ultimately it detracts from my desired outcome. I have found several quick, inexpensive, and unobtrusive ways of resolving this dilemma. Of these, the easiest is to simply move the plant, if possible, to a less cluttered location. Most often, though, I position a piece of colored poster board behind the subject to block out other plants or features. This technique works well provided the image is relatively close up. This method would not be appropriate for medium-to-wide range compositions. I experiment with the color of the board and have found white to be too stark, but like the effects of black, dark blue, or dark green. Essentially, the board should set off or enhance the colors of the blossoms or foliage, not incorporate them. Application of the complimentary color concept works well here."

Natural Elements

"More than once I have been stymied by a gentle breeze blowing through the field. My close-up images were blurry or out of focus. My medium-to-wide range photographs showed picturesque plants waving in the wind. When I have had to take close-up pictures in this situation, I have resorted to having someone hold the stem of the plant out of the field of vision to minimize the movement of the plant. I have also had several seemingly perfect "bloom" photographs ruined by the late discovery of an insect. Pay attention to every movement, particularly in close environments; insects on plants are perfect it you want to illustrate beneficial or detrimental hosts, but not in other situations."

Photographing Herbs

By Becky Wajda, from http://www.willowpondherbs.com/library/photo/page6.html

Page 6: Camera Care and Film

Camera Care

"When it comes to the care of my tools, I am still an amateur. I am not willing to invest a lot of money in routine professional cleanings, but I do some routine checks to maintain my camera in good working order. Every 6 months, I replace the batteries in the camera and in the flash. While it may not seem important, battery life directly affects the quality of the picture. I keep lint-free lens cleaner in my bag and regularly wipe off the lens. Dirt on the lens will show on the picture. To maintain optimum working order, the camera should not be left in temperatures below 40º or above 80º. The temperature range has more of an impact on the film than the camera itself, but is a consideration in performance (Richardson 1998a)."

Film: Slides or Prints?

"Most professional photographers use slide film instead of print film. Your selection should be dictated by your needs and desired outcomes. Slide film usually comes in lower ASA, and results in greater color saturation. Higher value ASA print film (e.g., ASA 400) allows you to capture quick movements, but often results in grainy, possibly faded, colors. Slides generally last longer than prints, and prints can be made from slides. An obvious benefit of slides is the ease with which a colorful, pictorial presentation can be developed. With a good slide library, we have been able to develop a wide range of presentations from herbs in the kitchen to landscaping with herbs to colonial uses of herbs. With slides, I can use a slide scanner (available at good copy centers and film processing centers) to create an electronic version of the picture. These electronic versions are then available for inclusion on our web site ("Click here to see this plant in bloom") or in our word processing software as part of a quick plant reference book for Willow Pond Farm staff and customers. Digital cameras (about $450-$600) facilitate these last two activities by creating an initial digital image that can be immediately uploaded to a computer. Clarity and color may be better in an electronic image from a digital camera than from a scanned slide, but both provide good sources for our current needs."