| Go Steady | | | | Manual Focus |
| Camera shake can be a real problem at high | | | | Auto focus is a wonderful time saving addition to |
| magnifications due to longer exposures and | | | | your camera lens but can be tricky with close-ups |
| shallow depth of field. Use a tripod or assume a | | | | as it battles back and forth to any subtle change |
| sturdy position. Have the mirror lockup mode | | | | or camera movement. Try switching to manual |
| activated and preferably use a cable release. | | | | focus and choosing the focus point yourself. To |
| | | | make the most of the depth of field focus on the |
| Shooting macros of delicate subjects is impossible | | | | middle part of the subject. |
| on a windy day so go equipped with a makeshift | | | | Backgrounds |
| windbreak. A small clamp and stand may be | | | | Try to avoid backgrounds of the same color, |
| enough to steady flowers and plants. | | | | otherwise your subject will blend into it. Clutter |
| Props | | | | and patches of bright light will draw your eye |
| Add impact to the shot and create an early | | | | away from the subject. |
| morning feel with a water spray to imitate dew | | | | Fill in Flash |
| or rain. | | | | Add sparkle in dim conditions and reduce shadows |
| Sharp as Possible | | | | and contrast on bright sunny days. |
| Maximize the depth of field by using an aperture | | | | Get Light Subjects Right |
| of f/11 - f/22 and keeping your camera parallel to | | | | With white butterflies for example standard |
| the subject. Use your depth of field preview | | | | camera metering can be fooled into |
| button to see the result and if the preview is too | | | | underexposing so be prepared to add two stops |
| dark, take a test shot and check the shot on | | | | of positive exposure compensation to eradicate |
| your LCD. | | | | this. |
| Get Close | | | | Diffused Light for Detail |
| Ordinary lenses won't let you get close to a | | | | Avoid burned out highlights and maximize fine |
| subject. There is no substitute for a macro lens | | | | detail by shooting on bright overcast days when |
| that can reproduce 1:1 or life-size reproduction. A | | | | the light is diffused and not harsh and direct. If |
| focal length of 100 or 200mm will give a good | | | | you can't avoid shooting in direct light then use a |
| distance to work from. | | | | diffuser to soften the light. |