Think small. Really, really small. That’s macro photography in a nutshell.
Cute ladybug close ups, details of the human eye, fine hairs on a bee, and pollen grains in a flower are all visible with macro photography. That is the allure of macro photography, you get to see this semi-invisible world that’s in right front of us every day.
“Macro” photography is creating an image of a subject that is life sized or greater in magnification; it’s not just photos of small things. A “life size” image means that if your camera sensor is 1 inch and you have a 1 inch subject, that the subject or part of the subject would completely fill the frame. There are some technical aspects to sensor sizes and magnification, but we don’t need to go into those details.
What you need to know is macro photography can capture incredible details and that you can achieve this with your smartphone or DSLR using very inexpensive accessories. And bonus, you don’t even have to leave your house or yard to get amazing images!
The goal of this article will be to give you some pro tips for shooting macro, as well as a list of budget friendly accessories for both DSLR/mirrorless cameras and smartphones (iPhone and Android).
Let’s start with the “gear.”
You need your DSLR or mirrorless camera or a smartphone. Then you need one (or more) of the following types of accessories:
When purchasing any of these accessories, be sure to check carefully that they are the right size and fit for your device. If you need help, reach out to us! Or take a Macro class with us where you get to try some of this equipment first hand.
For smartphones, each of three items listed above basically do the same thing. They attach or clip on or slide over your phone’s camera and magnify the image – kind of like looking through a magnifying glass.
For about $15 you can get a small clip on lens or a band. For a bit more, you can get a lens case or set of clip on lenses that includes other types of lenses as well, such as wide angle or even telephoto. There are even some pricey options like the Moment lens and case which will set you back about $150. There are so many options, I cannot possible discuss them all, but look at reviews and sample images from buyers and compare the magnification you will get with each lens (4x, 10x, 15x) as well as how close you have to get for the lens to work (usually a few centimeters to a few inches). Make sure you get a case or clip that is compatible with your phone model. In the case of macro “bands” they are universal and just stretch over the phone including in most situations the case, too. Clip on lenses may require you to take your camera out of the case and macro lens cases require you to swap phone cases completely.
The products below are some of the smartphone accessories used for many of the images in this post.
With a DSLR or mirrorless cameras, there are options that are simply magnifiers, like those for phones. These include macro close-up filters (diopters) which screw onto the end of the lens the way a UV or ND filter would. They come in magnifications of +1, +2, +4, +10, and can be stacked, for example a +10 and a +2 together. Another options is a clip-on or add-on “lens” such as the Raynox DCR-250. The advantage of a clip-on is that you can use it on different lenses of different sizes, whereas the filters have to be bought for each different lens size. We did a review of the Raynox DCR-250 on our YouTube channel if you want to learn more about that option. Filter sets cost around $20 and the Raynox is under $75 (a bit pricey, but still far less than the cost of a dedicated macro lens).
The disadvantage of any type of magnifying accessories, whether for smartphone or camera, is distortion. Because the glass on these items is curved, you can end up with a center area that is in focus, but everything else on all the edges is blurry. The higher the magnification, the more curved the glass will be, the more distortion you may experience. This is where reading the reviews and looking at the specs of the product will be important.
In the case of extension tubes, you can purchase sets with a variety of lengths which can be used alone or in combination. Some of the less expensive extension tubes cost around $15, but these will not give you autofocus controls. More expensive versions will give you autofocus functionality. Personally, I find myself using manual focus so much when shooting macro that I would not bother to invest in the more expensive versions. (We’ll cover that manual focus stuff more in a moment).
Reversing rings allow you to put your existing lenses onto the camera backwards which then gives you magnification; however, it opens the end of your lens to dust and moisture. It is effective and works well, but it’s not my favorite option to use with expensive lenses. You can get reversing rings for under $15.
So that covers the inexpensive gear. In the photos throughout this post I will indicate which type of accessory was used for each shot.
Now let’s cover subject matter.
It can be anything really. That’s part of the fun of macro, even your boring old carpet fibers look interesting under magnification. Your yard is probably overflowing with possible subjects. Flowers and insects are common subjects in this genre. Whenever you go out looking for bugs, it is important for you to slow down and stop moving. It is only when you are still that you begin to see all the tiny life in a small section of grass or leaves of a flowering plant. If bugs make you feel “buggy” then you can find things like feathers, shells/coral, water droplets, rocks, flowers, leaves, bark, mushrooms and fungi. Inside your house on a rainy day, fabric textures, foods (like strawberries), even eyes and skin can make great macro shots.
When you get in really close, your images begin to look like abstracts. You may not be able to tell what the “whole” object is because you are focused in on tiny details. This abstract look appeals to many photographers. Another reason your images may look abstract is because of the shallow depth of field that occurs in macro photography.
So how do we shoot effectively with macro’s shallow depth of field?
Macro photography has an extremely narrow plane of focus or what photographers call a shallow depth of field. This means that a bee’s eyes may be in focus while the rest of it is not. The depth of field may be as slim as a millimeter. The larger the magnification, the smaller the area of focus. While this makes focus a challenge, it also means you get a nice blurry background. Making sure your subject is in focus is the hardest part of macro photography. You may have to focus on only a small part of the subject. For example, one petal or the center of a flower may be in focus, but the rest is blurry. This can give images a surprisingly ethereal and abstract feel (which I personally love).
Keeping your movement to a minimum while taking the photo is crucial. Any movement at all, even breathing, will quickly send your subject out of focus and result in blur. A windy day is your nemesis. You need to have good proper handhold. A tripod might help, but often with macro you are down in the grass with the tiny things where tripods become a hindrance. Instead you can use a bean bag to rest the camera on, or use a 5 section monopod in its most closed position. It is easier to steady your shots with a smartphone since they weigh less and don’t have heavy lenses attached.
Since camera shake is an issue which causes lack of sharpness, using a remote or timer with your phone or DSLR can benefit your macro shots. It can also allow you to back away from skittish subjects after you get your tripod or beanbag and camera/phone set up. Camera shutter remotes are available for both phones and DSLRs. Some apps for smartphones include timers as well.
In my experience the best way to get good focus on a subject is to set the DSLR or mirrorless to manual focus (with smartphones this step is not necessary). Then I move myself away from the subject until it blurs, then I hold my breath and slowly move forward again until just the part I want in focus becomes crisp and that’s when I snap the shot. It may take 10, 30, or even 300 tries to get it right.
If your camera or smartphone has a “burst” mode (takes photos in rapid succession), this can be used to increase your chances of landing the focus. As you move in toward the subject press and hold your burst mode. Older cameras or phones may not have this feature, in which case, just take lots of photos! Burst mode can also be helpful if the subject is moving, like a bug or a flower in a slight breeze. Don’t be disappointed if you have a lot of “misses.”
Some photographers compensate for the narrow depth of field by “focus stacking” Focus stacking is like having a macro photography “super power.” To create a focus stack, multiple images are taken at different focus points along the subject then merged (or stitched) in an editing program. The resulting image is then focused throughout. It sounds more complicated than it really is. We have a YouTube video that demonstrates the process if you are interested. Some newer cameras even have this feature built into the camera. Focus stacking can be done with traditional DSLRs, mirrorless cameras, or with a smartphone.
To do focus stacking most effectively you would use a focus slider or rail. However, focus rails are usually used in the studio in controlled conditions and not lugged out on site or into the field. I have seen examples where photographers have done a focus stack handheld (no slider or rail) or with the help of focus stacking features built into their DSLRs. Using a burst shooting mode can make a handheld focus stack easier to accomplish.
It is very difficult to do a focus stack in the field because insects move, wind makes flowers move, etc. Unfortunately, that is why some photographers “recruit” insects to be their models and then they refrigerate them to slow them down before taking photos in studio setting. I personally, do not do this and I don't recommend it.
Stationary items can also be used for a focus stack, like this sleeping snail (below) who came to no harm. As described before, move away until the subject is just out of focus, then start moving slowly toward the subject and use burst shooting take a long sequence of images until the focus has moved beyond the subject.
The benefits of manual mode and manual focus.
If you have a smartphone that is newer, you probably have a pro mode that allows manual controls as an option. If your phone is an older model you may need to download an app like Moment or Halide to get more manual control. On your DSLR or mirrorless there are settings for the mode (usually a dial on top) and for lens focusing (autofocus and manual focus -- typically a switch on or near the lens or in the menu). You can consult your manufacturer’s manual if you aren’t sure how to make these adjustments.
Manual mode always allows you as the photographer more control over your images. Whether you are using a smartphone or camera, use your controls to set a fast shutter speed for macro photography. This will help eliminate motion blur from hands shaking, breathing, wind, or if the subject is moving. Set it at 1/250 or faster for smartphone and 1/500 or faster for DSLR/mirrorless (cameras with lenses attached are heavier and more prone to camera shake, especially at the magnification levels and shallow depth of field in macro photography).
Faster shutter means you may need to make adjustments to aperture (wider for more light) or ISO (higher for more light sensitivity) to get enough light for proper exposure. Manual control lets you decide which one you want to adjust, or allows you to adjust a little bit of both. The newest models of smartphones have excellent low light technology and shooting at fast shutter speeds is usually not an issue. You may find you don't need to make any adjustments at all other than the shutter speed.
Autofocus is not the preferred method for macro, but if that is what you are comfortable with, then be sure to set your DSLR or mirrorless camera’s Autofocus Mode to Single Shot and select a single autofocus point. Keep your subject under that point. If your smartphone or app allows you to select a focus point, select one point and then keep your subject under that point.
I usually find myself using manual focus when shooting macro on my DSLR. Some of my accessories do not allow for autofocus communication and most of the time the autofocus does too much "hunting" for focus or won't focus on the right part anyway. Among macro photographers, manual focus is very normal. When I use my smartphone, the camera usually focuses just fine with the macro attachments as long as I get the proper distance between my phone and the subject. As mentioned before, I take many, many shots so that at least one of them will have the focus nailed where I wanted it.
Use your camera’s focus aids. For example, on your DSLR or mirrorless camera, use your LCD screen and zoom in (or use picture in picture if available) to check your focus. Some cameras and phone apps will allow you to turn on Focus Peaking. This feature turns on colored lines or highlights that outline the areas with the sharpest focus. It can help you get crisp focus and also help you see what depth of field you are working with.
Small working distance is a challenge.
When taking macro photos you often have a small working distance. Working distance is the distance between the front edges of lens (whether camera or smartphone lens) to your subject. This can be a small distance of only centimeters. What this means is that you have to bring your camera and lens, or phone, very close to the subject. Sometimes this distance is so close it is almost touching the subject.
It is important to understand what the working distance measurement will be for any lens or magnification accessory you purchase. You can get this information in the specification section of the item’s description. Before you buy, determine what types of subjects you might want to photograph to help you decide what working distance you need and buy a lens or accessory that fits those parameters. For example, when taking macro photos of flowers you can use a lens with 3 cm working distance, but for photos of bees or dragonflies you need to be farther away or you will scare them off.
Lighting is a challenge.
Achieving proper lighting can be difficult in any type of photography, but macro has its own unique set of challenges. When your macro lens or attachment requires you to get close to the subject, you may find the camera, smartphone, or lens is so close that it is actually blocking the light. Or you may find on bright sunny days that direct sunlight creates terrible blown out highlights and harsh shadows. How do you find the right balance?
Let’s go back to shutter speed for a moment. You will need a fast shutter speed so you have to get your light from somewhere else. With a DSLR or mirrorless, you can open up the aperture, but since depth of field is already so shallow you may not get anything but a sliver of focus if you go wide open. You can raise the ISO, but that can add digital noise or “grain” to your images. When you are on a smartphone, the manual controls are limited and aperture is usually not an option, so your only choice would be to increase ISO. None of these are great solutions because they all require some compromise in the final image.
The better solution is to shoot macro outdoors on bright sunny days and fully block your subject with your body or your other hand. This way you get the best of both worlds. You have plenty of light but no harsh highlights and shadows.
Another great option is accessory lighting or small reflectors. There are many different options and styles available that are also budget friendly. If you think you will be crawling around under bushes and in darker areas you might want to consider a headlamp. You can buy one of these at a hardware store and use it with a smartphone or DSLR.
There are special lights that clip onto your phone or attach to the end of your DSLR or mirrorless camera lens. These lights can be continuous or flash and are commonly called macro ring flashes. These are not the same as the selfie ring lights used for video conference calls or vlogging, but they do have some similarities. As an example see our video on the Neewer 550D Ring Flash for macro (this cannot be used with the Raynox DCR-250 unless you hand hold it off camera).
There are also LED lights like the Ulanzi VL49 which can be used with smartphones or DSLR/mirrorless cameras. With a DSLR or mirrorless you can attach it to the camera’s hot shoe, hand hold it, or set it up where you need light. With smartphones you hand hold the light or place it where you need light (or if you have a small “rig” for your phone you can connect it to that). Of course, you don’t have to buy any special lights, you can just use a flashlight.
Whatever lighting product you buy make sure that it won’t get in the way of what you are shooting and that it is maneuverable so you can get light where you need it. Another simple option is to get some very small reflector panels. These are used to bounce light into areas that are dark or shadowed, or to even out light.
Demonstrating scale is a challenge.
No one can truly appreciate how “close” you are to a subject if they cannot even tell what the subject is.
When composing your image or cropping your image try to make sure at least one distinguishable or familiar element is clearly visible for context and reference. For example, on a bumble bee, a close up of the fuzzy abdomen with no other reference won’t look as impressive as a close up of part of the bee’s eye or wing. Some objects lose their form completely when shown close up. In these cases a series of images taking the viewer “in” to the subject can help both identify the subject and appreciate the tiny scale.
In the image below of a tiny flower, no one would know it was only 2-3mm in size based on the final image. For this reason, photographers sometimes include water droplets or insects of “known” size like ladybugs. You can easily add water droplets to your images using a spray bottle or medicine dropper. In some cases, the image is abstract enough that the scale or knowing the subject doesn’t really matter. The same can be true when the close up is obviously a magnification even when we don’t know exactly what it is.
Camera Apps that allow you to shoot in RAW.
For all types of photography, I recommend you shoot in RAW. RAW files allow greater ability to control or fix white balance/color temperature, color saturation, exposure, and more. There are camera apps for your smartphone that will allow you to take your photos and/or edit in RAW. Lightroom, Darkroom, VSCO, and Snapseed are a few examples.
On your DSLR or mirrorless, you have to change the file type in your settings. If you have the option of RAW + JPEG you can select that as well, then you get both file types.
To Zoom or Not to Zoom?
Don’t use the zoom on your smartphone for macro. Zooming will degrade your image quality in this case. Get close to the subject. With a DSLR or mirrorless, depending on which accessory you are using, you can use a zoom lens. Just be aware with long lenses, the zoom may affect your working distance and you may find that once your accessory is in place that your focus point is literally touching the lens. If that happens, decrease the zoom. For example if your 18-200mm won’t focus at 200mm because the lens is touching the subject, then back off to 100mm and try again.
Editing your macro photos.
There are lots of editing programs that will allow you to make edits for free. These programs are available for smartphones as apps, as well as software applications for your PC or Mac. Some apps we recommend are Lightroom Mobile, Snapseed, and Pixlr. Not all apps allow RAW editing so check carefully for which features are in the free versions (and check out our videos on Best Editing Apps and Best Graphic Design Apps).
All of the editing suggestions made here may not be possible in all programs or apps, or the feature may be known by slightly different names. Make sure the app you are using is “non-destructive” meaning the changes are made to a copy, thereby keeping your original file intact. That way you can always revert back to where you started.
When editing your macro photos, first correct your white balance/color temperature. This will remove any overall color cast in your photo. Many macro photos can be improved by warming up the color temperature.
Check the exposure of the image (use the histogram if available). Make sure your details are not lost in highlights or in the shadows. If they are, make adjustments until those details begin to reappear. In the adjustments sections of your software or app, considering “painting” more light on the subject if needed. If you choose to use a vignette, be subtle with it.
Most editing programs allow you to adjust hue, saturation, luminance, or vibrance. Luminance will bring up the intensity of the pixels (similar to the “lux” slider at the top of the editing screen on Instagram) and this can benefit your macro photos. Avoid strong colors and oversaturation of colors and don’t use filters or presets. These typically do not improve macro images.
When you use sharpening, don’t overdo it. Use the masking effect to make sure you are only sharping the edges of your subject and not globally sharpening everything. Sliding sharpening to 100% is never the right thing to do.
You can, of course, make other adjustments as you feel are necessary, just use moderation.
Finally, crop your image to emphasize the subject. You are already close, so there is no need to overdo this aspect of editing either. You can use the crop feature to get rid of any distractions or to place your subject off center for dramatic effect (along a rule of thirds line) or leave it centered to create symmetry.
Hopefully these tips will convince you to try macro and help improve your images. Macro doesn't have to be expensive. You can get started for less than $20 using your phone! Of course, once you begin macro you are likely to fall in love with it. If that happens, you may want to invest in a dedicated macro lens for a DSLR or mirrorless camera. These will provide better image quality overall, but they can be quite expensive too.
In the meantime, go explore the tiny world around you and when you share your images on social media, please be sure to tag us (Twitter @focusedcamera and Insta @_focusedcamera and #photofun). We'd love to see what you create!
Are you interested in product photography as a business you can start at home? Do you need to promote your own products, such as jewelry, on a website like Etsy? Maybe you are looking for photography ideas just for fun? If you answered “yes” to any of the above, then you need to keep reading! We’re going to explain the simplest product photography setups that are also budget friendly using items you probably already have around the house. So let’s get started!
First of all, once you have your products gathered, you will need backgrounds. The size and type of background you choose will depend on the size of the items. Smaller items can be places on colored wrapping paper, scrapbook papers, tissue paper, even brown paper bags work with some products. Contact paper and wallpaper can be used for medium sized objects. Some papers have patterns that look like marble and wood; however, solid colors may be a better choice for a few reasons. First, patterned papers may be copyrighted and if you plan to sell an image or promote another company’s products you would need to secure copyright permission to use it. Secondly, some patterned papers may compete for attention with the product. Tin foil, slightly crumpled and then flattened, makes a nice bokeh (background blur) and in larger pieces can be used for large objects and even for portraits.
Larger objects may require a large poster board, a roll of backdrop paper, or you can use fabric. Fabrics come in many different textures, colors and patterns including reflective and wood-looks! If you don’t have fabric or you don’t want to make a purchase, you can also use fabrics from blankets, sheets, and items of clothing. Fabric can also be draped around objects and under objects.
My favorite “hack” for product photography backgrounds is to use a computer laptop screen or tablet screen with images on them. I download an image that is free to use for commercial and business purposes from a website like Pixabay or Pexels and use it full-size on the screen behind the object. Websites like these have thousands of images you can choose from and there is no worry about copyright! You can quickly switch out images until you find a background that you really like.
The only drawback to using the computer screen is that you have to be careful about glare and bright reflections. We’re going to explain how to take care of those issues in the section on lighting, but first we need to finish with the setup.
Depending on the item and how you choose to set up the background, your background might also be under your item. For example, if you are using fabric you might drape it under and behind the object, or shoot at an angle where you don’t capture the foreground or the background. When using paper or a backdrop roll, many photographers set the paper up in a “sweep.” This means that the paper is vertical behind the object, but then at the base it is curved out and under the object horizontally so there are no seams.
In addition to paper and fabric, there are other items you can place under products such as old pieces of tile or waste sections of countertops. For example, when installers cut out the section of the countertop for a sink hole, that piece is often waste. Tile, such as crisp white subway tiles make nice backgrounds for food photography. Natural stone tiles complement products like perfumes and essential oils or soaps and make nice contrasts with cut gems and pearls for jewelry photography.
An old photo frame can be repurposed as a platform to put object on. Placing colored paper or fabric under the glass or Plexiglas allows the color to show but you also get a nice reflective property. This is especially effective with white and a white background.
My favorite item to use as a platform is an old tablet. The glossy black makes a nice reflection, especially for tech type items or jewelry. As an example, we took a simple charging block and used the laptop screen as a background. With practice you will start to get a feel for what types of backgrounds and platforms will complement the products you are taking photos of.
Many product photography setups also make use of additional props. While having the object by itself might look very nice, sometimes other items are needed to balance the image or improve the overall feel of the composition. The props can be simple and many items can be found around the house. Rocks and tree bark can make nice textures. Wildflowers, leaves, grasses are all good too. Small and medium size boxes can be used as props or for height so you can stagger the height of items.
In the ring images previously seen above, we used a piece of tree bark from the woods near our house. We set the wood on a small black box to give it height and a computer screen was used as the background.
Leaves, acorns, seed pods, pine cones, and other natural items like shells are also good choices. Once you start to gather items, you can keep them in a little shoe box and have them available to reuse. For food photography, some props might include powered spices, wooden spoons, nice china cups or plates, herbs, and sugar cubes. There is definitely an art to the arrangement of items and you will learn what looks good and what doesn’t through trial and error, as well as practice. Looking at examples of similar items online can also spark your creativity and provide ideas for arrangements and props.
Now let’s talk about lighting and light reflections.
If you have a window area where you can set up a table, like a card table, then you can use free natural light! If you are using a computer screen or tablet as part of your set up you will need to adjust the direction of your setup as well as the angle of the computer screen so that you are not getting reflections from the camera’s point of view.
If you don’t’ have a window area, or even with a window, you might still need additional lighting. It is always surprising to me how much light is actually needed for most photos! The exception would be if you want to try “low key” lighting. For low key lighting you actually need a room that is dark! (Visit our website at https://focusedcamera.weebly.com/free-mini-tutorials-videos--extras.html and sign up for our email list and you can get an instant free download for low key lighting at home).
Additional lighting does not have to be expensive. It can be very inexpensive lights from hardware stores, such as the clamp style lights used as work lights out in the garage. A two pack of clamp lights is under $20 and they even have built in reflectors on them! You can also get bright LED lighting – a pack of two – for under $30.
Professional photographers might be aghast at the suggestion and tell you that you need professional lighting. Professional lights can cost hundreds of dollars and while they do have benefits, such as allowing you to adjust the color temperature or intensity of the lights, there are workarounds to save you the expense. When you take photos make sure that you shoot in RAW, that way you can adjust the color temperature in Lightroom or other editing software. If the lights are too intense, move them farther away! You don’t need flashes or lights that are timed with your shutter release (unless you are doing water splash photography). For the majority of product photography you can use continuous lighting, like that light you might already have out in your garage.
Now that you have all your lighting taken care of, let’s go back to glare and reflections for a moment. If you are getting overhead glare turn off overhead lights. Rotate your table and your entire set up so you are getting as much light as you can, but keeping the direct reflections off your product (and/or computer screen) from the camera’s point of view. Make sure if you use the computer laptop screen that you test different angles to get the least glare. Using some creative movement you usually can find a sweet spot where you don’t have hot spots and reflections.
However, that still might not be enough. Sometimes you will need a way to diffuse light. There are several “hack” solutions for this. If you have a large area, like a whole window area, a white fabric shower curtain (I got one at the $1 store) can diffuse light. This also works well for portraits.
You can diffuse the light on your flash or your extra LED lights by making a softbox or using tissue paper. There are plenty of DIY instructions online for making flash and light diffusers and softboxes. Be careful that you never put paper or fabric over the hot style lights like incandescent and halogen – that would be a fire hazard!
You can also make your own “light box” using a big plastic bin like the one I use in my setup. It’s not perfectly clear, so it diffuses the light. Bins like these are available at the hardware store and you might even be able to get one at the $1 store. There are also lots of DIY tutorials online for making light boxes for product photography using a large cardboard box and white tissue paper and white poster board as the backdrop.
Now you are ready to take some photos! Obviously, you need a camera. The camera you use does not have to be expensive or even a DSLR. The charging block image above was taken with an older generation Android phone. Current smartphones are even better. Some of the other images shown as examples throughout were taken using a very old Rebel camera. You do not have to invest in an expensive camera to get started taking product photos. Whatever camera you have on hand is the best camera to use!
You can shoot handheld if you are steady. If you have enough light shutter speeds should be fast enough, but if you are going to invest, I would spend the money for a great tripod, and get one that can also allow you to do some flat lay work. I love my Manfrotto tripod and the 90 degree shooting tilt has come in handy for more than just product photos.
Now a few final tricks, or “hacks” for some cool effects! If you want to suspend something, then clear fishing line can be used to make items look like they are levitating. You will need Photoshop or a similar program to edit out the fishing line in post. It can also be a good idea to also secure the item at the base so that it is not swaying around.
When you have an object that just won’t stay put, some console tape or gaffer’s tape and help keep items in place and when removed they do not leave a residue. A loop of console tape held the ring in place in the images I included above. If any of the tape shows you might have to edit it out later.
If you want some cool colored lighting, try a colored gel or tissue paper over your camera’s built in flash or over top of your lighting (again do not put paper over hot bulbs). Some inexpensive LED puck lights can also create interesting effects when placed under or behind objects. Some smartphones and apps (Flashlight app on iOS and Color Flashlight on Android) also allow you to change the color of your phone screen and use it as a light. These colored lights can also be used for creative effects.
So there you have it, a complete set up for product photography using items you probably already have around the house! Even if you have to buy some garage lights, some colored papers or fabric, and make a diffuser for your window or a light box for your products, you can have an awesome setup for under $50.
It’s the most inexpensive, simplest set up for your product photography!
We’d love to see your images, so share them with us on Twitter @focusedcamera and use the hashtag #photofun.
Whether it’s to celebrate the New Year, Fourth of July, Diwali, or a birthday in the backyard, here are a few tips to capture those sparkly, colorful delights!
A fireworks display may seem like a challenge, but even a beginner can get some great photographs with some advance planning and a few specific camera settings. You don’t need fancy extra equipment either – just a tripod, a piece of non-stick tape, and a black piece of paper large enough to hold in front of the camera lens.
Location, Location, Location
Knowing in advance where the fireworks will be allows you to scope out a good location to shoot from. Look for a place with higher ground and an unobstructed view. You don’t want telephone wires or street lights in your shot. A backdrop with some trees or buildings or monuments in the perimeter of the shot can make effective compositions, but these need to be off to the left or right or bottom, not where they will block the fireworks. Pick a place where you can have space to set up your tripod and where the camera will be able to get the full firework in view. Think ahead to when the location will be full of people and make sure that other parked cars or people standing around won’t be in your way. Depending on your camera lens options and whether they are primes or zoom lenses, you might have to visit a few locations before you find one that will work. Plan to be there in advance, while it is still light outside so you can claim your spot!
Which camera lens?
You may not have many options. Many beginning photographers have only the kit lens that came with their camera. This is usually an 18-55mm lens and it is a good choice. Generally speaking, you will want a wider angle lens (the 18mm to 35mm range) so you can get the whole firework and sky around it in view. However, if you will be very far away, you may need a zoom, or even a telephoto lens like an 18-200mm. This brings us back to the location… it is important to scope out the location ahead of time and bring your camera, tripod, and lens with you. Set it up in daylight to make sure your lens and location combination will work.
(For more information about lens focal lengths and their uses see our blog post on this topic.)
What camera settings?
If you are using a new camera or haven’t had time to read your camera manual, you will want to find these settings and practice with them in daylight so you won’t be fumbling around in the dark trying to figure them out. No camera manual? No problem... go to this page to download your manual. Here’s the list of what you will need to know, then we will go over what to do with those settings next:
Getting Set Up and Getting the Right Settings
Set up your tripod. Legs should be open at their widest angle (and locked if your tripod has that function). Decided how “tall” to set the tripod. If you are in windy conditions, you should take care to secure the tripod and if at all possible DO NOT fully extend the leg height and definitely do not raise the center column. This makes the tripod less stable. Once you have the tripod secure (remember you will be moving around it in the dark – you don’t want it falling over), firmly attach the camera. The lens you will be using should be attached and set to the level of zoom (if it is a zoom lens) you plan to use.
If your lens has image stabilization, you can turn that off while on the tripod. If you are attempting photos without a tripod, then leave image stabilization on. A tripod is highly recommended for nighttime photoshoots.
If your camera has settings for noise reduction or long exposure noise reduction, you should turn those on. Also in the settings, change your file type to RAW (this will allow more editing options later).
We are going to be using Manual camera mode, but beforehand, while it is still in Auto camera mode, set the focus on your lens to “infinity.” You should be in location when you do this. First you have to turn off Auto Focus on your lens (a switch on the lens or near the lens on the camera body) or in the camera settings (menu) or both. This is NOT the dial that changes camera modes. Once you have Auto Focus turned off, you will manually turn the focus ring on the lens to the infinity mark* (the symbol on your lens looks like a sideways number 8). It is possible to focus past infinity. Today’s autofocus motors need room to make adjustments at higher speeds so the hard stop that you would find on a manual focus lens is not a hard stop on an autofocus lens. Look for the symbol and notice that you can probably turn past it. Turn back until you are on the symbol. Test the focus during daylight (that is why you are setting up early!). Focus on a very distant object near the horizon, like a building or a tree.* Take some test shots and then zoom in on the photo review on your LCD screen. Make small adjustments to the infinity focus by moving the focus ring on the lens. Once you have the focus locked in, you can use a piece of non-stick tape like painters tape or gaffers tape to hold the focus ring in place. That way if you bump it in the dark it won’t move. You can also use your phone to take a photo of the numbers/markings on the side of your lens once you have it set. Then if it does move while you are in the dark you can use the photo and your flashlight to reset it.
*Alternate method, works with some cameras, but not all, and can be used for lenses with no outer markings for infinity. While the lens is in autofocus mode, use a very white piece of paper that is very well lit, and hold the paper up in front of the lens, about 4 inches from the lens. Make sure the white fills the viewfinder. Then 1/2 press the shutter/autofocus button. This should set the lens to infinity focus. Change over to manual by changing the switch on the lens/body or in settings.
Photo by FocusEd Camera
A word of caution, if you get set up, and once the fireworks start your level of zoom needs to be adjusted, changing the zoom can (and often will) change the focus of the lens as you zoom in and out. Some lenses have fixed focus, but many, many more are variable focus. What this means is that your infinity focus may no longer be set properly. This is why it is important to scope out your location with your camera and lens ahead of time. Get your composition and framing set up and then don’t touch it. However, if you MUST make changes, you will need remove your tape before you zoom in or out. Then take test shots of the fireworks and use your LCD review to check the focus is still good. If not, make adjustments to the focus ring on the lens. Once the focus is set again, reapply your piece of tape to keep the focus locked.
Now we are ready to switch the shooting mode to Manual mode using the camera dial. Changing to Manual mode will now allow you to control all three aspects of the exposure triangle -- ISO, shutter speed, and aperture.
If your camera has a shutter speed setting called “bulb” or a camera Bulb mode, then that is what you will want to use, we will come back to that. Otherwise, for all manual mode users, you can start off with a shutter speed of 1/10 of a second and make adjustments from there. Set your aperture at f/8 to begin with. Set ISO low at 100.
If you are setting shutter speed at 1/10th of a second, take some test shots. If the shot is too dark (underexposed) use a longer shutter speed, open the aperture, or change ISO to 200. If the shot is overexposed, close down the aperture to f/ll.
Longer shutter speeds will capture longer light trails on the fireworks. You can set shutter speeds to several seconds or even longer and this is where a “bulb” setting comes in handy. This setting can also allow you to capture multiple firework bursts in the same exposure. With “bulb” setting once you press and hold, the shutter remains open until you release it. You can do this on camera (but it might produce camera shake) or you can use a shutter remote. Shutter remotes typically cost under $20 and can be used in many different ways for many genres so you will get your money’s worth from one of these gadgets. Be sure to get the right kind for your camera (check compatibility before ordering). Some cameras are equipped with Wi-Fi so with those you can download apps – like Canon’s Camera Connect app -- that let you take the picture from your phone.
For some camera users the "bulb" setting is a camera mode and is on the dial. For other cameras "bulb" setting is in the shutter settings if you continue to increase the shutter time past 30 seconds. In either case, when using “bulb” setting it will affect your shutter speed and allow for longer exposures. Therefore, an aperture setting of f/11 is probably a better starting point so you don’t end up with overexposed images. Start with an ISO of 100. You will need to take some test shots and since fireworks shows typically last 30 minutes you should have the opportunity to make adjustments. Try starting the exposure in “bulb” setting by pressing and holding the remote and leaving it open (continue to hold) for three fireworks bursts, then release. Check your work. You can try four or five bursts and if you start to get overexposure, adjust the aperture by closing it down to f/16 (or by one-third or ½ stops if your camera allows).
Photo by FocusEd Camera
And here is where that black piece of paper I mentioned at the beginning comes into play. When using “bulb” mode you can expose the full firework burst or multiple firework bursts. Just use the black paper to keep the lens covered (hold it in front – does not have to be directly touching) until you want to start exposure and in-between fireworks bursts. This can work with manually set shutter speeds too (set the camera shutter speed to 30 seconds or whatever length your camera allows that you want to try). The steps are like this:
If this seems complicated, take a few deep breaths… this is not beyond your skill level. Read over your camera manual and practice with making the setting adjustments while you are in daylight. In other words, know how to switch the ISO from 100 to 200 and know how to close down the aperture (smaller opening = larger f/# = less light, use when overexposed/image too light) or open the aperture (wider opening = smaller f/# = more light, use when underexposed/image too dark). Know how to set the shutter speed. Start with the settings provided of shutter 1/10th second, ISO 100, and aperture f/8 while focused far out in the distance (manual focus at infinity) on a tripod, and you should get good results!
Want to stay in touch or share your fireworks photos? Follow us on Twitter @focusedcamera and tag us in your posts!
P.S. Have you ever wanted to try “light painting” with sparklers? The process and settings are almost the same – just focus where your subject is instead of out at infinity. Set up the tripod and focus point in daylight beforehand by having your child or friend stand in the location where you will be using the sparklers then lock the focus in (use a piece of non-stick tape and keep the lens set to manual focus).
Disclosure: Some of the links below are affiliate links. Please read the full version of my disclosures for more information. If you make a purchase through one of these links, we make a small commission (at no cost to you).