Recently, we shared our first two #CreateYourLight Shooting Marco Food Photography Tips, Theme 20! Today, we share the remaining three by Food and Fresh Products Photographer Cruise lady And action sports and mountain sports videographers Aureli Gonin! Here’s our invitation to use their tips …
Create something epic
When you look through the macro lens, you will see more details. Like a true macro lens NIKKOR Z MC 50mm f / 2.8 Has a magnification ratio of 1: 1 (life-size). You can shoot pictures of small subjects সহ with accurate and sharp reproduction of every detail.
Aureli says a macro lens “lets you see what you can’t see with your eyes.” You may think what you are seeing — but then you realize that you have the opportunity to create something epic.
If you’ve ever tried to capture extreme close-ups with a smartphone or a simple point-and-shoot camera — or a non-macro lens আপনি you’ll notice that the focus becomes blurred as you get closer to your subject. You may even have to move farther than you want before you can take a sharp shot. Like a lens NIKKOR Z MC 50mm f / 2.8 That’s not a problem because it has been optimized for macro shooting. In fact, with this lens you can achieve sharp focus even when the front of the lens is only 5.6 cm away from your subject!
Details and Textures: Show what your eyes cannot see
Details and textures are very important in food photography — and with the help of a macro lens like the NIKKOR Z MC 50mm f / 2.8 you can capture the unseen beauty that fascinated Tenerife’s Aurelie.
You can use NIKKOR Z MC 50mm f / 2.8 on any Nikon Z camera, like a full-frame camera With 5, 6II And 7II, Or like a DX-format camera From 50.
When used in a full-frame Z series camera, you can use the lens as a ‘normal’ 50mm lens and take great landscape shots, street scenes and portraits, or you can shoot stunning macro shots. This is similar to a DX Z series camera: you can use the lens as a ‘regular’ lens or a macro lens. When you focus and the lens barrel expands, it makes it easier to see the barrel marks when you are shooting at a ‘True Macro’ 1: 1 (Life-Size) magnification ratio.
If you shoot with a NIKKOR Z MC 50mm f / 2.8 on a Z series DX mirrorless camera, your photos will be known as ‘DX Crop’. This means you will get shots that look like they were shot with a long focal length. For the NIKKOR Z MC 50mm f / 2.8, you’ll get a 75mm crop.
Another great thing about the NIKKOR Z MC 50mm f / 2.8 is that it is small and light: you can easily keep it in your camera while rotating. You can capture great close-ups without using a tripod if you’re shooting with one Nikon Z camera With in-camera vibration reduction image stabilization (With 5, With 6, 7 incl, 6II Or 7II)
Find the best lighting for close-ups
Donna is keen to try your hand at making as many detailed, tack-sharp food shots as the ones we make. Video? It’s all about understanding your light source.
The key is where the light comes from. Donna and Aurelie call it ‘directional light’. This means that light is coming from one side, which creates highlights in one part of your subject and grades in beautiful shades on the other side. Donna and Aurelius show an egg how the light from the side of your subject or on top of your subject creates a shadow that is what you are shooting in its environment তাই so you don’t end up with a shot that looks fake.
Donna and Aurelie both agree that the kind of shadow that light casts is important. Donna says a soft shade is best for creating an attractive image – and for a soft shade you want soft light.
Textures and dimensions are also important in food photography. Try your subject from different angles and you will see how the light changes its appearance. The front light creates a flat, two-dimensional shot. The side lighting dimensions and textures really make it pop.
For videography, Aurelie also likes backlighting, which she says is great for highlights and shadows. Donna also likes backlighting, for certain types of food items or to show depth and clarity in a glass of champagne.
The light you use will depend on what you want to achieve. It is important to test and find your perfect light before setting up your shot.
Tip 3 of 5: Egg test
Wondering where to try your new lens? Want to see how the light will affect your subject? Donors have a simple test.
Move an egg around your home or in your shooting area. Take pictures with front and side lights and backlighting. You will soon see how different light sources differentiate each egg.
As Donna says, your family may think you are crazy — but it’s a great way to discover how light affects your subject.
Artistic Macro Photography র Compose as a Professional!
The colors of macro photography can be incredibly captivating, and playing with some fruit on a dazzling background is a simple but effective way to improve your writing skills.
Check us out Video For donor tips on composing with color and negative space. Negative space simply means that you are giving your subject a breath of fresh air with some space in your composition.
You will find that Donna has a beautiful arrangement of citrus fruits on some of the local tiles she has found. The complementary colors of the fruit and tiles really make the picture come alive. “Try to place the fruit in a semicircle,” Donna said, so there is still some negative space through which the eye can travel. It is the movement of the eyes that helps you to draw a picture of a stable-life food.
Filming a fixed subject – different angles tell a story
Of course, you don’t just have to shoot steel. Between us Video, Aurelie shows us how you can film from different angles to tell a story, and you can also create movement while filming static subjects like food.
Check out the part where Aureli filmed a dish of ‘Lingua de Fusco’ (tongue of fire) beans গুলি these are amazing looking red-and-white beans.
To shift the focus from the first to the last bin, Aureli rotates the focus ring on the lens and shifts its focus plane. You can also do this using your touchscreen Nikon Z camera– Change your focus point by touching the overlaid squares that show you all the different focus areas.
Sharp Shooting 101: Find the plane of your focus
The NIKKOR Z MC 50mm f / 2.8 will help you capture the ultra-sharp macro shots in detail. Finding and keeping that razor-sharp look can be a bit of a challenge বিশেষ especially if you’re moving forward with a smartphone that does everything for you! Don’t worry, though. Follow these simple rules and you will be able to shoot sharply in no time.
You get sharp focus by focusing on your subject and pressing the shutter-release — so? That’s true. But in the macro world, even a small change in the position of your camera can change the point of focus so much that you lose the detail you thought you had captured. Perhaps you focused specifically on the eye of a bug, just pressing the shutter and seeing that you have taken a very sharp picture of its hind legs …
It’s because of something called ‘Plane of Focus’. The plane of focus is a two-dimensional plane where everything is in perfect, sharp focus. It’s easiest to imagine a glass blade in front of the camera. Your sharp focus point sits on that glass.
Anything in front of or behind that plane is out of focus. The farther it goes from the plane, the more focus it becomes.
Sharp Shooting 101: Go deep into the field
There is an area around the plane of focus, both in front and behind it, where things are still in sharp focus. The distance between the nearest object in focus and the farthest object still in focus is called ‘depth of field’.
This is the depth of field you want to use to keep your small subject or close-up details beautiful and sharp. If you’re new to macros, a great way to do this is to make sure your field has the most depth possible. In other words: the distance between the nearest in-focus object and the farthest in-focus object is as large as possible.
Now, when you get close with a macro lens, the depth of field will never be huge. It is always called ‘shallow’ or ‘thin’. You only have millimeters to play with. But when you’re shooting a ladybug or piece of fruit and want to focus on her head or the details of that minute, an extra millimeter or two can make all the difference!
To increase the depth of field, increase the number f /. The NIKKOR Z MC 50mm f / 2.8 has a maximum aperture of f / 2.8, which is great for achieving beautiful background blur (bokeh) when shooting non-macro. For macro shots, though, you’ll probably want to use a larger f / number.
The f / number lets you know which aperture you are using: the smaller the number, the larger the aperture. By increasing the number f / you create a small aperture for light to come through the lens, which increases the depth of field.
Tip 4 of 5: Doing Video Shooting? Take advantage of your plane of focus
While in Tenerife’s studio, Aurelie shoots a video clip of frozen blueberries: to do this, she removes a very thin spot to focus on the berry – creating a real ‘wow’ effect. This is achieved by moving the lens of focus closer to the subject. Everything outside of this razor-sharp plane of focus is neatly blurred.
If you look Video, You will see Aureli doing this NIKKOR Z MC 105mm f / 2.8 VR S Lens, and he is using a maximum aperture of f / 2.8. You can achieve very similar effect with NIKKOR Z MC 50mm f / 2.8
Bring speed to stills — move quickly, slowoooooo
Fancy trying to get the perfect shot of icing sugar sprinkled on biscuits?
In our Tenerife shoot, you can see Donna speeding up her food photography as she sprinkles icing sugar on biscuits. Its use Nikon Z cameraIts interval timer, he is able to time a series of static shots. The camera will take as many shots as Donna has programmed, which gives her time to get her hands on the shots, adding a nice feeling of movement.
Aurelie also enjoyed taking pictures with biscuits sprinkled with sugar. He shoots the same scene at normal speed and slow motion because he says that some of his normal movements are great. VideoUsing the very movie shooting menu, he chooses a frame rate of 120 fps to get 4x slow motion — which allows him to show every hidden detail of movement as the icing sugar drops.
Tip 5 out of 5: Do not use Auto White Balance when taking pictures
If you change your position around an object during filming – as Aureli does when he slowly films biscuits – you will notice that the colors change as the light changes. This happens when your camera is set to AWB (Auto White Balance). This setting automatically adjusts the white balance (which keeps the color balance in your image). When you move around the image, that balance changes because the automatic setting wants to re-balance the colors according to the different types of lighting.
When you want to film a static subject from different angles, color change is probably not the look you are trying to achieve! To avoid this, all you have to do is set White Balance to a setting other than Auto. The camera will then consistently apply the same balance from each angle and show the same color of your subject in each shot.
Get in there. Waaaay there. Just how can you go macro? Show us the details and the smallest things in a really big way Go deep into your passion and tag your photos with #Createyourlight for a chance to be featured in the gallery.
