Fringed Gentian / Photo by Vic Berardi

For example, one day earlier this fall, I set out to photograph one of my favorite fall wildflowers: the Fringed Gentian (Gentiana crinita). They’re generally found in open areas next to higher quality wetlands, and usually grow in clumps of a hundred or more flowering plants.

Photographing them can be challenging since their habit of growing in clumps can make it hard to isolate one or a few of them in an image. Nevertheless, the Fringed Gentian is a beautifully delicate wildflower that deserves the very best attention in depicting that very beauty and fragility.

The first location I chose had numerous plants: well over a hundred. I tried taking a few photos of grouped flowers, but didn’t get the image I was looking for:

Fringed Gentian / Photo by Vic Berardi

This photo is a typical point-and-shoot shot: properly exposed and acceptable sharpness given the limitations on depth-of-field. However, the lighting and composition are questionable. Your eye wanders around from flower to flower trying to get some meaning to the photo. And, the high contrast from the direct sunlight adds harshness where harshness is not characteristic of such a lovely wildflower.

So, next I tried to find an isolated flower with a good background. This was also tough, as you can see in this photo:

Fringed Gentian / Photo by Vic Berardi

This photo follows some of the guidelines of composition and is properly exposed with good sharpness. But, it still lacks intensity and only hints at the beauty of the flower.

Next, I tried a completely different angle, but with the same lighting conditions. I wanted to find the same isolated look and came across a suitable pair of gentians along the trail. I decided to try and photograph this pair straight on, but they were only about 10 inches tall, so I needed to remove the center post on my tripod to get it very low to the ground.

My first attempt produced this photograph:

Fringed Gentian / Photo by Vic Berardi

This shot was taken with my Canon 60D, Canon 300mm f/4 lens with a 12.5mm extension tube, and shot at ISO 200, f/11, 1/100 second.

But, this photo has a distracting background, and too much direct sunlight.

So, I decided to move in a little closer (about a foot or so), to decrease depth of field and get that background a little more out of focus. I used my camera’s depth of field preview button to help determine when I got close enough.

To battle the direct sunlight, I decided to try and add some light by using my Canon 580EX flash unit with a soft box attached to diffuse the harsh flash lighting. I set my flash to a minus 3 EV.

Here’s the photo I got after making these two changes:

Fringed Gentian / Photo by Vic Berardi

This photo shows a much better background along with subtle lighting of the underneath parts of the flower. But, I still wasn’t satisfied with the result. After spending close to five hours photographing this species of flower, I still did not capture the delicacy and beauty these flowers hold in my mind.

As I was thinking of what to do next with the available circumstances and the minimal amount of equipment I carried into the field, I noticed that some very scattered thick cumulus clouds were moving in overhead. Typically, cloud cover creates great lighting for flower photography, but these clouds were thick and blocked out most of the sunlight which would require longer shutter speeds and wouldn’t allow me to use the smaller aperture I needed for depth-of-field. There was also a slight breeze and so I had to wait for that precise moment when the flowers would not wave back and forth to allow for my 1/100 second shutter speed.

What I decided to do was try a shot with my flash at minus 1 EV the moment one of these clouds passed over the flower, darkening almost everything. I fired the shot, looked in my viewfinder and finally saw the image I was trying to get all day!

Fringed Gentian / Photo by Vic Berardi

So, the lesson here is: sometimes it takes some experimenting to get that image you’re looking for. You might start with something basic, but then as you continually make small adjustments, the image will eventually evolve into your original vision.

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About the Author: Vic Berardi is a raptor lover that lives in the Midwest. He is the founder of the Illinois Beach State Park Hawk Watch and every weekend of the year you’ll find him searching for hawks and photographing them. Several of his photographs have been published in a leading raptor journal and in articles he has written. During the year he gives presentations teaching others about hawks and hawk migration. Vic also photographs dragonflies and wild flowers and is always respectful of nature and its creatures.

Related posts:

1. The Secret Ingredient to Good Nature Photos
2. 5 Essential Tools For Closeup Photography
3. Quick Tip for Identifying Your Unknown Subjects

Many camera lenses come with some kind of lens stabilization technology. It’s usually called something different by every camera manufacturer (e.g. Nikon calls it “vibration reduction” and Canon calls it “image stabilization”), but they all have the same goal: helping to stabilize your lens.

It works great for those times when you’re forced to hand-hold your camera, but you should always make sure to turn it off when your camera is on a tripod.

The stabilization technology works by unlocking part of your lens, which allows the lens to “correct” movements. But, when your camera is sitting still on a tripod, the stabilizer will often look for movement that isn’t there, resulting in a blurry photo.

To illustrate this, take a look at the two photos I shot below. For both shots, my camera was locked onto a stable tripod. In the image on the left, I had the lens stabilization turned OFF. And, then I simply turned it ON for the image on the right.

Both photos above were taken with the same camera, lens, and tripod. The camera’s position did not move between the shots, and the aperture/shutter speed/ISO also stayed the same. The only difference between the two photos is that lens stabilization was turned ON in the photo on the right.

Interestingly, as I shot more photos with the lens stabilization turned ON (and the camera still in the same position locked on a tripod), the images got sharper with each shot. So, it seems like this particular lens was able to “learn” that the camera was on a tripod. But, every lens works differently, so it’s not safe to assume ALL lens stabilization works like this.

Some lenses claim to have the ability to always detect when your camera is on a tripod (and it’ll turn off the stabilization automatically), but I wouldn’t recommend relying on that feature. I’m sure that detection isn’t always 100% accurate (just like your autofocus isn’t always 100% accurate).

Plus, image stabilization uses up your battery. So, keeping it turned off will let you take more photos or shoot more video on one charge.

Btw, the text in the photos above is from the side of one of my favorite photography books: Ansel Adams In The National Parks.

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About the Author: Steve Berardi is a naturalist, photographer, computer scientist, and founder of PhotoNaturalist. You can usually find him hiking in the beautiful mountains and deserts of Southern California.

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2. 5 Essential Tools For Closeup Photography
3. How Perspective Affects Your Photos

Ansel Adams once said, “A good photograph is knowing where to stand.” But, before you know where to stand, it’s important to understand a few concepts about perspective.

I’ve written about perspective here on PhotoNaturalist a few times, but I’ve also written a couple posts about it over at the Digital Photography School (a great blog that covers all types of photography). And, one of those posts was just published today, so I thought it’d be good to put a list together of all the posts I’ve written about perspective:

Sometimes Close-ups Are Better From Far Away – with an example that shows how you get more control of your background if you move farther away from your subject.

Why You Need a Telephoto Lens for Landscape Photography – with an example that shows how you can manipulate the relative sizes of objects in your image, and how those different sizes communicate different feelings.

Understanding Perspective and Focal Length – a short introduction to perspective, and an overview of what types of lenses are generally used to capture different perspectives.

How to Create Intimate Portraits of Nature – with an example of how the height of your camera affects the feeling of your photos.

3 Reasons to Photograph Wildlife at Eye Level – how perspective affects the feeling and background of your wildlife portraits.

Sometimes the View is Better From Above – how the height of your camera affects the feeling you communicate in landscape photographs.

And, for even more information about how perspective affects your photos, I highly recommend reading the chapter “Basic Image Management” in Ansel Adams’ great book, The Camera.

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About the Author: Steve Berardi is a naturalist, photographer, computer scientist, and founder of PhotoNaturalist. You can usually find him hiking in the beautiful mountains and deserts of Southern California.

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1. Do You Refactor Your Photographs?
2. The Secret Ingredient to Good Nature Photos
3. When NOT to Use Lens Stabilization

Photo by Steve Berardi

But, there’s always that list of “essential” items we bring on a hike, so here’s a little peek at what I carry in my bag when I know I’ll be doing some closeup photography:

#1 – Light Diffuser

Since you won’t always have the most ideal lighting conditions, it’s helpful to carry around some tools to help you control the light. A light diffuser will probably be the one you use the most, because they help balance the light on your subject. You can get a light diffuser at a camera store, or make your own out of a wire clothes hanger and a shower curtain.

#2 – Remote Shutter Release

The remote shutter release prevents you from touching your camera when you snap the photo. And, this is helpful because pressing a button on the camera will cause it to shake a little, and that could potentially result in a less sharp photo.

#3 – Extension Tubes

An extension tube is a hollow tube that attaches to the back of your lens. It allows your lens to focus much closer to your subject, which helps a lot with closeup photography because getting closer will help you fill the frame and get a more out-of-focus background (remember: depth of field decreases as you get closer to your subject).

#4 – Tripod

To ensure you get the sharpest photo possible, it’s important to keep your camera steady. And, nothing will do that better than a tripod. Yeah, they’re heavy and take a lot of time to setup, but you’ll be happy you used one when you’re back home admiring your super sharp photos

#5 – Bean bag or soft cloth

Some of the most interesting subjects in nature are found so low to the ground that a tripod won’t work. So, you’re only option is to rest the camera directly on the ground, but if there’s a bunch of rocks on the ground that could be a problem for your camera. To avoid scratching your camera, it’s helpful to carry around a beanbag or even just an extra bandana so you can rest your camera on it for those super low shots.

What did I miss?

Is there another tool or camera accessory that’s been invaluable to you for closeup photography? Please tell us about it by leaving a comment below! Thanks

If you enjoyed this article, and would like to read more, please signup for free updates by email or RSS.

About the Author: Steve Berardi is a naturalist, photographer, computer scientist, and founder of PhotoNaturalist. You can usually find him hiking in the beautiful mountains and deserts of Southern California.

Related posts:

1. Quick Tip for Identifying Your Unknown Subjects
2. Evolution of a Nature Photograph
3. When NOT to Use Lens Stabilization

Photo by Steve Berardi

When you first meet someone new, the first thing you tell them is your name.

And, so naturally, when we photograph something we haven’t seen before, we immediately want to know what it is.

But, it’s not always easy to identify your subjects. Sure, you probably know all the common birds and insects of your area, but what if you’re hiking down a trail and see this amazing looking butterfly for the first time?

Well, there’s one thing you can do that’ll make it A LOT easier to identify that butterfly later:

Take photos from lots of different angles

Sometimes all that separates one species from another is a little dot on their back somewhere. And, these key features that help identify your subject are not always visible in the most artistic pose of your subject.

So, when you stumble upon a new subject, take that artistic shot first, but then get some photos from different angles to help you identify your subject later. You won’t always have time to take these “ID photos” (especially if it’s a bird), but always make the effort if you can.

For example, when I first saw the dragonfly pictured above, I had no idea what it was. So, after taking that photo, I also took a shot from above:

Photo by Steve Berardi

This one isn’t very artistic or anything, but it was extremely helpful in identifying the dragonfly because it shows those darker spots on the dragonfly’s wings (see blue arrows). Lots of different dragonflies look similar from the side, so the only way to differentiate some of them is by their wings.

By the way, the dragonfly in the photos above is a female Flame Skimmer (Libellula saturata). I always see lots of males in the summer, but this was the first time I saw a female.

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About the Author: Steve Berardi is a naturalist, photographer, computer scientist, and founder of PhotoNaturalist. You can usually find him hiking in the beautiful mountains and deserts of Southern California.

Related posts:

1. 5 Essential Tools For Closeup Photography
2. Evolution of a Nature Photograph
3. The Secret Ingredient to Good Nature Photos

Variegated Meadowhawk (female) / Photo by Steve Berardi

The photo above is a good example. The dragonfly is pretty bright, but the background is much darker. This strong contrast of brightness helps emphasize the edges, making the outline of the dragonfly appear much sharper.

This is actually how most sharpening algorithms work in post-processing software: by increasing the contrast of brightness between edges it makes those edges stand out more and appear sharper. That’s why oversharpened images have those ugly halos.

Of course, you won’t always be able to do this, but it’s something to keep in mind when you’re photographing more common or controllable subjects (like plants or common insects), where you’ll probably find a lot of different backgrounds available.

But, remember: the sharpest photo isn’t always the best photo. Your creative vision always comes first!

P.S. You may remember me talking about the dragonfly pictured above in a previous post.. Last year I tried to get a shot of a female Variegated Meadowhawk, but failed because of a poor background. I had better luck this year though

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About the Author: Steve Berardi is a naturalist, photographer, computer scientist, and founder of PhotoNaturalist. You can usually find him hiking in the beautiful mountains and deserts of Southern California.

Related posts:

1. Quick Tip for Identifying Your Unknown Subjects
2. The Secret Ingredient to Good Nature Photos
3. 5 Essential Tools For Closeup Photography

In a previous post, I explained how you can use an extension tube to focus closer with your lens. Using one of these hollow tubes can help you fill the frame when doing close-up photography of things like flowers or butterflies.

Well, when you’re also using a teleconverter on your lens, it’s important to attach the extension tube in between the teleconverter and the lens (so, the teleconverter should be closest to the camera body). This is a little trick that I just learned from an article by Arthur Morris in the latest issue of Nature Photographer Magazine.

I was interested to find out just how much the order matters, so I did a few tests with my Canon 300mm f/4L (a lens that I love to use for close-up photos) and a 25mm extension tube. Here’s a table that summarizes my results:

So, attaching the teleconverter and extension tube in the wrong order can cost you six inches! That may not seem like a lot, but it can certainly be the difference that allows you to fill the frame with your subject.

Filling the frame is important for a couple of reasons: it helps you get a sharper shot, and it’ll help you get a more out of focus background because it forces you to get close to your subject (remember the three things that affect depth of field).

In summary, here’s some photos that show the right and wrong way of attaching your teleconverter and extension tubes:

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About the Author: Steve Berardi is a naturalist, photographer, computer scientist, and founder of PhotoNaturalist. You can usually find him hiking in the beautiful mountains and deserts of Southern California.

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Today I’m happy to announce the release of a free eBook about photographing one of the most unique insects on the planet: dragonflies. The eBook was written by my father, Vic Berardi, who is an outstanding photographer of hawks, dragonflies, and wildflowers.

This 18-page eBook is not meant to be a complete guide on the subject of photographing dragonflies, but it includes many great tips for dealing with the unique challenges of dragonfly photography. You’ll get the most out of the book if you already have a basic understanding of how to use your camera (you’re familiar with the terms aperture, shutter speed, ISO, depth of field, etc).

Here’s what you’ll learn from the book:

• What equipment you’ll need, why you need it, and why even a point-and-shoot camera can be good enough for getting great dragonfly photos
• How to ensure you get the sharpest photo possible, while finding a good balance between depth of field, aperture and shutter speed
• How to get a good exposure, and the benefits of certain lighting conditions
• How to create pleasing compositions of dragonflies
• Why it’s important to understand the behavior and biology of dragonflies
• Where to learn more about dragonflies (with a recommended reading list)

The eBook comes in the standard PDF format, which you can view with Adobe’s free Reader.

Please share this book with your friends!

If you find the content of the eBook useful (and I know you will!), the best way to thank us is to share this page with your friends on Facebook or Twitter, or feel free to even e-mail the eBook to them. Just please do not sell it — it’s meant to be free

And, if you’re not already subscribed to PhotoNaturalist, then sign up for FREE updates by email or RSS. Thanks, and have a great day!

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1. New eBook on Wildflower Photography!

Photo by Steve Berardi (shot with a Canon G10 point and shoot camera)

The biggest problem you’ll run into with the point and shoot camera is the large depth of field you get from the super small sensor. This limits some of your options, but there’s a few ways to get around it, and as always, light also plays a huge role in the success of a photo.

So, here are a few tips for photographing wildflowers when you’re limited to a point and shoot camera:

#1 – Enable the “Macro mode”

Most point and shoot cameras have a special “macro” mode that allows the lens to focus at a much closer distance. This helps you fill the frame with smaller flowers, and create a more out of focus background (remember the three things that affect depth of field).

#2 – Maximize the zoom on your lens (just optical zoom though!)

Another thing you can do to create a more out of focus background is maximize the zoom on your lens. Make sure you only use optical zoom though. The digital zoom on point and shoot cameras is really just a poor digital interpolation that will likely degrade the quality of your photo.

#3 – Turn off the flash

If you’re in a shaded area, your camera may want to fire the flash if it’s set to auto (the default on most cameras). But, the flash could ruin wildflower photos by creating that weird artificial light look and casting harsh shadows. So, remember to turn off the flash.

#4 – Use the lowest possible ISO speed

Unlike SLRs, point and shoot cameras usually have very poor performance at high ISOs, so to avoid getting super noisy images, make sure you’re shooting at the lowest possible ISO value of your camera.

#5 – Wait for an overcast or cloudy day

Overcast or cloudy skies will help create the perfect lighting conditions for photographing wildflowers. The clouds act as a natural light diffuser that balances the light on the flower (preventing blown highlights and harsh shadows that you’d experience on a bright sunny day).

#6 – Use a light diffuser if you can’t wait for a cloudy day

If you can’t wait for an overcast day, or they rarely occur in your area, you can also make an artificial light diffuser that also works quite well.

#7 – Find a flower with a far away background that contrasts well with the flower’s colors

The background plays an important role in wildflower portraits: it helps draw attention to the main subject, the flower. So, look for a flower that has a background that not only contrasts well with the flower, but is also far away (5 ft or more). The farther away the background is, the better: this will dramatically help you get that out of focus background on a point and shoot camera.

#8 – Take more than one shot (at least 3 or 5)

To help increase your chances of getting a sharp photo, remember to take more than one shot. Even on a seemingly calm day, flowers can be seen bouncing frantically through the air. Taking a couple shots will help ensure you photographed the flower when it was still.

#9 – Find a flower that’s in good shape

There’s always creatures that like to eat flowers, so spend some time looking for one that’s in good shape (e.g. not missing petals). Some flowers are also more saturated than others of the same species, so be on the lookout for these gems.

What did I miss?

If you have another favorite tip for photographing wildflowers with a point and shoot camera, please share it with us by leaving a comment below! Thanks

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About the Author: Steve Berardi is a naturalist, photographer, computer scientist, and founder of PhotoNaturalist. You can usually find him hiking in the beautiful mountains and deserts of Southern California.

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Bigelow's Monkeyflower / Photos by Steve Berardi

They were both taken of the same flower, with the same camera settings. The only difference between the two shots is the position of the camera.

I’ll take a wild guess that you like the first one more. And, I think this photo is better because it has more of an intimate and friendly feeling to it.

Now, part of the reason the first photo has this intimate feeling is because the flower is more isolated from its background.

But, what’s more important here is the perspective: the first photo was taken from a position looking directly at the flower (which stood just a few inches high). I was lying down on the ground with the camera on the same level as the flower, almost as if I was seeing eye-to-eye with the flower (if the flower had eyes, hehe).

The second photo was taken from a more elevated position: I was kneeling and looking down on the flower with my camera. When we look down on things, we tend to have a slight feeling of superiority or conquer, and this diminishes that friendly feeling.

I’ve talked about this topic before, as it applies to photographing wildlife, but I think it’s just as important for any kind of nature portrait. The position of your camera in relation to your subject (whether it’s above, below, or on the same level), will determine the feeling you portray in your photo.

So, to create that intimate and friendly feeling in your nature portraits, you have to photograph your subject on their level. You have to see them eye-to-eye.

Sometimes this might mean lying down on a bed of sharp rocks and being sore for a couple days, but the rewards are well worth it

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About the Author: Steve Berardi is a naturalist, photographer, computer scientist, and founder of PhotoNaturalist. You can usually find him hiking in the beautiful mountains and deserts of Southern California.

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