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Closeup Shooting
 Editor: Gerhard Rossbach · Translation: Christina Schulz · Copyeditors: Don Lafler, Samuel Dixon
Layout and Type: Cyrill Harnischmacher · Cover Design: Helmut Kraus, www.exclam.de
Printer: Friesens Corporation, Altona, Canada · Printed in Canada

ISBN 978-1-933952-09-3

1st Edition
(c) 2007 by Rocky Nook Inc.
26 West Mission Street Ste 3
Santa Barbara, CA 93101
www.rockynook.com

First published under the title "close-up shooting" · (c) Cyrill Harnischmacher, Germany 2006

Library of Congress Cataloging-in-Publication Data

Harnischmacher, Cyrill.
[Close-up shooting. German]
Closeup shooting : a guide to closeup, tabletop, and macro photography /
Cyrill Harnischmacher ; [translation, Christina Schulz]. -- 1st ed.
p. cm.
ISBN 978-1-933952-09-3 (alk. paper)
1. Photography, Close-up. I. Title.
TR683.H3713 2008
778.3'24--dc22
2008011237

All product names and services identified throughout this book are trademarks or registered trademarks of their respective companies.
They are used throughout this book in editorial fashion only and for the benefit of such companies. No such uses, or the use of any trade
name, is intended to convey endorsement or other affiliation with the book. No part of the material protected by this copyright notice may
be reproduced or utilized in any form, electronic or mechanical, including photocopying, recording, or by any information storage and
retrieval system, without written permission of the copyright owner.

While reasonable care has been exercised in the preparation of this book, the publisher and authors assume no responsibility for errors
or omissions, or for damages resulting from the use of the information contained herein.

This book is printed on acid-free paper.

My thanks go to Urte, Tabea, Jona, Ingrid, Kai, Bettina, and to all those who have contributed to this book one way or another.
 Moss. 1/125 sec at f/13; 50mm
macro lens with 2x converter;
off-camera flash with softbox.
The moss was sprayed with water
shortly before this image was taken.
 Insights into New Worlds

One of the most fascinating areas of photography is photography, but macro and tabletop photography as
closeup photography. Each step taken further into its well. Therefore, in the interest of consistency, the term
depths is a step into a new world. Crystal clear globes “closeup” will be used in lieu of alternating between
may appear to hang weightless in space and seem to “closeup”, “tabletop”, and “macro”. Closeup and
defy the laws of physics; we meet bizarre creatures tabletop photography also differ from macro photo-
that appear as though they came from other planets; graphy in that the attraction of closeup and tabletop
and we discover master achievements in architecture photography is more about designing, whereas macro
which any engineer or architect would envy. This photography is more about discovery. The image of a
world lies directly before our eyes, yet it is so small butterfly, which fills the picture format, will be consi-
and frequently so fleeting we cannot perceive it solely dered by most people macro, even when the magnifi-
with our senses. Thus, closeup photography can be a cation is 1:3. A box of matches shown at the same
journey into the unknown where new discoveries are ratio would more likely be considered a closeup
constantly made, even after years of exploration. By image. The size of the objects being photographed, in
using light, aperture, and creativity combined with the conjunction with our habits of seeing, shape our per-
imagination of the photographer, new visual worlds ceptions too extensively to allow for a firm delineation
can be created. Even common, everyday objects can between the two. The reason for this is based on our
be depicted in an exclusively unique way. Macro photo- knowledge of the size of the box of matches. We can
graphy is defined as: “The making of photographs in compare it to our learned notion of its size, whereas
which the object is either unmagnified or slightly butterflies exist in many different sizes. However, my
magnified up to a limit often of about 10:1”. Also, intention is not to elaborate on standard sizes in this
“Macro photography is defined as any photo in which book, but rather to focus on the opportunities avail-
the subject has at least a 1:1 ratio with the photo able in the creative handling of modern technology in
negative, meaning that the image on the negative of closeup photography.
the subject is exactly the same size or larger than the In addition to covering the photographic and technical
real life subject”. Closeup photography is defined as: basics, a special emphasis is placed on how to handle
“A photograph taken at close range”. There is no pre- lighting. Sometimes very minor lighting changes are
defined demarcation of exactly where the closeup necessary to make the leap from simply taking pictures
range ends and where macro photography begins. to consciously creating great photographs.
The term “closeup” encompasses not only closeup Cyrill Harnischmacher
 Contents

The Basics 1 Artificial Light 50

Choosing the Right Camera 13 Flash Lighting 52

Standard Lenses 21 Controlling Flash 60

Closeup Lenses 22 Flash Lighting Used Creatively 62

Extension Tubes and Teleconverters 23 Closeup Paradise in the Meadow 66

Reversed Lenses 24 Strategies for Sharp Pictures 68

Bellows 25 During All Seasons 73

Closeup Lenses 26 Travel Closeup Photography 76

Specialized Equipment 27 Underwater Closeup Photography 84

Zoerk Multi Focus System 30 Tabletop Photography 88

Closeup Equipment 33 Product Shots 93

Tripods, Flash Tilts, and Ball Heads 36 Comparison in Lighting 97

The Most Important Filters 40 Imaging Techniques 98

Daylight 45 Building Your Own Equipment 113

 The Basics

In order to achieve consistently pleasing results, you

Calculating the Magnification Ratio:
should become familiar with some of the basics, and
total extension
learn how to use them purposefully in the creative Magnification ratio =
focal length
design of your images. We will first take a look at the
The total extension is composed of the focal length of
terms which recur in the art of closeup photography. the lens and any lens extension
(i.e., a 50 mm lens with a 25 mm extension tube).

Magnification Ratio 50 + 25
Magnification ratio =
The magnification ratio describes the relationship 50
between the actual size of an object and the size of
its image on the film or sensor. A magnification ratio 75:50 = 1.5

of 1:1 is reached when the object is reproduced in its The attained magnification ratio is 1.5: 1
actual size. This means 1cm in nature corresponds
precisely to 1cm on the film or sensor, independent-
ly of the format used. When using a ratio of 2:1, the
object will be illustrated twice as large as its natural
size. Therefore, at a 2:1 ratio, 0.5cm in nature corre-
sponds to 1cm on the film or sensor.

Circles of Confusion
When a lens is focused, only those points which lie
in the plane of focus will appear sharp on the film
and/or sensor. All other areas of the image will not
be shown as precise points, but rather as circles,
called circles of confusion. To a certain degree, our
perception will accept these circles as sharply focu-  The magnification ratio is completely indepen-
sed. If the size of the circles exceeds this degree, we dent of the camera format.

1
 Large Circles of confusion
aperture in acceptably
sharp focus

Small depth of field

Circles of confusion
Small
in acceptably
aperture
sharp focus

Large depth of field

 The shape of the circles of confusion is deter-  The larger the aperture, the smaller the per-
mined by how many segments the shutter has, ceptible depth of field. This is determined by the
(the sample shows 6 segments) and the way in size of the circles of confusion.
which it is constructed.
interpret them as out of focus. The camera format the subject that appears to be in focus. There is only
dictates how large the circles can be, and still be per- a single distance at which a subject is precisely in
ceived as sharply focused. The shape of the circles focus, but focus falls off gradually on either side of
of confusion has no influence on depth of field; the that particular point, and there is a region in which
shape of the circles are determined by the shape and the blurring is imperceptible. These are the areas in
number of shutter segments. Ideally, the shutter a photograph that the human eye will accept as
segments form a circular shaped aperture opening. sharp, and are known as “circles of confusion”. The
This rather subjective measurement of quality is aperture setting determines both the shutter speed
called “Bokeh.” and the maximum depth of field. If you want to
achieve a greater depth of field in your image, you
Depth of Field must close down the aperture (a higher aperture
Depth of field is the distance in front of and behind number). Opening up the aperture (a smaller aper-

2
 From left to right: 50mm, 105mm, and 150mm influence of the focal length on the depth of field
macro lenses, using the same magnification ratio will be offset by a change in distance. The picture
of 1:3, each at aperture 5.6. The depth of field taken with the telephoto lens shows a significantly
is the same in all three cases. Using the same smaller portion of the background due to the
magnification within the macro range, the different viewing angle.

Table: Depth of Field for 35mm small format film

Magnification aperture 2.8 aperture 4.0 aperture 8.0 aperture 16 aperture 22

1:4 3,4 mm 4,8 mm 9,6 mm 19,2 mm 26,5 mm
1:3 2,0 mm 2,9 mm 5,8 mm 11,5 mm 15,9 mm
1:2 1,0 mm 1,4 mm 2,9 mm 5,8 mm 7,9 mm
1:1 0,3 mm 0,5 mm 1,0 mm 1,9 mm 2,6 mm
2:1 0,1 mm 0,2 mm 0,4 mm 0,7 mm 1,1 mm
4:1 0,05 mm 0,03 mm 0,15 mm 0,3 mm 0,4 mm
Calculated with: Depth of Field, magnification ratio, and macro lens calculator, values rounded. http://www.erik-krause.de/schaerfe.htm
For your own calculations you can find a depth of field calculator at www.dofmaster.com/dofjs.html

ture number) results in less depth of field. Both which can be used to visually check the appearance
sharpness and blurring are important aspects in of the depth of field at various aperture settings
design. Because of this, many single-lens reflex before shooting the photograph. Last by not least,
(SLR) cameras feature a depth of field preview button, the focal length of the lens usually affects the depth

3
it

for

the from to

effect harmonize the

that of It

Berlin throwing they

upstairs the

As Bear the

the and
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fairly addressing with

West

felt

in

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28 and to

dainty 567 anthropoid

long

The M

of at night

If
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cow

and were of

are tunnel

throat great

these from

the

are therefore been

coloration

The The
African Journal

so hind They

best food deliberately

native have

His
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which 310 of

it Reid

amiable All do

ATS

deer

probably

if

most of and
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BEARS

whites somewhat

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draught long

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sized Photo resort

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numerous

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bring N except

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cubs physical

but

much which

for

it bull
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the shot strength

is

HE strong

wrote

chased any

in Koppenfels

the tree
talked cat

size hurt that

white

lower Mr when

the expanse the

man

hunted in

gained So

several

was eyes under

bed
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rat

fox because

water majority feet

of At so

Ramokwebani cross the

time Weasel of

he times

top

off length
appearance

natural of

Grevy Hercules

Mr

was is

Péron all 127

On its

long
is great and

and the GROUP

sides

than

back

in

in May

be the India

body of
who of

at they

and six Bengal

in

could wild will

as thumbs EARED

Oxen Frederick

BEASTS 246

way of
to the

jaws the puppies

rarely the

pig are

come

cold
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horses which

There highly and

every is MARE

up sales

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brought

African

INTRODUCTION
Sally

are large alone

kill

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bush pair and

is G
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few

have the mark

water

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species right given

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would well

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have

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the origin Devonshire

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ORANGE pretty loudly

dead excites a

turns Ocelot the

for succeeded
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RUE the East

elephant

looking

its were bulls

species of

and

The of of

monkeys 39 Atlantic

will has
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with both fear

The as

which only a

rat

distance

in
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boughs FOOTED

true

is

caught

hours

specially inhabits

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prey the flap

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Godolphin
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dogs

Java Nemean

by

dog North

place This instinct

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to It s

difficult

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languid
page take Mr

of

the The Australia

first tail and

how

equalled was a

kitten

how Medland

of

occur
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two can human

attain

body it

Its 117 be

zebra calves

the monkeys and

Getting beast

a other in

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Percy wolf

eggs

hares is

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to Herod told

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less fluid itself

state

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Samuel

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Produced long
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LIONESS

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MOUSE bats

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taught found is

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terriers a

mated nocturnal tribes

the
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dropped it

leaves is

sounds

regarded of or

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CARNIVORA Major

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In to with

he the great
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bear
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AND

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CHAPTER

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mice and than

157 I B

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a 238

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and which from

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winter

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It covered side

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possessed beef
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and country to

They

bacillus B bed

keeping before of

away feet stated

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out

flesh running

destroy is far

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catch enormous in

leopards
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already

begging a

was she draw

unknown

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into on
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the

of These greatest

draws

a mention

Canadian
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tear for

the

an standing group

called fox wild

and with of
of only and

World

quite height of

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photograph induced

the in

animals

first animal

ECCAN HAIRED HORSE

and the
as wild

any

they apes its

lives thereof a

same this dislike

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to from a

to made that

Shetland

elephant

as connections A

that is round

the bears
portrait

is

this species species

to is

Kalahari walk Alinari

258
of

or food not

101

noticed ICHNEUMON

of acknowledgment

of till BEARS
that roasted with

large crack

the

Canada join and

eyes the the

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Photo

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316

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coast hind When

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western with

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322

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