Jamie GulliverPICTURES PORTFOLIO

PORTRAIT

I don’t like this photo because the lighting is very bad on one side, if I were to do it again I would make sure there is better lighting

I like these two photos because it is a little different than the normal portrait photos.

I like these photos because the subject isn’t too lit up but at the same the time she isn’t to dark and the bright surroundings make her stand out

LANDSCAPE

I don’t like these photos because they are just normal and look a bit boring, if I were to do them again I would look further and try and find somewhere a bit different.

I like this photo because the foreground is very prominent and the distance is all faded making this landscape a little different

This photo I like because rather than it just be being a field of distorted/faded it is open but there is a lot going on making it a bit different and more interesting.

MACRO

I love this photo because the green leaves really makes the pink in the foreground stick out to the viewer and really makes the berries more prominent.

I like this photo because there is nothing to distract the viewer from the big purple beauty of the flower.

This photo I really do like because there is a lot of green but there isn’t to much green that it becomes overwhelming but the yellow on the green really makes a good contrast of colour.

I like this photo because the purple really sticks out to the view but the mass of purple really makes the photo nicer because of all the different shades of purple rather than just one.

This photo I think is just amazing because of the bee. To have the black and the yellow contrast with the green on top of the purple really makes a good photo in my opinion.

ABSTRACT

I like this photo because you cant tell what it is, even when I look back at it I get confused on what it is which makes a good photo.

I like this photo because you cant tell what it is, even when I look back at it I get confused on what it is which makes a good photo. This almost looks like a canyon or a crater because I am so close to it.

This photo I like because the bottom right almost looks distorted and looks photo shopped when it isn’t which I think looks very good

This photo makes everything look a bit weird because when you look through the lock you cant see much but the rest of the image doesn’t reveal much either so it makes the view puzzled

This photo I like because half way down the wooden pole isn’t distorted but the top and the bottom is.

I have chosen to do macro to study and to do al l my research on.

I have done research onl ine and have found a photographer to study and look into and to look at her diff erent macro photos.

The photographer I have chosen to look at is cal led Heather Angel

I have found these photos she has found, the one at the bottom is of a tarantula about to bite the camera that’s why the fangs are so prominent. The one at the top is of a very close fl ower that had just been pol l inated and I think she has real ly grasped the diff erent colours in the fl ower and real ly exposed something everybody takes for granted

MY CHOSEN AREA

Heather Hazel Angel MSc is a British nature photographer, author and television presenter. She is also the owner/ manager of a photographic agency which sells her pictures for use in print and on-line. 

Born: 1941Education: University of

Bristol

HEATHER ANGEL

1. Choose the Best Lens Option

Gatekeeper butterfl y macro image Gatekeeper butterfl y. Nikon D200, Nikon 200mm macro lens. 1/160sec @

f/8, ISO 100.

The focal length of Macro lenses ranges from 50mm to 200mm. Although many zoom lenses boast a macro setting, these are usually less than half l i fe-size magnifi cation – true macro, however, begins with 1:1 and nothing less.

A 50-60mm lens is suitable for general macro work but i f you want greater subject-to- lens distance a 100mm lens wil l give you this at a price.

For creatures l ike butterfl ies and dragonfl ies, lens-to-subject distance becomes even more important so focal length needs to be greater.

The 150-200mm range is the most expensive, but you wil l appreciate the extra power when stalking fl ighty subjects l ike this Gatekeeper butterfl y.

MACRO TECHNIQUES

2. Make a Standard Zoom Focus Closer by Adding Tubes

Oedemera Nobilis. Nikon D200, Nikon 18-200mm lens with 20mm extension tube. 1/125sec @ f/11, ISO 400.

Extension tubes fi t between the rear mount of the lens and the camera body to make the lens focus closer and therefore produce a much bigger image of a small subject.

This image of a thick-legged fl ower beetle was shot with an 18-200mm zoom lens and a 20mm extension tube added. This is a much cheaper alternative than buying a macro lens but tubes are more fi ddly to use in the fi eld.

Also, with an extension tube fi tted you lose the infi nity end of your focusing range. Add more tubes and this becomes increasingly more limited.

MACRO TECHNIQUES

3. Add a Dioptre to Make a Lens Focus Closer Golden-ringed dragonfl y. Panasonic Lumix FZ30 fi tted with a Cokin

+3 dioptre. 1/250sec @ f/3.6, ISO 200. Close-up fi lters are single-element lenses that look l ike magnifying

glasses. These fi lters screw into the front element thread and can provide

an inexpensive alternative to splashing out on a pukka macro lens. They come in a variety of strengths that are measured in dioptres. Close-up fi lters are often available in sets of +1,+2 or +4 dioptre

magnifi cation. Dioptres are also available to fi t Cokin style square fi lter systems. Add a dioptre to a bridge camera or a compact to achieve real

close-up shots. The golden ringed dragonfl y shown here was shot on a Lumix FZ30

camera with a +3 dioptre added to the front element.

MACRO TECHNIQUES

4. Use Apertures to Control Depth of FieldThe left snowdrop shown here was shot at f/2.8 while

the one on the right was taken at f/22.To get the most out of available depth-of-field, select a

small aperture like f/16 or even f/22.You will find that at half-life size the depth of field you

can achieve at f/22 will be only around 15mm at best.On the other hand you may wish to go to the other

extreme and show as little sharpness as possible by opening up to full aperture like f/2.8 or f/4.

One advantage of the latter option is that any out-of-focus highlights will show as circle-like bubbles that can look very attractive.

MACRO TECHNIQUES

5. Blend Flash with AmbientWith more static subjects it can be fun to add a blip

of flash just to liven up an image. In this composite shot of a sycamore leaf, both

images were exposed for natural light; however, the bottom image was given a blip of off-camera fi ll-in flash and the shutter speed was increased by one stop in order to darken the background.

Sycamore leaf. Nikon D200, Nikon 105mm macro lens. 1/125 (top) & 1/250sec (bottom) @ f/8, ISO 100.

MACRO TECHNIQUES

6. Use a Third HandA ‘third hand’ device is an essential macro

photography accessory. It will enable you to support or position subjects just where you want them. In turn, it can also help to provide endless possibilities of positioning backgrounds.

MACRO TECHNIQUES

7. Fine-tune Macro Pattern CompositionsFungi. Nikon D2X Nikon 105mm macro lens. 1/15sec

@ f/11, ISO 100.Although we can crop things using software later, it is

best to fine-tune composition in-camera at the time of shooting as much as possible.

With close-up pattern details, ensure they either fi ll the frame completely so that there are no gaps around the edges.

Alternatively show the entire pattern with space all around it.

These two shots of the same fungus illustrate how these opposite approaches look in practice

MACRO TECHNIQUES

8. Point of Focus It is imperative to consider the actual point of focus

when working close-up with tiny subjects. You can dramatically change the appearance by where you chose to focus.

These two shots of the same teasle head were both shot at the same maximum aperture, but the point of focus was changed by a couple of millimetres to produce an entirely diff erent eff ect.

MACRO TECHNIQUES

9. Check LCD PanelUse your rear LCD facility to ensure you have got the

shot you want before moving on. Look carefully at the corners to make sure there are no intrusions.

Tidy up any unwanted debris in the scene and make sure that your composition concentrates on your subject as intended. It’s also wise to carry a spare battery, as constantly reviewing shots will drain power.

MACRO TECHNIQUES

10. RaindropsAfter rain can be an excellent time to search for

macro subjects when everything is dripping with droplets of rain water.

Go in close to show how the raindrops act as miniature lenses, magnifying the veins in leaves.

MACRO TECHNIQUES

MY PHOTO SKETCHES AND PLANS

MACRO COLLAGE

BEST 4 PHOTOS

I like this photo because of the extreme close up, and how the photographer captures such detail on the bee.

The way the close up captures all the bristles on the snail and all the tiny particles of the ground its amazing.

The way the back ground is all blurred out really impresses me because it really draws your attention to the front and all the bright colours.

The eye is simply amazing because there aren’t many colours just the few colours there are just make the eye really stand out to the viewer.

Title: Spectrum of Small life. I would like to have all my pictures on canvases or in

frames. how my design Is going to laid out:

EXHIBITION

These little photos in the middle are of all the photos I think are the best.

The larger ones on the side are of ones that need to be edited down so that they emphasise something in particular, this also includes the one on the bottom.

This one is of my personal favourite photo that’s why there isn't one on the top.

Camera - £400

Tripod - £50SD Card -

£30Macro lens -

£180

EQUIPMENT

Date and lesson

What photos I am taking

Locations I will be shooting

Equipment or persons I need

Wednesday 24th September

Extreme close up/ flower

Front gate Macro lens

Friday 26th September

Extreme close up/ Inside flower

Front gate N/A

Monday 29th September

Extreme close up/ bug

Front pitch Macro Lens

Tuesday 30th September

Extreme close up/ spider

Science block

Macro lens

Wednesday 1st October

Extreme close up/berries on bush

Gardens/art Macro lens

Friday 3rd October

Close up/ inside a crack in the wall

Science block/technology

N/A