How to Photograph Texture and Finer Details in Nature Photography

For anyone considering playing with photography there are all sorts of possibilities for trying to photograph different textures. For instance, materials such as timber can often present the photographer with a range of challenges and photographic examination.

 Regardless of whether the pictures will be shot in full-color or in the black and white style it is imperative to make a good "plan of attack" before starting to capture the images. This would include imagining the kinds of special effects and results desired and then working out a small number of different approaches to making such photographs.

Let's first reflect on images of timber or objects made of wood. Because this is an organic and natural substance many people may not think of bringing wood into their photographic set up for a photo session, but if we take just a minute to consider how wood might appear we can realize how it would succeed in the "sterile" or cleaner setting of a studio surroundings.

Wood may be in the form of manufactured items ranging from pencils right through to furniture to boxes and bowls. It is also naturally occurring in debris and branches as well. An individual tree branch or portion of bark will expose crevices, moss or lichen, and a large variety of different tones and grains.
A photographer might want to document the numerous textures and tones in a part of driftwood using only the sepia settings on their digital camera, or they may instead rely on the color features to photograph the texture and various color patterns in something like Tiger Maple. Evidently, this will mean that a range of approaches is required, and choosing the right setup becomes vital to be able to get truly stunning images.

So, how do you know the correct approach to photographing wooden subjects? It all comes down to how creatively you examine your subject. That piece of debris could be taken along the sandy beach where it was discovered; with the various tones of the wood and the different textures of the sand finishing and the composition. 

This same piece of wood, however, may be brought into the studio and set against a solid black or white background where its swirls, lines, ridges, and various tones will become the complete scene instead.

Irrespective of the type of wooden textures to be photographed and the choice between color or black and white, it is significant to bear in mind that sharpness in texture is the final purpose. For this example we will return to that piece of driftwood and consider looking at it "up close" and also examine it "au natural" with the camera.

If a photographer has decided to bring the wood into the photographic studio and shoot the patterns and textures that have organically occurred they are going to need to examine the accurate method to do this. Should they shoot with a macro lens or is it wise that they use the identical approach as they would with up-close portraiture? Generally, it is best to make use of the zoom lens (such as put to use in a greater part of portrait settings) to get a really wonderful variety of alternatives. If you prefer macro for such a photo you are going to have to really wrestle with the light process, but the zoom lens will let the photographer keep at a fair distance and really flood the wood with a great deal of easily controlled studio lighting. This means that shadows can be created when required or they can be entirely eliminated by the lighting setup too.

If we shoot outdoors to take pictures of that piece of driftwood as it lies on the beach, we are going to have to reflect on the depth and value of its place in the shot. Is it wise that we position ourselves above it and just shoot down into its patterns? Is it better to juxtaposition it beside the pale sands, the gray waters, and the pale blue sky? Should it be recorded in black and white? Some of these queries have more to do with a photographer's private preferences than anything else, but for the sake of this discussion we will opt for the color shot of the driftwood.

It is going to be an object in dark grey and black tones positioned in a setting that is full of paler and softer colors. A skilled photographer is going to have to utilize many of the equivalent treatments for this image as they would for normal landscape photography.

 This means they will need to make sure that their foreground and backdrop are in the identical focal depth as the subject, and they will need to make sure that the light of the setting is balanced. Implementing a polarizing filter can lessen some reflections off the sea and the beach and keep the colors a bit cooler.

Evidently, these are just simple illustrations of how an individual piece of wood can generate an infinite series of photographic opportunities, but it is significant for any photographer to remember that their broad surroundings are an ideal topic for experimentation.

Amy Renfrey is a professional photography teacher. She shows you how to take stunning photos every single time, even if you have never used a digital camera before. To discover how to take beautiful photographs/ visit her website today.