BET YOU DIDN’T THINK a digital point-and-shoot camera would be a piece of equipment deserving of consideration for close-up photography. I know I never entertained the idea either, until it was brought to my attention a few years back that some of these cameras can and do shoot at an amazingly close 1 to 2 inches from the subject.
With the recent upgrades in the digital point-and-shoot arena—namely, the ability to shoot raw files and at over 10 megapixels—I was one of many photographers standing in line for the Leica D-Lux 3 digital point-and-shoot. This camera is amazing for a number of reasons: (1) It comes with what is, effectively, a 28–105mm lens (its 6.3–25.2mm lens is the equivalent of a 28–112mm lens on a 35mm camera) Then (2), it offers rear curtain sync with flash. And (3), it has live view (display of the image on the LCD screen as the sensor sees it), full manual override, and the Aperture and Shutter Priority modes found on most digital point-and-shoots. But most of all, I fell in love with this camera’s ability to focus down to an amazing 2 inches when at an effective focal length of 28mm. This is a dream come true for me, as I now have a really super-lightweight 10MP camera that shoots great close-ups in raw format.
Anybody who has shot with a digital point-and-shoot camera has already experienced, if not knowingly, some amazing depth of field with exposure times at which the camera is still easily handholdable. Due to the digital point-and-shoot camera’s smaller sensor size, the depth of field at its usual smallest aperture of f/8 is actually close to f/32 on a 35mm camera. In “exposurespeak,” that’s a gain of almost 4 stops, which simply means that for those times when you want massive depth of field with your digital SLR (DSLR), you would find yourself shooting at f/32 at a shutter speed 4 stops slower than if you were making that same image with your digital point-and-shoot, for which you would be at f/8 in that situation.
This means that with the point-and-shoot not only do you get to record some amazing depth of field but you can do so at relatively fast shutter speeds! If you’ve ever wanted an excuse to shoot some amazing close-ups, I can think of no better reason than this bit of news. So, if a particular digital point-and-shoot model offers close-up capabilities, you might consider buying it for this reason.
Digital point-and-shoot cameras have made great strides in the past few years, namely in their ability to offer up a larger image size and to shoot raw files. Plus, along with its 10MP raw file size, the Leica D-Lux 3 that I love so much has a 75-degree angle of view. It’s a camera that’s permanently attached to my side, hanging from my belt in its case. On more than one occasion, I’ve used this camera to record a number of really exciting close-ups, including this one of a “salmon.” After walking my daughter to school one morning, I came upon a dry and fairly large paint spill, which I surmised was the handiwork of someone who got a bit careless at a nearby construction site. The red reminded me of a bright red salmon—a coho, in fact—and I reached for my Leica. With the camera in Aperture Priority mode and the aperture set to f/5.6, I simply held the camera, squatted down, and focused on the red paint.
Leica D-Lux 3, f/5.6 for 1/250 sec.
If you do have a digital point-and-shoot camera that can take close-ups but you don’t have a local outdoor fruit and vegetable market nearby, consider heading off to your local grocery store to capture some truly great close-up shots in the produce section. Compositions made in these locations can add some vibrant splashes of color to those kitchen walls! Due to the small size of most digital point-and-shoots, you’ll soon find that no one pays attention to you and what you’re shooting the way they might when you stroll through the markets or produce department with your big black Lowepro camera bag and that big black DSLR hanging around your neck! In addition, just like a DSLR, these point-and-shoot cameras all offer various white balance (WB) settings, and in some cases, you can even shoot raw, as I did here with my Leica D-Lux 3; so, even if you don’t get the WB quite right when shooting in the supermarket, you can always make the corrections in postprocessing.
Leica D-Lux 3 with lens at 6.3mm (equivalent of 28mm), ISO 400, f/4 for 1/25 sec., Aperture Priority mode
Recently, in the parking lot of a hotel near Chicago’s O’Hare Airport, I noticed that someone had paid homage to the two masks that have come to symbolize the theater and its two major categories—comedy and tragedy—on a shuttle bus’s taillights (see boxed area in the first image). It is close-up opportunities like these that remind me why I’m glad I take my Leica point-and-shoot with me just about everywhere. Being able to shoot close-ups from a distance of 2 inches and at the wide-angle focal length has allowed me to capture images that I wouldn’t ordinarily be able to shoot with such spontaneity. Considering the overcast wintry conditions, this was one very simple Aperture Priority exposure; once I set the aperture to f/5.6, I just framed the image and pressed the shutter release.
Leica D-Lux 3, f/5.6 for 1/125 sec.
Perhaps you’ve already noticed, but if not, texture is a very important part of close-up photography, and you can count on me being in your corner if all you want to do is fill your frame with close-ups of textures. Textures ignite our sense of touch. They tempt us and add visual appeal to an image.
On a wintry, rainy day in Lyon, France, I came upon what was once a blue fruit carton that housed red apples at the market. Handholding my Leica D-Lux 3 and with the camera set in Aperture Priority mode, I chose f/4, hunched over the smashed carton, and pressed the shutter release, allowing the camera to select the correct shutter speed of 1/60 sec. You could say that this is truly a simple image; yet due to its textures, it’s an image about “feelings.”
Leica D-Lux 3 with lens at 6.3mm (equivalent of 28mm), ISO 200, f/4 for 1/60 sec., Aperture Priority mode
VARIATIONS ON A THEME
Sometimes, within the variety of close-up subjects you find, a particular subject calls out to you for continued exploration. For me, it is individual letters and portions of words that are getting most of my attention of late. Attesting to this interest are the indvidual letters introducing the text for most of the topics in this book. These are all close-up photos I’ve taken over the years, many with my Leica D-Lux 3 point-and-shoot.
My fascination with letters has enabled me to put together five complete alphabets, with each letter in each alphabet being entirely different. Some may ask, “Why would anyone need not one but five complete alphabets?” Strictly speaking as a commercial photographer, these letters do have value in the marketplace, particularly in the graphic design community. But hey, if nothing else, at least I’m ready should the need ever arise to put together one heck of a ransom note!
Focusing on one subject in greater depth is a good exercise visually and photographically, and it can lead to a more complete appreciation of the subject. This journey of being on the constant lookout for new letters has really opened up my eyes to the importance of communication and language itself. Where would man be without an alphabet?! And then there’s the “art” in the letters themselves. As any graphic designer or typesetter knows, letters come in a host of styles, designs, and colors, and one could easily argue that each letter has its own language. The letter A, with its two converging sides, is a letter of movement but is also stable (as evidenced by the “bridge” connecting its two sides). The inspiration for the A-frame house, it is a cozy letter in which one can take refuge. The letter C is open, unlike the letter O, which is closed. The letter S is snakelike. It meanders, without worry; it is carefree, it throws caution to the wind, it is the rivers and streams. The letter Z is simply a very decisive S; it wastes no one’s time, it is matter of fact, it is what it is. Of course, I’m just having fun with the symbolism of line here.
George Eastman loved the letter K, considering it “such a strong and decisive letter” that when it came time to name his new company, he simply told his fellow board members that he didn’t care what they named the company —as long as the name began and ended with the letter K. Thus was born a name known the world over: Kodak.
For me, letters provide a lifelong photographic opportunity! And I would encourage you to explore, in depth, a subject you love—even if it is just using your point-and-shoot camera. It will heighten your awareness of your surroundings, challenge your eye, and improve your photographic skills overall. In fact, using the point-and-shoot may give you a bit more flexibility in capturing unexpected subjects.
Nikon D2X, 105mm lens, ISO 100, f/13 for 1/160 sec., Aperture Priority mode;
Leica D-Lux 3 with lens at 6.3mm (equivalent to 28mm), ISO 100, f/2.8 for 1/500 sec., Aperture Priority mode
