Section 2 Shooting
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Copyright Goodheart-Willcox Co., Inc.
also provide visual emphasis, with a bright
or warm-colored subject standing out against
a surrounding of cooler, more-muted colors,
Figure 12-20.
Still another form of emphasis can be provided
by physical isolation. See Figure 12-21 and
Figure 12-22. Repetition, the opposite of isolation,
can sometimes be used to make an interesting
photo. Repeated forms or plant elements create a
pattern, as shown in Figure 12-23.
Subject motion caused by the wind can
be a problem, especially with close-ups. While
some flower photography uses motion blur to
good effect, close-ups are usually expected to be
tack-sharp. The use of a flash can stop motion,
but wildflower photographers normally prefer
natural light, sometimes with a reflector for fill.
If the light level is high enough, a faster shutter
speed, such as 1/250 second or 1/500 second, can
stop the subject’s movement.
With conditions requiring lower shutter
speeds, two strategies are possible—waiting
for a lull or blocking the breeze. Wind seldom
blows steadily for more than a few seconds.
By using a tripod and waiting patiently, a
photographer can make an exposure during
a lull when the subject briefly remains still. A
more efficient method is to block the wind. If an
assistant is available, he or she can hold a sheet
of poster board or similar material upwind
of the subject and just outside camera range.
If you are working alone, a windbreak that
creates a zone of stillness around the subject
often can be improvised from a collapsible
reflector, plastic sheeting, a trash bag, or even
an article of clothing.
Jack Klasey/Goodheart-Willcox Publisher
Figure 12-20. Color emphasis.
Jack Klasey/Goodheart-Willcox Publisher
Figure 12-21. Distant, misty hills form a soft backdrop to
isolate the flowers and stems in the foreground.
Jack Klasey/Goodheart-Willcox Publisher
Figure 12-22. Shooting from below isolates these
blossoms of Queen Anne’s Lace against the sky.