So, why do I love these lenses and how does it help give a creative boost to my work? First, I have to admit that I was a bit skeptical the first time I took my Sol 45mm out for a test run. I was not sure I would like working with a fixed aperture lens. The Sol lenses can only be used at f/3.5. As a macro and flower photographer, aperture is very important to my work. I am constantly experimenting with aperture to create my vision of a botanical subject. I rarely shoot in one aperture, but choose to shoot in a range to ensure I come home with choices and a successful interpretation of my subject. Limiting myself to one aperture seemed a little unnerving to me.
The reality is that you need a macro lens, close-up lens or extension tube to get really creative with close-up photos of flowers (more on both of those in a bit). But at the same time you may be surprised just how close you can get with the (non-macro) lenses you already own.
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Most flowers have green leaves which give you a beautiful green background. The aperture you select determines the sharpness of the background. Use a wide aperture to throw it completely out of focus, or a smaller one to make it sharper.
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My two favorite lenses for flower photography are a 105mm macro lens and a 50mm f/1.4 prime lens. The 50mm lens is my go-to lens for most situations, including most pictures shot in my living room, but I absolutely LOVE the 105mm macro lens. I happen to use a Nikon camera, so the ones I have are the Nikon 105mm f2.8g and the Nikon 50mm f1.4G.
Since aperture is the most important camera setting for flower photography, most photographers shoot flowers in aperture priority mode. This way, you can quickly adjust the aperture to find the perfect depth of field without worrying about ISO or shutter speed.
Discover more great photo tips for photographers of all skill levels. Explore what more you can do with Photoshop and Lightroom to grow your flower-photography skills in colorful new ways.
As a flower photographer I have been reaching for the Lensbaby Velvet 56mm when I want to photograph flowers in a more creative and beautiful way. The Velvet 56mm has long been my hands-down-favorite lens, since it was first released in 2015. The signature ethereal, velvety glow that the lens produces when shot in the lower apertures changed my photography and started me on a journey of not only photographing flowers in a new way, but seeing them in a whole new way. Because the lens focuses as close as 5 inches from your subject it has always been a perfect fit for my style of photographing my subjects up-close.
I am most often working right at that 5 inch macro setting when I shoot with the 56mm.When I want to pull back and include more of the environment the flower is growing in, I can count on the Velvet 56mm to produce beautiful, blurred backgrounds straight out of camera. In fact, I often stare at a Velvet image on my computer screen and wonder that there must be something I can do to improve this beautiful image straight out of camera, but often the answer is simply no, it needs minimal to no post-processing.
When Lensbaby approached me earlier this year to beta test the new Velvet 85mm, I was excited and curious to know how the longer focal length could add to my photography. The minute the lens arrived via UPS, I flew out the door to give it a whirl. On this first try, I put it to the ultimate test of photographing orchids in an orchid show, probably the most challenging of flowers and situations to photograph in the flower world.
What I learned in that first couple of hours with the Velvet 85mm was that this lens was a perfect fit for shooting in environments where I could not get as close to the flower or, in particular, where I wanted more control of my backgrounds. Not only did I find I was was nailing focus more easily with the 85mm but I was consistently coming up with the most beautiful blurred backgrounds. This is where I believe the 85mm is a real standout. The longer focal length gives you more compression in the background, thus producing gorgeous blur and beautiful separation of subject and background.
The Velvet 85mm focuses at a minimum distance of 9.5 inches (1:2 macro). When I am trying to draw the eye to the intimate details of a flower or other botanical subjects that may not be close enough for me. Thats where I would either reach for the Velvet 56mm or put on an extension tube with the 85mm to allow me to focus closer. There have been very few instances were I couldnt get in as close as I wanted and, in all honesty, the 85mm stretched me to experiment with pulling back a bit more in my photography and including more background.
Yes, you are going to hear a lot about the Velvet 85mm as an amazing lens for portraits. A lot of the marketing for the lens focuses on it being the perfect portrait lens and you are going to see some amazing images produced with the lens. It is also the perfect lens for flowers or botanical subjects, as well. I take portraits of flowers and many of the same tenets apply for both types of photography. The Velvet 85mm will not replace my 56mm; they are both in my bag at all times. What this lens does is allows me to expand my way of shooting botanical subjects.
In a nutshell, they both produce the same ethereal glow, beautiful straight-out-camera photos, beautiful blurred backgrounds and the ability to work up close with my subjects. The difference is that the 56mm allows me to work closer and the 85mm allows me to stand back and include more subject while creating gorgeous compression to my background.
The way we usually see flowers is standing over them, looking down. If you position yourself standing over the flowers and looking down, your perspective risks being the same boring view. Get down low. Get close to the flowers and look at them from a different angle.
Put your body in the dirt. Lie down on the ground and support your phone with your elbows for a steady shot. Try aiming your smartphone from underneath the flower a bit, looking up. Experiment. Finding a new way to show your audience a flower can be magical.
On every smartphone I tried, including the iPhone 14 Pro and the Galaxy S23 Ultra, the Macro mode brought the entire frame into complete focus. There was no blur to the background whatsoever. Instead, my flower was sharp and the background was distractingly present.
As soon as I shut off macro mode, I got the blurred background I wanted. Having the blur effect, called bokeh, makes the flower the clear subject of the photo. When the background is crystal clear, it can be difficult to see and enjoy the blooming subject.
Flowers are beautiful, but flower photography is hard, especially with a smartphone. Capturing the fine details of a bloom and bringing out the beautiful colors is a task that is difficult for a DSLR camera. Even the best cameraphone, with a short lens and miniscule sensor, needs help to make photos that will really impress your friends and audience.
To see how our favorite smartphones perform taking flower pics, I brought the four best camera phones to a few flowery spots around the greater New York area. These include the Galaxy S23 Ultra, the iPhone 14 Pro, the Pixel 7 Pro, and the OnePlus 11.
Let's take a look at some flowers! For each different subject, I've tried to take a photo with each of my four best camera phones, but it wasn't always easy. Sometimes a phone simply failed at focusing on a subject up close, especially if there was a busy background.
Among these photos, the iPhone 14 Pro did the best job managing the difficult color while still bringing out plenty of detail. It didn't lose its vibrancy and though the background could be more blurry, the other phones made this background much too dark.
Can a smartphone match a DSLR? Maybe, but not for flower photography. Below are some comparison shots I took using a Nikon D750 full-frame camera with a Tamron macro lens. The quality is so far ahead of what any smartphone can produce, they look like a completely different medium.
The following graphic of the Shared Values flower, found in the final proposed revision to Article II, is available for Unitarian Universalist congregations to use, without fee or special permission from the artist, as long as the following requirements are met by the congregation:
Long-term monitoring efforts include photos of the same spots on the reef year after year. This section includes repetitive images from select photostations at East Flower Garden, West Flower Garden, and Stetson Banks.
That angle can create some excellent flower photographs. However, such photographs have probably been taken many times. If you want to create truly stunning, original flower photographs, try to go beyond those shots. e24fc04721
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