Look a little closer and learn to go for more creative compositions
While you’re out shooting big autumn scenes, learn to look for close-up macro shots and other creative opportunities
14 GETTING CLOSE to subjects with a macro lenses is a great way to capture colour and features in a way the naked eye doesn’t usually see. When you’re using a macro lens, such as a 50mm or 100mm f/2.8, be warned that when focusing and composing so close, depth of field is hugely reduced. This means that rather than shooting wide open at f/2.8, you’ll need to shoot at f/8 or even f/16 to ensure the whole subject is captured sharply. For this mega close-up showing the veins in this wonderful red leaf, it’s been important to ensure the lens is parallel and square-on to the leaf so the whole frame is sharp, with no areas dropping out of focus. Use a tripod for these shots, and take your leaves indoors out of the wind, and use diffused light from a window, or a lightbox.
15 CANON PRO Ben Hall used his trusty Canon 1D Mark IV here at a shutter speed of 1/2 sec to create an abstract impression of this autumnal oak. By deliberately moving the camera during the exposure, he was able to create a painterly effect while rendering some texture to trunk of the tree. It was sunny so he underexposed by nearly –2-stops using some exposure compensation to prevent the highlights on the leaves from blowing. This also helped darken the shadows behind the tree, separating the tree from its surroundings and enhancing the vibrant colours of the leaves.
16 SOMETIMES LESS IS MORE in photography. Rather than trying to photograph a cluster of dry leaves on the ground, concentrate on one leaf that’s in nice condition and well lit by the sunshine. Use a wide aperture and be bold with your framing.
Create a make-shift lightbox with a flash, some glass and grease-proof paper to back-light leaves 14