{"id":149188,"date":"2021-05-24T16:09:34","date_gmt":"2021-05-24T15:09:34","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=149188"},"modified":"2021-05-24T16:10:11","modified_gmt":"2021-05-24T15:10:11","slug":"how-to-take-better-flower-photographs","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/camera_skills\/how-to-take-better-flower-photographs\/","title":{"rendered":"How to take better flower photographs"},"content":{"rendered":"

Polina Plotnikova creates beautiful, often painterly, flower portraits and still-life studies. Here she talks to Tracy Calder about the magic of previsualisation and the joy of working in a studio<\/h2>\n
\n

It\u2019s already been a long day for Polina Plotnikova by the time we sit down to chat over Zoom. The award-winning photographer was recently invited to join the assessment team at the Royal Photographic Society and has spent much of the day learning how to grade visual art panels.<\/p>\n

\u2018It\u2019s very different from all of my previous experience of judging,\u2019 she smiles. Polina is very much in demand and looking at her beautiful, perfectly executed flower photography it\u2019s easy to see why.<\/p>\n

The balance of energy and precision in her work is perfectly suited to her bubbly, highly analytical nature. Each picture is flawless, and yet fizzing with life. Photography has been part of Polina\u2019s story since she was 12 years old. \u2018My first camera wasn\u2019t that reliable \u2013 it was Russian-based technology, although Russian optics are very popular now,\u2019 she laughs.<\/p>\n

Having achieved a degree in the History of Art at Moscow State University she went on to work for various museums and galleries managing submissions, curating exhibitions and dealing with image collections. To quench her thirst for knowledge, she later travelled to London where she spent a year studying modern art.<\/p>\n

\u2018I was dealing with absolute masterpieces,\u2019 she reveals, \u2018contemporary photographs, paintings and fine art.\u2019<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Purple cyclamen shot with a Lensbaby Twist 60 against sparkly craft paper to get a bokeh effect. Canon EOS R, Lensbaby Twist 60, 1\/60sec, ISO 400<\/p>\n\t\t<\/div>\n\t\t\n

Practise previsualisation<\/strong>
\nPolina\u2019s background in fine art can be seen in her painterly flower and still-life studies. \u2018I have one series of images shot in the style of the Old Masters and another that\u2019s a homage to my favourite Impressionists,\u2019 she explains. \u2018I\u2019m not trying to create an image that pretends to be a painting but I use my knowledge and love of art history when visualising my pictures.\u2019<\/p>\n

This idea of previsualisation is central to Polina\u2019s work. A self-confessed \u2018control freak\u2019, she loves working in the studio where every element can be tweaked until it matches the vision she has in her mind\u2019s eye. Sometimes she will draw sketches featuring objects she plans to use, colour schemes or lighting ideas.<\/p>\n

\u2018It\u2019s important that I am 100% responsible for whatever is going on in front of my camera,\u2019 she stresses. \u2018Other photographers \u2013 whose work I greatly admire \u2013 take joy in showing an element of serendipity in their work, but that irritates me no end! I love it when the most spontaneous-looking movement in my pictures is actually something I have created deliberately.\u2019<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Red Anthurium flowers shot with a Lensbaby Burnside 35 with vignetting slider to create more mystery<\/p>\n\t\t<\/div>\n\t\t\n

Reveal the less obvious<\/strong>
\nPolina clearly enjoys creating compositions from scratch, with all the infinite possibilities this presents, but I\u2019m curious to know if her approach to flower photography changes when she ventures outdoors. \u2018No,\u2019 she laughs. \u2018I apply the same approach. I don\u2019t go out hoping to find pictures, I still have a preconceived idea.\u2019<\/p>\n

But working with preconceived ideas surely creates additional challenges in the studio, because you can\u2019t rely on a burst of sunlight or fortuitous natural combinations of plants. \u2018Yes, the final result is entirely in your hands,\u2019 she agrees. But even in the studio, nature can be unpredictable and Polina still has to remain relatively flexible, especially when it comes to flowers.<\/p>\n

\u2018If you rely on your preconceived idea too much you may struggle to find the shape of flower that you have in mind because, unfortunately, nature is not under your control,\u2019 she laughs. \u2018If I could change that I would!\u2019 Polina approaches her flower photography in a similar way to traditional portraiture. Each flower is examined to identify its unique character and personality, after which she attempts to draw out something hidden or less obvious.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Above: Apple of Peru seed head, part of Polina\u2019s Past Perfect panel for the RPS Canon EOS 5D Mark II, 100mm, 1\/125sec at f\/13, ISO 100<\/p>\n\t\t<\/div>\n\t\t\n

\u2018It\u2019s like circled feedback between you and the subject,\u2019 she explains. While each flower specimen is unique, she uses her preconceived ideas to help shape the final image. \u2018I might put a flower in front of the camera and notice the light doesn\u2019t work from a certain angle, but because I have an idea in my mind I can adapt quickly,\u2019 she reveals.<\/p>\n

As fans of ikebana (the Japanese art of flower arranging) will know, you can\u2019t force a plant to twist or turn to suit your needs; you have to work with what you\u2019ve got. \u2018Yes, forcing flowers into position can look artificial,\u2019 agrees Polina. \u2018You could say that still life is artificial by default, but you are still exploring the way that objects behave in front of the camera. You are looking at the relationship between light, shape and texture, for example.\u2019<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Study in blue of Agapanthus flower. Shot with continuous light and reflectors. Canon EOS R, 100mm, 1\/30sec at f\/2.8, ISO 200<\/p>\n\t\t<\/div>\n\t\t\n

Work with what you\u2019ve got<\/strong>
\nPolina\u2019s mastery of light is first-rate. Drawing on her fine art background she uses natural and artificial sources to convey mood and emotion. Whether she\u2019s using her continuous lighting (from Interfit) or her beloved Bowens flash heads, she stresses that the most important thing is getting know your equipment.<\/p>\n

\u2018Whether I use flash or continuous light usually depends on the kind of depth of field I\u2019m after. If I\u2019m using a Lensbaby or a macro lens wide open I won\u2019t be able to use my Bowens, even at the lowest power, for example, so it\u2019s about finding the right balance.\u2019 To modify her light \u2013 creating shadows or highlights \u2013 Polina uses softboxes, umbrellas, honeycomb grids, filters, reflectors and diffusors; anything that might help her to communicate a story.<\/p>\n

When I ask Polina about her home studio she rolls her eyes and laughs. \u2018Home studio is a bit of a glorified name, because it\u2019s actually just my study,\u2019 she reveals. \u2018Although my husband claims it\u2019s his music room!\u2019 It\u2019s so refreshing to see what can be achieved in a relatively small, shared space.<\/p>\n

\u2018Flowers and still-life arrangements aren\u2019t particularly space demanding,\u2019 Polina assures, \u2018so don\u2019t be put off by big words like \u201chome studio\u201d, because a spare room will do just fine. Ideally you want natural light coming from two sides, but just work with what you\u2019ve got.\u2019<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Unstill Life series. Natural light with an additional reflector
Canon EOS 5D Mark II, 24-70mm, 1\/4sec at f\/8, ISO 125<\/p>\n\t\t<\/div>\n\t\t\n

Spend your time wisely<\/strong>
\nAs our conversation draws to a close, Polina says something that really hits home. \u2018I don\u2019t press the button until I see the perfect picture on my screen.\u2019 While she does use Photoshop \u2013 and points out she\u2019s not \u2018one of those purists who say you should get everything right in-camera\u2019 \u2013 she prefers to spend time with her camera rather than her computer.<\/p>\n

\u2018If I can find a physical thing that will help me to achieve an effect I\u2019m after, rather than using Photoshop, I will,\u2019 she explains. By way of an example, she describes taking a piece of crystal and holding it in front of the camera to create interesting light effects. The subject of \u2018getting it right before you release the shutter\u2019 comes up again as we discuss backgrounds.<\/p>\n

When she\u2019s teaching, Polina tends to use shop-bought versions designed for studio photographers. \u2018Don\u2019t buy them all in one place though, because you will end up with pictures that look like everyone else\u2019s,\u2019 she warns. To be on the safe side, Polina advises using patterns that imitate nature rather than anything too bold or eye-catching.<\/p>\n\t\t

\n\t\t\t\"\"\t\t\t

Paphiopedilum orchid portrait, shot using continuous light with a few diffusers and reflectors to eliminate shadows
Canon EOS 5D Mark II, 100mm, 1\/250sec at f\/13, ISO 100<\/p>\n\t\t<\/div>\n\t\t\n

If you want something bespoke, however, Polina recommends creating your own backgrounds. \u2018To do this I take a digital capture \u2013 it might be a multiple exposure or abstract image using Intentional Camera Movement \u2013 then work on it in Photoshop and print it out on matt paper, around A3 size. I then have the option of painting over parts of it with acrylic paint, pencils or pastels.\u2019<\/p>\n

This backdrop is then used behind flowers or still-life studies. (Polina also takes a digital shot of the final backdrop so she can use it later as a layer in Photoshop).<\/p>\n

Finishing our call before Polina becomes totally Zoomed out, I\u2019m struck by the dedication she has to her craft.<\/p>\n

Whether she is capturing flowers, dancers or dolls (her new obsession) she applies the same level of passion and perfectionism to the job \u2013 and her willingness to go that extra mile really shows. Polina Plotnikova is currently running several workshops at www.tradesecrets.live<\/a>.<\/p>\n\n\"\"\n

Polina Plotnikova<\/strong>
\nPolina specialises in still-life studies and flower portraiture. With numerous distinctions and photography awards to her name, she draws on her background in fine art to make images that match the vision she has in her mind\u2019s eye. Visit www.polinaplotnikova.com<\/a>.<\/p>\n

\n

Polina’s kit list<\/h2>\n

Canon EOS 5DS R<\/strong>
\nPolina currently uses a Canon EOS 5DS R for most of her studio work, but often uses a Canon EOS R when teaching and travelling. One thing she always looks for in a digital camera body is a decent multiple exposure mode.<\/p>\n

Lensbaby Composer Pro with Sweet 50 Optic <\/strong>
\nUsing a Lensbaby allows Polina to create special effects in-camera rather than relying on Photoshop. It also gives her the opportunity to \u2018visually think outside the box\u2019 while still having plenty of control. When pushed, she recommends a Lensbaby Composer Pro with Sweet 50 Optic.<\/p>\n

Tweezers<\/strong>
\nWhen you need to adjust folds in fabric, petals or small leaves, a pair of tweezers (or similar) can be invaluable. \u2018Sometimes your fingers, as careful as you are, are not going to do the job,\u2019 says Polina.<\/p>\n

Canon EF 100mm f\/2.8L Macro IS USM<\/strong>
\nHaving recently acquired a Canon 50mm f\/1.2L lens, Polina has been seriously impressed by the quality, but for flower portraiture and still life she still finds her Canon EF 100mm f\/2.8L Macro IS USM lens hard to beat.<\/p>\n

Manfrotto 190CXPRO4 (or similar)<\/strong>
\nIt\u2019s useful to have a tripod with a central column that can be positioned at 90\u00b0, such as the Manfrotto 190CXPRO4, but when it comes to the head choice Polina isn\u2019t fussy. \u2018I recently switched to a ball head with two levers because my wrists have become a little weak,\u2019 she reveals.<\/p>\n

\n

Polina’s top flower photography tips<\/h2>\n\"\"\n

Take your time<\/strong>
\n<\/span>\u2018Flowers are perfect models: they don\u2019t fidget, you don\u2019t have to provide them with a lunch break, and they don\u2019t check their Instagram every five minutes,\u2019 laughs Polina. So, take your time and try to draw out something hidden or less obvious from your subject.<\/span><\/p>\n\"\"\n

Get to know your gear<\/strong>
\n\u2018So many people on my creative flower photography workshops watch me demonstrate a technique and then say, \u2018I don\u2019t think I can do that with my camera.\u2019 I then show them they can,\u2019 explains Polina. \u2018A lot of people are still neglecting to read the manual!\u2019<\/p>\n\"\"\n

Backlighting without the cost<\/strong>
\n\u2018If you want to shoot backlit flowers, but you don\u2019t have a studio light, then consider using a diffusor in front of a window on a bright day. Place your subject in front of it and then use a reflector (or piece of tin foil) to reflect light back onto the subject.\u2019<\/p>\n\"\"\n

Raid the Christmas box <\/strong>
\nWhether you want to create bokeh, rain or a natural sun-kissed look, you might find that you have everything you need in the house already. For this image the rose was placed on a sheet of tin foil, with a rail of tinsel strands behind it, and then sprayed with a plant mister.<\/p>\n\"\"\n

Try tethering<\/strong>
\n\u2018Tethering the camera to the laptop helps me to see things in a two-dimensional format,\u2019 says Polina. \u2018When I look through the viewfinder, I am effectively still seeing a three-dimensional image (whatever I see with my eyes), which makes it harder for me to spot any imperfections.\u2019<\/p>\n\"\"\n

Think portraiture<\/strong>
\nWhen you\u2019re photographing flowers, think like a portrait photographer and try to bring out individual characteristics. Don\u2019t try to force a plant into an unnatural position \u2013 it\u2019s better to respond to what\u2019s in front of you and then tweak your technique accordingly.<\/p>\n

\n

Further reading<\/strong>
\nHow to shoot close-up flowers<\/a><\/p>\n

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