{"id":69771,"date":"2016-02-07T08:09:03","date_gmt":"2016-02-07T08:09:03","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=69771"},"modified":"2016-02-07T08:10:19","modified_gmt":"2016-02-07T08:10:19","slug":"photographing-snowdrops","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/landscape_photography-technique\/photographing-snowdrops\/","title":{"rendered":"Photographing snowdrops"},"content":{"rendered":"\t\t
\n\t\t\t\"Snowdrops,-unusual-angle,-Robert-Canis\"\t\t\t

Use light, or shoot from an unusual angle, to produce a more thoughtful composition. All images by Robert Canis<\/p>\n\t\t<\/div>\n\t\t\n

Snowdrops are among the first flowers to bloom in the new year and are often referred to as the harbingers of spring. They\u2019re described as \u2018three drops of milk hanging from a stem\u2019 and are certainly one of our most photogenic and widespread flowers, making them the perfect subject to help shake off the winter blues. Even on a cold gloomy day, the sight of snowdrops is enough to lift your spirits.<\/p>\n

More often than not, snowdrops are seen in large numbers and in some places form swathes of nodding white heads. It\u2019s a wonderful sight, particularly on a bright sunny day, but their sheer volume can be quite an assault on your senses and it can\u00a0be difficult to know where to begin. Depending on the conditions and whether or not I am able to make a return visit, I prefer to work in a relatively methodical manner. I begin by capturing the scene with a wideangle lens and, more often than not, position the flowers very close to\u00a0the lens, which can often produce dramatic results, putting the plant in context. Once satisfied, I move on to recording whole plants and find that lenses of at least 100mm are perfect for this, providing control over background coverage. My personal favourite lenses when shooting with the full-frame Nikon D750 are the 105mm and 200mm Micro options. Look for those plants that are on the periphery as opposed to working on those in and among all the others. This will not only make isolating a single plant more straightforward but will also lessen any chances of you inadvertently flattening nearby snowdrops.<\/p>\n

I then move in, closer still, perhaps filling the frame with just the head. You\u2019ll need a dedicated macro lens for this or, at the very least, a set of extension tubes or close-up lenses that screw onto the lens\u2019s front element, just like a filter. These come in varying strengths measured in dioptres and are an excellent way of enabling you to get closer to the subject. Beware, however, as, just like most things, you get what you pay for, so buy the best you can afford.<\/p>\n

Where to focus<\/h2>\n

When holding flower photography workshops, I am often asked: \u2018Where do you focus?\u2019 To me, this depends on what part of the flower dominates the frame and the aperture you have selected. If you are photographing the whole plant and the\u00a0stem occupies the greater part, then I would focus on this. If the flowering head fills the frame, then I focus on the front petal. To be on the safe side, focus on different parts of the flower, then see which one you prefer when you view the images on your computer screen at home.<\/p>\n

Once I have covered all the bases and I\u2019m happy in the knowledge that I have captured the flowers in various ways, I look at producing more thoughtful compositions utilising interesting light, or shooting from an unusual angle. This is why it\u2019s helpful to find snowdrops growing close to where you live as you have the luxury of repeat visits at different times of the day. I\u2019m fortunate in having two such places relatively close to my home: one is a church with an accompanying graveyard where wild flowers grow, and the other is a very secluded woodland on the North Downs. Both offer different perspectives, and the graveyard is handy for those early morning visits, where just a short walk of 50 metres is all that\u2019s required.<\/p>\n\t\t

\n\t\t\t\"Snowdrops,-sun-composition,-Robert-Canis\"\t\t\t

The sun waits for no one, so make an early start and set up for that stunning composition<\/p>\n\t\t<\/div>\n\t\t\n

Set up early<\/h2>\n

If you are up for an early start, make sure you arrive well before the sun rises as you will need to give yourself ample time to seek out any potential compositions. The sun waits for no one \u2013 30 minutes after sunrise and that\u2019s it. After this, the light becomes too harsh and that golden glow has gone. However, you needn\u2019t despair, as there are sure to be lots of places where the sun hasn\u2019t yet reached the flowers and you can continue shooting, such as within the shadow cast by a tree or church.<\/p>\n

Digital is wonderful in that it enables us\u00a0to experiment without additional cost through failures, so look at creating images with a difference. Shoot into the sun and introduce flare to give a soft, ethereal glow; silhouette snowdrops against the rising or setting sun; or shoot through other snowdrops, creating a white vignette. Lastly, don\u2019t be a slave to your tripod. Sometimes it\u2019s best to free yourself from its burden so you can wander around, camera in hand, and let your creativity flow.<\/p>\n\t\t

\n\t\t\t\"Snowdrops,-morning-dew,-Robert-Canis\"\t\t\t

Droplets of early morning dew, or even rainfall, can greatly enhance your image<\/p>\n\t\t<\/div>\n\t\t\n

Top tips<\/h2>\n

Get down low for impact<\/h3>\n

It may not be the most comfortable way to work, but images taken from ground level tend to have a greater impact. This is particularly the\u00a0case with shots taken with a telephoto lens. To make life easier, use the camera\u2019s articulated LCD screen, or\u00a0attach a right-angle viewing\u00a0attachment.<\/p>\n

Use live view for accurate focusing<\/h3>\n

Live view has to be one of the best features of a digital camera for close-up photography. Don\u2019t rely on your camera\u2019s AF, as depth of\u00a0field at close quarters is minimal. Switch the camera to\u00a0MF, activate live view and zoom in on the area you want\u00a0to appear sharp, then focus manually.<\/p>\n

Shoot into the sun<\/h3>\n

Through working at either end\u00a0of the day and utilising the\u00a0low, warm, directional sunlight, you can create images that will really stand\u00a0out. Handhold the camera rather than set up a tripod, select a wide aperture and move among the flowers, shifting focus until\u00a0you see a composition that works.<\/p>\n\t\t

\n\t\t\t\"Snowdrops,-flare,-Robert-Canis\"\t\t\t

Introduce flare, or shoot into the sun, to give a soft ethereal glow<\/p>\n\t\t<\/div>\n\t\t\n

Kit list<\/h2>\n

Beanbag<\/h3>\n

This will get you much lower than a tripod. It creates a more stable platform and will enable you to work\u00a0between plants without causing damage to other foliage.<\/p>\n

Polarising filter<\/h3>\n

The leaves of snowdrops are surprisingly shiny and can be distracting. A polarising filter will help to reduce the glare\u00a0and make the colour of the leaves more vibrant.<\/p>\n

Reflector<\/h3>\n

This is a necessity when shooting flowers as it will provide fill into those otherwise dark areas. A\u00a0piece of A5 card\u00a0with foil attached is ideal.<\/p>\n

Location guide<\/h2>\n

Snowdrops favour damp woodlands and the sides of streams, so my advice is get out there and explore. Graveyards are among the best places \u2013 they never fail and you can visit them at all hours of the day. There are also numerous country estates, some of which are listed here,\u00a0that open their gardens throughout February in celebration of the snowdrop.<\/p>\n