6 TIPS TO BE A BETTER MACRO PHOTOGRAPHER IN 2017

Having dabbled (quite extensively I might add) in the world of macro photography for a few years now I have discovered (through trial and error and also from talking to other photographers at a local camera club) a few tips and tricks (6 to be precise) that has improved my macrophotography images, and I thought I would share them to see if they are of any benefit to you.

1. Invest in a macro lens

Whilst extension tubes, reversing rings and close up filters do allow you to capture extreme close up photos of various subjects the image quality is typically very poor or, at best, poor. Close up photos taken with these cheap and cheerful “macro photography” (and I use that term lightly) products are okay for personal use, posting as low resolution images to social media and the like the image quality is not good enough for commercial use, or showcasing your photography skills.

If you want to capture macro photos that are actually usable, and macro photos you could potentially sell and generate an income with, you need to invest in a specific macro lens. The long and short of it is – extension tubes, reversing rings and close up filters are not suitable for macrophotography and are a total waste of time and effort (in using them) and also money (in buying them).

2. Use a ring flash

There is always a loss of light when taking macro photos therefore some kind of flash or sped light is essential. Speed lights are not suitable for macro photography for a number of reasons, including:-

They are too powerful – even at the lowest setting. When used on camera they can’t properly illuminate the subject and eradicate the shadow caused by the lens.

When used off camera they are fiddly and take a long time to set up. If you are serious about taking decent macro shots you need to invest in a ring flash, and one that has TTL technology at that. A ring flash eradicates all of the problems associated with speed lights and will result in the best photos. There is no need to spend a fortune on a ring flash and I would recommend staying away from the stupidly expensive Canon/Sigma/Nikon units and buying a far more affordable Yongnuo ring flash instead.

3. Ditch the tripod

If you are taking macro photos of insects, mini beasts and other critters you will have more success and get a better hit rate if you ditch the tripod. Tripods are cumbersome and will slow you down, and by the time you’re all set up and good to go the subject would have scuttled away, crawled under a rock or flown away. Rather than relying on a tripod it is best to practice your hand holding technique and bumping the ISO to keep the shutter speeds up.

4. Focus manually

The auto focus on modern day lenses is very good, however it does tend to hunt around when light is restricted or the subjects constantly moves, and both of these are very common when taking macro photos.

The best way to combat this is to use manual focus. Learning to focus manually, and learning to do it quickly, takes time, effort and practice but it is a skill that is well worth working on. If you want to capture the best macro photos I suggest you learn to focus manually and then put it in to practice.

5. Don’t use wide apertures

Depth of field is very narrow when taking macro and close up photos and getting acceptable sharpness isn’t easy. Even though macro lenses have a wide aperture of f2.8 you should never shoot at such a wide aperture when taking macro and close up photos. Shooting wide is going to end up in blurry macro photos that look an absolute mess.

When taking macro photos you need to shoot at apertures of f8 – f16, which is typically in the lenses “sweet spot”. I wouldn’t never recommend shooting narrower than f16 because diffraction starts to become an issue and getting sharp shots is a difficult because the shutter speeds are going to be pretty slow at narrow apertures in the reduced light.

6. Keep the shutter speeds up

When taking macro and close up shots of moving subjects, such as insects, mini beasts and other critters, it is important to keep the shutter speed up, and there are two reasons for this. The first is to avoid camera shake (in the absence of using a tripod) and the second is to freeze the action and ensure subject movement doesn’t lead to a blurry photo.

In order to keep the shutter speeds you have to be happy pushing the ISO, which on modern day dslr cameras is not such an issue. Modern day dslr cameras are very good at dealing with digital noise and can shoot at pretty high ISOs without being too badly affected by noise/grain. You need to know your camera’s limitations and know how far you can push the ISO before noise becomes an issue, and the only way to do this is to do some tests before you go out shooting macro photos.

So there we have it, 6 quick and easy tips that will help you improve your macro shots in 2017. 

BEST FLASH FOR INSECT PHOTOGRAPHY

Hawker Dragonfly: Ed James

A flash or speed light is a useful bit of photography equipment for almost all types of photography (landscape/seascape photography are two exceptions) however when it comes to capturing close up photos of insects a flash is essential.

The working distance taking insect photos, i.e. the distance between the lens and the insect, can be millimeters (you have to get right up close and personal to the subject) so there is a massive loss of light which makes it impossible to get sharp handheld shots unless you use a flash to “freeze” the action.

A normal external flash is not suitable for insect photography and, in all honesty, a total waste of time. If you want to leave the flash on camera, which is my preference when I take photos of insects, the lens often puts the insect in shadow, and the flash can’t illuminate it. One way around this is to take the flash off camera and side light the insect, but this requires an off camera flash cord (which is cumbersome and gets in the way) or flash triggers (such as the Yongnuo 622s) which is even more photography equipment to carry around.

The other problem with taking the flash off camera is you are going to have to handhold it, leaving you only one hand to hold the camera, make the necessary setting adjustments and take the shot. I have to admit I lie to have both hands available to take insect photos as shooting single handed often leads to blurred shots.

One of the biggest problems with using standard speed lights for insect photography is they are simply too powerful, even one of the smaller and lower powered speed lights with low guide numbers. Okay, you can turn the power right down but even the lowest setting is too powerful when up close and personal to insects to take photos of them. The only way around this is to have an assistant to stand back and hold the speed light for you whilst you take the photos, but in the real world who has an assistant? You may be able to bribe your other half, pay the kids or something like that, but most of the time you are going to be shooting alone right?

The best flash for insect photography is not a standard external speed light, it is a ring flash. The ring flash is a circular shaped flash that attaches to the end of the lens via its filter attachment. With a guide number of around 14m a ring flash has sufficient power to correctly light the insect, but not so much power it creates over exposed photos.

Since the ring flash is placed at the end of the lens there is no way the lens can cast a shadow over the insect, which means you can leave the flash (effectively) on camera, which means you have both hands available to operate the camera.

You can buy a ring flash (which is a strobe) or a ring light (which are continuous lights). Ring lights are cheaper, as you’d expect, but they are not suitable for insect photography because the light spooks the insect and sends it scarpering before you get the chance to compose the shot and press the shutter button. The ring flash is the best solution, and it is essential you buy one with TTL technology.

Setting the flash power manually is a chore and when taking photos of insects you will miss more shots than you get as the insect will scarper before you get the right flash power. Using TTL (and adjusting the power using flash exposure compensation) is the best way, scratch that the only way, to get great shots of insects.

The ring flash I use for my insect photography is the Yongnuo YN14, which is like the Canon branded ring flash, just a lot less money. The Yongnuo YN14 is tough and sturdy, it is easy to use, it has TTL mode as well as manual mode and it has two independent strobes so you can set different lighting ratios. There really is no need to spend loads of money on the Canon, Sigma or Nikon branded ring flashes when the Yongnuo YN14 does exactly the same job for a fraction of the price. Check out my review of the Yongnuo ring flash. 

The Yongnuo YN14 macro flash

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SO I PULLED THE TRIGGER ON A CANON 40MM F2.8 2.8 STM LENS

I was looking for a small and lightweight lens for my Canon 6d to provide the smallest, lightest and most portable setup, so I could have my camera with me whenever and wherever I go. The smallest and lightest lens in my bag was the Canon 50mm f1.8 lens, and whilst it is pretty small and light I wanted to go even smaller.

Finding a smaller lens wasn’t going to be too difficult, but finding a lens that was smaller and also has excellent image quality (at least as good as that of the Canon 50mm if not better) was going to be a challenge. After a lot of research I found a couple of suitable looking lenses, although the Canon 40mm f2.8 STM pancake lens seemed to be the lens to go for – and the best part was it wasn’t going to cost an arm and a leg.

Costing a little over a hundred pounds the Canon 40mm f2.8 STM lens is a little more expensive than the Canon 50mm f1.8, but it was still cheap enough for a punt so I ordered one from a local camera shop and went to collect it the following weekend – I would have liked to collect (and experiment with) the 40mm lens sooner, but normal life (AKA work) got in the way.

I obviously wanted to test the Canon 40mm f28 STM pancake lens as soon as possible, so I took my Canon 6d with me when I went to collect the lens to give it a test run. Below are some sample photos taken with the Canon 40mm f2.8 STM pancake lens 10 minutes after collecting the lens:-

"Lord Nelson" bar

"Horse ride"

"Tattoo parlor"

"Shopping arcade"

"The Empire"

I have to say that I am very impressed with the Canon 40mm f2.8 STM lens and I can’t wait to get out there and take photos of subjects I want to take photos of, and not just what’s happening a few streets away from my local camera shop.

If you shoot a Canon camera and want a small, lightweight and portable lens that is well built and has excellent image quality you may want to take a look at the Canon 40mm f2.8 STM pancake lens.

"And here is the awesome Canon 40mm f2.8 STM"

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CANON'S BEST BUDGET LENS - CHECK IT OUT

There was a time when the best budget lens for Canon dslr cameras was the 50mm f1.8 or “nifty fifty” as it is affectionately known. Times have changed, and whilst the Canon 50mm f1.8 is still a great budget lens however there is another affordable lens that is better and has stolen the “best value lens” crown. The lens I am referring to is the Canon 40mm f2.8 STM.

The Canon 40mm STM is an exceptional lens and whilst it is a bit more expensive than the Canon 50mm f1.8 it isn’t much more expensive. In fact, at the time of writing this post the Canon 40mm f2.8 lens is just £30 more expensive than the 50mm f1.8.

The Canon 40mm f2.8 isn’t as wide (or fast) as the 50mm f1.8 but what it lacks here it more than makes up for in image quality. The image quality of the 40mm f2.8 lens is exception given the cost of the lens. It is a sharp lens that renders accurate colours and controls pin cushioning, aberrations and distortion. The 40mm lens outperforms lenses costing several times more.

One of the biggest criticisms of the 50mm f1.8 was the build quality, which in all honesty is pretty poor. The 50mm f1.8 lens feels more like a child’s toy than a serious bit of photography equipment. The build quality of the 40mm f2.8 is very good and, compared to the 50mm f1.8, I would say exceptional. The 40mm lens feels solid and well built, which is more like it.

I appreciate the 40mm doesn’t have the same reach as the 50mm lens, and this fact concerned me at first as I liked the angle of view of a 50mm lens. Now I have used the 40mm f2.8 lens I have to say that I like the wider angle of view, and I now prefer it to that of the 50mm f1.8.

The 40mm f2.8 lens is a pancake lens, and as such is tiny and smaller than the 50mm f1.8. I like this because the 40mm f2.8 lens is discreet, which not only makes it portable but also great for candid and street photography where you need to be stealth like.

I bought my 50mm f1.8 lens many years ago and it was a favorite lens of mine, however since I bought the Canon 40mm f2.8 pancake lens I am finding I  use the 50mm f1.8 less and less, and instead use my 40mm f2.8. I am stunned that Canon can make a lens this good for such little money. If you want the best value lens for your Canon camera, and want the biggest bang for the buck look no further than the Canon 40mm f2.8 STM pancake lens. I guarantee you will not be disappointed with this lens. 

The awesome Canon 40mm f2.8 STM lens

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ALWAYS USE A PHOTOGRAPHY BACKGROUND FOR CORPORATE HEAD SHOTS

Whilst there seems to be a trend for corporate head shots to be captured against the natural working environment background there are still some company directors who don’t want this type of look for their corporate head shots.

Personally, I like the working environment backgrounds (like the production line, a shelf of files, a computer workstation, the water cooler, the photocopier etc.) providing the background is nicely blurred and intentionally thrown out of focus using a wide aperture. I think that using the working environment as a background puts everything in to context. Whenever I see a client about taking portraits I suggest using the working environment as the background, and openly admit my thoughts and opinions about this.

Most of the time (I’d say 98% of the time) I manage to persuade my clients to use the working environment as a background for the corporate head shots however I do sometimes come across a client who wants their employees photographed using a plain backdrop, as was the case with my most recent head shot assignment.

Despite my best efforts I could not persuade the client to use a working environment backdrop, instead I was told to use a plain white wall in the boardroom. When dealing with paid shoots the client is always right, so I duly obliged and set up where I was told, and proceeded to take the shots.

When I viewed the head shots on the LCD screen they didn’t look too bad, however when I got home and loaded the photos on the computer it was a different story. When I was taking the head shots I didn’t notice the color inconsistency of the wall. The wall was white, but it had obviously faded and changed color over time, and the camera clearly recorded this.

The background was slightly different for every shot and there was nothing I could do using my photo editing software to sort it out. The backgrounds weren’t a million miles off, but there were differences and when viewing each photo side by side the difference was easily noticeable. If the client was going to use one head shot per page, i.e. a single photo on each webpage, the inconsistency in background wouldn’t matter. The problem was, the client wanted to have a series of head shots on each webpage, and the inconsistent background would be obvious.

I was not happy with the head shots and I offered to re-do them (at no cost) but the director declined and was insistent the original shots were used. The director didn’t want me on his premises and disturbing his employees (again) so flatly refused to let me take the head shots again. I didn’t want my name associated with the head shots so I offered to do them for free and said I didn’t want any recognition for them. Yep, the only way I could think of to keep my reputation intact was to do the gig for free and move on.

The moral of the story is to make sure you always have a plain photography background with you when you go out and take corporate head shots. Hopefully, your client will let you use the working environment as the background, but if you are forced in to using a plain background you will be prepared and have a backdrop that is consistent and won’t lead to the problems and issues I ended up with.

This corporate head shot assignment taught me an important lesson and I have since purchased a variety of photography backdrops, together with a goal post style stand, and make sure I take them on every shoot, and not just the corporate head shot shoots. 

6 TIPS TO BE A BETTER PORTRAIT PHOTOGRAPHER IN 2017

If you want some quick and simple tips that will improve your portraits you have come to the right place. Below, is some tricks I have discovered over the years that lead to a big improvement in my portraits and they may do the same for you too. Please do check out my top portrait tips below.

1. Don’t use a lens that is too sharp

Ultra-sharp lenses record too much detail in that they highlight every spot, pimple, blemish and variation in skin tone, which does not make a flattering photo. Using a lens that is sharp, but not too sharp will result in more pleasing portrait shots. Sharpness is subjective and what some photographers find acceptably sharp other photographers won’t. The trick is to use a lens that keeps the model’s features nice and sharp but doesn’t show any imperfections.

2. Learn to pose the model

The way the model stands can make or break a portrait photo, therefore it is important you pose the model the way to capture the most flattering photo. How to pose a model is a huge topic in its own right, and with several books about the subject (all with step by step guides) and also webpages I strongly suggest you read up on the subject and learn some basic poses. Once you start posing your models effectively you will see a significant improvement in your portraits.

3. Befriend the model

If you want to capture natural photos you need to make sure the model is relaxed and comfortable, and the best way to achieve this is to “befriend” the model. To this end you need to be friendly, approachable and nice.

4. Get in nice and close

Being close to the models enables you to talk to them, communicate with them and direct them during the shoot. Being up close and personal allows you to capture engaging shots. Standing a long way from the models using a tele-lens to zoom in for frame filling shots does not result in good portraits.

5. Use some props

Using some props will add interest and context to you portrait shots. When using props for portrait photography you need to be careful and make sure the props are appropriate, otherwise using them will have a detrimental effect on the photo. Before using props in portrait photography you need to stop and think whether the prop you are intending to use will actually enhance the portrait or confuse it.

6. Think about the background

The model needs to be the focal point therefore you need to make sure the background isn’t distracting. If you’re using a photography background there is nothing to worry about, but if you aren’t you may need to be a little careful. Backgrounds don’t need to be plain to be non-distracting, they just need to be thrown out of focus, and you can do this by getting as much distance between the model and the background as possible, and also using a wide aperture.

So there we have it, 6 tips and tricks that will improve your portraits. 

WHY YOU SHOULD NEVER USE A SUPER SHARP LENS FOR PORTRAIT PHOTOGRAPHY

I would say that 99% of photographers, and I include myself in this, believes the holy grail of photography lenses is one that gives the ultimate in sharpness. I mean, no-one likes a soft image right? Well, other than the random 1% of photographers that is.

The sharpest lens I currently own is a macro lens (a Canon 100mm f2.8L IS - review here), and the sharpest lens I owned before buying this was the Canon 100mm f2.8 macro lens. Macro lenses are tack sharp and if there was one covering focal lengths of 8mm (the widest my Canon L series fish eye lens will zoom out to) to 400mm (the longest reach of my Canon 100 – 400L IS lens - review here) I would snap it up and use it for almost all of my trips out with the camera.

Sharpness is key, but not all of the time. Yep, believe it or not there are times when you will capture a nicer and more pleasant photo using a lens that is slightly soft. For example, taking photographs of women (and to a certain extent men) and babies is best with a ‘soft’ lens.

A super sharp lens, like a macro lens, records too much detail for portrait photography. Trust me, I have been there, tried it and hated the results I got. When I used my macro lens for portrait photography it highlighted every spot, pimple, blemish and variation in skin tone. Portraits are meant to show the model at its best and be flattering, but the portrait shots I captured with my macro lens were anything but. Okay, the model’s eyes (the gateway to the soul) were sharp (as they should be) the nose and ears were sharp and the hair was well defined, but then so were the imperfections. I wasn’t impressed at all, and needless to say neither was the model.

Fortunately, I use my sister as a model to try out all my new portrait photography equipment so poor photos weren’t too much of an issue. Had it been a paying customer though……… I fear things would have been very different, and not only losing out on money doing the shoot I reckon my reputation would have been tarnished and I would have lost out on future paid portrait sessions. The joys of living in a small town where everyone knows everyone. Never mind, the potential problems were put to bed before they had a chance to materialize.

A slightly softer lens doesn’t highlight imperfections, and hence leads to a more pleasing and flattering portrait. Sharpness, and softness is a relative term and what one photographer considers acceptable soft another photographer will consider too soft. I learned a long time ago to ignore photographers that thought my portraits were either too soft or not soft enough, and I don’t care what they say. The client is my priority, and as long as the client is happy with the portrait shots that’s all that matters, even if I think the shots aren’t quite right. At the end of the day it is the client who pays the bills, it is the client who is always right and my aim is to make sure the client is happy and will consider me (and recommend me to friends/family) for any future photo sessions.

I use a selection of lenses for portrait photography and before I start taking the “real shots” I do a test shot with each lens and show the results to the client. Basically, I let the client decide what lens they want me to use for the shoot, and not the one I think is the best. I do, of course, offer my opinion as to the best lens for a particular client or look, and if they run with it – great. If the client disagrees with me and wants me to use a different lens – that’s fine too. 

The lenses I use for portrait photography comprise the Canon 50mm f1.8 (which is the softest lens out of the lenses I use - review here), the Canon 35mm f2 IS (which is my personal favorite - review here), the Canon 16mm – 35mm f4L IS (which I use for group shots - review here), and the Canon 24mm – 70mm f2.8L (review here)

The Canon 35mm f2 IS - my favorite portrait lens

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The lens that most of my clients want me to use is the Canon 50mm f1.8, i.e. the softest one of the lot. Most photographers, myself included, would scoff at this “cheap and cheerful” lens for high quality portraits, but the client wants what the client wants. My favorite portrait lens is the Canon 35mm f2 IS since I think this is the perfect balance. I find this lens is sharp enough to keep the features and, most importantly, the eyes sharp but not so sharp spots, pimples, blemishes and imperfections are highlighted. 

WHY YOU HAVE TO MASTER THE FLASH IN TTL MODE

Read any flash tutorial and I bet it will say “manual flash is the best” or “you have to use a flash in manual mode” or words to that effect. Okay, I agree there are times when it is best to set the flash power manually however there are many times and situations when you will miss a lot of shots and opportunities using manual flash.

The flash power needed for a decent exposure (I won’t use the term correct exposure – as this is subjective) depends on two variables, and these comprise the aperture setting and the distance between the flash and the subject. Change the aperture and you have to change the flash power to compensate (increase the flash power to shoot wider/decrease the flash power to stop down).

When you’re shooting in a situation where the flash to subject distance is not a constant using the flash in TTL mode and tweaking the power using flash exposure compensation is best. When I shoot corporate events and functions, parties and the like I will always use the flash in TTL mode. I also keep the flash in TTL mode for general photography walkabouts.

I have read many posts and articles stating that using TTL flash is inconsistent and doesn’t result in the best shots, however I don’t have this problem and never have. You can get consistently good shots using the flash in TTL mode, providing you know your camera/flash intimately and how it works. In order to get consistent shots using flash in TTL mode you need to practice, practice and practice some more. By practicing with your camera/flash you will learn when you need to use flash exposure compensation, what flash exposure you need to apply (either positive or negative) and also the amount of flash exposure compensation you need to apply.

Using flash in TTL mode you can capture the precise effect you’re after. If you want a little fill in flash to lift the shadows and produce a natural looking photo you can do this using flash in TTL mode. If you want the subject to really pop and jump out of the frame you can also get this look using your flash in TTL mode. You do actually get quite a lot of control using flash in TTL mode, provided you use the flash exposure compensation correctly.

I know how to use a flash in manual mode, and I do enjoy using a flash in manual mode however I find that I actually use my flash more in TTL mode than I do in manual mode. I guess it’s the type of shooting I do most (pet portraits, events and functions) but I definitely use my flash in TTL mode more often than not.

If you shoot in the studio and have a lighting set up permanently in place and good to go you need to learn how to use the flash in TTL mode properly, and practice with it to get the best shots. 

The flash I now use for all my strobist photography is the Godox Ving, and I wouldn’t use anything else. Before buying the Godox Ving I used a Canon 600EX, and the fact I wouldn’t buy another 600EX is a testament to just how good the Godox Ving is.

With a guide number of 58 the Godox Ving is as powerful as the Canon 600EX, and it also has TTL metering, HSS mode and full manual mode. The Ving uses a single cell battery capable of over 600 full power pops on a single charge, which is pretty impressive. The advantage of the single cell battery is I don’t have loads of AA batteries and chargers laying around but the downside is if the battery dies on a shoot I can’t nip to the local garage or store and buy a replacement. The way I overcome this problem is to carry a spare battery and charger on every shoot so when (or if) the battery dies I can put it on charge and use the spare to carry on shooting. 

The Ving is the most user friendly and intuitive high spec flash out there, and I managed to get up and running, and work out where everything was without once having to consult the user manual. When I had the 600EX I had to read the user manual to work out how to operate the more advanced features.

Even though the Godox Ving is a budget flash it is still well made, and is strong and sturdy. It isn’t as “bombproof” and the Canon 600EX but given you can buy 3 Godox Ving speed lights for the price of one Canon 600EX and still have a load of cash left over for other bits and pieces, this is to be expected. I have had my four Godox Ving speed lights (I was so impressed with the first one I bought three more for a ganged 3 speed light setup) for several years now and they are still going strong and as good today as they were when I first got them, just with a few scuffs, dinks and scratches.

I bought a Godox Ving because I needed a flash ASAP for a shoot, and with little spare money to buy a speed light I had no choice but to go to the bargain bin and buy a budget flash. Had my Canon 600 EX not broke and I was a little more flush at the time I would never have discovered the Godox Ving or been aware of just how good it is. Call it luck, call it fate – I really don’t care, I am just glad things happened the way they did, although I obviously wasn’t too happy at the time.

If you want a powerful flash that has manual mode, TTL metering, HSS mode and is packed full of features take a look at the Godox Ving. If you want a flash that is intuitive and user friendly take a look at the Godox Ving. And, if you want a flash that is affordable and gives a lot of bang for the buck take a look at the Godox Ving.

The Godox Ving is my speed light of choice now

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LIGHTING IS CRUCIAL IN MACRO PHOTOGRAPHY

Photo credit: Ed James via Fine Art America

Many people like to shoot with natural light only, which is fine but not when it comes to macro photography. I don’t care what anyone says, taking macro and close up photos using only natural light is not the best way.

You can use natural light for macro and close up shots of flowers, jewelry and other still life subjects as it is possible to use slow shutter speeds and still get the shot, providing you are using a tripod or some other type of sturdy support. If you are taking handheld shots you may struggle to eliminate camera shake during the longer exposures.

You cannot use natural light when taking macro photos of living subjects that move because the slower shutter speeds (and longer exposure times) will result in blurry photos (because of subject movement) and missed shots.

If you want to take handheld macro shots of still life subjects or take macro/close up photos of living subjects it is advisable to add a burst of artificial light and use a flash. The flash will not only “freeze” the movement of living subjects but also lift the shadows and add more light where it is needed to get an even exposure.

You can use a standard speed light or flash for macro photography but you do need to use it correctly. Leaving the flash in the camera’s hot shoe is likely to cast the subject in the shadows (and one you can’t light) which isn’t going to result in a pleasing photo. If you want to use a speed light for macro photography you need to take it off camera via and off camera flash cord or flash triggers. Off camera flash is a great method but it is not always the best solution.

An alternative macro flash to the speed light is the macro ring flash, and this is what I use for all my macro photography. The ring flash is less powerful than a standard speed light but is still enough to illuminate the subject, is attaches to the end of the lens so there are no shadow issues, a ring flash provides nice soft lighting and you can also change the lighting ratios to add some depth to the photo. In my opinion the ring flash is the best flash for macro photography and it is well worth investing in one.

The ring flash I use is the Yongnuo YN14 and I have to say it is a great bit of macro photography kit. The YN14 is based on the Canon MR14 and it has the same features, works the same way, and is just as powerful but it is a fraction of the price. Check out “Review of the Yongnuo YN14” for an honest and unbiased review on this awesome macro lighting solution. 

CHOOSING BETWEEN CANON AND NIKON REALLY ISN’T AS TOUGH AS EVERYONE MAKES OUT

I am active on quite a few photography forums, and I am also guilty of reading a lot of photography blogs (more than I really should) and if there’s one question that comes up time and time again, or a poll topic that comes up time and time again it is the age old “What is best – Canon or Nikon?”

Okay, this topic has been done to death and the bottom line is neither one is better than the other. Photographers shooting Canon make money, as do photographers shooting with Nikon photography equipment. Both Canon and Nikon make cameras that are tough, durable and well made. Both Canon and Nikon make cameras that a jam packed full of technology, and both Canon and Nikon make camera with excellent image quality. I guarantee that you won’t be disappointed with either a Canon camera or a Nikon camera.

Since Canon and Nikon are just as good as each other choosing the best one, or rather the most suitable one for you really isn’t that difficult, and people over analyse it, think about it too much and also research it too much. Okay, choosing Canon or Nikon is a big decision, after all if you choose the “wrong one” it is going to be a costly mistake, but making the decision shouldn’t be too hard.

The only way to tell whether you are destined to be a Canon shooter or a Nikon shooter is to get down to your local camera shop and try each one. Let’s say you are looking to buy and entry level dslr camera – you need to go to your local camera shop and look at the Canon 1300D and the Nikon D3300. Hold each of the cameras, play with each of the cameras, search through the menu of each of the cameras and take some test shots with each of the cameras.

When I was buying my first DSLR I spent hours and hours (scratch that – I wasted hours and hours) researching and reading about Nikon and Canon and what brand is the best. After a few weeks my other half got bored of it all, bundled me in the car and drove me to the local camera shop (Warehouse Express) to go and have a go with the different types of cameras.

Physically seeing and playing around with each of the cameras was the best thing I could have done as I made my mind up within half an hour. Out of all the cameras I found the Canon 450d (Canon’s entry level dslr at the time) the most comfortable to use and the easiest to adjust whilst looking through the viewfinder.

It’s a good job my wife dragged me to the camera shop because I was ready to pull the trigger on the Nikon D3100 and order one online. Because my mind was made up (or so I thought) I wanted to like the Nikon but I couldn’t. The D3100 didn’t feel right to me, and the menu system wasn’t to my liking either. The trip to Warehouse Express stopped me from making a big mistake.

If you are torn between Nikon and Canon and want to know which one is best, the answer is neither of them. Ignore what you read online – all Canon owners are going to say that Canon is the best, and likewise all Nikon owners are going to claim Nikon is the best, and get down to the camera shop and try each one out for yourself. This trip could stop you making a big, and not to mention costly, mistake.  

PROOF YOU DON’T NEED TO SPEND A FORTUNE ON AN EXTERNAL FLASH

When I bought my first flash gun I was under the illusion I had to spend a lot of money to get something that would get me started in the world of flash photography. Consequently I (naively) ignored the third party branded external flash guns and speed lights and headed straight for the Canon branded speed lights.

There are some “cheaper” Canon branded speed lights available however I knew it was a waste of time going for something low powered like the Canon 270EX when I would only be wanting more and spending on a speed light with a bit more oomph in the future, so rather than buying cheap and then replacing it in the future I figured I would be better off buying a powerful speed light in the first instance. With this in mind, I dug deep (and very deep) and bought the Canon 600EX.

I have to say that the Canon 600EX is an awesome speed light and it did everything I needed it to (and some). The build quality of the 600EX is exceptionally good, it is very powerful and it is packed full of features (including manual mode, TTL mode and HSS). The only criticism I have other than the price (it is damn expensive) is it doesn’t have the friendliest of interfaces, which surprises me given Canon cameras are so intuitive.

I no longer use the Canon 600EX and, even though it is a great speed light, I don’t intend on using one anytime in the future either. Unfortunately, I had a slight accident with my 600EX and ended up breaking it beyond repair a few days before an important shoot, so I had to get a new speed light, and fast.

With money a bit tight at the time there was no way I could afford to replace the 600EX with another 600EX, and the only option I had was to buy budget. Looking around I had two options, the Yongnuo 568 (which was the most popular and had some very good write ups) and the Godox Ving (which had some good write ups but was nowhere near as popular). The Godox Ving was cheaper than the Yongnuo 568, but only marginally cheaper, but what clinched it was the delivery. I could get the Godox Ving delivered free within 2 – 3 days whereas the Yongnuo 568 was going to cost me around a tenner for delivery within 5 days. A tenner may not sound like much, but given the speed lights were just under a hundred quid each, the delivery cost was another 10% - which is a fair old whack. With the free (and faster) delivery I made the decision to buy the Godox Ving.

I wasn’t expecting much from the Godox Ving so when it arrived I have to say I was surprised. It was no Canon 600EX but given it cost a fraction of the price I wasn’t expecting it to be. That said, the Ving is just as powerful as the 600EX, it has TTL metering and it also has HSS. The Ving is also more user friendly and intuitive than the 600EX, which was a bit of a bonus. Overall I was very impressed with the Godox Ving (read my review of the Godox Ving speed light here), and the shoot went as planned.

I had originally planned to use the Ving for the shoot and, in time, replace it with another Canon 600EX however that plan soon changed. I was so impressed with the Godox Ving I ended up buying 3 more so I could have a ganged 3 speed light set up and an on-camera fill flash. I managed to buy three Godox Ving speed lights, plus three radio triggers (Yongnuo 622’s – read thereview here) for less than the cost of a single Canon 600EX. Now that’s what I call bang for the buck.

I still have all four of my Godox Ving speed lights and all of them are still going strong and as good now as they were the day I bought them. Buying the Godox Ving speed lights has shown me that there really is no need to spend a fortune on a speed light since it is only used to add a burst of light when needed and it doesn’t matter whether a top end Canon 600EX or a cheap and cheerful (but still exceptionally good) Godox Ving is used to provide the light.

If you are looking for a new speed light don’t dismiss the Godox Ving because it is a budget unit. Take a punt, give it a go, and I guarantee you won’t be disappointed. 

The Godox Ving speed light - an absolute steal and my flash of choice.

Buy the Godox Ving from Amazon.com (US citizens)

Buy the Godox Ving from Amazon.co.uk (UK citizens)