Some DSLR cameras now offer multiple exposure modes. These include Nikon D3, D300, D2H, D2x, D200, and D80, Pentax K10D and * istD, Pentax Optio 550, and Fujifilm Fine Pix S5, S3, S2, and S1. This may not be a complete list, so check your camera manual to see if your camera has this option.
While you can combine multiple captures using layers in Photoshop and other imaging software, the ability to combine exposures on camera has several advantages as you can with film. The Nikon D300 uses raw data from the camera’s sensor and can combine the information / data from up to 10 exposures into one file. This eliminates the need to work with layer opacity and multi-file blending mode and provides smoother image integration with less effort. When using the automatic gain function, it is not necessary to adjust individual exposures after setting the initial aperture and shutter speed.
While it is possible to use a fixed focal length macro lens when capturing multiple images, a zoom “macro” lens provides the advantage of not having to adjust the camera or flower position with each successive exposure. For these photos I used a Tamron 28-300mm XR Di LD (IF) 1: 3.5-6.3 Aspherical AF Macro Lens. While not a true macro lens, it does provide a 1: 3 reproduction ratio.
One of the key ingredients of successful multiple exposure photography is choosing a subject that lends itself to this process. Flowers provide a variety of shapes, tones, and contrasts that blend well into the final image. These attributes contribute to the unique photos that are produced when using multiple exposures. By employing the techniques discussed in this article, you can achieve a luminosity and transparency that surpasses single exposure flower photography.
Setting a custom white balance (WB) is preferable to allowing the camera’s automatic WB to determine the color temperature. When shooting in RAW format, you can also adjust the white balance after exposure to complement each image. By experimenting with the WB setting, you can achieve tonal variations that will enhance the photo.
A dark background provides a nice contrast to lighter colored flowers and also blends well with successive exposures. I use seamless black paper for most of the white, yellow, and pink flowers. It’s a good idea to check the initial and final proposed zoom settings to see the flower-to-background ratio in the frame. One technique I like to use is to start with the shortest focal length where there is a lot of background in the frame and then gradually adjust the focal length with each exposure. Each successive zoom setting changes the focal length until it reaches the maximum extent. Using the 28-300mm zoom as an example, the total change from the shortest to the longest focal length is 272mm. Suppose we will record 10 exposures. Our first exposure will be at 28mm and the last at 300mm, so it leaves 8 exposures to divide our range into. Using a small approximation to facilitate focal length positioning, this is calculated at 28, 60, 90, 120, 150, 180, 210, 240, and 300mm settings for all 10 exposures. Sometimes instead of sticking to strict divisions, I just look through the lens and adjust the zoom according to what I find to be looking good as I shoot each exposure.
You can also start at the closest zoom setting with the flower filling the frame and then gradually zoom out. When using this technique, it is important to start with the camera fairly close to the flower. In the case of the Tamron 28-300mm lens, the shortest distance the lens can focus is approximately 19 inches. The zoom is then adjusted in successive increments so that in the final exposure the flower almost fills the frame, showing only a little of the background.
The final image produced with multiple exposures is often difficult to visualize. One of the advantages of digital technology is the ability to review the photo immediately after capture and make any adjustments to the position of the camera and the flower.
Lighting is just as important in multiple exposure photography as it is in single exposure photography. I am fortunate to have a skylight that provides a diffuse light source to the flowers. If it is necessary to use strobes, I would recommend using an umbrella or a soft box to preserve the textural details of the flowers.
Due to the amount of time it takes to take multiple exposures in the manner described above, it is necessary to control the position of the flower, the camera, the lighting, and the background.
Because when I start I don’t know exactly how long I will be photographing an individual flower, I like to use fresh water prepared with some plant food that most florists give you when you buy the flowers. If the photoshoot lasts for several days as new ideas occur to you, you will be thankful that you provided some nourishment for the flower!
I start by leveling the surface on which the flower will be placed. It is a good idea to start with a fairly long stem on the flower and place the flower in a vase that provides stable support. By leaving a long stem, you can photograph the flower from below, providing a unique perspective that I have rarely seen in flower photography as most people focus on the petals, pistil, and stamen from the top or side. With the flower supported and on a level surface, you can rotate the vase to achieve the angle you want. As the flower is rotated, the illumination of the petals changes, as does the position relative to the camera lens. Many different shapes and contrasts can be obtained using this technique and it can often be a very abstract pattern that can be quite attractive. By rotating the flower around the tip of a jumpsuit, a spiral effect can be achieved.
The use of a tripod is highly recommended to stabilize the camera. I would also recommend using mirror lock / exposure delay and a remote shutter or self-timer. Place the tripod at the height for the first shot and level the camera. It is also a good idea to position the angle of the camera lens parallel to the plane of the flower and, if the maximum depth of field is desired, set the aperture to f / 16 or f / 22. I generally shoot in aperture priority mode.
I hope these tips and guidelines provide a good starting point for your exploration of multiple exposure photography.