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Close-up pictures always seem to make us take a second look, perhaps because they draw attention to details we wouldn't normally notice. As you travel around you are sure to come across many ordinary, objects which might easily be taken for granted but which can make simple and intriguing pictures.

To achieve really effective results, shape and composition must be kept as simple as possible - a jumbled, busy composition can be very confusing - like a puzzle which the viewer is obliged to unravel before the picture can get its message across.

Does it work?
Picture C was taken many years ago in Almeria, Southern Spain, and shows a fairground horse partially uncovered after the show. There have been lots of interpretations as to why this picture makes people want to look twice - some of an acutely sexual nature - but the truth is that once again it shows a close-up detail of a commonplace object - a view few people normally bother to look at. Captured on film, the object becomes something more, a composition of shape, tone, texture and colour that makes an intriguing image worthy of a closer look. You can't see the horse's face, so the picture shouldn't really work. But it does... is it because it stimulates the imagination into thinking that the horse is still galloping behind the tarpaulin covers?

Best of both worlds
Details and close-ups can also reveal a great deal about a particular place or subject, and can frequently provide a much more perceptive insight into a way of life than a whole series of general views. It is sometimes possible to combine both and get the best from both worlds - but such pictures need considerable thought if an over crammed image is to be avoided. A detail such as a shiny door knob reflecting the surrounding street, or a wide angle shot of a basketful of fish with boats in the background can tell a story very effectively.

It can be very useful to have some close-up pictures in your collection when you are putting together a photo essay, whether it is intended for use in a newspaper, magazine or simple slide show at home. The close-ups will help to punctuate the overall make-up and break up the general layout of the article or show.

If you want to get really close, you should consider the need for a close-focusing macro lens, supplementary lens or adjustable bellows, but for the purposes of this article, we have stuck to pictures capable of being taken on most standard lenses. Most modern zooms have the capability to focus down almost as close as some macros.

Depth of field
Whatever lens you are using it is vital that all close-up pictures are needle sharp. They are likely to be scrutinised far more closely than general views. The closer you get to your subject, the less depth of field you will have to play with, and this can cause problems. If your subject is unlikely to move, and you have the luxury of time, put the camera on a tripod, use a slow shutter speed and the smallest possible aperture to deepen the depth of field. For maximum sharpness and colour rendition, a slow film is preferable - another good reason for using a tripod if possible.

Much can be done to increase sharpness over the whole image by careful choice of subject, positioning, and by adjusting the angle between the camera and the subject. Looking 'flat on' to the subject and keeping the camera's focal plane parallel to the surface of the subject will help by reducing the need for increased depth of field. Of course, it will help to choose subjects that lend themselves to this treatment - such as the 'flat' letterbox, the side of the warrior's face, and the row of fish, above.

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